Registration opens – UNC Asheville’s Reuter Center Lobby 

1:30PM – 3:00PM 
Thomas Frank – How to Start a College: Black Mountain Among the Experimental Colleges 
Black Mountain College was born in an era of newly founded colleges intent on “progressive” educational experimentation. An era in which many institutions shared a passion for creating a new kind of liberal education fit for a new world of expanding knowledge and complexity for which the old ways of teaching and learning seemed no longer adequate. This paper will explore what made BMC distinctive as a collegiate experiment, the significance of place in differentiating colleges, and how BMC has endured in educational influence.  
Jay Miller – Politics at Black Mountain College 
Heather South – Starting at the Beginning: Founding Documents and Ideals at Black Mountain College
PANEL – ROOM# – MODERATOR: Elliot Inman 
The Makerspace as 21st Century Bauhaus: A Black Mountain College in Every University with Elliot Inman, Adam Rogers, David Romito, Lauren Di Monte 
In this discussion with members of three university makerspace programs, we will highlight the similarities between the modern makerspace and BMC exploring the challenges of finding a space. We will also explore how to engage faculty and students from multiple disciplines, how to build a sustainable community of interdisciplinary studies, the relationship between the business of making while retaining the freedom to pursue esoteric aesthetic adventures, and even how some modern technologies like 3D printing are more like hands-on crafts like pottery than people may imagine.
Ann Dunn – State of union: the woman keeping postmodern dance on its toes, dancer Yvonne Rainer 
The presentation will center on Yvonne Rainer’s choreography as it moved through ballet into a feminist way of thinking, establishing new fundamentals along the way. 
Thomas Young – Gertrude Stein at Black Mountain College  
After Gertrude Stein’s American lecture tour in 1935, Thornton Wilder and John Andrew Rice extended invitations to the acclaimed author to speak and visit Black Mountain College. Stein reluctantly declined the invitation, but expressed interest in the college. This paper aims to explore not only the hypotheticals of what Stein could have brought to Black Mountain College with her visit, but also the influence her work had upon writers and students affiliated with the school—both as an influence and an influenced institution.     
Eriko Takeno – Rethinking the Quality of an Education Philosophy and the Methods Employed in Black Mountain College Regarding the Matter of the Hikikomori Phenomenon in Adulthood  
This research will examine the importance of an art-centered liberal arts education method provided by one of the best experimental colleges, Black Mountain College in North Carolina, to address the matter of the hikikomori phenomenon.   
WORKSHOP – Room 23 
Benjamin Wills – Creating Dialogue with Marginalized Populaces; Write a Letter to a Prisoner  
Through the act of writing a letter to an incarcerated individual, “Write A Letter to a Prisoner” will examine how individuals and small communities can impact the prison industrial complex and will bring people together to discuss civic responsibility in the era of mass incarceration. This workshop aligns with Black Mountain College’s history as an incubator for experimental and interdisciplinary practices and serves as a contemporary nod to Jacob Lawrence’s social narratives and would be especially relevant to the content of his  Migration Series.  
2:00PM – 2:30PM 
– Manheimer Room  
Okapi presents: Anecdotal Confrontations with Reality  
Together, in our most true and conscious forms, we can inspire movement toward peace, love, justice, and compassion. As strong, cohesive individuals, we can band together through honesty without the need to hide our weaknesses and inadequacies from ourselves or the rest of the world. When we embrace this honesty and express it through thoughts, feelings, emotions, and art, we open that door of freedom and purity to others as well. If we can form a unity based on truth, we can then work through our mutual struggle and aim toward building a better humanity.
3:15PM – 4:00PM 
– Manheimer Room  
Erika Archer Zarow + Mary Emma Harris — Previously Unseen Films from Black Mountain College from the Estate of Hazel Larsen Archer.
4:15PM – 5:30PM  
Welcome by BMCM+AC Executive Director Jeff Arnal – Manheimer Room   
A brief update on the Journal of Black Mountain College Studies with co-editors Julie J. Thomson and Thomas Frank.  
KEYNOTE PRESENTATION – Introduction by UNC Asheville Provost Karin Peterson 
Dr. Leslie King Hammond — The World of Jacob Lawrence
6:00PM – 8:00PM  
— BMC Museum + Arts Center, 120 College St., downtown Asheville. 
Between Form and Content: Perspectives on Jacob Lawrence and Black Mountain College
8:00AM – 9:00AM 
– Reuter Center Lobby
9:00AM – 10:30AM 
– Room # – Moderator: Joseph Bathanti  
Joseph Bathanti, Zoe Chaplin, Grayson Fields, Abby Frye, Dylan Powell, and Tommy Young – Appalachian State University Undergraduate Panel First Encounters with Black Mountain College: An Introductory Undergraduate Class  
This panel is comprised of undergraduate students from Appalachian State University who took a class on Black Mountain College during the spring semester of 2018. The panelists will examine how the sudden, yet sustained, immersion into Black Mountain College has changed their views of what it means to be educated, and what it means to be privileged, in the spirit of true learning and discovery.  
PANEL — Room# — Moderator: 
Charles Darwent — New Worlds: The Art of Josef Albers at Black Mountain 
Kate Dempsey Martineau — The Art of Mexico at Black Mountain College 
There are a remarkable number of links between Black Mountain College and Mexico. Discouraging students from the traditional study period in Europe, Josef Albers recommended that they instead travel to Mexico to learn from both the ancient and contemporary arts found there. In this presentation Martineau will explore the impact of Mexico on the visual arts at Black Mountain College.  
Marcia R. Cohen — Josef Albers takes Command: I Like the Beat 
