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  • Profile:

    Awarded a Creative Capital/Warhol Foundation Arts Writers Grant for her criticism, Jennifer Kabat has contributed essays and criticism to The Believer, Los Angeles Review of Books, BOMB, Granta, Frieze, Harper’s, New York Review of Books, The White Review and McSweeney’s, among others. Her essay “Rain Like Cotton,” was chosen for Best American Essays, 2018 and she was a finalist for Notting Hill Editions Essay Prize. She frequently writes about utopian causes, women artists and modernism. She’s currently working on a book on grief and modernism and progressive values.

    She has contributed to catalogues for the 2014 Whitney Biennial and the 2016 Portland Biennial. Her essay “The Plagiarist is Present” on fakes, forgeries and feminism was included in Rochelle Feinstein’s monograph, I’M WITH HER (Black Dog, 2016). In 2013 her essay-as-ghost story “The Place of the Bridge” was included in “The Promise” at Arnolfini (Bristol UK) and nominated for a Pushcart, and her essay “To Write about a Hole” was an audio piece in the exhibit “Autobiography” at Index (Stockholm Sweden). With the New Zealand artist Kate Newby, Jennifer has been working on an ongoing collaboration “The January February March” to explore specific sites and landscapes. The project was featured at The Poor Farm (Waupaca, WI) in 2016 and will be the subject of an upcoming book. An extended series of essays was commissioned by the SUNY Albany Art Museum, exploring climate collapse, modernism, place and utopian values for its 2016 exhibition “Future Perfect.” A recent artist-in-residence at the Headlands Center for the Arts in California, she serves on the advisory board for the poetry collective Ugly Duckling Presse. She attended the Whitney Independent Study Program and has an MFA in creative writing from the University of East Anglia.

    Current Courses:

    Arts Writing Workshop

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