- Monica Rico | January 8 – 22, 2021
- Cody Walker | January 29 – February 12, 2021
- Scott Dorsch | February 18 – March 4, 2021
- Steph Sorensen | March 12 – 26, 2021
- Laura Berman | April 30 – May 14, 2021
- Zakkiyyah Najeebah Dumas-O’neal | May 21 – June 4, 2021
- Carla Diana | June 14-28, 2021
- Stephen Kade | July 30 – August 8, 2021
- Katherine Tzu-Lan Mann | August 13 – 27, 2021
In residence: January 8 – 22, 2021
Monica Rico is a second generation Mexican-American who grew up in Saginaw, Michigan alongside General Motors and the legend of Theodore Roethke. She is an MFA candidate at the University of Michigan’s Helen Zell Writers’ Program and works for the Bear River Writers’ Conference. Her poems have appeared in Anomaly, Pleiades, Black Warrior Review, BOAAT, Glass: A Journal of Poetry (Poets Resist), and Split this Rock. She is a CantoMundo Fellow and Macondista.
She is currently working on her first full-length poetry collection, PINION, a magical realist history of Mexican migration to Michigan and its impact on the building of the General Motors empire. This collection focuses on family history, the roles of women, and intergenerational trauma.
In residence: January 29 – February 12, 2021
Cody Walker was born and raised in Baltimore. He later lived in Seattle, where he served as the city’s Poet Populist. He currently teaches English and directs the Undergraduate Creative Writing Program at the University of Michigan in Ann Arbor. He’s the author of two full-length poetry collections: The Self-Styled No-Child (2016) and Shuffle and Breakdown (2008), both from Waywiser Press. His chapbook The Trumpiad (Waywiser, 2017) doubled as an ACLU fundraiser. He co-directs the Bear River Writers’ Conference and co-parents (with the fiction writer Polly Rosenwaike) two children and a cat.
During his stay at Good Hart, Cody plans to complete his manuscript of Mad Gardener’s Songs, a project he’s been working on for more than a decade. (The Mad Gardener’s form was invented by Lewis Carroll; examples can be found in Carroll’s Sylvie and Bruno and Sylvie and Bruno Concluded.) He also hopes to revise some of the political poems he wrote during the End Days of the Trump presidency.
In residence: February 18 – March 4, 2021
Scott Dorsch was born in Georgia, raised in Michigan. He is an M.F.A. Creative Writing candidate and Writing in the Wild Fellow at the University of Idaho. His fiction has appeared in The Midwestern Gothic. Beyond writing, he is a gardener, musician, and certified wildlife tracker with a rock-climbing obsession. He currently serves as the Fiction Editor for Fugue Literary Journal.
At Good Hart, Scott will continue working on his novel based on his short story, “Holes or Tunnels,” published in the Midwestern Gothic in the summer of 2018. Set in the dunes and shoreline of Lake Michigan, the novel follows a reluctant Park Ranger who gets wrapped up in a missing-persons case connected to the mysterious appearance of “bottomless” holes in the park’s vast dune system. With themes of loss, solastalgia, and survival, his novel works to make visible the threads that connect humans to wilderness and to each other. He’s very much looking forward to having the time and head-space to continue his work on the novel and to be re-inspired by the dunes, woodlands, and communities of Northern Michigan.
In residence: March 12 – 26, 2021
Steph Sorensen (she/her) is a feminist writer mom. She earned her MFA in fiction from the University of Pittsburgh in 2007. She has participated in several invited readings of her poetry, at the Prague International Writers Festival, the Connecticut Poetry Festival, the Sunken Garden Poetry Festival Night of Fresh Voices, and others. She was awarded a scholarship to attend the Writing the Unreal retreat at the Highlights Foundation where she worked on revising a young adult novel manuscript. Her writing has appeared or is forthcoming in Barrelhouse, Mississippi Review, Matchbook and 3Elements Review. She lives with her family in Pittsburgh, PA.
Steph splits her time between parenting her very energetic six-year-old, writing novels for young adults, and writing poetry and short stories for grownups. She is currently at work on a collection of short form writing consisting of poetry, prose poems and flash fiction, as well as work that blurs the boundaries between those genres. This collection will explore themes of motherhood, womanhood, identity and erasure. She enjoys employing aspects of speculative writing and magical realism as metaphor, and experimenting with form and structure. She is incredibly grateful to have been granted this residency for its generous two weeks of solitude and unbroken focus on writing, and intends to use this time to continue drafting and revision for this intra-genre short forms collection.
In residence: April 30 – May 14, 2021
Laura Berman creates images that layer time, space, form and color together. The natural world inspires her, and there is a focus on play, improvisation, and relational dynamics in her work.
Berman has exhibited her print work in over 150 exhibitions at galleries and museums around the country and internationally. Her prints are widely collected and she has made commissioned work for a number of institutions. Berman has been a visiting artist and has worked as an artist-in-residence at Anderson Ranch Arts Center (Colorado), Frans Masereel Centrum (Belgium), Atlantic Center for the Arts (Florida) and Can Serrat Artist Center (Spain), among others.
