September 29 to October 10, 2021, a photograph from a workshop of Model Killer: Giant Crimes + Tiny Cover-ups was part of the exhibition, American Puppet Theater Today: The Photography of Richard Termine. The exhibit was presented by the Jim Henson Foundation at La MaMa Galleria in New York City.
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On August 14, 2018, Object of Her Affection and its performances at Automata as part of LAX Festival became the recipient of The Foundation for Contemporary Arts Emergency Grant.
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On September 2nd, 2016, I finished my tenure at the Puppet Slam Network (PSN), which I co-founded in 2005 with Heather Henson through support from her production company, Ibex Puppetry.
Continue reading “A decade of the Puppet Slam Network”On September 14th, 2015, I was the recipient of a Center for Cultural Innovation – Creative Capacity Fund Quick Grant Program to attend artist development workshops through Creative Capital and the Los Angeles branch of CCI.
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On December 30th, 2014, an entry on Object of Her Affection was published in the 2015 Contemporary Performance Almanac.
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On June 3rd, 2014, I was awarded funding from the Anna Sosenko Assist Trust for the Los Angeles workshops of Object of Her Affection.
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On December 16th, 2013, Object of Her Affection was awarded a Jim Henson Foundation Seed Grant.
Continue reading “2014 Henson Foundation, Seed Grant (support)”On Thursday, July 18th, 2013 at 7:00PM, my ultra-short puppet animation film, “The Gunman” was screened at Standard ToyKraft as part of “Summer Cinema Presents: Glen or Glenda”. The pre-show line up (curated by Jessica Scott) also included films by Daphne Gardner, Beau Brown and Trey Kirchoff. I animated “The Gunman” in 2007 using found objects, figurines, and toys, with drawings by Katie Shook, and assistance from Laura Heit and Dillon Markey.
On January 28th, 2013, The Portland Press Herald briefly covered my work with the Puppet Slam Network as part of a larger story on Blainor McGough, curator of King Friday’s Dungeon in Portland, ME.
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In the Spring of 2012, The Puppetry Journal ran a substantive cover story on the world of puppet slams, featuring my work as co-founder of The Puppet Slam Network and my interviews with puppet slam artists. The Puppet Slam Network fostered connections for independently produced puppet cabarets, so that puppet artists knew where they could perform, venues could find puppet artists, and audiences could enjoy an intimate, tactile, and compelling form of entertainment. Continue reading “The Puppetry Journal (Press)”