Ask The Biennial Project Answers Your Questions–Volume I

by the-biennial-project 16. October 2016 08:02

Hi artist friends! So, The Biennial Project has launched ASK THE BIENNIAL PROJECT- the first advice column dedicated entirely to the concerns of visual artists. Shockingly, we have received actual requests for advice from lots and lots artists out there. Eric and Anna will dispense their wisdom via regular podcasts (once we figure out what a podcast is), and we plan to crowd source some of the questions at receptions as well. We will also answer the best questions in print, and because Anna and Eric are in fact very lazy (and frankly the last people that anyone serious should turn to for advice), we have reached out to some of our FABULOUS BIENNIAL PROJECT ARTISTIC COLLABORATORS* (we are legion we are so many) for their thoughts. And thoughts they have, being the FBPAC that they are. Here are their considered answers to the first batch of questions:

1) Lanjar asks: art for What?

Mitchel: Exactly. 

Marjorie: Art for Arts' Sake. Money for God's Sake.

Editors: Because you have to. That’s it.

2) Joan asks: why do I want to be just like you?

Mitchel: Because you want to be someone other than yourself, and you can be.

3) Allie asks: What is the most important to teach young art students?

Mitchel: You can learn technique, and you should, but what you're trying to say must come from within.

4) Karen asks: I'm over 60, sold my paintings in galleries all my life. For 20 years I painted theatre sets part time(12-24 weeks a year) I can't physically do that any more, and all my gallery spaces have closed. How do I find my market?

Mitchel: There's no magic bullet - get out there and talk to the market. Promote yourself on social media too.

Kelly: Art sales have changed in the age of internet and social media.  Many galleries now have an online presence and the growth of national art festivals and fairs have opened the market up to a wider audience.  Try group shows which have a strong history of sales. You can find national shows online at  Good questions to ask are: “What percentage of the show is sold?” or “Do you have a dedicated sales team at the show?”  “Do you have a  sales desk at the show?” “Do you have the ability to take major credit cards?” “What is the commission split?” “What is the process for payment?” “What is the ship in/return process?”  Once you find shows that consistently sell your work, you can begin creating work specifically for these Gallery-style art shows held around the country. 

5) Fernando asks:

Editors: Nice try Fernando, but that is not precisely a question, although we admire your spunk. We’re all about spunk really.

6) (A different) Karen asks: My question is how to get a teaching job it all require previous experience teaching? My CV got a little interrupted because I had two kids and now that I want to start again, I feel I don't know where to start.

Mitchel: You'll need to make sure you're meeting local licensing requirements, but then try substitute teaching it will introduce to classroom management and build resume for full-time work.

7) Moya asks: I have had a few commercial galleries carry my work and have shown at numerous non profits, including regional museums nationally over the last 2 decades. I can never seem to break through to making a living from art and now teach for my living. What's the problem?

Mitchel: Unfortunately the problem may be unrealistic expectations. Nearly every artist I know either works a flurry of smaller jobs, has a day job (usually teaching), or does not need the income. If you want to become one of those "name" artists, you'll have to do a *lot* of marketing, and learn how to suck up to the oligarchic class.

Kelly: Many galleries today require a partnership from the artist.  It can be a challenge to maintain a local gallery as rents continue to escalate.  The gallery must pay its staff and real estate expenses and the artist typically maintains the wall space. However, in today’s world, the 60% split to the gallery may not cover expenses, therefore many galleries are asking artists to pay for marketing or large format printing for example. Gaining a local collector base can come from networking and creating fun shows through restaurants and unusual venues (Yoga Studios) where both you and the business benefit.  This requires a large inventory work and may require the work to be specialized to the business in which it is shown.  This can be an entertaining way to make new friends which turn into collectors.  Also, you may want to partner with sharply contrasting artists or complimentary artists (think also outside the box to include sculpture/performance artists/musical artists/local artists co-ops in your city etc..)

8) Michael asks: Okay, I am a self-obsessed neurotic goofball who likes a good laugh, but I am also very serious. Is this artist helpline a joke, something serious or something in between?

Charlene: Yes.

Mitchel: Very serious. We're looking over your should right now.

9) Brandon asks: Hello, I find is SO difficult to insure that I get real credit, my name and job title,listed correctly! I work as a hard working Master Printmaker and Artist ... How can I get this to happen without it being some Issue!!!! I can't seem to get away from the fact that being a woman is making this Even more challenging!!! Thanks for this forum and I look forward to your thoughts! Warmly, Brandon

Mitchel: Urgggh. It may be you're being disrespected because of gender, but I'm not finding artists get a whole lot of respect from the non-artists world. Maybe have a handout you provide with all your correct info, along with a short description of how and why it's important to give proper credit.