Her work has been featured in the books Contemporary American Printmakers by E. Ashley Rooney/Stephanie Stanish, Printmaking at the Edge by Richard Noyce, A Survey of Contemporary Printmaking, by Ehlers, Ehlbeck and Muise and Color Theory: A Critical Introduction by Aaron Fine. She has worked with a number of fine print and commercial publishers around the world, including Pele Prints (St. Louis) where she has a longstanding relationship. Her work is represented by galleries: Long View Gallery ( Washington, D.C.), Olson-Larsen Gallery (Des Moines), and Uprise Art (New York City).
Laura Berman is a Professor at the Kansas City Art Institute, where she has taught in the Printmaking Department since 2002. She is a Founding Member of the Art Brand Alliance, author of the ongoing online series of artist interviews: Reflections on Color and Printmaking, and together with her husband, she runs Prairieside Cottage and Outpost, a family-friendly artist’s retreat in the Flint Hills region of Matfield Green, Kansas, USA.
During my time at Good Hart Artist Residency, my goal is to experience a new engagement with my artwork, in a geographical environment that is entirely new to me. I expect the natural environment surrounding Good Hart and its location will inspire me deeply. My printmaking practice has its own disciplined momentum, which sometimes limits my ability to be free with my work. In contrast, I have built my painting practice to be intuitive and without many rules. During my residency time, my work will expand through a new rhythm of working and a fresh outlook. I plan to create new imagery, expand the materials I paint with, and further my imagery through multiple layered paintings in a variety of scales.
Images courtesy of the artist – Laura Berman – laurabermanprojects.com
Zakkiyyah Najeebah Dumas-O’neal
In residence: May 21 – June 4, 2021
Zakkiyyah Najeebah Dumas-O’neal is a Chicago based multidisciplinary artist, arts educator, and independent curator. Najeebah Dumas O’neal’s work is most often initiated by personal and social histories related to family legacy, queerness, community making, intimacy, and interiority. Her practice borrows from visual traditions such as social portraiture, video assemblage, drawing, collage, and found images.
She makes work to further understand and investigate how her own singular lived experiences, and others are connected to broader shared histories and social/cultural experiences. In addition to this investigation, there’s a commitment to reinforcing a different kind of gaze (and gazing) enacted through empathy, desire, love, softness, and longing. Najeebah Dumas O’neal is continuously exploring how these feelings (within all her work and through engagement), are exchanged between herself, her family, collaborators of her portraits, and those who experience the work.
My work functions as a meditation of my own sublime feelings regarding touch, belonging, desire, and familial legacy. In addition to my own experiences regarding belonging and emotional states of tenderness – I’ve been thinking deeply about what it means to create work that imagines ways of being beyond the systems we inhabit.
My most recent work in progress explore the unveiling and honoring of writer and activist Lorraine Hansberry through parts of her concealed lesbian identity. As i rewrite by hand the short fictional love stories she’s left behind, i’m considering, at what lengths, by which means do Black queer women both protect and unveil themselves through public persona, interiority, and poetics. Najeebah Dumas O’neal’s work has been included in numerous group exhibitions and several solo exhibitions at ADDS DONNA, Mana Contemporary, and South Bend Museum of Art to name a few. She has also curated exhibitions at spaces such as Chicago Art Department, Blanc Gallery and Washington Park Arts Incubator at the University of Chicago. She most recently held the 2019- 20 Jackman Goldwasser Residency at the Hyde Park Art Center, Chicago. She is also a co-founder of CBIM (Concerned Black Image Makers): a collective driven project that prioritizes shared experiences.
You can see more of Zakkiyyah’s work please see her website – zakkiyyahnajeebah.com
In Residence June 14-28, 2021
Carla Diana is an artist, designer and educator who explores the impact of future technologies through hands-on experiments in form, code and electronics. She has designed a range of products from robots to connected home appliances, and her work has appeared on the covers of Popular Science, Technology Review and The New York Times Sunday Review.
Carla is the creator and head of the 4D Design program at the Cranbrook Academy of Art. She writes and lectures frequently on the social impact of emerging technology, and created the world’s first children’s book on 3D printing, LEO the Maker Prince: Journey in 3D Printing. She also cohosts the Robopsych Podcast, a biweekly discussion around design and the psychological impact of human-robot interaction. Her latest book My Robot Gets Me: How Social Design Can Make New Products More Human, out in March 2021, was published by Harvard Business Review Press.
Carla holds an M.F.A. in 3D Design from Cranbrook Academy of Art and a B.E. in Mechanical Engineering from the Cooper Union. She was previously awarded residencies at the Museum of Fine Art Houston’s Dora Maar House and the Museum of Art and Design’s Open Studio program.
