Tom Burr works with sculptural and collage-based form alongside photography and writing. Indebted to minimalism, conceptualism, feminist art practice, and institutional critique, Burr’s work reflects these legacies together with his own biographical coordinates, to consider notions of subjectivity and place, desire and control, and shifting queer conditions. Burr has exhibited internationally since the late 1980s. After attending the School of Visual Arts and Whitney Independent Study Program in New York, he joined American Fine Arts, Co., where his exhibitions contributed to a dialogue around expanded ideas of site specificity, form, queer subjectivities, and current political forces. The subject of numerous solo shows at institutions including Secession, Vienna, Austria; the Whitney Museum of American Art, New York, NY; Gegenwartskunst Museum, Basel, Switzerland; Frac Champagne-Ardenne, Reims, France; and Institute of Visual Culture, Cambridge University, Cambridge, UK, Burr’s work was also featured at Sonsbeek 93, the Whitney Biennial (2004), the Istanbul Biennial (2011), and Skulptur Projekte Münster (2017). Tom Burr, Anthology: Writings 1991–2015 was published by Sternberg Press in 2015. Burr is represented by Bortolami Gallery, New York; Galerie Neu, Berlin; Maureen Paley, London; and Galleria Franco Noero, Turin.

Jordan Carter joined Dia Art Foundation as curator and co-department head in 2021, where he has organized exhibitions including stanley brouwn at Dia Beacon, a new commission by Tony Cokes for Dia Bridgehampton, and presentations of work by Maren Hassinger and Mary Heilmann. He is currently preparing shows of new work by Renée Green and Cameron Rowland as well as presentations of work by Lucas Samaras and Keith Sonnier. Carter works closely on the preservation of and programming around Dia’s permanent installations, including Robert Smithson’s Spiral Jetty (1970) and Nancy Holt’s Sun Tunnels (1973–76), both located in Utah. He previously served as associate curator of modern and contemporary art at the Art Institute of Chicago, where he curated or cocurated exhibitions including Mounira Al Solh: I strongly believe in our right to be frivolous (2018); Ellen Gallagher: Are We Obsidian? (2018–19); Benjamin Patterson: When Elephants Fight, It Is the Frogs That Suffer—A Sonic Graffiti (2019); Richard Hunt: Scholar’s Rock or Stone of Hope or Love of Bronze (2020–21); Ray Johnson c/o (2021–22); and stanley brouwn (2023).

This event is free and open to the public. RSVPs are not required.

Image credits: Photograph of Jordan Carter, courtesy of DIA Art Foundation. Photograph of Tom Burr by Ari Marcopoulos

The Graduate Art Seminar is a forum for graduate students and members of the ArtCenter community to enter into dialog with internationally recognized artists, critics, and art historians. The Seminar is a core component of ArtCenter's Graduate Art program. The Seminar is also free and open to the public.

ArtCenter's Graduate Art program is based on intensive studio practice and rigorous academic coursework. The program is distinguished by its low faculty-to-student ratio that provides students with the attention and feedback they need to refine and achieve their artistic goals. Faculty and students are artists working in all genres—film, video, photography, painting, sculpture, performance and installation. A significant number of alumni have achieved national and international acclaim and often return to share their insights and expertise as visiting faculty and guest lecturers.