Meet the Bennington FWT interns!

 Each winter Bennington students participate in a Field Work Term where they are required to go off-campus for seven weeks and intern with a professional, an organization, or a business in her or his field of study. This unique opportunity allows students to develop expertise by immersing them in the everyday operations of a professional environment and prepares them for a future career related to their course of study. This is the first year that SAW has become a cite for the Bennington Field Work Term and already we are looking forward to developing our programming to facilitate future Bennington interns. Salem Art Works is passionate about creating networks with young artists and their communities and looks forward to the prospect of forming internship programs with additional colleges and universities  

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Eden Staten is from New York City and a current freshman at Bennington College. Prior to Bennington, she attended the High School of Art and Design, where she studied Film/Video for three years. Staten’s work deals with anti-black racism in America and conceptions of womanhood. In 2017, she wrote an essay in which she discussed the emotional impact that Michael Brown’s untimely death had on her as a 14-year old and examined the connection between what happened to Brown and greater systems of institutionalized racism. The essay was published in GWN’s 2017 anthology “Rise, Speak, Change” and also won a Scholastic Writing Awards Silver Key for Personal Essay/Memoir. While at SAW, Staten plans to explore printmaking and encaustic painting as well as continue her video work. She hopes to continue exploring themes of race, gender, and sexuality in 21st century America through the various media of creative writing, visual art, and film making.

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Thomas Ludacer is from the East End of Long Island, New York, and is currently a senior at Bennington College. He has worked in institutions such as Printed Matter, Gavin Brown's Enterprise, and the Museum of the City of New York. Ludacer’s body of work relates to his experience growing up in his family’s antique shop. Through sculpture, he attempts to reconcile with the ever-changing conditions within the shop, his life, and the larger social environment. He hopes to represent his own history by producing a visual personal ethnography of both objects and memories. Ludcacer creates connections to contemporary questions by making vestiges that often manifest in vessels and horns, both of which have complex histories in the exchange of goods and have the potential to solve current concerns. His interpretation of these forms is not intended to offer solutions, but rather to consider the issues and related tensions.

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