10) Victor asks: Why do I cry in the face of pain of pain or beauty? It makes it hard to carry on a conversation. Someone mentioned Frieda Kahlo the other day. Gulp. Someone showed me his scars from being shot in war. Gulp. I guess I am learning to suck it up and wipe my eyes and stay. How do you do it? Do you say, excuse me, I am emotional. Time again for dopamine reuptake inhibitors?

Mitchel: Probably, but is it art?

Editors: Victor, you are clearly our kind of fellow. We’ve been known to take to our beds in sorrow over the plight of a dead sparrow. The drug question is a tough one though – on the one hand we are appalled by the mercenary pharmaceutical industry’s response to the widespread sadness and despair that is a logical response to the conditions of late stage capitalism – change the person, not the world. On the other hand, of course we are on meds. Isn’t everyone?

11) KJ asks: Is it bad of me to not want to spend the money on going out for dinner? Because the whole time I'm thinking of what kind of Art supplies I could be buying with that money. I mean come on! Your joy on that dinner only last one night, the artwork you could make with that money could last forever.

Mitchel: Yep, you're an artist. You're not making art because you want to, but because you have to. Carry on.

Editors: What he said.

12) Meg asks: I'm 64 - so looking at retirement in the near future. Any tips people have found using senior status? Also, is this question thing new? Or do you have a list of FAQ somewhere?

Mitchel: Soon come for me, but not yet.

Editors: This question thing is indeed new, but we will soon have a Ask The Biennial Project FAQ page up on our website.

13) Mike asks: How can I be less famous and less successful as an artist? I am a contrarian and find it offensive that no one is vying to "own" the opposite pole of success...

Mitchel: Always attend opening naked. No. Wait. That would probably accomplish the other thing.

14) Marjorie asks: How is it that you are so goshdarned awesome????
You make it easier to cope with the freaking asspain of having to do something other than making art just by existing.  And I mean that.  This is STELLAR!!!!!

Mitchel: Hah! Is that a question? Or are you sucking up? Either way: we like.

Editors: Your are obviously an exceptionally good judge of contemporary performative artistic practice.

15) Alec asks: OK, dudes, I know you are famous now and everything, but why won't Eric return my texts?

Mitchel: Check your spam folder.

Kelly: Stand in Line!  Eric is not only famous but HOT.

Editors: He is busy watching Teen Mom but will get back to you soon Alec. Message him on Grinder for the most timely response.

16) Jonathon asks: You guys have suggested "sucking up" to curators to get ahead. How literally am I to take this?

Mitchel: You already know the answer to that.



Mitchel Ahern is a marketing consultant, letterpress operator, performance artist and general annoyance. His websiteis out of date, his YouTube channel is cryptic and his Instagram feed seems narcissistic.


Kelly Stevens - Director of Nude Nite, the largest art show dedicated to exhibiting figurative works in the world. Orlando Downtown Arts District Board, Board of Trustees – Mennello Museum of American Art, Associates Board – Orlando Museum of Art.


Charlene Liska is a video artist, painter and a photographer. She is founding member of both The Biennial Project and Atlantic Works Gallery .


Marjorie Kaye - a sculptor, painter, and runs the artist-managed                             Galatea Fine Art in the SOWA Arts and Design District Boston.



         XXOO, The Editors


Ask The Biennial Project answers question from artist Karen Dana




Ask The Biennial Project–the Advice Line for the Visual Artist

by the-biennial-project 14. October 2016 08:13

Life can be so hard, especially for us artistic types. No one outside of our fellow artists really "gets" us.

How many times have you had the experience of attempting in vain to explain to one court-ordered therapist or another just why we insist on living this way? Always broke, just barely hanging on to jobs we could do in our sleep if we were actually paying even a little bit of attention, continually disappointing the parents who saw such promise in us before our proclivities became known, limiting the pool of potential partners to fellow nut-jobs who could tolerate such a life.

How to explain ourselves to people who were busy listening to the teacher while we lost ourselves in the patterns the rain was making on the window?

Who are we to go to when we need answers to important life questions in an atmosphere free of the shaming so common in the straight word?

Until now the bartenders and dealers of the world were really our only good options in this area, but they weren't always available when we most needed them.

And anyway, only other artists completely understand how we are wired. That's why there is such a profound need for an artist-run advice column - organized by artists for artists.

