Kelli Anderson, “This Book is a Camera” (2015). (Photo: Courtesy of the artist)
Henry L. and Natalie E. Freund Visiting Artist Lecture: Kelli Anderson
Artist, designer and animator Kelli Anderson will deliver the Henry L. and Natalie E. Freund Visiting Artist Lecture.
Known for reinventing commonplace objects in ways that disrupt audience expectations, artist, designer, and animator Anderson is the creator of — among other projects — “This Book is a Camera” (2015), a pop-up book that transforms into a working camera, and “This Book is a Planetarium” (2017), which explores how paper taps into larger phenomena of light, time, sound and mathematics.
About Kelli Anderson
Kelli Anderson uses design magic to connect people with the depth and possibility of the world.
Pushing the bounds of publishing, she created This Book is a Camera (MoMA)—which transforms into a working camera—and This Book is a Planetarium (Chronicle)—which houses paper devices (including a planetarium) and has sold more than 100,000 copies. Other projects include a viral paper record player and—with The Yes Men—a utopian counterfeited New York Times, which won the Ars Electronica Prix. Doctors have used the award-winning Tinybop Human Body app to communicate treatment in childrenʼs hospitals and to Indigenous Australians.
Clients include NPR, The New Yorker, the Guggenheim, MoMA, Apple, and The New York Times. Anderson has redesigned brands such as Russ & Daughters and Momofuku. She has exhibited internationally; her independent projects have been supported by the Japan Foundation, Exploratorium, Adobe, Center for Book Arts, MASS MoCA, ITP, and Letterform Archive.
Upcoming Public Lectures
Nov 19 at 5:30pm • Steinberg Auditorium
Artist Panel: Mary Weatherford and Katharina Grosse
Artists Katharina Grosse and Mary Weatherford, whose works are featured in Making Their Mark: Works from the Shah Garg Collection, both engage forms of nonfigurative painting that have a strong sensorial presence. A discussion moderated by Sabine Eckmann, William T. Kemper Director and Chief Curator, will explore how their polyphonic structures invite careful seeing to suggest alternative worlds.
Part of the Sam Fox School Public Lecture Series
About the Artists
Katharina Grosse was born in Freiburg im Breisgau, Germany in 1961. She has held professorships at Kunstakademie Düsseldorf (2010–18) and Weißensee Kunsthochschule Berlin (2000–9) and currently lives and works in Berlin and New Zealand. Her recent institutional exhibitions and on-site paintings include The Sprayed Dear at the Staatsgalerie Stuttgart (until January 2026), Wunderbild at the Deichtorhallen Hamburg (until September 2025), Déplacer les étoiles, Centre Pompidou – Metz (2024–25); Why Three Tones Do Not Form a Triangle; Albertina, Vienna (2023–24); and Studio Paintings, 1988–2022: Returns, Revisions, Inventions, Kemper Art Museum, St. Louis (2022), toured to Kunstmuseum Bern (2023) and Kunstmuseum Bonn (2024). In June 2025, she realized a temporary in-situ work for Art Basel on the fair’s forecourt and the adjacent architectural structures. Museum collections include Albertina, Vienna; Albright-Knox Art Gallery, Buffalo, NY; ARKEN Museum for Moderne Kunst, Copenhagen; Baltimore Museum of Art; Centre Georges Pompidou, Paris; Istanbul Modern; Kunstmuseum Bonn; Louis Vuitton Foundation, Paris; Magasin III, Stockholm; MARe (Muzeul de Artă Recentă / Museum of Recent Art), Bucharest; MAXXI – Museo nazionale delle arti del XXI secolo, Rome; Milwaukee Art Museum, Milwaukee; Museum Azman, Jakarta; Museum of Fine Arts Bern; Museum of Fine Arts, Boston; Museum of Modern Art, New York; Serralves Museum, Porto; Staatliche Museen zu Berlin; and QAGOMA, Brisbane.
Photo Credit: Franz Grünewald
Mary Weatherford was born in Ojai, California. She earned a BA from Princeton University in 1984, was a Helena Rubinstein Fellow of the Whitney Independent Study Program in 1985, and graduated with an MFA from the Milton Avery School of Fine Arts at Bard College in 2006. Weatherford makes paintings that evoke a specific time, locale, and temperature. Her recent works, in which the canvases are affixed and sometimes juxtaposed with working neon light, provide an elusive and sometimes radical comment on the legacy of gestural abstraction. Weatherford is noted for her masterful use of overlapping fields of color, and as her work has advanced the increasingly complex and luminous interactions between paint, lighting, and wiring have produced a hybrid form that collapses the distinction between painting and installation. She currently lives and works in Los Angeles.
Photo Credit: Antony Hoffman