Brece Honeycutt, a multimedia artist, uses research as a material for her history and nature based works.
Honeycutt continues her research documenting the Shaker communal society through residencies, fellowships and writing a manuscript. In 2024, she presented her paper Prismatic Utopia at the Deerfield Forum, A Rich and Varied Palette: Coloring New England’s Past and at the Enfield Shaker Forum, where she received the annual award “for presenter demonstrating the highest standard in new outstanding scholarship.” In 2023, she was awarded a Winterthur Maker-Creator Fellowship for her project, Prismatic Utopia, exploring manuscripts and objects in their Edward Deming Andrews Memorial Shaker Collection and in 2020 she was an Artist in Residence at Hancock Shaker Village. meetinghouse, a melding of spoken word by Brece Honeycutt and Shaker songs sung by Miriam Cantor-Stone, was performed as part of the Moonbow series held at the Watervliet Meetinghouse (25 Meeting House Road, Albany, NY) on July 29, 2023.
Her series makingAWARE manifests in walks, writings, archival research, video essays & natural dye work and seeks to guide the importance of noticing the natural around us. In 2022, Art Omi (Ghent, NY) invited her to lead two walks for the Ecological series; Copy Press UK published her audio-visual essay, ‘A Bird to overhear’ for their Becoming Fireflies series, sponsoring a London screening; and, the American Antiquarian Society (Worcester, MA) invited her to present her ‘weed & bird’ based research project for their Artist in the Archive series.
Honeycutt started 2024 at Arrowmont School of Arts and Crafts (Gatlinburg, TN), where she participated in Pentaculum, an invitational writer’s residency. In, 2024 she gave talks on color for Deutsches Farbenzentrum, Slade School of Fine Art and the annual Enfield Shaker Forum. Her 2023 group exhibitions included: HOLIDAY LABspace’s annual small works show at LABspace (Hillsdale, NY), MASS MoMA curated by LABspace at TurnPark Art Space (West Stockbridge, MA) and Causality curated by Jason Andrew at M.David & Co.(Brooklyn, NY).
Her installations have been placed in university campuses, historic houses, inner-city parks and in office buildings, libraries, urban markets and galleries. She enthusiastically collaborates with artists, students, gardeners, poets, and dancers and thanks all of the historians, archivists, librarians and curators for their knowledge and assistance. Honeycutt holds a B.A. in Art History from Skidmore College and an M.F.A. in sculpture from Columbia University.
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| 2017 | bewilder, Norte Maar, Brooklyn, NY | |
| 2014 | underfoot, Knox Gallery, Monterey, MA | |
| 2009 | Arachne, Poplar Gallery.Online, http://www.mackenziefrere.com/poplar/index.html | |
| 2006 | husks, Broadway Windows, New York, NY | |
| 2005 | works on paper & sculpture, Arlington Arts Center, Arlington, VA | |
| at Table, Brook Commons Outdoor Sculpture Program, Longwood University, Farmville, VA | ||
| 2004 | silence, Bryn Mawr School, Baltimore, MD (permanent installation) | |
| 2003 | silence, Baltimore Book Festival, Mt. Vernon Place, Baltimore, MD | |
| 2000 | primer, Susan Conway Gallery, Washington, DC | |