And who better to answer your questions on important life issues than the internationally renowned artists of The Biennial Project, who have consistently demonstrated such a respectful and sensitive approach to complex cultural questions?

What a fantastic example of this bright new sharing economy - you need opinions, we have more than we need, so we share with you!

Welcome to Ask The Biennial Project, a unique opportunity for today's working artists to solicit advice on matter of the head, heart, and other organs.

So send us those questions now!



The Biennial Project Havana Correspondent

by the-biennial-project 26. September 2016 15:23

“I am heading to Cuba on September 30th for an 18 days artist residency at the Bustamante Studio in Havana. I will be sending regular updates for The Biennial Project to post on their website.

First a little about me, Cuba, and my connection to the Biennial Project.

I am a sculptor and installation artist out of Oakland, CA. I use repurposed materials in all of my art. My typical day includes hunting for material at local flea markets and estate sales. I exhibit regularly in the Bay Area, and have exhibited around the US as well as in South America and Europe. You can see my work at: 11221511_979253875469309_1129541482388908840_n

Cuba provides me with the opportunity to find new materials for making art and to exhibit that art in completely new venues.

Ever since president Obama relaxed travel to Cuba, I have wanted to go and see Cuba before it changes. Through a conversation with a long-time friend and artist, I found out that her daughter (a really nice painter ) is married to a Cuban and has a connection to a contemporary gallery in Havana. Many phone calls, text messages and emails later, I was able to arrange this residency. It all happened within two months. There is hope that this residency will become an opportunity open to other artists.

My connection with The Biennial Project goes back to 2012 when I found a call for entry about getting work seen during the Art Venice Biennale in 2013. I figured this was worth the entry fee and entered and ended up winning the grand prize.

[Text from The Biennial Project’s review of Clint’s work: “As good red-blooded Americans, we were first seduced by his gorgeous series of resin-based pieces titled Colors of War. Luscious, candy-colored, lethal. Perfection. Can we get fries with with that?” Read more of our review here:

Grand Prize Winner of The 2013 ArtVenice Biennale]

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So started my relationship with Anna and the rest of the crew there. For a couple years I’d read about their antics, travels and other adventures when an email would pop up in my inbox from them. I kept them on my radar and one day I got an email asking if anyone wanted to go with them to the Biennale in Venice next spring. Figuring that these insane artists would be fun to see art with, I jumped at the opportunity. But, I had to back out because of a conflict with my son’s wedding. What is a father to do, art or family? This time family won out. But this recent contact with Anna turned into a phone call and I talked to her about my upcoming trip to Cuba, and she asked me to scope out the art scene. Told her about the next Biennale in Havana in 2018 and of course she was interested in seeing it they could have the Biennial Project on the road south. So I have a few of missions while in Havana:

  • Scope out galleries for my work
  • Make connections with people connected to the Biennial in hopes of being asked to participate, and
  • See if there’s a place for the Biennial Project in Cuba.

Check in later for updates on my trip!”



The ever trendy Venice Biennale Bags

by the-biennial-project 22. July 2016 13:22

If there is one thing that stands out more then the art during the Press Week at The Venice Biennale it would have to be all the free shit to be obtained. There are free fabulously catered parties, with DJs and bands. There is a myriad of free food and free wine. Its fun to watch the well dressed, sweaty intelligentsia push and shove one another for the complimentary Prosecco in the hot sun. During the 2015 Venice Biennale Press Week we, The Biennial Project, didn’t buy an actual meal from Monday to Friday. The free Steak Tartar at the Aberzajan exhibit stands out in our memory. Lots of the Pavilions give out free books, which we grab, because they are free, but end up leaving most of them behind because its too heavy for our luggage. We even witnessed a fight break out between to civilized looking ‘art patrons’ because one cut the other in line waiting for their gratis Lily sponsored espresso.


But we feel the most practical gift of all is the canvas bags that a lot of the pavilions hand out. Right away these are great because we can start to use them to carry all the other free shit we pick up through out the day. Second, they show the other visitors that you are important. Only the most important art wheeler and dealers, or the really pushy attendees like us, The Biennial Project, are given the privilege of getting a bag. It makes a statement that you have arrived. Norway really made us work hard for our bag. It took us 2 minutes to wear them down to give us one. France, with their moving tree, acted really stinhy, but we prevailed to be more pushy then the French in pursuit of our precious bag. England was selling their electric yellow bags for 10 euros but we managed to snatch one when someone wasn’t looking. Walking around with a bag from a not-well-visited exhibition also makes other very-important-art-VIPs in attendance think you are ‘in-the-know’. You get to give off an impression that you found that one underground, cool, new artist that they are too provincial to hear about. It’s a wonderful feeling making other think they missed out.