Between 1959-1961 Josef Albers, colorist and teacher at Black Mountain College, designed record album covers for Command Records. Often overlooked in his oeuvre, this series of LP jacket covers displayed abstract imagery that was emblematic of established visual language similar to gestalt design precepts. In addition, the relationship of Albers’ imagery to what was then an avant-garde production of stereo sound will be reviewed in this slide presentation.  
PANEL – Room # – Moderator: 
Caroline McAlister – Bringing the Avant-Garde to America’s Children: The Children’s Books of Leo Lionni, Remy Charlip, and Vera Baker Williams 
As Philip Nel explains, the avant-garde purports to disrupt traditional habits of perception, but young children have not yet developed said habits. In this presentation McAlister examines how Black Mountain artists Leo Lionni, Remy Charlip, and Vera Baker Williams handle this paradox.   
Andrea Heiss – Beyond the Frame:  Ed Dorn’s Transformation of Pop Culture’s Rifleman into a Postmodern Epic, “Gunslinger,” and the Influence of Black Mountain College 
When Ed Dorn observed in an interview that he was “rightly associated with the Black Mountain School” because he was there, but not necessarily because it influenced his poetry, he failed to recognize that his views of art, theater, music and culture were influenced directly by his fellow students and teachers.  Exposed to modernist dance, chance music, and action painting, Ed Dorn accumulated a range of experiences that directly affected his best-known five-volume work, GUNSLINGER (1968-1975).    
Alvis DunnThe Creeleys in Guatemala: Memories
Black Mountain Poet Robert Creeley and his family spent two years living on a Pacific coast coffee finca in Guatemala from 1959 until 1961. Creeley’s job there was tutoring the children of two plantation owners in the region. Dunn recently journeyed to Guatemala and spent time with some of those children, now grown, on that property. These are his preliminary thoughts on his findings from interviews and wanderings during that time and in that place.
PANEL — Room# — Moderator: 
Michael Kellner – Negotiating a space between J.S. Bach and John Cage  
This paper/presentation talks about the influence of Cage and Bach on Kellner’s drawings and sound installations. While the differences between these two composers are many, one similarity between the two is their desire for people to move beyond their perceived limits and habits. One key limit Kellner tries to highlight and overcome in his work is the idea that art making, or musical composition and performance, are the work solely of individuals. In chipping away at this idea, he wants to highlight how community and relationships are indispensable in creation.   
Paige Lunde – Breaking Fixity: John Cage, Art, and a New Understanding of Time 
New investigations of time will involve seeking out participation in the emergence and disappearance of meaning. As a result, we will disrupt the fixity of subject and object dualism by exploring our relative position within experience. Seeing our relative position will help us move past our imposed tie with linear succession, which will help us interpret our own relationship to experience as a whole. Through Cage, we will find that art poetically offers chance multiplicity with meaning that cannot be standardized.  
Dianne Loftis – Beyond Cultivating Vision (Using contemporary theories of social practice and phenomenology to reflect on the haptic and multisensorial practices at Black Mountain College)  
What is the legacy of haptic and multisensorial aspects of pedagogy and artmaking at Black Mountain College? From the rigorous study of tactility in the matiere and textile courses of Joseph and Anni Albers, to the early happenings by Cage, Richards, Cunningham, and Rauschenberg, Black Mountain College produced a practice of embodied knowledge-building across various disciplines. Using contemporary theories of social practice and phenomenology to reflect on the haptic and multisensorial practices at Black Mountain College, we can consider the urgency of these ideas in the context of the mid-20th century as well as their relevance for artists and educators practicing today.
 — Room 230 
Lee Lawson Stockdale Poetry in Black & White 
In this collaborative poetry workshop, each participant writes at least one poem under the following assumptions: poetry has not yet been invented; we are the first poets; there are no  rules. Participants should not hearken back to other poets, forms, poems, etc., because they don’t exist. Armed with whatever we arrive with, we will critique it using standard poetry workshop techniques but against the group’s new “definition” of poetry.  A public performance of the poetry follows, performed in a way to be determined by the group, but in such a way as to be novel or at least different from other readings. 
Curt CloningerSad But True (8 hr performance)  
In this 8-hour durational performance, Cloninger will repeatedly perform a verse from the Metallica song “Sad But True” as a call-and-response duet with his pre-recorded and projected self. His live body will be against one wall, blindfolded, playing guitar, and singing; and his projected, unblindfolded face will appear floor to ceiling, looped on the wall across from him.
10:45PM – 12:15PM 
 — Room# — Moderator: Damiana Gibbons Pyles 
Black Mountain College Semester at Appalachian State University: An Exploration in Collaboration, Place, History, and People with Joseph Bathanti, Mary Anne Redding, Damiana Pyles, Sandra Ballard, Tom Hansell, Ray Miller, Savannah Paige Murray, and Dianna Cameron 
In this panel, speakers from Appalachian State University and community partners will discuss their experiences with a Black Mountain College Semester held in Spring 2018. This panel will discuss how the interrelated projects conducted during the Black Mountain College Semester attempted to reexamine Appalachia as a site of progressive interaction through its various explorations of BMC as a creative model of an inclusive present and future.  
PANEL — Room# — Moderator: Jeff Gardiner 
The Black Mountain Poets Correspondences and the Emerging of the New American Poetry and Poetics with Jeff Gardiner, Jeff Davis, Scarlett Higgins, Seth Stewart, and Matthew Hofer 