| 1998 | endangered species, Installation for Arlington County, Arlington, VA | |
| Sculptures and Drawings, Parish Gallery, Washington, DC | ||
| 1996 | Health & Hearth, Clara Barton National Historic Site, Glen Echo, MD | |
| 1995 | Health & Hearth, Clara Barton National Historic Site, Glen Echo, MD | |
| 1994 | Strange Fruits, Alternative Art Gallery, London | |
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| 2024 | Eyes on Art Town, Williamstown, MA | |
| The Nomenclature of Colour, Slade School of Art, London, England | ||
| 2023 | HOLIDAY, LABspace, Hillsdale, NY | |
| Causality, M.David & Co, Brooklyn, NY | ||
| MASS MoMA, Turn Park Art Space, West Stockbridge, MA | ||
| Colour/Print/Poetry, Slade School of Fine Art, London, UK | ||
| 2022 | HOLIDAY, LABspace, Hillsdale, NY | |
| Roll & Fold: Books of Story & Structure, Leverett Craft and Art, Leverett, MA | ||
| The Linda Doman Collection: Selected Works, Museum of Contemporary Art Arlington, Arlington, VA | ||
| Among Friends 3, Equity Gallery, New York, NY | ||
| Shaker Inspired, Joyce Goldstein Gallery, Chatham, NY | ||
| 2021 | “What The Trees Try to Tell Us What We Are,” The Hotchkiss School, Lakeville, CT | |
| HOLIDAY, LABspace, Hillsdale, NY | ||
| Radius 50, Woodstock Artists Association, Woodstock, NY | ||
| Art & Nature Entwined, Wave Hill, Bronx, NY | ||
| Colour/Collage/Poetry, The Slade School of Art, London, England | ||
| quiet conversations, Fabrick, Lowenthal, Australia | ||
| 2020 | The Fabric Show, Joyce Goldstein Gallery, Chatham, NY | |
| Conversations: Artworks in Dialogue, Art and Design Gallery, F.I.T., New York, NY | ||
| 2019 | HOLIDAY, LABspace, Hillsdale, NY | |
| Tiny Pricks Project, Speedwell Projects, Portland, ME | ||
| Everyday Perfection, Albany International Airport Gallery, Albany, NY | ||
| The Future is in the Making, Art and Design Gallery, F.I.T., New York, NY | ||
| Among Friends, Clemente Soto Velez Cultural & Educational Center, New York, NY | ||
| 2018 | Intimate Immensity and Other Daydreams, AC Institute, New York, NY | |
| Among Friends, Studio #257, Brooklyn, NY | ||
| True North, LABspace, Hillsdale, NY | ||
| Natural Causes, 107 Bowers Gallery & Artspace, Jersey City, NJ | ||
| Matereality, Geoffrey Young Gallery, Great Barrington, MA | ||
| Threads: Textile Collaborations, Drop, Forge & Tool, Hudson, NY | ||
| 10 Artists / 10 Pieces, The Hotchkiss School, Lakeville, CT | ||
| 2017 | Indigo: The Seventh Color, LABspace, Hillsdale, NY | |
| Land & Memory, Instar Lodge, Germantown, NY | ||
| In Our Nature, Rush Corridor Gallery, Brooklyn, NY | ||
| Strange Flowers, Westbeth Art Gallery, New York, NY | ||
| One Year Later, Pyramid Atlantic, Hyattsville, MD | ||
| A Declaration of Sentiments: Reflections on the Centennial of Women’s Right to Vote in NYS, Athens Cultural Center, Athens, NY | ||
| Taconic North, LABspace, Hillsdale, NY | ||
| ‘Becoming’ [CorrespondenceCourse collaboration with Abigail Doan], Tremaine Gallery, The Hotchkiss School, Lakeville, CT | ||
| 2016 | The Warmth of Winter, National Arts Club, New York, NY | |
| Artists of the Mohawk Hudson Region, The Hyde Collection, Glens Falls, NY | ||
| SHIFT: Environmentally Responsible Print Practice, McMaster Museum of Art, Hamilton, ON | ||