Best of all is the millage you can get out of your bags when you leave the Press Week of The Venice Biennale. If you carry you bags around Art Basel, in Berlin, while descending your yacht in the Greek Isles or stuck in customs at Newark Airport, everybody will know you were at the Press Week of The Venice Biennale. They will then know how extremely important you really are. We know for a fact that the girls at Market Basket here in Revere, Massachusetts are quietly in awe of our international-art-superstar bags while they pack up our groceries. When winter sets in a few months later, and you are picking through the cushions of your couch looking for coins to buy cat litter because you can’t stand the stench of feline urine anymore, you can sell these bags on Ebay!!

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Boston Biennial 4 Wrap Up

by the-biennial-project 7. May 2016 12:56

“The Boston Biennial 4 delivered an evocative and inspiring selection of art of various types of mediums and styles…..Atlantic Works Gallery was bursting with people, compassion and excitement at it’s opening for the Boston Biennial 4 and it’s no question as to why: when the people in charge are just as engaged as the artists involved, it makes for perfect harmony.”  Ali Russo, Artscope Magazine

“The Biennial Project's commitment to building connections between artists here and elsewhere is utterly refreshing. To see them and their collaborators at work is to see artists at the top of their game - working without the net of institutional support, but obviously having a hell of a good time in the process - and nurturing personal and working relationships and networks that feel downright subversive in this day and age.” Alec Onsemska, film-maker and art critic


As you can see from the quotes above, the recently wrapped Boston Biennial 4 was both a resounding success and a rip-roaring good time. We attracted by far the most entries yet for a Boston Biennial, and the quality and diversity of the artwork submitted was staggering. The entire process leading up to the show was the most streamlined ever, what with our master collaborator and web designer Paul K. Weiner creating a sparkling new entry and jurying system for us which automated the process from start to finish. This saved us tons of time over our previous process and let us focus on the fun stuff - assembling an amazing crew of celebrity jurors, communicating with artists worldwide, pouring over the vast amount of great art submitted, and publicizing the show.


Artists traveled from around the country to attend the many packed gala receptions, and the response to the show was thoroughly positive. Now that the show has wrapped, we're just  the littlest bit tired, but absolutely thrilled with the caliber of great art that we got to showcase, and with the amazing people that we got to meet. Now we will enjoy a good 10 minutes of rest before getting back to work.  In the meantime, here are some links to info about this fabulous show:




blogal1AL HARDEN








blognayda1NAYDA CUEVAS







blogswarm1LEIGH HALL







Our Biennials

Disrupting the Art World One Biennial at a Time

by the-biennial-project 12. April 2016 16:53

Reflections on the Boston Biennial 4

by Alec X. Onsemska


Ozgur Ozlem When Children Die They Do Not Grow”, photo by Jeff Smith

“Just as another New England spring begins to awaken us from our winter doldrums, the local art world phenomenon known as the Boston Biennial is setting up shop in town again.

A little history here first. The Boston Biennial was born a few years back as a shrewd experiment in biennial branding by the envelope-pushing local art collective The Biennial Project - a group of conceptual artists whose organizing principle involves "exploring the underlying dynamics of who gets validation from the art world apparatus and why." A meaty starting point for conceptual art work if there ever was one.  As one critic has noted about The Biennial Project's work -  "it succeeds in moving on two planes simultaneously - unmasking both the appeal and the hollowness of success in an arena often dominated by players with a financial stake in promoting their own artist and venues - and in the process delivers an exhilaratingly gonzo field trip into the internal landscape of artistic consciousness."

Being a child of The Biennial Project, the Boston Biennial has from the beginning embodied a dichotomous soul - walking a tight rope between self referential art world in-joke on the pretensions inherent in the biennial system and an embodiment of a different model for artist engagement that is profoundly more democratic and artist centered.  It's a heady concoction, with notes from Berlin to the Paris Commune in the mix, and in the hands of lesser talents, this house of mirrors might just collapse under the weight of it's multi-layered concept.

But collapse it does not, and this is a testimony to the unusually broad skill sets of the member artists. In addition to expansive abilities to riff on the comic and the ridiculous aspects inherent in their Boston Biennial construct, they also have in their arsenal a very sophisticated gaze and a vigorous engagement with the issues of the day - both within and outside the art world. And the current incarnation of their Boston Biennial is the purest dilution yet of the artistic concerns of this of this group of inspired art-world disruptors.

