egenevievewilliams cv

E. GENEVIEVE WILLIAMS 820 West End Avenue, 7d New York City, NY 10025 917 539 7094 genevieve_cormac@yahoo.com

COLLEGES AND UNIVERSITIES Richmond University, London, England, transfer, Arts and Humanities Simmons College, BA, 1979, Communications/Art/Chemistry School of Visual Arts, MFA, 1996, Painting and Sculpture Union Theological Seminary, 2001, MA, Religion Columbia University, 2008 ongoing, Ph.d studies with Mark Taylor New York University, 2009 ongoing, Ph.d studies with Avital Ronell, Allen Feldman, Shireen Patell, Jacques Lezra Ph.D Candidate, 2013, Europ채ische Universit채t f체r Interdisziplin채re Studien, Saas-Fee, Switzerland Areas of interest: Language, Ethics, Visual Arts (text and picture)

LANGUAGES English, German, Spanish, French

PORTRAIT BY NIR ARIELI

the commingling of seemingly

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disparate interests. I am first and

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foremost a practicing artist. After my

In Canary Islands during

undergraduate degree, I had hoped to

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pursue an MFA in fine arts immediately.

for the Associated Press.

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The essence of my career is

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with text and image, it broadened my

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field, it fed my interest in telling stories

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my need to earn a living in a creative

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journalism. Journalism addressed

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to enter the field of editorial design/

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However, practical concerns led me

frame of reference, and teased out my curiosity about a wide range of topics.

across medias and areas of expertise.

Specifically, as an educator, a journalist, a student, and an artist, the intersection of text and image i.e. language, is the fiber that underlies my varied interests and career paths, and binds them together in cohesive framework.

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and Central America, informs my work

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to Mayan glyph sites all over South

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through my personal travels, particularly

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The skills I acquired in journalism, and

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Took photographs of the hanger

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Language Journalism Education teaching Fine Arts Design

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CAREER NARRATIVE

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Translated Mayan glyphs

THE WORK PRECEDES ME Racing ahead

It leaves me to catch up.

Arriving at each destination,

I see it has again pulled away

and vanished into the darkness.

I am breathless.

Always underway,

a questioning advance

merging content and form, mind and body.

Q INFORMATION GRAPHIC BY JANE YOUN

SCULPTURE

ALTERATIONS

AS IT WAS WRITTEN

Paper folds lay evenly side by side when unaffected by a stitch. A stitch

Thinking precedes writing. writing inevitably falls short of

indicates a voice or an action. When a voice or action alters one area,

picturing thinking, which is constantly in motion and always gaining.

another needs to be corrected so that the folds fall evenly again.

Yet, writing stands as the basis of knowledge.

TUSCAN LANDSCAPE

LIGHT SHAFTS

Shapes and orifices in this piece suggest

Blown glass threads woven together in a mesh

cedar trees, pinion tree branches, landscapes

of copper and aluminum wire suggest sparks of

from distances and close up.

mystical light emanating from a central core.

PAINTING

SUMMER PAINTINGS My work is committed to surface and anti-illusionistic space. I derive form and content from the materials and process of painting. Painting is not an end in itself, but a way of reaching for and touching something within and beyond myself.

My work references elemental forces.

SPACE DESIGN EXTERIOR

MOSS GARDEN The place had become overgrown and untidy during my father’s long illness. After he died, I made it my mission to restore it to the original lovely mountaintop retreat he had created. This area was completely bald. I tried to grow grass year after year with no success. I finally decided to let nature have her way and allow the moss to take over. Some I planted, the rest grew in. I added in mediun size rocks for texture.

DAD’S LITTLE CABIN OFF THE GRID My father bought a five acre, moutaintop piece of land in 1974. In 1980 he decided to make it his home.

He and some friends built an off the grid cabin. A cistern collected rain water, his heat source was a wood stove, he used gas lanterns for light, and had no phone. When I inherited it, I wanted to keep the original look and intent, but update it so that I could continue to work in NYC and come here on weekends.

