October 2011
Visual Studies Workshop


October 2011
35 State Street, Rochester NY


November 12–13, 2011
Flag Tour 9.11–11/11
Smithsonian Hirshhorn Museum and Sculpture Garden


August 2012
Kaliedoscope Workshop
Lone Pine
Giuseppe Mastruzzo, guest artist Tutum with Optics Dvision at the IOU Garden, Lone Pine


September 1–October 21, 2012
Occupy This!
American University Museum at the Katzen Arts Center
“Occupy This,” an exhibition at American University Museum at the Katzen Arts Center in Washington, D.C., will be up until October 21. There will be a gallery talk on Monday, September 17 at 9 am, and a reception on Thursday, September 20, from 5-8pm at the museum. OCCUPY THIS! Combines art, photojournalism, historic documents, and films to consider—in a broad, historic context—the causes, activities, and representation of the Occupy Movement. Includes large collection of work by Facing Change: Documenting America, a non-profit photo collective comprising acclaimed photographers and writers who produce and publish under-reported aspects of America’s most urgent issues.


February 9–May 26, 2013
George Eastman House International Museum of Photography and Film
The George Eastman House installation by Los Angeles artist Lauren Bon links the mountains of Southern California and the historic photographic industry of Rochester, N.Y., through an exploration of their shared connections to two basic elements.


May 7, 2013
Visual Studies Workshop
Film screening of Pipeline by Lauren Bon and The Optics Division of the Metabolic Studio. Pinhole Cinema and an Aesthetic of the Handmade—Robert Schaller will discuss the aesthetic and social implications of handmade filmmaking practices as ways to engage both artmaking and the material world. The presentation will be part talk and part film show, illustrated by screenings of Robert’s short handmade pinhole films, other handmade films, and related documentation.


May 8, 2013
George Eastman House International Museum of Photography and Film
An8-foot by 12-foot negative of Kodak’s chemical factory has sat for the last two months soaking in a shallow bath of water at the George Eastman House, its silver image slowly decaying. Now Bon and her team invite the public to participate in a darkroom performance—the South Gallery will be converted into a darkroom for the evening, and a giant contact print will be made with audience participation.


July 1 - September 2013
Les Rencontres Arles Photographie Discovery Award Nominee.


July 1- July 28, 2013
Not Exactly Between home and where I find myself
Curated by Chad Kautzer and Robin Gallite, Not Exactly speaks to the distinction between lack of shelter and the denial of social recognition that leads to an experience of homelessness.


November 23, 2013
Panel Discussion: Back Through the Looking Glass
De Young Fine Arts Museums of San Francisco
This evening we will consider the current status of and recent developments regarding Hockney’s controversial theory (first laid in detail in his 2001 volume Secret Knowledge). The principal speaker will be Hockney’s close collaborator Charles Falco (University of Arizona) with contributions from artist Lauren Bon and her team from the Optics Division of the Metabolic Studio, Tristan Duke and Richard Nielsen. With them will be their large scale panoramic pinhole liminal camera lodged in a twenty foot shipping container atop a flatbed truck which will be parked outside the de Young from 10–5 pm on Friday, November 22 and 10–5 pm on Saturday, November 23.


November 23, 2013 – May 25, 2014
Transforming Inert Landscape into Agency
Nevada Museum of Art
Lauren Bon and the Optics Division of her Metabolic Studio have set up residence in the old Pittsburgh Plate Glass plant at the edge of the Owens Dry Lake, where they are reclaiming the chemicals and silver necessary to make and process photographic film and paper. They then use the recaptured materials to make images of the lake in two camera obscuras, one built into a truck and another into one of the silos at the plant. Both are used to create panoramic images of the site. Paper negatives used are placed in large trays that are filled with water and left to evaporate over several months. This recreates the playa surface, allows for the silver to be re-recaptured—and creates the opportunity for making another print as a new iteration in the series.