2022 McKnight Fiber Artist Fellows: Moira Bateman & Blair Treuer

Annie Carlano

Annie Carlano is the Senior Curator of Craft, Design and Fashion at the Mint Museum. Carlano was formerly senior curator at the Museum of International Folk Art in Santa Fe, and department head and curator of Costumes & Textiles at the Museum of Fine Arts, Boston. She earned her bachelor’s degree in art history from Rutgers University in New Brunswick, New Jersey, and a master’s degree in art history from Università Degli Studi in Florence, Italy. Carlano is an internationally known scholar who has published and lectured on a wide variety of topics related to fine art and craft. Her recent books include Sleeping Around: The Bed from Antiquity to Now and Contemporary British Studio Ceramics: The Grainer Collection. Other writing and editing projects include One Work: Sheila Hicks at the Mint (ed., 2012) and William Ivey Long: 2007-2016 (contributing writer and ed., 2017).

mintmuseum.org

Kyoung Ae Cho

Kyoung Ae Cho is a fiber artist who is engages in conversation with nature, respectfully incorporating natural elements, recycled matter, and low-valued materials that she has gathered.  Her work, a poetic juxtaposition of natural wonder with sensual delight and fragile existence, has been exhibited in national and international venues including Lynden Sculpture Garden, Milwaukee, WI; Muskegon Museum of Art, MI; North Carolina Museum of Art, Raleigh, NC; Madison Museum of Contemporary Art, WI; Gregg Museum of Art and Design, Raleigh, NC; Sheldon Museum of Art, Lincoln, NE; Morris Museum, Morristown, NJ; San Jose Museum of Quilts and Textiles, San Jose, CA; Tweed Museum of Art, Duluth, MN; Boulder Museum of Contemporary Art, CO; John Michael Kohler Arts Center, Sheboygan, WI; University of Hawaii Art Gallery, Honolulu; Kemper Museum of Contemporary Art, Kansas City, MO; Dairy Barn Arts Center, Athens, OH; Detroit Institute of Arts, MI; Carnegie Art Museum of Oxnard, CA; Poikilo-museot, Kouvola, Finland; Textilemuseum, Tilburg, Netherlands; National Museum of History, Taipei, Taiwan; Cheongju Craft Museum, Cheongju, South Korea; and the National Museum of Modern Art, Kwachon, South Korea.  She has been the recipient of numerous awards including the Lillian Elliott Award, the Quilt National Award of Excellence, a Pollock-Krasner Grant, a UWM Foundation and Graduate School Research Award, and a Wisconsin Arts Board Award Fellowship.  Cho currently teaches at the University of Wisconsin-Milwaukee.

kyoungaecho.com

Jenni Sorkin

Jenni Sorkin writes on the intersections between gender, material culture, and contemporary art. Her recent book is Art in California (2021), written for Thames & Hudson’s acclaimed World of Art series. Her first book, Live Form: Women, Ceramics and Community (University of Chicago Press, 2016) examined the confluence of gender, artistic labor, and the history of post-war ceramics. Recent projects include the essay “Affinities in Abstraction: Textiles and Otherness in 1970s Painting,” in Outliers and American Vanguard Art. Lynne Cooke, ed. (Washington D.C.: National Gallery of Art, 2018) and “Alterity Rocks: 1973-1993,” Art in Chicago: A History from the Fire to Now. Maggie Taft and Robert Cozzolino, eds. (Chicago and London: University of Chicago Press, 2018). She has published widely as an art critic, and her writing has appeared in Artforum, Art Journal, Art Monthly, East of Borneo, NU: The Nordic Art Review, Frieze, The Journal of Modern Craft, Modern Painters and Third Text. Sorkin currently serves on the editorial board of Journal of Modern Craft, and has served as a member of the editorial boards of Art Journal and Textile: The Journal of Cloth and Culture. She is the recipient of fellowships from the American Council of Learned Societies (2014-15), the Center for Craft, Creativity, and Design (2012), the Getty Research Institute (2010-11), and the ACLS/Luce Fellowship in American Art (2008).  She is currently an Associate Professor in the History of Art and Architecture at UC Santa Barbara.

arthistory.ucsb.edu/people/jenni-sorkin

Julie Bargmann

Julie Bargmann is internationally recognized as an innovator in the design and building of regenerative landscapes. She founded D.I.R.T. studio in 1992 to research, design, and build projects with passion and rigor. Born and raised in New Jersey, Bargmann is forthright and unafraid to provoke debate in order to tease out what matters most about places. Her background in sculpture influences the use of fundamental forms that capture processes present on a site, whether in plain view or discovered by peeling back layers of history.

She earned a Bachelor of Fine Arts degree at Carnegie-Mellon University, and a Master in Landscape Architecture at the Harvard University Graduate School of Design. She is the inaugural recipient of the 2021 Cornelia Hahn Oberlander International Prize in Landscape Architecture, and has received the Rome Prize fellowship from the American Academy in Rome, and the National Design Award by Smithsonian’s Cooper-Hewitt Museum. Her D.I.R.T. projects span more than three decades and have received numerous awards, including several Honor Awards from the American Society of Landscape Architects. Her work has been featured in art and design exhibitions including Documenta and the National Design Centennial. Bargmann lectures internationally at universities, conferences, and cultural institutions, which have ranged from the Museum of Modern Art to National Brownfields Meetings. TIME, CNN and Newsweek, as well as national and international design publications, have recognized her as leading the next generation in making a difference for design and the environment. After thirty years of teaching generations to take risks and do good, not just design, she was recently named Professor Emerita, Landscape Architecture, in the School of Architecture, University of Virginia.