SPACE DESIGN INTERIOR

STUDIO I went through a dozen or more ideas and sets of sketches. First it was going to be a greenhouse like

LOFT

pod outside the house, then a large outcropped picture window toward the view side. I felt both of those ideas fell short of what I really wanted. I tried more skylights and more windows on the view side.

I opened the cramped attic space, creating a loft.

Eventually, I realized that I had to take off that side of the house completely and rethink the overall

Since the space is small, I chose not to box

architecture of the house. The light had to be full on. It had to flow into all floors. The way I accomplished

in the tub, toilet, and pedestal sink.

this was to leave all floors open to the addition and make the addition a framework of windows.

“The way to describe the deity is by saying what the deity is not. man’s mind is limitless, while his body is subject to weakness and decay”

Language Philosophy Religion Politics History Aesthetics

—Moses Maimonides

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I’ve been able to locate the historical break between pictorial and textual language, and I’ve been able to articulate in words and pictures the historical, political, religious, psychological, social, and artistic impact of that break from its origin to present day. I’ve also identified several areas in graphic design that bridge the chasm between text and pictorial language. I plan to present my

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ty, ie. ced an embodied dei Christianity reintrodu ame flesh.” bec rd wo the rd, wo “god gave us the state flourished. The ideal However, asceticism ily deprivation. bod and cy iba cel is for the Christian

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m s ct ra st ab an iled Americ tive an decora reenberg ha art form th Clement G er gh hi a d as se m is as on rp su expressi claimed it n and e work and abstractio phasis on or figurativ em e bo Th . er dy. intellect of mind ov cubism in privileging e th ts es gg intellect su i

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My visual language project is an attempt to visualize a problem I’ve encountered trying to blend my artistic and academic careers.

Inf og ra ph c

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Emergent monotheism, that is, ancient Israelite thought, subsumed the mind body split concept in its theology. Man is in the likeness of the deity because of his capacity for reason, intellect, thought, while his corpus is animal. rscores d body unde n of mind an the body is le hi The bifurcatio w re pu at the mind is xtual the notion th e mind was te . ciated with th so As . ed with body at ci impure so as e le images wer ns ru at th m language whi ceticis ep vein of as During the Hence, the de y and religion. ph so ilo ph rn te strictly as w y ph through wes ism, iconogra da Ju ic d. in ile bb ha era of Ra owledge was hile textual kn forbidden, w

VISUAL LANGUAGE PROJECT

findings in dissertation format using interactive web, multimedia, and infographics.

—Sigmund Freud

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There was no effort on the part of the scribe or artist to render the imagery realistically because the “story” both mapped the history of the pharaohs and described a mythical cosmology. This cosmology was not centered around man as the primary and most elevated being.

In Hellenism, we find the writings of Plato which explain mind the ideas of Socrates. Socrates believed that the ed coexist they . entities te separa two were and the body es says in earthly form, but separated upon death. Socrat k and to his followers that though he will drink the hemloc die an earthly death, his “spirit” will dwell among them.

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Our earliest languages were “written” with both figurative and phonetic elements. We can see this mix of figuration and textual elements in Egyptian hieroglyphs.

glyphs from tory unfolded, As western his were gi ha op d sarc the pyramids an xtual language, te d an es ag replaced by im This from the other. m. each separate part to Hellenis in e du s wa phenomenon

“The religion that began with the prohibition against making an image of its God has developed in the course of centuries more and more into a religion of instinctual renunciation.”

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“To the unmarried and the widows I say that it is well for them to remain unmarried as I am. But if they are not practicing self-control, they should marry. For it is better to marry than to be aflame with passion.” —ST. Paul

Infographics is one forms that most successfully sutures the rupture between text and image in contemporary Western language.

