Alyssa Grossman gives talk on our recent collaborative work

Global Traces "Art Practice, Ethnography, Contested Heritage"
University of Oslo 7-8 February 2019
Alyssa Grossman – “A Catalogue of Useless Rocks”
This paper discusses a collaborative work-in-progress between an anthropologist (myself) and a visual artist (Selena Kimball), regarding a collection of rocks stored at the Museum of World Culture in Gothenburg, Sweden.

American Academy in Rome | 2019 Parsons Affiliated Fellow

December 14 2018- January 17, 2019 | Project: "Transformations, or, The Marble Faun" (series of propositions for future work)

MacDowell Colony Residency | December 2018

Winter light in Putnam Studio (with tape underdrawing for in-process project)

Solo Exhibition: Even the Stars Were a Mess

Wolfstaedter Gallery | Rotlintstrasse 98 60389 Frankfurt Germany
February 09, 2018 - April 07, 2018 

Workshop: "Seeing Through Objects"

Museum of World Culture archives, Gothenburg

Co-organized by Alyssa Grossman, Selena Kimball, and Adriana Muñoz 

May 26, 2017


“Seeing Through Objects” is part of a pilot study for a collaborative research project on the colonial archives of Gothenburg’s Museum of World Culture. While this museum has been open for just over a decade, its holdings come from the city’s now defunct Ethnographic Museum, with artifacts from around the world that were collected, categorized, and interpreted by Europeans through several centuries of colonial activity. This workshop, situated on-site at the museum’s archives, brings together a diverse group of researchers to actively “see” certain pieces of this collection through multiple disciplinary lenses. Our aim is to compile these perspectives into a composite reflection, which may be blurry, fragmented, even contradictory, but ideally will lead to new and critical insights into everyday practices of attention, observation, and the complex production of visual regimes of knowledge.

Launch: Observational Practices Lab /Parsons The New School

Symposium: Observational Practices and the Everyday


Talking About Seeing: A cross-disciplinary panel Discussion with science journalist AATISH BHATIA, artist MARTHA ROSLER, filmmaker and ethnographer PACHO VELEZ, filmmaker and educator MEGHAN O’HARA, and the writer and curator JAMES MERLE THOMAS, moderated by LATIF NASSER, director of research at WNYC’s Radiolab.


This symposium was organized by Selena Kimball & Pascal Glissmann: The OBSERVATIONAL PRACTICES LAB at Parsons, The New School, in collaboration with Karina Nimmerfall: The LABORATORY FOR ART AND RESEARCH, Institute for Art and Art Theory at the University of Cologne.

Material Matters

Material Matters: Water, Pigment, and Light

 Van Avery/ Smith Galleries Visual Arts Center Davidson College                                                      315 N Main St, Davidson, North Carolina 28036

Material Matters: Water, Pigment, and Light, features works from 8 artists from across the US: Nancy Baker, Matthew Brandt, Chris Duncan, Selena Kimball, Lavar Munroe, Liz Nielsen, and Shoshanna Weinberger in the Van Every Gallery, and William Córdova in the Smith Gallery. August 29th through October 7, 2016

Photo credit: David Ramsey

Anette Frontek + Selena Kimball

"Perfect Day"

Rotlintstrasse 98, Frankfurt

June 25th though September 3rd, 2016

Review in the Frankfurter Allgemeine Zeitung

Visiting Researcher at the University of Gothenburg

Alyssa Grossman and I are beginning a new long-term collaborative project working with (and re-working) the collections at the Museum of World Culture in Gothenburg, Sweden. 

Night Vision at Morgan Lehman Gallery

Selena Kimball/ Night Vision

535 W 22nd Street NYC 10011

September 10 though October 17, 2015

Jerome Foundation 2015 Study and Travel Grant

Thanks to the Jerome Foundation

Solo Show at Wolfstaedter Gallery

Florilegium Opening: March 13
“Florilegium” in Latin literally means “a gathering of flowers”. In medieval practice, it referred both to a compilation of exotic plant drawings, and to a personal collection of cut-and-paste parts of a text that held personal interest and required further reflection. This exhibition addresses both meanings in its reworking of herbarium specimens collected in the borderlands between Tibet and China by the American Joseph F. Rock in the 1920’s and 1930’s.

March 13 though May 2, 2015
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