Durational Devices

Deborah Wing-Sproul works in and between the genres of photography, video, performance and social engagement. Beginning in the mid ‘70’s she studied modern dance and later went on to choreograph. She has studied under Merce Cunningham and others, including Douglas Dunn, Dan Wagoner, Viola Farber, and June Finch. Wing-Sproul has also studied with voice/movement composer Meredith Monk. She performed multiple works for Marina Abramović's 2010 retrospective, The Artist Is Present, MoMA, NYC.

Her work has been exhibited in numerous venues including: MASS MoCA's Kidspace; Center for Maine Contemporary Art; Portland Museum of Art (ME); Ogunquit Museum of American Art (Maine); Carlos Museum (Emory University, Atlanta); Housatonic Museum of Art (CT); The Rose Art Museum; Islip Art Museum; and Dorsky Gallery Curatorial Programs (Queens, NY). Her videos have been screened in more than 50 national and international film festivals, including the Corcoron Gallery of Art, National Museum of American History; and Bauhaus University, Weimar, Germany. Durational Devices was selected for Creative Capital's "On Our Radar" (2010). She is a recipient of the Maine Arts Commission Individual Artist Fellowship in Media/Performing Arts (2011).

In exploring individual or cultural tensions, much of the artist’s work leans heavily on durational or suspended still points. Travel, especially to relatively remote areas of the world, is a key element to her working process.

 

Annie Godfrey Larmon is a writer and editor based in New York. She is a regular contributor to Artforum, and her writing has also appeared in Bookforum, CURA., Frieze, MAY, Spike, Topical Cream, and WdW Review, among other publications. The recipient of a 2016 Creative Capital | Warhol Foundation Arts Writers Grant for short-form writing, she was the editor of publications for the inaugural Okayama Art Summit and is a former international reviews editor of Artforum. She is currently at work on her first novel.

Denise Markonish is the curator at MASS MoCA, where her exhibitions include Nick Cave: Until (catalogue: DelMonico/Prestel); Explode Every Day: An Inquiry into the Phenomena of Wonder (catalogue: DelMonico/Prestel); Jim Shaw: Entertaining Doubts; Teresita Fernández: As Above So Below (catalogue); Oh, Canada, the largest survey of contemporary Canadian art (catalogue: MIT Press); Nari Ward: Sub Mirage Lignum (catalogue); Iñigo Manglano-Ovalle: Gravity is a Force to be Reckoned With (catalogue: D.A.P); These Days: Elegies for Modern Times; and Badlands: New Horizons in Landscape (catalogue: MIT Press). Markonish edited the books Teresita Fernández: Wayfinding (DelMonico/Prestel) and 50 Years of RISD Glass: Wonder, and with Susan Cross co-edited Sol LeWitt: 100 Views (Yale University Press). She has taught at Williams College and the Rhode Island School of Design and was the fall 2016 curator for Artpace’s International Artist-in-Residence Program in San Antonio, Texas. Markonish is currently working on ongoing project with Laurie Anderson as well as upcoming exhibitions with Trenton Doyle Hancock, Anya Gallaccio, and Glenn Kaino.

Nancy Princenthal is a Brooklyn-based writer whose book Agnes Martin: Her Life and Art (Thames and Hudson, 2015) received the 2016 PEN America award for biography. A former Senior Editor of Art in America, where she remains a Contributing Editor, she has also written for Artforum, the Village Voice, and the New York Times. Princenthal is the author of Hannah Wilke (Prestel, 2010), and a co-author of two recent books on women artists. Her essays have appeared in monographs on Shirin Neshat, Doris Salcedo, Robert Mangold and Alfredo Jaar, among many others. A graduate of the University of Pennsylvania (B.A.), Hunter College (M.A.), and the Whitney Independent Study program, she has taught at the Center for Curatorial Studies, Bard College; Princeton University; and Yale University, and is currently on the faculty of the School of Visual Arts.