Kris Rumman

Kris Rumman holds a BFA from Bowling Green State University (2008) and an MFA from Tyler School of Art and Architecture (2018). Her work has been exhibited across the United States and internationally, including venues such as UrbanGlass (NYC) Vanderbilt Fine Arts Gallery (Nashville, TN), Strohl and Fowler-Kellogg Art Center (Chautauqua, NY), Project Gallery (Ann Arbor, MI), Georgetown Space (Washington D.C), Ohio Craft Museum (Columbus, OH), Toledo Museum of Art (Toledo, OH), Temple Contemporary, Little Berlin, Conwell Dance Theater, and Vox Populi (Philadelphia, PA) Glass Studio (Kowloon, Hong Kong)  and Abate Zanetti Gallery (Murano, Italy). 

She has taught at Chautauqua Institution, Pratt Fine Art Center, The Toledo Museum of Art, Salem Community College and Tyler School of Art and Architecture, Temple University.

Rumman has received international awards and grants, including support from The Velocity Fund through Temple Contemporary and The Andy Warhol Foundation for the Visual Arts, The Laurie Wagman Prize in Glass, and recognition from the Glass Arts Society, naming her the 2019 Saxe Emerging Artist. Rumman has been awarded a collaboration with Pilkington NSG, a global glass manufacturer, to actualize her project Body-Building, which debuted  at the Center for Visual Arts, the Toledo Museum of Art.

Rumman’s upcoming projects include a residency at the Sculpture Center in Utica, NY, where she will develop “The Garden: An Outpost,” a public art installation that merges cultural heritage, traditional craft, and environmental stewardship.  

Currently based in NYC, Rumman continues to explore the intersections of tradition and innovation in her work.

Kris Rumman is a Palestinian-American artist who creates sculpture, performance, and installations that act as impermanent fugitives. Appearing as temporary inhabitants and curious students of its visitors, her work often uses mirror and reflection to track, survale, guide, and reflect its witnesses. Captivated by compositions of architecture, authority and chance (inshallah), her work is migratory, situationally responsive, and inextricably linked to the geopolitics of her ancestors.

Borrowing from Afro-Arab Futurism, Rumman imagines her practice beginning in the Levant in 50 B.C.E. where the first blowpipe was conceived of and the first breath was blown into a molten hot gob of glass. Nearly 2 millenia later, she dips her blowpipe into a furnace in Toledo, Ohio, the birthplace of the Studio Glass Movement, and uses Her (collective) breath to continue the legacy of Palestinian glass.

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