studio
Ginger Smith CV
Education
Boston University, History of Art & Architecture
Doctor of Philosophy (2015)
Dissertation: “Technology and Artistic Practice in 1960s and 1970s Southern California,” traces the ways in which the high-technology environment of Southern California fostered artistic experimentation with technology in studio and post-studio practices.
Major Advisor: Gregory Williams, Associate Professor of Contemporary Art
Boston University, History of Art & Architecture
Master of Arts (2007)
MA paper title: “A Language of Time: Robert Smithson’s Art-Science Dialectics”
Advisor: Gregory Williams, Associate Professor of Contemporary Art
Watkins College of Art, Design & Film, Nashville, Tennessee
Foundations Coursework (30 credits completed)
Photography major, coursework comprised the fine art foundations of a BFA
University of Tennessee, Knoxville, College of Education, Health, & Human Sciences
Master of Science, Concentration: Elementary Education (2001)
University of Tennessee, Knoxville, College of Communications & Information
Bachelor of Science, Honors: Summa cum laude (2000)
Concentration: Journalism
Group Exhibitions
2023 Fall Members Show, AOY Art Center,Yardley
2023 11th Annual Juried Show, AOY Art Center, Yardley
2022 Expression+Connection, Bellforge Arts Center, Medfield
2021 Transformations, Pennsylvania Center for Photography, The New Hope Arts Center
2004 Watkins College of Art & Design Student Juried Exhibition, Brownlee O. Currey, Jr. Gallery
2003 Watkins College of Art & Design Student Juried Exhibition, Brownlee O. Currey, Jr. Gallery
Publications
Exhibition review: “Mary Corse: A Survey in Light,” for caa.reviews, Whitney Museum of American Art (June 8-November 25, 2018), 19 March 2019.
“Indexical Proof: Post-Studio Intersections of Earthrise and John Baldessari’s California Map Project,” (2017) in Dawna Schuld and Cristina Albu, eds., Perception and Agency in Shared Spaces of Contemporary Art (New York and London: Routledge, 2018).
“Technology and Artistic Practice in 1960s and 1970s Southern California,” (PhD diss., Boston University, 2015).
“Practicing Big Science in Southern California: Larry Bell as Artist-Scientist,” Montage, 6 (University of Iowa Art History Society), 2012.
“Biographies” in Rachel Arauz, The Shape of Abstraction (Boston University Art Gallery, 2010).
“Barbara Bosworth” and “Biographies & Bibliographies” in Kim Sichel, TO FLY: Contemporary Aerial Photography (Boston University Art Gallery, 2007).
Conference Papers and Public Presentations
University of Michigan History of Art Symposium: “On Absence: Loss and Immateriality in Art and Architecture” (10/25/2014)
Paper Delivered: “Post-studio Sublime: Southern California Art and Technology after Earthrise”
Departments of Information Science and History of Art and Architecture, University of Pittsburgh: “Debating Visual Knowledge” Conference (10/3 – 5/2014)
Paper delivered: “Post-studio Sublime: Southern California Art and Technology after Earthrise”
University of Oregon Art History Association Symposium: “Experience & Experimentation” (4/25 – 26/2013)
Paper delivered: “A New Opticality: Mary Corse’s Microspheres”
University of Iowa Graduate Symposium of the History of Art: “Art and Science” (3/2 – 3/2012)
Paper delivered: “Practicing Big Science in Southern California: Larry Bell as Artist-Scientist,”
Boston University Art Gallery, Boston, Massachusetts
Gallery talk (Feb. 2010) for The Shape of Abstraction (February 5 – April 28, 2010) in support of exhibition programming.
25th Annual Boston University Graduate Symposium of the History of Art: “Chance” (3/27 – 28/2009),
Paper delivered: “Spontaneous Destruction: Jean Tinguely’s Theater of Chance”
Boston University Art Gallery, Boston, Massachusetts
Gallery talk (Oct. 2007) for TO FLY: Contemporary Aerial Photography (September 7 – October 28, 2007) in support of exhibition programming.