| Connections: Scotland and Italy, Lillie Art Gallery in Milngavie, Glasgow, Scotland | ||
| 2015 | Royal Society of Watercolors Annual Exhibition, Edinburgh, Scotland | |
| Checkered History, Outpost Artist Resources, Ridgewood, NY | ||
| Panorama, No. Six Depot, West Stockbridge, MA | ||
| Exquisite, LABspace, Hillsdale, NY | ||
| 2014 | booksmart, Matteawan Gallery, Beacon, NY | |
| Fabriano in Watercolor, Museo della Carta e della Filigrana, Fabriano, Italy | ||
| Between a place and candy, Matteawan Gallery, Beacon, NY | ||
| Azesttagh, Outlet, Brooklyn, NY | ||
| 2013 | Clouds, Lesley Heller Workspace, New York, NY | |
| Art Romp, Anacostia Arts Center, Washington, DC | ||
| To be a Lady: 45 Women in the Arts, Avenue of Americas Gallery, New York, NY | ||
| 2012 | Lyrical Color, Pocket Utopia, New York, NY | |
| Soul Appetite, Barn Gallery at Stoneover Farn, Lenox, NY | ||
| What I know, NYCAMS, New York, NY | ||
| Woven Mysteries: Grace DeGennaro & Brece Honeycutt, Aucocisco Gallery, Portland, ME | ||
| Marche d’Acqua Fabriano Watercolor 2012, Fabriano, Italy | ||
| 2011 | Drawing Crazy Patterns on the Sheets, Geoffrey Young Gallery, Great Barrington, MA | |
| Bushwick Open Studios, Moore Street Market, Brooklyn, NY | ||
| 2010 | String Theory, Storefront, Brooklyn, NY | |
| (Re)Fashioning Fiber, GreenSpaces, New York, NY | ||
| Spring Art Exhibition, Argazzi Art, Lakeville, CT | ||
| BOS, Norte Maar, Brooklyn, NY | ||
| Storefront, NEW year, NEW work, NEW space, Brooklyn, NY | ||
| Open Studio, Santa Fe Art Institute, Santa Fe, NM | ||
| Cream, Katzen Art Center, American University, Washington, DC | ||
| Ocketopia, Lesley Heller Workspace, New York, NY | ||
| 2009 | New Work, Norte Maar, Brooklyn, NY | |
| Cultural Corridor IV, Storefront Artist Project, Pittsfield, MA | ||
| DRAW: Vasari Revisited, Norte Maar, Brooklyn, NY | ||
| Print Edition, Pocket Utopia, Brooklyn, NY | ||
| Global Fabrics, Common Threads, ISE Foundation, New York | ||
| 2008 | Brece Honeycutt & Audra Wolowiec, Pocket Utopia, Brooklyn, NY | |
| The Thread as the Line, Contemporary Sewn Art, Ellipse Arts Center, Arlington, VA | ||
| 2007 | Washington Women in the Arts: A Selection, Osuna Art, Bethesda, MD | |
| Of Paper, Montpelier Arts Center, Laurel, MD | ||
| Emily Dickinson Rendered, Wave Hill, Bronx, NY | ||
| No Representation [abstraction in the capital], Warehouse Gallery, Washington, DC | ||
| 2006 | Déjà vu, Arlington Arts Center, Arlington, VA | |
| 2005 | A Common Thread, Soho Myriad, Atlanta, GA | |
| 2004 | Surface Image Form, Ganzer Gallery, Millersville University, Millersville, PA | |
| 2003 | Strictly Painting 4, McLean Project for the Arts, McLean, VA | |
| Fold Here 3d Paper, Ellipse Arts Center, Arlington, VA | ||
| 2002 | Sculpture at Evergreen 2002, Evergreen House, Baltimore, MD | |
| 2001 | Drawings, Salve Regina Gallery, Catholic University, Washington, DC | |
| Sculpture Now, Pittsburgh Center for the Arts, Pittsburgh, PA | ||
| Opened Book, The Gallery, University of Maryland, College Park, MD | ||
| 2000 | In Praise of Paper, Hanoi College of Fine Arts, Hanoi, Vietnam | |
| Gardener’s Delight, The National Museum of Women in the Arts, Washington, DC | ||