SIX SISTERS SIS TERS DESIGN S I X S I S T E R S D E S I G N , L L C

EMPLOYMENT:

2004-Present Owner, Creative Director, Six Sisters Design, LLC, NY, NY 1988-Present Faculty, Department of Graphic Design, School of Visual Arts, NY, NY 1985-1998 Art Director, The New York Times, NY, NY 1987 Art Director, Time Magazine, NY, NY 1983-1985 Deputy Art Director, Rolling Stone Magazine, NY, NY 1983 Art Director, Adweek, NY, NY 1982 Associate Art Director, Walter Bernard Consultancy, NY, NY 1982-1984 Consulting Art Director, Shapiro Design Associates, NY, NY 1981 Assistant Art Director, The Boston Globe, Boston, MA 1980-1981 Consulting Art Director, Northeastern University, Boston, MA 1980 Consulting Art Director, Boston Rock Magazine, Boston, MA

TEACHING:

1988-Present Faculty, Department of Graphic Design, School of Visual Arts, NY, NY 2009 Instructor, Special Workshops, Grafitat, Quito, Ecuador 2004 Guest Speaker, Instructor, and Juror, 5th Design Biennial, Quito, Ecuador 2003 Instructor, Master’s Program in Graphic Design, Marywood College, PA 1997 Artist’s Residency, Mecatale, Italy 1996 Instructor and Artist in Residence, Altos de Chavon, Dominican Republic 1995 Instructor, Parsons School of Design, NY, NY

CURATORIAL:

2008 These Are Nice, Visual Arts Museum, NY, NY 2008 Messages, Visual Arts Museum, NY, NY 2006 2003-2007, Visual Arts Gallery, NY, NY 2003 The Line Forms Here, Visual Arts Museum, NY, NY 2002 Explaination Point, Visual Arts Museum, NY, NY 1998 Minds Out of Time, Westside Gallery, NY, NY 1997 Type-O-Philes, Westside Gallery, NY, NY 1996 Hooked on Type, Visual Arts Museum, NY, NY

2011 Evaluator, Program Review of the Department of Art at Queens College, Queens, NY 2011 Juror, Society of Publication Designers Student Design Competition, NY, NY 2011 Resident Artist/Scholar, European Graduate School, Saas-Fee, Switzerland 2005 Juror, Society of Publication Design Annual, NY, NY 2004 Juror, 5th Design Biennial, Quito, Ecuador

How Magazine, 2006, 2011, 2012 interviews StepInsideDesign, 2005, 2008, interview Communication Arts Design Annual, 1985, studio review

Clio Award, Silver, 2012 Davey Awards, 2006, 2009 (Silver Awards), 2010 How Magazine, 2006, 2010, 2011, 2012 Print’s A+C=D, 2006 Step Inside Design, 2005, 2007-2009 CMYK, 2005 The Great Design Show, 2005, 2006 Design One, 2005 Print’s A+C=D Business Graphics Review, 2006 Creativity, 2005, 2007, 2008 (Gold Awards), 2010 (Platinum Award) The One Club Show, 2005, 2006 Spark Design and Architecture Award, 2007, 2008, 2010, 2011 Graphis New Talent Design Annual, 1998-2011 Graphis New Talent, Gold Award for Excellence in Teaching, 2009 Society of Newspaper Designers, 1985-1994 Society of Publication Designers, 1983-2010 American Illustration, 1983-1985 American Photography, 1983-1985 Art Directors Club of New York, 1983-2011 Type Directors Club of New York, 1993-2009 Communication Arts Design Annual, 1985, 2011 Print Design Annual, 1983-1985, 2003 (Gold Award), 2005, 2009 Art Directors Club of Boston, 1981-1982 Art Directors Club of Washington, 2007 Type Directors Club of Tokyo, 2011

OTHER:

PUBLICATIONS:

AWARDS:

E.GENEVIEVE WILLIAMS BORN:

1957 Stroudsburg, PA

EDUCATION:

2013 PhD Candidate, Europäische Universität für Interdisziplinäre Studien, Saas-Fee, Switzerland 2007-ongoing PhD studies, Columbia University, NY, NY 2009-ongoing PhD studies, New York University, NY 2001 MA, Union Theological Seminary, NY, NY 1996 MFA, School of Visual Arts, NY, NY 1996 The Mayan Workshops, University of Austin, Texas 1983-1993 Art Students League of New York, NY 1979 BA, Simmons College, Boston, MA 1976-1977 Sir John Cass School of Art, London, England 1976-1977 University of London, London, England