Jeff Davis – ‘My Muse Is Kleos’: Tying It Together. Charles Olson’s Correspondence with Ann Charters 
Scarlett Higgins – Robert Duncan’s Letters: Black Mountain Correspondence and Letters: Poems 1953-1956 
Seth Stewart – Teaching John Wieners 
Matthew Hofer – ‘Olson prefers to call them letters’: Maximus and the New Epistolarity 

PANEL — Room# — Moderator: 
Jason Andrew – Jack Tworkov + Franz Kline, John Cage + Stefan Wolpe, Katherine Litz + Merce Cunningham: The Summer Sessions at Black Mountain College 
The Summer Session at Black Mountain College witnessed the convergence of a number of historic artists in America: Painters Jack Tworkov and Franz Kline, composers John Cage and Stefan Wolpe, choreographers Katherine Litz and Merce Cunningham.This paper offers new research into the biographies of each artist, but moreover will present how their interdisciplinary and collaborative leanings not only left an indefinable mark in the history of the College but in the America’s Post War history.  
Jay Bonner – The Summer Photography Workshops and the Arrival of Jonathan Williams to BMC 
This presentation encompasses the summer photography workshops and the arrival of Jonathan Williams to Black Mountain College. Bonner focuses on Williams’ time at the college, and, more specifically, on his role as a photographer there. The presentation further involves the viewing of specific photographs.  
Steven Lane – The Influence of the 1944 Black Mountain College Summer Music and Art Institute.
In 1944, Black Mountain College held its first Summer  Music and Arts  Institute, which was advertised as a celebration of the composer, music theorist, and painter Arnold Schoenberg’s 70th birthday.  This presentation will provide an overview of  the  Black Mountain College summer  programs, examine  the  impact  that the G.I. Bill had on  the enrollment and finances of  Black Mountain College from 1944 to its closing in 1957, and  consider  how the Black Mountain College summer programs influenced  the design and philosophy of contemporary  summer arts programs  in the United States and internationally.