The Boston Biennial 4 skews  to punchy and well-executed examples of process driven and socially engaged installation and conceptual art, informed by the groups deep immersion in cutting edge international art (gleaned from their peripatetic existence traveling within the rarefied world of the top-level biennial circuit). But by demanding that work in this category be both really smart and well-executed, the group drives home the potent point that conceptual art only really works when you have a concept worth investigating, and when you do it well. Art world, are you listening?

And they make a further trenchant point about the limitations inherent in current accepted categories of circuit-worthy art by insisting on an exuberant embrace of unfettered visual pleasure wherever they may find it - gleefully welcoming into their tent a good deal of strong work in mediums and orientations currently out of vogue at the top. By recognizing a lively abundance of strong photography, painting, and drawing, none of it designed in the least to argue it's own obsolescence, The Biennial Project continues it's incisive ability to simultaneously absorb the best of current art-world trends while rising above it's follies.

They succeed in bringing together a bountiful array of successful art being made by Boston based artists - and in so present a gutsy refutation to the inferiority complex that infects our local institutions vis-a-vis art made by artists who call Boston home. Recently a curator of a major Miami museum was interviewed about the benefits of the annual Art Basel decampment in that city, and stated enthusiastically that it represented a great opportunity to provide a platform for all the great art being made by Miami-based artists. Can anyone imagine one of the curators of a major Boston art institution making a comparable statement in that circumstance? We didn't think so.

The Boston Biennial 4 also includes much gorgeous and successful work from a diverse group of artists based around the country and the world. The Biennial Project's commitment to building connections between artists here and elsewhere is utterly refreshing. To see them and their collaborators at work is to see artists at the top of their game - working without the net of institutional support, but obviously having a hell of a good time in the process - and nurturing personal and working relationships and networks that feel downright subversive in this day and age.

Here's hoping that this project continues to grow, and that eventually someone wakes up and gives these folks some actual money to work with, so that someday Boston can have a Biennial as big and bold and groundbreaking as it deserves!”



Boston Biennial 4 Prizewinners!

by the-biennial-project 27. March 2016 16:11



                                     work by Ozlem Ayse Ozgur

#1 Artemis Herber

#2 Ozlem Ayse Ozgur

#3 David A Lang

#4 Farzin Foroutan

#5 Shawna Gibbs

#6 C Anthony Huber

#7 Michael St Germain

#8 Andrew Fish

#9 Al Harden

#10 Dennis Miller

#11 Kristin Malin

#12 Leigh Hall

#13 Nayda Cuevas

#14 Sammy Chong

#15 Lisa Reindorf

#16 Mitchel Ahern

#17 Farzaneh and Bahareh Safarani

#18 Joan Ryan

#19 Hannah Cole

#20 Walter Kopec


Boston Biennial 4 Gala Opening Reception


The Boston Biennial 4 is here!

by the-biennial-project 25. March 2016 12:36


The Biennial Project is tremendously proud to host The Boston Biennial 4
“A Wicked Good Juried Exhibition of Contemporary Art”

The birth of The Boston Biennial was a turning point in opportunities to showcase cutting edge creative work in the Boston area. This highly anticipated fourth installment brings together artists from New England to New Zealand, selected from over 1100 entries from 28 states and 23 countries.

This year, as always, the jurors are nearly as exciting as the artwork, with 20 celebrity participants such as gallery founders and Biennale veterans, local politicians and cultural leaders to reality show contestants, designers, professional artists, musicians and educators.

Opening Gala reception for BB4 is Saturday April 9th 2016 from 6 to 9pm
at Atlantic Works Gallery in East Boston

Third Thursday reception: Thursday April 21 2016 from 6 to 9pm

Closing Reception Sunday April 24th from 4 to 6pm

Gallery hours: Friday-Saturday 2-6pm or by appointment
80 Border Street 
East Boston, MA 02128






Boston Biennial 4 Accepted Artist List

by the-biennial-project 3. March 2016 08:29


Artists with work accepted for the Boston Biennial 4:



Lilac Abramsky-Arazi

Mitchel Ahern

Elizabeth Albert

Angela Ales

Larry Alford

Simone Alter-Muri

Anne Anicet

Adria Arch

Freedom Baird

David R Banta

Lisa Barthelson

Marten Berkman

Llisa Bick

Suzanne Blaustein

Judy Blotnick

Lance Boge

Stefano Boschetti

Aaron Bourque

Willy Branckaerts

Jan Brandt

Lauren Broom

Susanne Buckler

Richard Buckley

Karen Burgess

Steven Cabral

Lance Carlson

Vlatko Ceric

Sammy Chong

Nira Chorev

Yvonne Cilia

Roger Clarke

Hannah Cole

Don Collette

Lynn Connell

Raul Cordero

Nayda Cuevas

Carla Della Beffa

Darlene DeVita

Furen Dai

Oscar Di­az

Hubert Dobler

Gary Duehr

Rina Dweck

Yorgos Efthymiadis

Jeremy Endo

Vita Eruhimovitz

Mohammad reza Fathi

Chloe Feldman Emison

Richard Ferrari

Danny Ferrell

Andrew Fish

Susan Fitzsimmons

Farzin Foroutan

Susan Funk

Faith Gabel

Sara Gallo

Nicole Gencarelli

Shawna Gibbs

Susan Gilmore

Mitch Glassman

Leigh Hall

Lindsay Hall

Ethan Hamby

Al Harden

Artemis Herber

Katie Hodgkins

Laurel Hoffer

Richard Hricko

C Anthony Huber

Hilary Hughes

Andy Johnston

Richard Jurus

Josh Kastorf

Marjorie Kaye

Judith Kindler

Milan Klic

Renato Koledic

Walter Kopec

Tara Kraft

Debra Krakow

Laura Krasnow

Jacob Kulin

Marion Lane

Corinne Lapin-Cohen

Louise Laplante

Michelle Lapointe

Jennifer Layzer

Charlie Lemay

Shifra Levyathan

Pauline Lim

Christopher Lineberry

Charlene Liska

Chiyomi Longo

Greg Lookerse

Madeleine Lord

Jean Luongo

Carter Lynch

Adamo Macri

Kristin Malin

Emily Manning-Mingle

Nancy Marks

Sooo-z Mastropietro

Martha Mccollough

Karen McFeaters

Laurel McMechan

France McNeil

Gloria Merritt

Karen Merritt

Dennis Miller

Debbie Millman

Barbara Mink

Nilou Moochhala

Azita Moradkhani

Patirico Moreno Toro

Stephanie Morissette

Rebecca Morrison

Jeannie Motherwell

Marshall Moyer

Steven Muller

Anne Murray

Erica Nazzaro

Nick Nazzaro

Lior Neiger

Petrea Noyes

Ozlem Ayse Ozgur

Allen Palmer

Tim Patterson

Zoe Perry-Wood

Bo Petran

Dave Phoenix

Alison Pilorz

Terry Plater

Maj Plemenitas

Marisa Portolese

Julia Powell

Erin Power

R. Prost

Georges Rabbath

Lisa Reindorf

Seungbo Roh

Ruth Rosner

John Ruppert

Joan Ryan

Farzaneh and Bahareh Safarani

Victor Salvo

Elaine Sapochetti

Nick Schietromo

Renate Schweizer

Vladimira Sedlakova

Rachel Shatil

Nicole Shaver

George Shaw

Emily Sheffer

Susan Siefer

Marlene Siff

Brian Smith

Caleb Smith

Stephen Spiller

Michael St.Germain

Sergey Stepanenko

Sean Stewart

Erica Stoller

Alan Strassman

Kristin Street

Lenore Tenenblatt

Vanessa R Thompson

Catherine Timotei

Monica Tiulescu

Ann Tracy

Judy Ulman

Martin Ulman

mMchael Ulman

Paul Valadez

Brenda van der Beek

Milica Vergot

Mark Webber


Vanessa White

Andrew Wilson

Timothy Wilson

Matthew Wolcott

Leah Woods

Leigh Yardley

Marc Zajack

Annie Zeybekoglu

Ilhan Zeybekoglu




















Boston Biennial 4 Juror List

by the-biennial-project 6. February 2016 14:52

The Boston Biennial 4 is extraordinarily proud to have the following 20 – yes TWENTY – prominent members of Boston’s art and cultural community as celebrity guest jurors. Each of our jurors will look at all the accepted work and pick one piece to be shown as a prize-winner. Entering the BB4 is a fantastic way to get your work seen by some of Boston’s art world movers and shakers!

Undated:  The Official Rings Logo of the Olympic Games for editorial use only.  International Olympic Committee via Getty Images.

María Magdalena Campos-Pons  is a Cuban-born artist based in Boston. She works primarily in photography, performance, audiovisual media, and sculpture, and is considered a key figure among Cuban artists who found their voice in a post-revolutionary Cuba. Her art has been shown in scores of solo and group exhibitions, including at the Museum of Modern Art in New York City; the Venice Biennale; the Johannesburg Biennial; the First Liverpool Biennial; the Dakar Biennale in Senegal; and the Guangzhou Triennial in China. Her work is in the collections of the Smithsonian Institution, the Art Institute of Chicago, the National Gallery of Canada, the Victoria and Albert Museum, the Museum of Modern Art, The Museum of Fine Arts, the Miami Art Museum and the Fogg Art Museum. She currently teaches at the School of the Museum of Fine Arts, Boston.