D.I.R.T.studio.com

Michelle Millar Fisher

Michelle Millar Fisher is currently the Ronald C. and Anita L. Wornick Curator of Contemporary Decorative Arts within the Contemporary Art Department at the Museum of Fine Arts, Boston. Her work focuses on the intersections of people, power, and the material world. At the MFA, she is working on her next book and exhibition, tentatively titled Craft Schools: Where We Make What We Inherit, which took her across 48 contiguous US states via train over the course of a year. She is also the co-founder of the Designing Motherhood project and has long been interested in the confluence of gender and design. She has written widely on care work, mothering, and reproductive labor, including parenting in museums, hiding care work at work, being childfree, grief and mothers, and the architecture of maternity. Previously, she worked at the Philadelphia Museum of Art, The Museum of Modern Art, the Metropolitan Museum of Art, and the Guggenheim Museum. The recipient of an MA and an M.Phil in Art History from the University of Glasgow, Scotland, she is currently completing her doctorate in art history at The Graduate Center at the City University of New York (CUNY). She is part of the 2022 fellow cohort at the Center for Curatorial Leadership.

michellemillarfisher.com

Jenni Sorkin

Jenni Sorkin writes on the intersections between gender, material culture, and contemporary art. Her recent book is Art in California (2021), written for Thames & Hudson’s acclaimed World of Art series. Her first book, Live Form: Women, Ceramics and Community (University of Chicago Press, 2016) examined the confluence of gender, artistic labor, and the history of post-war ceramics. Recent projects include the essay “Affinities in Abstraction: Textiles and Otherness in 1970s Painting,” in Outliers and American Vanguard Art. Lynne Cooke, ed. (Washington D.C.: National Gallery of Art, 2018) and “Alterity Rocks: 1973-1993,” Art in Chicago: A History from the Fire to Now. Maggie Taft and Robert Cozzolino, eds. (Chicago and London: University of Chicago Press, 2018). She has published widely as an art critic, and her writing has appeared in Artforum, Art Journal, Art Monthly, East of Borneo, NU: The Nordic Art Review, Frieze, The Journal of Modern Craft, Modern Painters and Third Text. Sorkin currently serves on the editorial board of Journal of Modern Craft, and has served as a member of the editorial boards of Art Journal and Textile: The Journal of Cloth and Culture. She is the recipient of fellowships from the American Council of Learned Societies (2014-15), the Center for Craft, Creativity, and Design (2012), the Getty Research Institute (2010-11), and the ACLS/Luce Fellowship in American Art (2008).  She is currently an Associate Professor in the History of Art and Architecture at UC Santa Barbara.

arthistory.ucsb.edu/people/jenni-sorkin

Erica Warren

Erica Warren is a curator and scholar, working with collections, in museums, and teaching. She is currently the editor of Craft Quarterly, the James Renwick Alliance for Craft’s magazine. Her area of specialization within decorative arts and design histories centers on the late nineteenth century through the present day with a focus on alternative modernisms. Research pursuits include the human and ecological costs that attended industrial innovations in modern textile production; color theory, synthetic dyes, and modernists with intermedial art practices such as Marguerite Zorach; the American designer, entrepreneur, and weaver Dorothy Liebes; and the unbounded practices of contemporary artists working with textiles.

Her essay “Fission: Design and Mentorship in the Dorothy Liebes Studio” will be published (summer 2023) in the catalog accompanying the Cooper-Hewitt, Smithsonian Design Museum’s exhibition A Dark, A Light, A Bright: The Designs of Dorothy Liebes. In 2021, her essay “Beyond Weaving: Transdisciplinarity and the Bauhaus Weaving Workshop,” appeared in Textile: The Journal of Cloth and Culture, and the year before, she edited and contributed to the catalogue Bisa Butler: Portraits (2020). From 2016-2022, Warren was a curator of textiles at the Art Institute of Chicago, where she organized numerous installations, including the critically acclaimed exhibitions Bisa Butler: Portraits and Weaving Beyond the Bauhaus. As a complement to her curatorial pursuits, she has taught courses at the University of Chicago, Drexel University, and the Tyler School of Art, Temple University.

ericawarrenphd.com

Robert Cozzolino

Robert Cozzolino, the Patrick and Aimee Butler Curator of Paintings at the Minneapolis Institute of Art, curates collaboratively, in partnership with artists, colleagues, and broad communities. “Starting where you are” is critical to his practice—knowing the immediate context and deeper history of the place in which he works. It also means working with humility and accepting that there is much yet to learn from others. Dr. Cozzolino is drawn to artists that make work about the full range of human experience, especially those who aspire to visually express the intangible, states of consciousness, and a full range of emotions. Although he has worked on topics from the 19th and 20th centuries, he regularly works with contemporary artists in examining history. Born and raised in Chicago, he studied at University of Illinois Chicago before completing graduate studies at the University of Wisconsin–Madison. His publications include Supernatural America: The Paranormal in American Art (2021), World War I and American Art (2016), Peter Blume: Nature and Metamorphosis (2014), and David Lynch: The Unified Field (2014). First trained as a musician, he has played free-improvised music as a percussionist since 1993.

Robert Cozzolino @ Mia