| All in the Family, Arlington Arts Center, Arlington, VA | ||
| 1999 | Open Studio, Santa Fe Art Institute, Santa Fe, NM | |
| Site-Story, installation, Arlington Arts Center, Arlington, VA | ||
| Critics’ Picks, Maryland Art Place, Baltimore, MD | ||
| 1998 | Drawings, Monotypes & Constructions, Susan Conway Gallery, Washington, DC | |
| Sculptors’ Plans — Drawings and Maquettes, 505 Gallery, Washington, DC | ||
| ARTSCAPE Annual, Decker Gallery, Baltimore, MD | ||
| 1997 | ARTSCAPE ‘97 Juried Exhibition, Meyerhoff Gallery, Baltimore, MD | |
| Social Studies, School 33 Art Center, Baltimore, MD | ||
| 1996 | Sculpture Now ‘96, Washington Square, Washington, DC | |
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| 2024 | SkyDay residency, Bascom Lodge at Mount Greylock(North Adams, MA ) | |
| Pentaculum Writers Residency, Arrowmont School of the Arts (Gatlinburg, TN ) | ||
| 2023 | Maker-Creator Fellowship, Winterthur Museum, Garden & Library (Winterthur, DE ) | |
| 2020 | ARTISTS AT WORK Pilot program, Hancock Shaker Village (Pittsfield, MA ) | |
| William Randolph Hearst Foundation Fellowship for Creative and Performing Artists, American Antiquarian Society (Worcester, MA) | ||
| 2019 | Naumkeag Artist-in-Residence (The Trustees of Reservations), Stockbridge, MA | |
| Artist-in-Residence, School of Art and Design, Fashion Institute of Technology , New York, NY | ||
| 2018 | Naumkeag Artist-inResidence (The Trustees of Reservations), Stockbridge, MA | |
| Norte Maar’s Summer Artist-in-Residence, Jay, NY | ||
| Mass Cultural Council Artist Finalist Award Grant in Drawing & Printmaking | ||
| Artist Residency, Drop, Forge & Tool, Hudson, NY | ||
| 2014 | Monterey and Massachusettes Cultural Councils for gallery talk, Monterey, MA | |
| Fabriano in Watercolor, Museo della Carta e della Filigrana, Fabriano, Italy | ||
| 2008 | Pocket Utopia Residency, Brooklyn, NY | |
| 2007 | Artist Fellowship Grant, D.C. Commission on the Arts and Humanities, Washington, DC | |
| 2002 | Evergreen Foundation Honorarium, Johns Hopkins University, Baltimore, MD | |
| 2001 | Anonymous Grant for “artist working in a particular American vein” | |
| Arlington Commission and Virginia Commission for the Arts, Jane Franklin Dance Collaboration | ||
| 2000 | Artist Fellowship Grant, D.C. Commission on the Arts and Humanities, Washington, DC | |
| Arlington Commission for the Arts grant, Jane Franklin Dance Collaboration | ||
| 1999 | Santa Fe Art Institute Visiting Artist Program with Squeak Carnwath, full scholarship, Santa Fe, NM | |
| Arts Al-Fresco Visual Artist in Residence, Arlington County Dept. of Cultural Affairs, Arlington, VA | ||
| Washington Post Grants in the Arts Program, School Without Walls, Washington, DC | ||
| 1998 | Arts Fellowship Grant, D.C. Commission on the Arts and Humanities, Washington, DC | |
| Critics Residency Program, MAP, Baltimore, MD | ||
| Arlington County, Department of Environmental Services and Cultural Affairs Division | ||
| 1997 | All-Media Juried Exhibition, Third Prize, Bonnie Clearwater, Juror, Arlington Arts Center, Arlington, VA | |
| 1996 | Residency, Pyramid Atlantic, Riverdale, MD | |
| 1995 | Glen-Gery Corporation, York, PA | |
