Cara Di Edwardo received a BFA from Cooper Union in 1985, studied printmaking at Kyoto Seika University and École Nationale Supérieure des Arts Décoratifs in Paris; biology, chemistry and foreign languages at NYU & Hunter College, and traditional goldsmithing at Cecilia Bauer’s school. 

She is an adjunct professor at The Cooper Union where she has taught hand papermaking since 1991 and calligraphy since 2001. In 2010 she spearheaded and co-founded Type@Cooper and has been organizing it ever since. In 2015, she co-founded Type@Cooper West in San Francisco forming the partnership between The Cooper Union & the newly established Letterform Archive, where she sits on the advisory board.

She is co-founder and director of Typographics, an annual international type festival  and conference at The Cooper Union that brings speakers from all areas of design where typography is key and an array of events surrounding the main stage days.

She was president of the Society of Scribes in New York City from 2008 to 2010 and served on the board of the Type Directors Club between 2014 and 2017.

Jessica Dickinson’s practice is primarily situated in abstraction and encompasses painting, works on paper, writing, and installations. Exploring durational shifts in light, matter, consciousness, and perception, she works to create space for a slowed down encounter within our world of increasingly accelerated exchanges.


Dickinson's work is represented by James Fuentes in New York / Los Angeles and Altman Siegel Gallery in San Francisco. Recent solo exhibitions include James Fuentes, New York, (2024, 2021, 2017, 2015), Altman Siegel Gallery, San Francisco (2022, 2019, 2016), David Petersen Gallery, Minneapolis (2013); and Maisterravalbuena, Madrid (2012). Numerous group exhibitions include The Solomon R. Guggenheim Museum, NY; Cranbrook Art Museum, Bloomfield Hills, MI,  Katzen Arts Center at American University, Washington D.C.; Gladstone Gallery, NY; The Warehouse, Dallas; Eleni Koroneou Gallery, Athens;  Sikkema Jenkins, NY; and The Kitchen, NY.  Dickinson's work has been reviewed and included in Artforum, Art in America, The Brooklyn Rail, and The New Yorker, among others. Dickinson's awards include Steep Rock Arts Residency (2017), an individual grant from the Belle Foundation (2013), Farpath Residency in Dijon, France (2008), Change Inc. Grant (2003) and The Marie Walsh Sharpe Art Foundation Space Program in New York (2001). Public collections include The Solomon R. Guggenheim Museum, New York and The Rachofsky Collection, Dallas.

Dickinson was born in St. Paul, MN and has lived and worked in Brooklyn since 1999. She received a BFA from the Maryland Institute College of Art and an MFA from Cranbrook Academy of Art. Dickinson has taught at Yale University School of Art, Columbia University School of Art, Maryland Institute College of Art, University of Tennessee, Knoxville, and Rhode Island School of Design.

Camille Hoffman (b. Chicago, IL) earned an MFA from Yale University (2015), a BFA from California College of the Arts (2009), and was a recipient of the Carol Schlosberg Memorial Prize for excellence in painting from Yale University, a National Endowment for the Arts scholarship, a Benjamin A. Gilman International Scholarship for research in Spain, and the Van Lier Fellowship from the Museum of Arts and Design (MAD). 

Camille Hoffman's current work is a mixed-media meditation on Manifest Destiny and its representation in the romantic American landscape. Reflecting on the embedded and latent meanings around light, nature, the frontier, borders, race, gender and power in influential American landscape paintings of the 19th century, she uses materials collected from her everyday life, including holiday-themed tablecloths, discarded medical records, nature calendars, plastic bags and paint, to craft imaginary landscapes that are grounded in accumulation, personal narrative and historical critique. Her paintings and installations are layered geographies, in which these fragments of cultural objects are chromatically twisted and blended into complex wholes. Taking inspiration from the Philippine weaving and the Jewish folk traditions of her ancestors, along with traditional landscape painting techniques from her academic training, she interweaves image with refuse in order to reveal seamless yet textured transcultural contradictions. Disrupting visual perception, her scraps of materials take on new life, becoming a vehicle of territorial reclamation and spiritual agency for the artist amid the pressures of economic and political globalization in the anthropocene.