​​Selena Kimball grew up next to Acadia National Park in Maine, where her family’s farm was taken by eminent domain — a first lesson in how land, like an image, can be cut up and possessed. She is a conceptual collagist working in a tradition with democratic roots. For generations, people have used household scissors to take authority briefly into their own hands: a business suit cut down into a family quilt; the morning’s headlines clipped and carefully pasted out of order into a notebook. Across photomontage, painting, sculpture, and installation, Kimball reckons with images produced by American power — newspapers, military photographs, explorers' accounts — that shape how a place is felt, understood, and inhabited.

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Her recent work cuts the empty sky out of New York Times front-page photographs of fire, flood, and war, and takes apart first editions of Elisha Kent Kane’s Arctic Explorations (1856), a book settlers carried west alongside the Bible. She has made two collage novels with the writer Agnieszka Taborska. With the anthropologist Alyssa Grossman, she has created a parafictional catalogue of an ethnographic museum's rock collection, remaking the stones from discarded packaging.

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Her work has been shown at the Center for Maine Contemporary Art, the Portland Museum of Art, the Center for Contemporary Art, Warsaw, and the Museum of the Romanian Peasant, Bucharest. It has been reviewed in The Boston Globe, The Brooklyn Rail, and the Frankfurter Allgemeine Zeitung, and she has been interviewed in BOMB. Kimball is a 2025 Guggenheim Fellow and has received fellowships and awards from the Rauschenberg Foundation, MacDowell, NYSCA/NYFA, the Pollock-Krasner Foundation, and the Asian Cultural Council. She is represented by Ulterior Gallery, New York, and divides her time between Maine and New York, where she is Associate Professor of Contemporary Art Practice at Parsons, The New School.

Curriculum Vitae  [LINK]

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