Catalogues and Exhibition Texts – click thumbnails to read

Sarah Howard

"Sponge Exchange, Hope Ginsburg" (exhibition text)

University of South Florida Contemporary Art Museum, 2020

Denise Markonish
"Explode Every Day: An Inquiry into the Phenomena of Wonder" (excerpt from catalog essay)
MASS MoCA, 2016
pp. 50–51

Jennifer Lange
"Land Dive Team: Bay of Fundy" (exhibition text)
THE BOX, Wexner Center for the Arts, 2016

Sarah Demeuse
"Weather Permitting" (catalog entry)
9th Mercosul Biennial, 2013
pp. 308–311

Regine Basha
"Hope Ginsburg" (catalog essay)
CUE Art Foundation, 2011
pp. 6–7

Emily Sessions
"Hope Ginsburg" (catalog essay)
CUE Art Foundation, 2011
pp. 21–25

Jennifer Kollar
"Factory Direct: New Haven" (catalog entry)
Artspace, 2005

Helen Molesworth
"Work Ethic" (catalog entry)
Baltimore Museum of Art, 2003
pp. 147–148

Larissa Harris
"Heart of Gold" (excerpt from catalog essay)
PS1, 2002
pp. 3–5

Omer Fast
"Fido Television" (excerpt from catalog essay)
Hunter College Times Square Art Gallery, 2000

Books – click thumbnails to read

Sarah Urist Green

"You Are An Artist: Assignments to Spark Creation"

Penguin Books, 2020

pp. 239–232

Corina L. Apostol and Nato Thompson, Editors

"Making Another World Possible: 10 Creative Time Summits, 10 Global Issues, 100 Art Projects"

Routledge, 2020

pp. 277–278

Akiko Busch

"How to Disappear: Notes on Invisibility in a Time of Transparency"

Penguin Books, 2019

pp. 199–200

Articles and Reviews – click thumbnails to read

Jennifer Lange

Film/Video Studio Journals: Hope Ginsburg

In Practice, Wexner Center for the Arts, Fall 2021

Antonia S. Krueger

"Art for a Warming World: Sponge Exchange and Flood Zone"

Creative Pinellas

February 19, 2020

Emma Colón
"5 Artists Bridging Communities Across Difference"
A Blade of Grass Magazine
March 28, 2019

Leila Ugincius
"Optimistic and Tragic: A Glimpse of Coral Restoration"
VCU News
March 26, 2019

Sydney Cologie and Brynne McGregor
"Wex Moments 2018: Film/Video Studio artist Hope Ginsburg" (Q&A)
Wexner Center for the Arts
December 26, 2018

Tim Dodson
"Performative Diving Piece Featured at Festival Honoring the James River"
Richmond Times-Dispatch
June 9, 2018

Karen Newton
"Deep Dive: Artist Hope Ginsburg Becomes One with the Sea"
Style Weekly, June 2018

Jessica Lynne
"From Climate Change to Race Relations, Artists Respond to Richmond, VA" (review)
Hyperallergic, 2015

Lauren O'Neill-Butler
"Hope Ginsburg CUE Art Foundation" (review)
Artforum, Summer 2011

Gary Robertson

"Art Students Find Inspiration in the Lab"

VCU News Center, 2010

T.J. Demos
"Work Ethic" (review)
Artforum, February 2004

Videos – click thumbnails to view

Land Dive Team: Amphibious James

Television Program is a Production of VPM

Producer/Director: Mason Mills

Producer/Field Director: Allison Benedict

September 22, 2019

Conjure a Studio – Hope Ginsburg
The Art Assignment
PBS Digital Studios, 2016

The Art of Pedagogy – Hope Ginsburg
Creative Time Summit
Biennale Arte, 2015

Art and Education in the 21st Century
Panelists: John Brown-Executive Director, Windgate Foundation; Tom Finkelpearl-Commissioner, NYC Department of Cultural Affairs; Hope Ginsburg-Artist and Educator; Moderator: Geoffrey Cowan- President, The Annenberg Foundation Trust
Crystal Bridges Museum of American Art, 2014

A boundary object is a term used primarily in sociology as a way of pointing to a form, an issue or body of knowledge that, in one community, might have one kind of use-value, while in another community, a wholly different one. The term has also found traction in fields such as computer science and environmental activism. For instance, when considering the issues related to ‘water’ or bodies of water as a boundary object, the (sometimes conflicting) positions from environmental activists, biologists, health officials, and homeland security must come into play. Though more often ‘entities’ than objects, the discussion around boundary objects could parlay easily into the work of Hope Ginsburg.


Ginsburg creates structured, yet informal scenarios (actual objects as well as situations) for the very purpose of generating a more participatory hybrid model for knowledge production and discovery. The materials she brings in–felt, songes, bees, and other organic matter–are often symbolic in their porousness, liquidity or material properties, and are as significant to the work as the gatherings that form around them. As an artist who comes to the field with a Masters of Science in Visual Studies from MIT and an undergraduate degree in sculpture from Tyler in Philadelphia, Ginsburg’s position as an artist, or ‘maker’ resembles a community organizer and activist with a strong belief in the potency of visual and tactile forms. Her work, or labor really, has focused recently on university settings, (she currently teaches at Virginia Commonwealth University), or as part of interdisciplinary initiatives with factories and science labs. In fact, this marks the first instance in which an exhibition of several different projects from the past several years are on view together in a traditional gallery setting.


Ginsburg comes from a generation of artists who, in the 1990s, were thoughtfully revisiting artists such as Allan Kaprow, Gordon Matta-Clark and Mierle Laderman Ukeles, and who struggled with what to do with the cultish, but important legacy of Joseph Beuys. Investigating the social landscape of ‘the everyday’ and the critiques of institutional hegemony became, for many, a point of departure. Though this history might have propelled Ginsburg into the mode she currently works in, much of her ideas and methodology also arise out of critical pedagogy, such as in the writings of Paulo Freire, John Dewey and The Pragmatists. These continuums, alongside the rising popularity of DIY movements in the past decade, have created a timely context and relevancy to her roving, maker-oriented gatherings.


As time-based scenarios, Ginsburg’s gatherings may, at any given time resemble a play, a home economics class, a science lab, a flea market, a factory, or absurdist theater, but are not ever any of these things categorically. Smack between realism and surrealism, her parallel universe is formed through a shuffle; the object-making process as living symbolic order, the teacher as student and the collective as microcosm for a radical utopian society. Ginsburg’s disarming personality and contagious energy shapes the character of the projects at the onset (perhaps even in a performative way), but the project’s viral progress is driven by the group of participants/collaborators and their own knowledge base.


Though the development of such projects on view here such as Sponge, Colablablab and Maker’s Market, are thoroughly tracked by video, blogs and narrative text to account for their collaborative format and aggregate information, one could argue that it is the objects–or boundary objects–that become in themselves vital entities of progress.

Regine Basha
"Hope Ginsburg" (catalog essay)
CUE Art Foundation, 2011
pp. 6–7