An audio accompaniment to the weekly Frontier Magazine newsletter, this podcast was an eight-episode season of weekly conversations with artists, writers, startup founders, and creative people on the ideas and ideals that inspire their work.

Live Magazine has a unique concept: for each issue, Frontier assembles a team of editors, writers, photographers, and illustrators to give readers insight into an event’s most powerful ideas and conversations. This issue responds to and expands upon the Bentway’s Street Summit, a weekend-long conference about streets, cities, and public space.

In four weeks’ time (April–May 2022), I conceived and edited the entire issue, which mixed interviews and stories with an op-ed, a photo portfolio, short films, and more. My colleagues at Frontier commissioned illustrators and photographers to round out the project, which is presented as a website. They also created several on-site activations from which we gathered materials for the magazine.

A massive project that entailed not only editing but also a significant amount of project management done in concert with a small group on the ground in Ohio, curators based there and elsewhere, and separate design teams in Amsterdam and Berlin.

I edited, fact-checked, copy edited, and proofread all the texts presented in the 150-page triennial guidebook and the 272-page catalogue, as well as the wall labels at every venue. I built and maintained the triennial-wide master checklist, confirming every artwork and courtesy-line detail with the artists and/or their galleries, and created a database of images and captions to be shared with members of the media, whose inquiries I helped field. I served as a creative sounding board for the Krishnamurthy and his artistic team and even art directed installation-view photo shoots.

I spent eighteen months, from before its Summer 2020 launch through the completion of its first large, multidisciplinary projects, consulting weekly with founder Andrea Andersson. These sessions centered on operational strategy, board composition, fundraising and grant-writing, creative and social-media strategy, publication editing, and copywriting.

Toronto’s Museum of Contemporary Art hired me as both editor and project manager for the first exhibition catalogue published since its move to expanded quarters in 2018. I worked directly with the curators, participating artists, and Bløk, the book’s designers, on all aspects of the project, from helping answer structural questions and image sourcing to recommending an Inuktitut typeface and proofreading the back matter.

I collaborated on the narrative brand strategy for Wellfield, Canada’s first public company dedicated to decentralized finance. This involved developing the tone of voice and stories for three interconnected brands: Wellfield, the parent company; Seamless, a cross-blockchain trading solution; and MoneyClip, a consumer-facing app for accessing decentralized finance platforms.

On an ongoing basis, the Felix Gonzalez-Torres Foundation accepts proposals for commissioned texts. In 2018 I consulted with the Foundation to develop the strategy for and structure of this commissioning system, focusing in particular on finding writers previously unaffiliated with Gonzalez-Torres’s work, then spearheaded the program for three years.

This book is the catalogue that accompanied my 2016–17 exhibition of the same name at the Cincinnati Art Museum. It grew out of an idea I first had in 2011 to understand the links between remarkable artists in Kentucky’s capital city. I was pleased when John Jeremiah Sullivan, who has written eloquently about other Kentucky subjects, agreed to contribute. The book was co-published by the Cincinnati Art Museum and Yale University Press.

This exhibition, presented at the Cincinnati Art Museum as part of the 2016 FotoFocus Biennial, provided the most complete and absorbing account to date of the Lexington Camera Club.

This under-studied group of artists included Ralph Eugene Meatyard, Van Deren Coke, Robert C. May, James Baker Hall, and Cranston Ritchie, among others. These and other members of the Lexington Camera Club explored the craft and expressive potential of photography.

The exhibition was supported by the National Endowment for the Arts, the Warhol Foundation, and other organizations and was accompanied by a catalogue co-published with Yale University Press.

Fanzine about artist Cady Noland that I distributed at a gallery opening in New York in January 2004 and his since made its way into libraries and private collections around the world.

Wrote fanzines, worked at Basement Children zine distro, put on shows in basements and church rec halls, co-organized the 1997 Chicagofest hardcore music festival.