WORKSHOP — location 
Martha Colburn Animation Workshop 
PERFORMANCE — Manheimer Room 
Matthew Steinke – NOPLACE  
Artist and composer Matthew Steinke performs the music and visuals for his latest work. The aural score, incorporating several of Steinke’s invented robotic musical instruments, accompanies live projections from closed circuit cameras, synced animations, motorized zoetropes, and the shifting shadows produced by an ensemble of mechanical devices. 
Curt Cloninger – Sad But True (8 hr performance)     
In this 8-hour durational performance, Cloninger will repeatedly perform a verse from the Metallica song “Sad But True” as a call-and-response duet with his pre-recorded and projected self. His live body will be against one wall, blindfolded, playing guitar, and singing; and his projected, unblindfolded face will appear floor to ceiling, looped on the wall across from him.
12:15 – 1:15pm 
12:45 pm 

Second Look: Previously Unseen Films from Black Mountain College from the Estate of Hazel Larsen Archer

Charles Darwent – JOSEF ALBERS: Life and Work, a critical biography of Josef Albers (Thames & Hudson 2018) 
Julie J. Thomson, editorThat Was The Answer: Interviews with Ray Johnson (Soberscove Press, 2018) 
Kate Dempsey Martineau – Ray Johnson: Selective Inheritance (University of California Press, 2018)

1:30PM – 2:30PM 
— Manheimer Room — Introduction by UNC Asheville Chancellor or Provost 
Contemporary Artists Respond to Jacob Lawrence – Jace Clayton, Martha Colburn, Tyondai Braxton + Grace Villamil – A Roundtable Discussion moderated by Jeff Arnal