You can follow her creative practice on Instagram as @carladiana
As an artist/designer working on creative applications of electronics and robotics, I am interested in understanding the nature of the relationships people build with the products around them. My most recent work explores how objects can be expressive, offering a shorthand abstraction for emotional messages the way color or material choices might be used in more traditional art making practices. During my residency time, I plan to tinker with electronics to reflect on the relationship among humans, nature, and our artifacts, seeking inspiration from the serene environment surrounding Good Hart to think about ways that natural and constructed systems can be in harmony.
Images courtesy of the artist – Carla Diana
In residence: July 30 – August 8, 2021
Stephen Kade is a fine arts painter, illustrator, art educator, and graphic designer born and
raised in Detroit, MI. He now resides in Walled Lake, MI where he lives with his wife and two
children. He graduated from Oakland Community College with a degree in Graphic Design and
continued into the sign industry creating branding for many local businesses and clients for over
15 years. He went on to earn a BFA in Illustration from the College for Creative Studies in 2007
with a concentration in children’s book illustration and character design in watercolor and acrylic
In 2007, Stephen became a freelance artist and started Stephen Kade Illustration and Design
where he continued with his design work while illustrating childrenś books for various Michigan authors. In 2010, Stephen completed his life long goal of writing and illustrating his first childrenś book, If Kids Had Their Way. He also began teaching as an adjunct instructor at his alma matter, CCS where he worked for the Community Arts Partnership teaching weekly summer art camps for kids, and Computer Illustration and Graphic Novel classes.
Stephen realized he had a passion for teaching and returned to school to get his Arts Education certificate so he could begin a career teaching art at the K-12 level. He began teaching in 2014, and has worked at Lake Orion High School, Henry Ford Academy/ School for Creative Studies where he was Lead Art Teacher, and now he teaches at O.L. Smith MIddle School in Dearborn, MI teaching both 2D and 3D art classes. While on summer break in 2018, Stephen was chosen as the first art teacher to participate in the NOAA (National Oceanic and Atmospheric Administration) Teacher at Sea Program. During his 17 day voyage on the Oregon II, he assisted scientists and focused on shark research. He painted over 20 paintings during the trip documenting the many species of sharks they caught, researched and released. Through this experience, he has incorporated science into his art lessons so kids can develop a deeper appreciation for their environment and conservation.
In 2010, Stephen began showing his illustration work in various art galleries as part of different group shows until he was accepted into juried shows in the Detroit metro area. In 2011, he was named the featured artist of the Ann Arbor Summer Art Fair. He is now in his tenth year of doing art festivals across Michigan and Ohio.
Stephenś painting work is varied and ranges from work that is colorful and whimsical and meant for kids of all ages, while some are thought provoking paintings that explore pop culture, science fiction, and retro- futurism. During his residency at Good Hart, he plans on exploring the beautiful landscapes of the area during the day to paint on site, and then go back to the studio to add imaginative extras during the night that will take his paintings beyond just the normal landscape painting aesthetic.
Images courtesy of the artist – Stephen Kade – www.stephenkade.com
Katherine Tzu-Lan Mann
Katherine Tzu-Lan Mann received her BA from Brown University and MFA from the Maryland Institute College of Art. She is the recipient of the Sustainable Arts Foundation grant, a Fulbright grant to Taiwan, the AIR Gallery and Lower East Side Printshop Keyholder Fellowships in New York, NY, and the Arts and Humanities Grant, Mayor’s Award and Hamiltonian Fellowship in Washington, DC. Some of the venues where Mann has shown her work include the Walters Art Museum, American University Museum, Corcoran Gallery of Art, Rawls Museum, the Art Museum at SUNY Potsdam, the US consulate in Dubai, UAE, and the US embassy in Yaounde, Cameroon. Mann is currently an instructor at the Maryland Institute College of Art.
My work’s abstractions arise from the subjects I portray: ecological and geological cycles, processes of chemical corrosion and natural efflorescence. With roots in traditions of Chinese landscape painting, my monumentally sized paintings and installations evolve a fantastic, abstract vision of the natural world. My latest work confronts the challenge: the resuscitation of landscape painting in a world where “landscape” is represented and defined through an ever-widening field of digital, graphic, and visual forms. How can a painting capture flux, abundance, waste, fertility, and the collision and collusion of diverse forms? How can it respond to the pressure we place on our era’s fragile ecosystem? My paintings explore both questions by sustaining tension between what is artificial and what is natural, between what is chemical and what is biological, between organic and inorganic. The paper on which I paint is not only a recognition of a tradition of Chinese painting; it is also a medium of vulnerability and expansiveness, susceptible to crease and tear as well as to collage and collation. My own role in the creation of the paintings strikes a balance between the purpose and the protective. I trust to process, chance, and change, but I encourage, direct, and facilitate all of these. In my most recent work, I hope to live in the tradition of landscape painting, experiencing it for what it has always been: an occasion for radical experimentation and confrontation with the world, in the broadest sense of the term, that sustains us.
Images courtesy of the artist – Katherine Tzu-Lan Mann – https://www.katherinemann.net/