| 1990 | Beryl Ash Fund for Cable Street Studios Open 1991 | |
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| 2024 | ‘meetinghouse,’ Early American Literature, 59.3, Number 3, University of North Carolina Press | |
| 2023 | ‘Prismatic Utopia: Exploring the use of vibrant color in Shaker Societies,’ Colour & Poetry: A Symposium V, Slade Press | |
| 2022 | ‘A Bird to overhear,’ Copy Press, UK | |
| ‘Artists in the Archive,’ The Worcester Review, Vol. XLIII, No. 1 & 2, pgs. 128-136 | 2019 | ‘Book Report: Mary Gabriel’s Ninth Street Women,’ written with Anne Lindberg for Two Coats of Paint, April 6 | 2017 | ‘Ideas and Influences: Brece Honeycutt,’ Two Coats of Paint, March 30 | 2013 | ‘Brece Honeycutt’s book Report,’ Two Coats of Paint, March 23 | 2012 | Walk through: Rosemarie Trockel at New Museum, Two Coats of Paint, Nov 23 |
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| 2023 | Lavender, ‘Moonbow Coming to Shaker Meeting House,’ Sanctuary Radio, Troy, NY | |
| Jonathan Stevenson, ‘Bushwick: Cause and Effect at M.David & Co,’ Two Coats of Paint | ||
| On being a secret poet, heaven on earth and the fine art of showing up, Fox and Bunny | ||
| ‘Shaker Inspired,’ Exhibition Catalogue | ||
| Lee Lawrence, ‘A Bird to overhear’, Art Alert | ||
| 2021 | KK Kozik, “Connection to Place: Eric Aho and Brece Honeycutt,” COCOA | |
| 2020 | Tresca Weinstein, “Honeycutt follows creed as resident artist,” Albany Times Union, August 10 | |
| Diti Kohli, “A new initiative for artists in Western Mass. offers a salary and stability,” The Boston Globe, July 23 | ||
| Sarah Cascone, “Inspired by the Works Progress Administration, a Novel Initiative is Hiring Artists for Public Projects in Western Mass”, ArtNet News, July 15 | ||
| 2019 | Jennifer Huberdeau, “Honeycutt creates colors from Naumkeag gardens,” The Berkshire Eagle, August 25, E7. | |
| William Jaeger, “Inspired by a Spirit that Transcends Time Gallery’s “Everyday Perfection” echoes Shaker Elegance,” Times Union, April 18-24, cover, pgs. 10-11 | ||
| 2018 | ArtSake Blog, Mass Cultural Council, September | |
| 2017 | Posit: a journal of literature and art, Issue #16, | |
| Andrew Webster, “What’s In Your Nature,” Fine Art Connoisseur, September 14 | ||
| Mark Jenkins, “In the galleries: Putting a fine point on colored pencil drawings,” The Washington Post, July 13 | ||
| bewilder New Work by Brece Honeycutt with an essay by Anne Swartz, Norte Maar | ||
| Millicent Young, “A Sense of Place,” Vasari 21, May 28 | ||
| Athens Laundry Volume I, Number 5, curated by Laura Battle, D.R.Evarts Library, Athens, NY | ||
| James Panero, Gallery Chronicle April 2017, The New Criterion, Vol. 35, No. 8 | ||
| “Ideas and Influences: Brece Honeycutt,” Two Coats of Paint, March 30 | ||
| James Panero, Critics Notebook dispatched January 4th, The New Criterion | ||
| 2016 | Michael Oatman with an essay by Erin Coe, MHR-80 Firecrackers Catalog, The Hyde Collection, Glens Falls, NY, pgs. 50-51. | |
| Sharon Butler, “Email: Report from a colonial farm,” Two Coats of Paint, 7/27/2016 | ||
| SHIFTERPP Environmentally Responsible Print Practice Catalog, McMaster Museum of Art | ||
| Kate Abbott, “Wildflower Festival: The Trustees of Reservations host wildflower walks at Bartholomew’s Cobble”, The Berkshire Eagle, April 23 | ||