2:45PM – 4:15PM 
 — Manheimer Room 
Eric Mullis (30-minute performance) – The Land of Nod: The Place of Independent Experimental Movement Performance in the Southeastern United States  
A post-dramatic dance theater piece based on musical and choreographic structures used by the American Shakers. 
Lee Lawson Stockdale (15-minute performance) – Poetry in Black & White 
In this collaborative poetry workshop, each participant writes at least one poem under the following assumptions: poetry has not yet been invented; we are the first poets; there are no  rules. Participants should not hearken back to other poets, forms, poems, etc., because they don’t exist. Armed with whatever we arrive with, we will critique it using standard poetry  workshop techniques but against the group’s new “definition” of poetry. A public performance of the poetry follows, performed in a way to be determined by the group, but in such a way as to be novel or at least different from other readings. 
PANEL — Room# — Moderator: Julie Levin Caro 
Performing the Archive: Jean Varda’s Trojan Horse and the Summer Art Institute of 1946 with Julie Levin Caro, Jacob Brault, Anna Helgeson, and Warren Wilson College students 
This session will offer an overview of the “Performing the Archive” project and reflections from the participants about their working process. The session will be a roundtable discussion and will begin with brief statements by Julie Levin Caro,  Anna  Helgeson, and Jacob  Brault, who will each  provide  an  overview  of their  contribution to  the  project. The roundtable will also include some of the Warren Wilson College students who helped to create and perform the piece at the {Re}HAPPENING.  
PANEL — Room# — Moderator: 
Molly Warnock – Allegories of Embodiment: James Bishop at Black Mountain College and Beyond 
A self-professed “Abstract Expressionist of the quieter branch,” James Bishop has vividly recalled his time at the college in the summer of 1953, when he studied painting under Esteban Vicente, attended concerts by David Tudor, and—a point of particular interest for my paper—closely followed Merce Cunningham’s rehearsals with his newly formed company.  This presentation addresses this lacuna and seeks to show how the artist’s early experiences at Black Mountain College informed the long-term evolution of his abstract style.  
Corey Loftus – Prayers in Thread: Anni Albers and the Jewish Commissions (1957-1965) 
Despite a recent spike in the excitement and demand for Albers’s work, the existing literature and recent exhibitions have largely ignored the importance of five commissions that Anni Albers designed for Jewish institutions in America at the mid-century. This paper aims to bring these important commissions back into the conversation and focuses on two strikingly different ark panels that Albers designed for Temple Emanu-El in Dallas, Texas (1957) and the Congregation B’nai Israel in Woonsocket, Rhode Island (1961), as well as the somber Jewish Holocaust Memorial tapestry commissioned by the Jewish Museum in New York City (1965).
PANEL — Room# — Moderator: 
Mabel Taylor – “A multiplicity of voices”: M.C. Richards as Black Mountain Historian 
This paper discusses a book about Black Mountain College that Mary Caroline Richards planned to write, but never completed. Richards’s “book” survives today in scattered mentions in her correspondence, interviews, notes, and grant applications. This paper uses archival research conducted at the Western Regional Archives and the Getty Research Institute to piece together Richards’s lost book.  
Katherine Markoski – Pat Passlof’s Black Mountain College 
Without dismissing Willem de Kooning’s notable and consequential role in the career of Pat Passlof, this presentation asks whether and how other figures at Black Mountain College during the summer of 1948—specifically John Cage, Merce Cunningham, and Charles Olson—may have inflected her practice and its development. Ultimately, this paper offers new understandings of a selection of Passlof’s work by framing them as creative responses to a mode of artistic exchange specific to Black Mountain.    
David Peifer – Max Dehn’s Black Mountain College Students 
After a career marked by groundbreaking mathematical work in topology, Max Dehn became a faculty member of Black Mountain College for the last seven years of his life, from 1945 until 1952. What influence did Dehn have on this unique community? As part of an answer to this question, we will examine the careers of a few of the BMC students whose lives were influenced by their time with Dehn.  
WORKSHOP — Room 230 
Candace Buck – Anni Albers and the Art of Found Object Construction 
This workshop aims to invite attendees to explore ideas presented to students during the tenure of Anni Albers at Black Mountain College. Attendees will repurpose everyday items creating a conversation around the process of making art from found objects in a collaborative workshop setting, staying true to the methods taught by Albers and others at Black Mountain College, but attendees may also explore new ideas of creating. 
Curt Cloninger – Sad But True (8 hr performance)  
In this 8-hour durational performance, Cloninger will repeatedly perform a verse from the Metallica song “Sad But True” as a call-and-response duet with his pre-recorded and projected self. His live body will be against one wall, blindfolded, playing guitar, and singing; and his projected, unblindfolded face will appear floor to ceiling, looped on the wall across from him.
4:30 – 6:00 pm 
— Manheimer Room 
Eric “Rodent” Cheslak and Walker Farrell – (60 min) The Future Leaks Out  
A modular synthesizer piece for two performers, in which spoken word audio recordings are cut up in a similar manner to the Surrealist “Exquisite Corpse” game. 
PANEL — Room# — Moderator: 
John Roche – Enacting the Glyphs: Charles Olson’s “Projectivist” Poetics for Page, Stage, and Screen 
Charles Olson wrote his influential “Projective Verse” essay in 1950, in the period between guest-teaching at Black Mountain College and embarking on a lengthy visit to the Yucatan. In 1951, he would take on the Rectorship of Black Mountain College, where his fascination with Mayan hieroglyphics (as well as his readings of Fenollosa and Pound) would fuel a furious discussion of the importance of “Glyphs” in the arts, and inspire a number of writings and visual works, most notably the famous 1951 “Glyph Exchange.” 
Joseph Pizza – Black Mountain Blues: Charles Olson, Amiri Baraka, and Jazz     
This presentation examines the relationship between the legacy of Black Mountain College and African American art and literature. Like Lawrence, Langston Hughes was also a summer visitor to BMC in the 1940s, and his response to it is, in many ways, born out more fully almost a decade later by fellow jazz poet LeRoi Jones. In this paper, I propose to revisit the Olson-Baraka relationship from this perspective. By tracing this theme through the late-1950s and 1960s, I hope to offer new insights into the importance of jazz in the dissemination of Black Mountain’s legacy, while also considering the school’s subsequent influence on late-twentieth century African American writers and poets.  
Borim Song – Exploring Artistic Innovations and Traditions through Cross-Cultural Learning: Bridging Black Mountain College and Korean Traditional Painting 
This presentation examines research outcomes based on Artistic Innovation and Cultural Exploration, a service learning project in which pre-service art teachers instruct Korean-American students in grades K-5 at a Korean Language School about the cultural connections between Black Mountain College and Korea’s cultural heritage.  
PANEL — Room# — Moderator: Tom Murphy 
Five poets who contributed to the Stone Renga (Tail Feather Press 2017) project, will read a poem by one of the BMC poets and their own poetry-(with Jeff Davis, Hilary Holladay, Lyman Grant, Tom Murphy, and Ted Pope)