EXHIBITIONS:

2009 Corrections, SomArts, San Francisco, CA, curator: Harriette Lawler 2004 Exhibition (accompanying Masters Series lecture), Quito, Ecuador 2002 Reactions, Exit Art, NY, NY 2000 Paper Abstractions, Gallery@49, NY, NY 1999 Shapes, Angles, Surfaces, Gallery@49, NY, NY 1998 Summer Group Show, Jason McCoy, NY, NY 1998 Creatures, Adrienne/Adrian Fine Arts, NY, NY 1998 Rotunda Gallery, Jersey City, NJ 1998 Exhibition, Artist in Residence, Altos de Chavon, Dominican Republic 1997 Hori-zonal Components, Bronx River Art Gallery, Bronx, NY, curator: Amir Bey 1996 Cathedrals and Classrooms, Bronx River Art Gallery, Bronx, NY, curator: Amir Bey 1996 Six Women, Bixler Gallery, Stroudsburg, PA 1996 Episodes, Westside Gallery, NY, NY 1996 MFA Special Projects, Visual Arts Gallery, NY, NY, curator: Gregory Amenoff 1995 Techne and Episteme, Visual Arts Gallery, NY, NY, curator: Tommy Lanigan-Schmidt 1995 Beauty and the Public, Visual Arts Gallery, NY, NY, curators: Komar & Melamid 1994 Sex + Abuse, Control + Desire, The Community Gallery, Jersey City, NJ 1994 Gallery Artists, Bixler Gallery, NY, NY 1992 New Works from New York’s Resident Artists, Merlin, NY, NY 1991 A Propensity to War, Bronx River Art Gallery, Bronx, NY, curator: Noah Jemison

1999-2010 Annual Art Auction, Little Red School House and Elisabeth Irwin High School, NY, NY 1998 and 1997 Annual Holiday Exhibition, P.S. 122, NY, NY 1998 and 1997 Cooper-Hewitt National Design Museum, auction at Christie’s, NY, NY 1998 and 1997 Annual Holiday Exhibition, Bronx River Art Gallery, Bronx, NY

BENEFITS:

COLLECTIONS:

Smithsonian Institute Permanent Collection, The New York Times, Pfizer Corporation, Jewish Theological Seminary; private collections include: Annie Proulx, (Pulitzer Prize, 1993, The Shipping News); Eric Asimov, The New York Times columnist and editor.

CURATORIAL:

2008 2008 2006 2003 2002 1998 1997 1996

EMPLOYMENT:

1988-present Faculty, School of Visual Arts, NY, NY 2009 Instructor, Special Workshops, Grafitat, Quito, Equador 2003 Instructor, Master’s Program in Graphic Design, Marywood College, PA 1996 Instructor, Altos de Chavon School of Art and Design, Dominican Republic 1995 Instructor, Parsons School of Design, NY, NY

AWARDS:

2011 Resident Artist/Scholar, European Graduate School 2004 Guest Speaker, Instructor, and Juror, 5th Design Biennial, Quito, Ecuador 1998 Artist in Residence, Altos de Chavon, Dominican Republic 1997 Residency, Mecatale, Italy

These Are Nice, Visual Arts Museum, NY, NY Messages, Visual Arts Museum, NY, NY 2003-2007, Visual Arts Gallery, NY, NY The Line Forms Here, Visual Arts Museum, NY, NY Explaination Point, Visual Arts Museum, NY, NY Minds Out of Time, Westside Gallery, NY, NY Type-O-Philes, Westside Gallery, NY, NY Hooked on Type, Visual Arts Museum, NY, NY

www.egenevievewilliams.com (sculpture), www.fromthewell.com (painting, multi media), www.explainationpoint.com (student work)