Emily Zimmerman

Former Assistant Curator
emily zimmerman

Emily Zimmerman has worked extensively in the context of universities, most recently as the Associate Curator of Programs at the Henry Art Gallery at the University of Washington, and, prior to that, as the Associate Curator at the Experimental Media and Performing Art Center (EMPAC) at Rensselaer Polytechnic Institute. During her time at EMPAC, Zimmerman commissioned new pieces from artists such as Melvin Moti, Gordon Hall, and Marie Sester, and she curated the exhibitions Uncertain Spectator (2010) and Slow Wave: Seeing Sleep (2009). Zimmerman received the 2011-2012 Lori Ledis Curatorial Fellowship at BRIC Contemporary Art and served as a 2013 curator-in-residence at Residency Unlimited. Her writings have appeared in BOMBBig, Red & Shiny, and Contemporary Performance. She has served on a number of review panels including the New York State Council on the Arts and the Herb Alpert Awards. She is a board member for the Wave Farm.

Zimmerman holds an MA from the Center for Curatorial Studies at Bard College and a BA (focus on Art History) from the Gallatin School of Individualized Study at New York University.

Curated Events

2015

Changing the World by Mining the Materials Genome
Surface: Matters of Aesthetics, Materiality, and Media

2014

Dust to Digital: Loose Remarks on the Economy of Craft
The Spread Mind
Melvin Moti
On the Notion of ‘Capture’: arché, techné, epistemé
Physics in reduced dimensions: nano-science for mega-impact
Why Does Consciousness Dissolve in Chloroform? The Story of an Enduring Mystery
Histories of Now: Time Diffractions, Virtuality, and Material Imaginings
Johannes Goebel
Directed by Godfrey Reggio
Anthony Marcellini
Anthony Marcellini
Directed by Joseph H. Lewis
The Test Drive
New Media, New Documents: On Images, Examples, and Evidence
“Read me that part a-gain, where I disin-herit everybody”
The Next Acoustic Architecture
Touching Words & Images
Programming the Universe

2013

Directed by David Lynch
Directed by Wong Kar Wai
Dance and Finance—Social Kinesthetics and Derivative Logics
Directed by Alan Schneider
How a Sausage Dog Works
The Design of Nanoscale Therapeutics and Nanostructured Materials
Directed by Carol Reed
Software Archaeology. On the Resurrection of Programs for the Mark 1, 1948–58
Selections from Phantom Museums
Performing Technogenesis: The Affective Power of Digital Media
Directed by Rainer Werner Fassbinder
See Me if You Can! Art and the Limits of Neuroscience
Experience and Experiment in Early Modern Europe
Directed by Alejandro Jodorowsky
Philosophy and the Art of Dying
New Frontiers in Glycoscience and Glycoengineering
Campus Perspectives

2012

Code Warriors and Future Cities
Directed by Tarsem Singh
Session: The Power of Networks
Directed by Alfred Hitchcock
Directed by Andrei Tarkovsky
Between Reality and Illusion
To Infinity and Beyond!
Art Fraud: Recognizing Authenticity in Art
The Eye As I Can See
Directed by Richard Linklater
Empathography: The Art of Clinical Intimacy
Bitten: Why Do Mosquitoes Bite Some People and not Others
Directed by Jim Jarmusch
Zbigniew Oksiuta
MP3: A Hundred-Year History of an 19-Year-Old Format in Under an Hour
Directed by Alain Resnais
Ryan + Trevor Oakes
Better Than a Thousand Words
Directed by Alfred Hitchcock
Conversations on Art + Science

2011

Directed by Wim Wenders
Using Art to Express and Advance the Scientific Process
Directed by Terry Gilliam
La Jetée & The Eternal Recurrence
Visual Practices Across the University
Movement and Mirror Neurons: A Challenging and Choice Conversation
Directed by Michael Powell + Emeric Pressburger
Splashing Around in Art and Science from the Renaissance to Now
Directed by Peter Greenaway

2010

Directed by Lars von Trier
Directed by Alexander Sokurov
Chris Salter
Margaret Wertheim

2009

Art21
Alvin Lucier
Alvin Lucier
Seeing Sleep
Johannes Goebel

2008

October 2008