PANEL — Room# — Moderator: 
Julie J. Thomson – Black Mountain College Reflections: Ray Johnson, Rivers, Wildflowers, Photography, and Geodesic Domes 
Black Mountain College was tremendously important for Ray Johnson’s development as an artist and while in interviews he usually evaded questions about biography, he often talked about BMC. In this presentation, Thomson will share selected quotes from Johnson about BMC from her own edited collection. The course of the presentation will meander, like a river, which Johnson once compared his work to, and will be reflective on what Thompson herself learned from watching the Eno River.  
Shana Dumont Garr – Notes from the Woods: Observing the Spirit of Black Mountain College and the Tradition of Utopian thinkers on Contemporary Art in New England 
This paper contemplates  a  selection  of  Massachusetts-based  contemporary  visual  artists  whose  practices  share  key characteristics of the milieu created by the Black Mountain College institute, also in alignment with Transcendentalism and other philosophies that, since the late 1700s, have prompted people to step away from the mainstream to pursue their craft.
David Silver – Who Built the Barn at Black Mountain College? 
This presentation wrestles with a simple sounding question: Who built the barn at Black Mountain College? With advice from off-campus individuals and institutions, with labor from the college’s Work Program in general and the Summer 1941 Work Program in particular, and with expertise from faculty, students, and staff, Black Mountain College built a barn on the Lake Eden campus, starting in summer 1941 and ending in May 1942. This talk presents this history.  

WORKSHOP — Room 230 
Susan Lowell de Solórzano – From Bauhaus to Biotensegrity: Black Mountain College’s Summer Program, nexus in the history of tensegrity 
What is tensegrity, and what of its provenance? This workshop provides participants with: 1: The history of tensegrity, including the vital role that the Black Mountain College Summer Program played (as per the author’s book introduction, attached) 2: Guided instruction in building their own tensegrity model (workshop proposer will supply the necessary materials) 3: An overview of the paradigm shift in biology that tensegrity represents, including experiential exercises with the models to make the concepts palpable.  

Curt Cloninger Sad But True (8 hr performance)  
In this 8-hour durational performance, Cloninger will repeatedly perform a verse from the Metallica song “Sad But True” as a call-and-response duet with his pre-recorded and projected self. His live body will be against one wall, blindfolded, playing guitar, and singing; and his projected, unblindfolded face will appear floor to ceiling, looped on the wall across from him. 
6:00 – 10:00 p.m. 
SAY IT LOUD – An exhibition of contemporary art from the collection of Hedy Fischer and Randy Shull, including work from eighteen prominent African American artists including Kehinde Wiley, chosen for the official portrait of President Barack Obama and ninety-two-year-old Betye Saar, a founding member of the Black Arts Movement in the 1970s. 
22 London Rd., Asheville, NC 28803  
10:00 am 
 — Black Mountain College Museum + Arts Center, 120 College St., downtown Asheville  
11:00 am 
Carpools depart from BMCM+AC for Black Mountain College’s Lake Eden Campus Tour led by Julie J. Thomson and David Silver. — $15 per person