Current Exhibitions



October 28- November 22, 2019 

An exhibition celebrating the launch of CCAM’s first publication, Maquette, featuring a photography exhibition of Photographs of the Wrigh Laboratory by artist Monique Atherton.

Using photography as a launching point and incorporating installation, sculpture and performance, Monique Atherton explores intense personal moments created by means of rules and omissions, acceptance and refusal, luring the viewer into the various microcosmic states in which she exists. Her works aims to uncover unspoken desires, tensions and passions that reside on a subconscious level among the people in her images as well as between the artist and her public. Atherton was born in Japan and currently lives and works in New Haven. Atherton has exhibited in Washington DC, San Francisco, New Haven and New York. She has been an artist-in-residence at the Wassaic Project and a recipient of the 2018 Connecticut Office of the Arts Emerging Artist Grant. Her book, “First Avenue” was shortlisted for the 2017 Kassel Dummy Award. She received her MFA in Photography from the Yale School of Art in 2016.

Image: Photograph by Monique Atherton 
November 1- November 30, 2019

Black Glory: Once Upon a Future will feature a combination of films and digital art that exemplify the glory of Blackness, and that create the future of the global Black experience. Films to be screened include To Be Free by Adepero Oduye (Twelve Years a Slave, When They See Us), Peau de Chagrin by Congolese musician and director Baloji, and White Colour Black by Joseph Adesunloye.

The Afrofuturism exhibit features original works by artists at the forefront of an artistic movement which has been likened to Cubism. The collective images to be exhibited exude Black power, strength, joy, depth and beauty. Through experimental collages, bold colors, with sharp edges and deep contrasts, these artists evoke the memory of ancient African civilizations and summon a future in which African innovation and glory are known ubiquitously. 

Art works on exhibit include Fulani Amazon and God is a Black Woman by Eric Adé Tanauh (Rickii Ly), Ivorian photographer and visual artist , God is a Black Woman is featured on the official posters for the Yale Africa Film Festival. Other pieces on display include Mergulho by Brazilian artist and designer Camila Pinheiro and Black and White by Shakquan McAllister. This exhibit will remain in the CCAM until Nov 30.


Upcoming Exhibitions

December 18, 2019
An exhibition of student rune objects and visuals from the Arch 2222a Mechanical Eye Class taught by CCAM Director Dana Karwas. The exhibition will showcase 24 rune objects reclaimed from an elm tree that was recently removed from the Yale University Art Gallery. The objects serve as communication devices for mechanical eyes. 
Image: Photograph by Dana Karwas

Past Exhibitions


October 21–November 1, 2019

Featuring commentary by Paul Walsh

Produced by Erin Sullivan and Mike VanAartsen 

A 4th-century Greek Christian, Saint Nicholas, has been transformed over centuries into the jolly, plump Santa Claus, most recently embodied by sloppy imposters running the streets of New York during SantaCon. What happens when that evolution of storytelling is compressed at warp speed? This installation examines how reality morphs through the ever-shifting content of TikTok. Yale School of Drama and CCAM present an installation in conversation with Mr. Burns, a post-electric play. 


September 9- November 30, 2019


By Justin Berry: The still life is one of the oldest art forms, going as far back as ancient Egyptian tombs. It has filled many roles, from the modernist study of light and shadow, the Renaissance vanitas, and includes the advertisements of today.  Whether a photo or a painting, still lifes represent the objects that they portray but also act, inevitably, as a meditation on the universe that contains those objects.  In the vanitas this was a mediation on life and death, of our mortality, and with Instagram the still life has emerged as a powerful form of personal identity.  Photos of ‘hauls’ lay out purchases on flat surfaces, or in piles, to create the image of pure consumption, packages intact, brand logos blazing, the products living as an embodiment of the idealized eternal happiness that the influencer wants to offers access to through their feed.  It is the very banality of the still life that gives it tremendous power, it appears to be a passive arrangement of objects and yet because it appears passive we do not critique its presence, we accept it as a given.  Visitors to art galleries will look at still lifes and comment on the quality of the paint, as though the fruits or flowers are empty vessels that exist only to house the creative play of technique.  Images are never passive though, they are always working on you, showing you a version of the world and asking you to accept it as your own, and it is the images that are the least obvious, the most innocuous, that work you over the hardest and with the greatest effect.