Marjorie Kaye is an artist and curator as well as and the founder and director of Galatea Gallery in the Boston’s south end. She received a BA in fine arts from Syracuse University, and has exhibited regionally and nationally, receiving much positive press in the process. She is a tireless advocate for the art and artists of Boston.

Henry Horenstein is a professional photographer and teacher. He earned his MFA at Rhode Island School of Design (RISD), where he is now professor of photography. His work is collected and exhibited internationally, and he has published over 30 books. He has also published several monographs of his work, including Show, Honky Tonk, Animalia, Humans, Racing Days, Close Relations.

David Hilliard is a well-known photographer. He received his BFA from the Massachusetts College of Art, and his MFA from Yale. His work is in so many important collections that we don’t even know where to start in listing them. He has published and taught widely, including at Yale and Harvard, and is currently a Visiting Professor at Lesley University College of Art and Design. He is a past recipient of a Guggenheim Foundation Fellowship.

Kelly Dempsey is a recent contestant on season 14 Project Runway, invited as a designer to show at the 13th Annual New York Chocolate Fashion Show in New York. She is a Fashion Designer/Hip Hop/Avocados/Optimist. We LOVE her work, and she should have won this season.

O’mega Red is a Boston native and nephew of Donna Summers. He is CEO and record producer of The Stay Grindin Music Group, as well as asuccessful rapper and actor.

Nadeem Mazen is an educator, entrepreneur, community organizer, and is a City Councilor in Cambridge, MA. He is CEO of Nimblebot, a creative agency, as well as co-owner of danger!awesome, a makerspace that brings creative expression and tools to the masses.. He has taught at The School of the Museum of Fine Arts in Boston. He has recently been in the news as  leader in the movement to oppose Donald Trumps proposed policies re Americans of the Moslem faith.

Sonjia Williams was a runner up on Project Runway All Stars Season 4, and came in 5th on Project Runway Season 10. A Boston native, Sonjia studied design at Lasell College in Newton, Massachusetts and after gradation relocated to New York where she began working as an independent fashion designer. Thereafter, she won a spot on the 10th Season of Project. She also kicked ass on Project Runway All Stars 4 where she finished the season by debuting a line shown at Mercedes Benz Fashion Week to rave reviews.

Sarah Hutt is a mixed media sculptor whose work focuses on memory, dreams and the ever-changing reality they create. As a long-time resident of Boston’s South End, she was a key player in establishing the first successful mixed-use artist live/work space utilizing a surplus city-owned building in 1990, and has consulted on other similar projects around the country. Sarah is an art consultant for The New England Foundation and was previously the director of the Boston Art Commission and managed Boston's public art collection.

Samual Donovan came in Second Place on Lifetime TV’s Under the Gunn. Sam is a Newton, MA native who is a model-cute Parsons grad has fashion wisdom well beyond his years, and enough sass to fill a workroom.

Stephen Tourlentes received his BFA from Knox College and an MFA from the Massachusetts College of Art in Boston, where he is currently a visiting professor of photography. His work is included in many collections including the Princeton University Art Museum, The Metropolitan Museum of Art, The Art Institute of Chicago and has been exhibited at the Revolution Gallery, Michigan; Cranbook Art Museum, Michigan; and S.F. Camerawork, among others. He has received a John Simon Guggenheim Foundation Fellowship, a Polaroid Corporation Grant, Massachusetts Cultural Council Grants, MacDowell Colony Fellowships and was a Finalist for the ICA Boston’s Foster Prize for 2010.

Emily O’Neil is executive Director at Fort Point Arts Community. She is addicted to her iphone camera and would like to go back to Paris and see The Louvre. That’s where “I was when I first realized I truly loved art. I was 14 and came across a painting called The Entombment of Atlala by a Pre-Romantic painter named Anne-Louse Giroder de Roucy-Trioson, and I was heartbroken, mesmerized and hooked”.

