A few days back--Jan. 19--the newest exhibit in our art gallery was celebrated at an opening party and presentation. The show is titled "Uncommonly Selected: Rorschach Drawings by Jessica Nissen," and the opening featured a talk about Rorschach-derived poetry by Diana Sue Hamilton. As is almost always the case, if you go to our web calendar entry for this event you will see links to the video recording (streaming video) and audio recording (downloadable MP3). Jessica Nissen splits her time between NYC, where she works as a scenic artist for the entertainment industry and Vermont, where she keeps a studio and occasionally teaches in the Art Dept. of Middlebury College. Nissen received an MFA in painting from the Tyler School of Art in 1998, a BA from Middlebury College in 1990 and earned undergraduate credits from the Rhode Island School of Design and Tyler. She has been a fellow at The Corporation of Yaddo and the Chautauqua Institution. Since 1991 she has exhibited extensively and has participated both as an artist and as an organizer/curator in several large-scale interdisciplinary art events.
KWH ART is curated by Keagan Sparks.
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