| 2015 | Paul D’Agostino, “Best of Brooklyn Art 2015: The Past Conditional Edition,” Brooklyn Magazine, 12/21/2015 | |
| Wiliam Corwin, “Checkered History,” The Brooklyn Rail, November 5, 2015 | ||
| Paul D’Agostino, “A Rite of Spring: CounterPointe3,” The L Magazine, 4/22/2015 | ||
| 2014 | Amy DuFault, “Going ‘Underfoot’ with Natural Dye & Textile Artist Brece Honeycutt,” BotanicalColorsblog.com, October 27, 2014, accesed on November 4, 2014 | |
| Fabriano in Acquarello catalogue, pg. 284 | ||
| Anthony F. Hall, “Blueprint: A House, a Novel and Victoria Palermo’s Sculpture,” Lake George Mirror, March 25, 2014 | ||
| India Flint, “Making the Way Home,Surface Design, Spring 2014, Vol. 38, No. 3, pgs. 28-33 | ||
| Julia Sinelnikova, “Fiber is the New Black,” Bushwick Daily, February 13 | ||
| 2013 | Pocket Notes, Volume 1, Issue 2, Spring | |
| 2012 | James Panero, “Gallery Chronicle,” The New Criterion, Volume 31, November, pg. 52 | |
| Lee Lawrence, “The Green Heart of Italy,” American Craft, October/November, pgs. 94-99 | ||
| Thomas Micchelli, “City of Women,” Hyperallergic, October 13 | ||
| Pellegrini, Giorgio and Anna Massinissa Magini, Premio internatzionale di acquarello “Marche d’acqua” Fabriano Watercolor 2012, pgs. 98-99 | ||
| Daniel Kany, “Math and earthy science at Aucociso”, Portland Press Herald, April 15 | ||
| 2011 | Cindy Kelly, Outdoor Sculpture in Baltimore: a historical guide to public art, (The Johns Hopkins University Press, 2011), pgs. 266-7 | |
| 2010 | “Home Gallery Il Senso Domestico Dell’Arte,” La Repubblica, no. 705, pg. 51 | |
| 2008 | Jessica Dawson, “The Fabric of Freedom, Redefined,” The Washington Post, May 23, pg. C2 | |
| Aaron Short, “A Whole new meaning of the ‘web’,” Bushwick Courier, May 2, pg. 18 | ||
| 2007 | Michael J. Vaughn, “Copper Brings Dickinson’s Work to Life at Wave Hill Exhibit”, Copper in the Arts Magazine, Copper.org, Issue #1, May | |
| David Foxley, “Poetry Springs Eternal,” The New York Observer, April 22, pg. C2 | ||
| Martha Schwendener, “How a Solitary Poet of the Past Speaks to 10 Artists of Today,” The New York Times, March 9, pg B36 | ||
| Kirsten Akens, “Mr. Postman, bring me a dream,” Colorado Springs Independent Newsweekly, March 8 | ||
| Amanda Gordon, “The Belle of Wave Hill, The New York Sun, March 1, pg. 19 | ||
| Lee Lawrence, “Adoption for art lovers, “Christian Science Monitor, January 4, pg. 20 | ||
| 2006 | Meghan Drueding, “Imagine + Create,” Residential Architect, April 2006, pgs. 94-95 | |
| 2005 | Janis Goodman, WETA/Around Town Best Bets, December 26 | |
| New American Paintings, Number 57, Open Studios Press. pgs. 78-81 | ||
| 2004 | Jamie Stiehm, “History etched into silence,” Baltimore Sun, May 28, pgs. 1B, 5B | |
| 2003 | Sarah Tanguy, “Sculpture at Evergreen,” Sculpture Magazine, Vol. 22 No, 2, March 2003, pgs. 86-87 | |
| Deborah K. Dietsch, “Rooms for Imagination, “ Washington Post Home, January 23, pgs. H1, H5 | ||
| 2002 | Anne Bennett Swingle, “She was One Powerful Woman,” Hopkins Medical News, Fall 2002, pg. 10 | |
| Lisa Speckhardt, “Gilding the Lily,” Landscape Architecture, July 2002, pg.16 | ||