Though the virtual world which houses the still life is eternal and unchanging, visitors to the gallery can reach out over the pedestals and touch the virtual objects, pushing them around and making them speak or sing or whisper, bringing them to life in an ever evolving and never fully predictable ways.  The still life becomes an instrument that can be strummed.  Just as the notes of a song are scribed in a line, playable backwards or forwards on any variety of instruments, the objects presented here always return home, to the moment of stillness from which every note is imminently playable and every word is on the verge of being spoken.

Image: Still from Still Life installation by Justin Berry



September 9- December 15, 2019 


Heyday, by Matthew Keff, is a multi-platform video game (?) filled with digital fanfare and cute neon fluorescent color. Taking inspiration from mobile games and online advertisements, it emphasizes the fleeting pleasurable moments they aim to provoke. Heyday operates like a game, but (purposely?) misses the mark with the absence of a linear narrative or typical reward structures. The results are caused by the over abundance of items and effects bandied about in simulated physics.


Image: Still from from Heyday webpage by Matt Keff


September 9- November 1, 2019

Originally developed by Caitlin Harder and Tomoe Tsutsumi (Former CCAM A-I-R) as a site-specific installation for ResidenceSEA/Dienstag Abend on the island of Crete, Spiritus has now been reinterpreted for CCAM’s exhibition space. The work weaves together aquatic imagery and cosmic sound, questioning the place of the human in that fragile space between sea and sky. 

Growing up in rural Vermont, Caitlin Harder developed a relationship with the natural world that has had a lasting influence on her artistic research and practice. She is particularly interested in the poetic qualities of raw materials, geographical imagery and time-based processes, and their relationships to shared human experiences. 

Born in Tokyo, Japan, and currently living and working in NYC, Tomoe Tsutsumi is a multimedia artist who explores themes of individuality, community, communication and the relationships between them.

Image: Still from Spiritus by Caitlin Harder and Tomoe Tsutsumi


September 9- October 16, 2019 

Konrad Kaczmarek’s work in electronic music and instrument building often involves aspects of writing - or hacking apart - computer code, and programming small embedded microprocessors.  This piece is the result of experiments in controlling robotic movement and deep learning algorithms in computer vision. 

The piece uses a camera coupled to a computer vision algorithm that identifies the most conspicuous, attention grabbing element in the visual field (Itti et al., IEEE PAMI, 1998).  Camera input is converted into five parallel streams according to color, intensity, motion, orientation, and flicker, which are visible at the bottom left of the screen.  These streams are then weighted and fed into a neural network to generate a saliency map, visible at the right-side of the screen.  The robot arm is then programmed to move towards the most salient object, identified by the green ring on the screen on the left. 

This simple coupling - computer vision and movement - generates eerily life-like behaviors that are often delightfully unpredictable.  

Image: Installation View of What do you See? by Konrad Kaczmarek


June 19- June 22, 2019

The IEEE GEM 2019 exhibition, curated by Nicholas O’Brien, features a diverse range of experimental interactive media projects by artists utilizing game technology, AR/VR/XR, interactive installation, performance and media works that reflect on contemporary technology. Each of the artworks on display engages uniquely with this year’s conference themes, which include: interactive and immersive experiences, serious and applied games for health and wellness, and sensing technologies for pedagogy and research. Selected artists include Margherita Bergamo, Victoria Bradbury, Gray Crawford, Bob De Schutter, Rafael Fajardo, Yixiao Fu, David Gochfeld, Konrad Kaczmarek, Haein Kang, Matthew Keff, Su Hyun Nam, Teddy Mathias, Aaron Oldenburg, Raymond Pinto, Dan Ragan, Celia Suhr, Eve Sussman, Gareth Walsh, Johan Warren, and Jing Zhou. 

Image: Still from 89 Seconds Atomized by Eve Sussman



April 22 - May 6, 2019

An exhibition of student works from Thomas Allen Harris’ homonymous production seminar. The exhibition showcases moving-image projects that collaborate with archival materials – from family albums to Beinecke collections – to question the workings of memory and identity, biography and mythology. 

Image: Still from Black Music, Black Joy by Tahj Lakey

Join our mailing list

* indicates required