Erin Becker is the Norma Jean Calderwood Director of the Cambridge Art Association. Erin serves on the Board of Directors of the Harvard Square Business Association; the Advisory Board for Cambridge Open Studios; and is a co-founder of the Art Centers Alliance, a group of roughly 25 community arts leaders. She is also a past reviewer for the Cambridge Arts Council’s LLC Grant Program, and past Gala Committee Member at the Guidance Center. Erin holds a BA in Art History from Boston University, and a Certificate from Boston University’s Institute for Nonprofit Management Leadership Core Program at Questrom Business School.

David Day has been active for over 20 years in the music industry, wearing many different hats: label manager, editor, music journalist, retailer - you name it. Most recently he founded the Together Festival, Boston’s springtime celebration of Music, Art and Technology (now in year 5) and remains the festival’s Creative Director. Two years ago, he co-founded the Mmmmaven Project, an educational initiative in Central Square, Cambridge, where he serves as Director, managing marketing, social media and human resources. He has been the editor of The Weekly Dig in Boston.

Helena Fruscio is Deputy Assistant Secretary of Innovation, Entrepreneurship and Technology Commonwealth of Massachusetts. She has been The Creative Economy Industry Director at State of Massachusetts. Helene is the Chair of the Berkshire Chamber of Commerce’s Fine and Performing Arts Award, she sits on Berkshire Navigation-Berkshire Data Collection Steering committee, Berkshire Blueprint Steering Committee, and is an active steering committee member of the Berkshire Young Professionals. She received a Bachelor of Fine Arts degree from the Rochester Institute of Technology (RIT) School of Imaging Arts and Sciences in Ceramic Sculpture, with a concentration in Anthropology/Sociology. She also studied at Studied at Harvard Kennedy School of Government.

Matthew Wilson  is MASSCreative’s first Executive Director, directing advocacy campaigns and organizational development for the organization. As the National Director of the field staff for from 2005-2006, he helped develop and implement the strategy behind’s successful 2006 Call for Change, which recruited and trained more than 100,000 volunteers in 60 swing Congressional and Senate districts. As the Founder and Director of Toxics Action Center from 1989 to 2005, Wilson assisted more than 300 neighborhood groups address toxic pollution issues in their communities. He graduated from Dartmouth College in 1983 and also earned a Masters of Public Administration at the Harvard Kennedy School of Government in 2008.

Kaveh Mojtabai is the founder and publisher of Artscope magazine, a media company currently in it’s 11th year that is dedicated to reviewing art exhibits, covering cultural events, connecting artists with their audience and creating access to the arts. Kaveh manages a team of editors, writers, graphic designers, web developers, technology experts and advertising account executives to publish Artscope in its print, email, online, social media, mobile app and iPad tablet edition formats to the industry and the public. Plus, Artscope contributes to news columns at worldwide media outlets such as CNN and participates and exhibits in shows such as Art Basel Switzerland and Art Basel Miami Beach.

In addition to his work in the media industry, Kaveh has worked on projects like co-curating the “A Politic” exhibit that showcased the worldwide acclaimed AbrahamObama billboard. He has recently juried at the Copley Society, Galatea Fine Arts in Boston, Andover Artist Guild’s Art in the Park, the Milton Art Museum, Sharon Arts Center, the Newburyport Art Association Annual Juried Exhibition, Milton Arts Center and a number of gallery exhibitions. Kaveh has appeared on the Arts League of Rhode Island annual conference panel as well as various “Money Matters” and entrepreneurial business radio networks where he explained how Artscope’s media platforms support connections between artists, collectors and the public.

Previously, Kaveh worked internationally with Fortune 500 clients at a “Big Four” global consulting firm to develop client performance through strategic, operational and financial processes. He has graduated with two degrees, a B.A. in Astrophysics and B.S.B.A in Business Administration. His previous work included astronomy research at the Harvard Smithsonian Center for Astrophysics under the direction of a Nobel Astrophysics Prize winner. Kaveh currently lives in Quincy, Massachusetts, enjoys running, playing recreational soccer games and flying planes. He loves his mom and is a momma’s boy.

Jean-Paul St Germain is an extremely successful entrepreneur, investor, and collector. Raised in Massachusetts, he received his undergraduate degree from Boston College and his Master’s from Columbia. Feeding a life long interest in art and the artistic process, he has amassed a substantial collection of contemporary art. He currently lives in Connecticut.

Adrian Madaro is the State Representative representing East Boston. A proud first-generation American, he is an avid art-lover, and enthusiastic and generous supporter of the East Boston Art's community.

Diane Modica is an artist and attorney, ex-Boston City Councilor (she chaired the committee on arts and humanities while on the City Council), two-time president of the East Boston Chamber of Commerce, 2013 East Boston Woman of the Year, and one of the lead organizers for East Boston Open Studios.



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