| Michael O’Sullivan, “Evergreen’s Hidden Pleasures,” Washington Post Weekend, June 28, pg. 48 | ||
| Sculpture at Evergreen,Catalogue, Mary Jane Jacob and Cindy Kelly | ||
| 2000 | Lee Lawrence, “Gardener’s Delight,” Internet Art Resources, July | |
| “Gardener’s Delight,” Women in the Arts, Summer 2000, pg. 14 | ||
| Ferdinand Protzman, “Scott, Reid and Honeycutt at Conway, ” Washington Post, August 24, pg. C5 | ||
| Joanna Shaw-Eagle, “Museum blooms like a ‘Gardener’s Delight,” Washington Times, July 15, pg. D5. | ||
| 1999 | Lisa Yoon, “Public Art in the 21st Century,” Public Art Review, Fall/Winter ’99, pgs. 27-28 | |
| Catalogue, Site-story Exhibition, Kristen Hileman, Curator, Arlington Arts Center | ||
| Catalogue, Maryland Art Place Critics Residency Program, Barbara Rose and Kristen Hileman, pg. 5 | ||
| 1997 | Lippard, Lucy, The Lure of the Local, (New York: New Press), pg. 101 | |
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| 2024 | Prismatic Utopia, Deerfield Fall Forum, Historic Deerfield, Deerfield, MA | |
| Prismatic Utopia, Annual Shaker Forum, Enfield Shaker Museum, Enfield, NH | ||
| culled colour, International Colour Day, Deutsches Farbenzentrum | ||
| colour combinations, Colour & Poetry: A Symposium VI, Slade School of Fine Art, London, England | ||
| 2023 | “research as a material,” School of Art and Design, SUNY Purchase, Purchase, NY | |
| Mad about justice, Copy Press, Swedenborg Hall, London, England | ||
| Technical Color, Shaker Collectors Weekend, Enfield Shaker Museum, Enfield, NH | ||
| meetinghouse: collaboration with Honeycutt/spoken word & Miriam Cantor-Stone/Shaker songs, Moonbow #6, Shaker Heritage Society, Albany, NY | ||
| Waste: A conversation with Anita Cazzola, Botanical Colors, Feedback Friday | ||
| 2022 | ‘A Bird to overhear-‘ Artist in the Archive Series, American Antiquarian Society, Worcester MA | |
| Traveling Distances, screening of ‘A Bird to overhear’, London, England | ||
| Seasonal Landscape Walk, Ecology Series, Art Omi, Omi, NY | ||
| 2021 | Artist talk for Austin Thomas’ class, “The Artist as Entrepreneur,” The New School | |
| Studio Visit with Jason Andrew, Norte Maar, @jandrewarts on IGTV | ||
| “Natural Dyes: finding, dyeing & making,” Slade School of Art, Material Research Project & Network | ||
| 2020 | A Coat of Heavenly Brightness, A conversation with Sarah Margolis-Pineo, Hancock Shaker Village | |
| The Common Thread Series, Southern New England Fibershed and Edna W. Lawrence Nature Lab at RISD | ||
| Artist’s Talk MassArt Fibers, Massachusetts College of Art and Design | ||
| 2019 | Shaker Herb & Seed Industry, Fruitlands Museum, Harvard, MA | |
| Inside/Outside project, a series of 10 programs for Naumkeag, Stockbridge, MA | ||
| “Tree Peonies” for Home Sweet Home Day, Naumkeag, Stockbridge, MA | ||
| 2018 | “One date” lecture tour for Two Coats of Paint, Metropolitan Museum, New York, NY | |
| 2016 | Artist Talk for Artists of the Mohawk Hudson Region, The Hyde Collection, Glens Falls, NY | |
| 2015 | Tobacco Hour publication launch, Luhring Augustine Bushwick, Brooklyn, NY | |
| Tobacco Hour readings, Book Court, Brooklyn, NY and The Factory, Long Island City, NY | ||
| 2014 | Gallery talk for ‘underfoot’, Knox Gallery, Monterey, MA | |
| 2012 | To be a Lady Panel, Arts Students League, New York, NY | |
| Gallery talk for Lyrical Color, Pocket Utopia, New York, NY | ||
| 2010 | Knitted Vision, Camp Pocket U, Rouses Point, NY | |
| 2008 | “Fiber Feminism & Ephemera,” Pocket Utopia Salon, Brooklyn, NY | |
| 2007 | Emily Dickinson’s Plants, Tour with Charles Day, Collaborator/Horticulture Interpreter, Wave Hill, Bronx, NY | |
| 2005 | Artist’s talk for solo exhibition, Arlington Arts Center, Arlington, VA | |
| Longwood University, Lecture in conjunction with installation of at Table, Longwood University, Farmville, VA | ||
| Regional Judge for Fairfax County’s Scholastic Art Competition, Fairfax, VA | ||
| Panelist, Mary E. Garret program, Roland Park Women’s Club, Baltimore, MD | ||
| 2001 | Gallery Talk, Salve Regina Gallery, Catholic University, Washington, DC | |
| 2000 | Charrette, Walk Arlington, Group team leader, Cultural Affairs Division, Arlington, County | |
| 1999 | Gallery Talk, Site-story, Arlington Arts Center, Arlington, VA | |
| 1998 | Panelist Gallery Talk, Mansion Art Gallery, Rockville, MD | |
| 1996 | Maryland Art Place, Slide Registry Lecture Series, Baltimore, MD | |
| Panelist, Sculpture Now ‘96, Washington Square, Washington, D.C. | ||
| 1995 | Panelist, “Women Keeping the Arts Alive,” National Museum of Women in the Arts | |
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| 2017 | Indigo: The Seventh Color, curated with Lorrie Fredette, LABspace, Hillsdale, NY | |
| 2014 | blueprint, a 3 person exhibition, Sharon Butler, Peter Dudek, & Victoria Palermo, Burns Art Atrium Gallery, Union College, Schenectady, NY | |
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| 2023 | meetinghouse, collaboration with Miriam Cantor-Stone | |
| 2018 | Removed Words with Caitlin Parker | |
| 2015 | Tobacco Hour collaboration with poet Dara Mandle, published by Norte Maar, New York | |
| Intermezzo, costumes for Gleich Dances, Counterpointe, Brooklyn, NY | ||
| 2002 | Prageeta Sharma, poet/artist collaboration, Ernest Rubenstein Gallery, New York | |
| 2000 | Jane Franklin Dance Company, sets and props, Washington, DC and Virginia | |
| 1999 | Jane Franklin Dance Company, sets and props, Washington, DC/Virginia locations | |
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| Sheffield Cultural Council, 2019 – 2022 | ||
| National Advisory Council, Tang Teaching Museum, Skidmore College, 2020 — present | ||
| Board Member, Arlington Arts Center, 1999-2000, 2005-2008 | ||
| Grantwriter/Board member, Washington Sculptor’s Group, 1997-2000 | ||
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| Bryn Mawr School, Baltimore, MD | ||
| Hyatt Corporation | ||
| KSI Services | ||
| Museum of Contemporary Art Arlington, Arlington, Virginia | ||
| Museo della Carta e della Filigrana, Fabriano, Italy | ||
| New Hall College, Cambridge University, Great Britain | ||
| Norwegian Cruise Lines | ||
| Private collections in the United States and Great Britain | ||
| The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College | ||
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| Columbia University, New York City, M.F.A. in Sculpture | ||
| Skidmore College, Saratoga Springs, New York, B.A. in Art History | ||