Vito Acconci's design & architecture comes from another direction, from backgrounds of writing & art. His poems in the late 60's treated language as matter (words to look at rather than through) & the page as a field to travel over; his performances in the early 70's helped shift art from object to interaction; later in the 70's, his installations turned museums & galleries into interactions between spaces & people; in the early 80's, his architectural-units were meant to be transformed by users. By the late 80's his work crossed over & he formed Acconci Studio, a design firm that mixes poetry & geometry, computer-scripting & sentence-structure, narrative & biology, chemistry & social-science. The Studio uses computers to give form to thinking; they use forms to find ideas. They make not nodes so much as circulation-routes, they design time as much as space. Their design starts with clothing & ends with vehicles – in-between, they design buildings that slip into landscape & vice versa; they make spaces fluid, changeable & portable; they make architecture subservient to people & not vice versa -- they anticipate cities on the move. Built in the last decade are, in Graz, a person-made island where the theater, a bowl, twists to become a playground on its way to becoming a dome, a restaurant; in Tokyo, a clothing store as soft as clothing; in Coney Island an elevated subway-station façade that waves & bulges to make views & seats; in Toronto, a building-complex fence that twists & rises up the building to make wind-screens, & splits to make public-places. Being built now, in Indianapolis, is an interactive tunnel through a building where pedestrians & cyclists activate sensors that set off lights that swarm around them like fireflies.
Nancy Evelyn Andrews lives on the coast of Maine, where she makes films, drawings, props and objects. She works in hybrid filmic forms combining storytelling, documentary, puppetry, and research. Her characters and narratives are synthesized from various sources, including history, movies, popular educational materials and autobiography. Her work has been presented by the Museum of Modern Art, Pacific Film Archive, Ann Arbor Film Festival, Anthology Film Archives, Jerusalem Film Festival, Flaherty Seminar, Nova Cinema Bioscoop, Brussels, Belgium, and Taiwan International Animation Festival, among others; and is in the film collections of the School of the Art Institute of Chicago and the Museum of Modern Art. She has been the recipient of grants and fellowships from the John Simon Guggenheim Foundation, LEF New England Moving Image Fund, Illinois State Arts Council, The Franklin Furnace Fund for Performance Art (supported by the Jerome Foundation and New York State Council on the Arts), and National Endowment for the Arts. She studied at the School of the Art Institute of Chicago and received a Master of Fine Arts in 1995, and her undergraduate studies were at the Maryland Institute, College of Art, BFA, 1983. Nancy is currently on faculty at the College of the Atlantic where she teaches video making, animation, time-based arts and film studies.
Josephine Anstey's main creative and research focus is the production of interactive computer-mediated experiences: stories, performances, and games. Since 1995 this has resulted in works of interactive drama, virtual & mixed reality, and intermedia performance populated by intelligent agents, networked human actors, and puppet avatars. She is the founding member of the Intermedia Performance Studio at the University of Buffalo, an experimental center for collaboration among media creators, dramatic performers, and computer technologists.
Between 2001 and 2005 she was part of a group of artists who exhibited networked VR projects worldwide on CAVE systems and low-cost, CAVE-like VR systems. Experiments with narrative and dramatic forms have been constant theme in her practice which includes a long collaboration with Julie Zando on a series of video-art pieces. Her other projects include interactie installations, documentary, web, and prose fiction. Her VR and video works have shown widely in the Us, in Europe and Japan, and she has work in the permanent collections of the Museum of Modern Art in New York and the Ars Electronic Center, Austria.She is an Associate Professor in the Media Study Department of the University at Buffalo (UB), where she teaches production and analysis courses focusing on game studies, interactive fiction, virutal reality, and responsive environments. She has an MFA from the Electronic Visualization Laboratory, University of Illinois at Chicago ; an MA from the Women's Studies/American Studies Department of UB; and a BA in English studies from the University of East Anglia, UK.
Todd Ayoung is a multi-media/medium visual artist originally from Trinidad and Tobago, West Indies, currently living in Ithaca, NY, at an intentional, co-housing, sustainable community called Ecovillage. He has exhibited in Europe, Latin America, and throughout the United States. Ayoung studied at School of Visual Arts, NYC, The Whitney Museum Independent Study Program, NYC and Yale University, CT. He is currently an Artist In Residence at New Roots School in Ithaca, NY and has been a professor at Pratt Institute, NYC, School of Visual Arts, NYC, New York University, NYC and The Royal Danish Academy of Fine Arts, CPH.
Chris Barr is an artist, designer, and media professional living and working in Miami, FL. His artwork is concerned with time, labor, and the structures of contemporary life.
jen barrows is an interdisciplinary artist utilizing photo, video performance and needlecraft to explore domesticity, place and identity. she examines contemporary America through the lens of popular culture, history, religion and tourism using rites, rituals and experiences where meaning is emphasized and considered by way of sound, celebration, prayer and record.
jen has an MFA from The School of the Museum of Fine Arts, Boston and Tufts University. she divides her time between Boston and her home state of Maine.
Zoe Beloff works with a wide range of media including film, projection performance, installation and drawing. She considers herself a medium, an interface between the living and the dead, the real and the imaginary. Each project aims to reanimate the past so that it might illuminate the future in new ways. She is currently exploring utopian ideas of social progress. Her most recent project is "The Days of the Commune" a multi-platform work based on Bertolt Brecht's play.
Her work has been featured in international exhibitions and screenings; venues include the Whitney Museum of American Art and the Museum of Modern Art in New York the M HKA Museum of Art in Antwerp and the Pompidou Center in Paris. She has been awarded fellowships from Guggenheim Foundation, The Foundation for Contemporary Arts. The Radcliffe Institute at Harvard and the New York Foundation for the Arts. She is a Professor at Queens College CUNY.
Clifford Borress (Born 1981, New York) recently finished a fellowship at the Jan van Eyck Academie for Post-Graduate Research in Art, Theory and Design, Maastricht, Netherlands. He received an MFA in Photography from the Milton Avery School of Art at Bard College, Annandale-on-Hudson, NY and a BFA in Visual Studies from University at Buffalo, Buffalo, NY. His recent works have appeared in exhibitions at the Bonnefanten Museum (Maastricht, NL), Grassi Museum (Leipzig, DE) De Appel Arts Center (Amsterdam, NL), Greene Naftali Gallery (New York, NY), Hessel Museum of Art, Goethe Institute, Queens Museum of Art and Socrates Sculpture Park among others. This text was co-authored with philosopher, Dr. Anne van Leeuwen. Dr. van Leeuwen has published numerous articles and lectures related to 20th Century French and German Philosophy.
Victor Burgin (born in Sheffield, England, 1941) is Millard Professor of Fine Art, Goldsmiths College, University of London, and Professor Emeritus of History of Consciousness, University of California, Santa Cruz. Burgin studied painting at the Royal College of Art in London (1962-65) and continued his studies at Yale University (M.F.A., 1967). Victor Burgin is one of the most distinguished teaching artists of our time, whose cross-disciplinary work bridges media, culture and art. Former Chair in Art and Architecture, The Cooper Union for the Advancement of Science and Art, New York, and Professor of Art History, UC Santa Cruz, Burgin served as visiting professor and artist-in-residence in many countries. In 2005 he received an Honorary Degree of Doctor of Sheffield Hallam University.
In 1986 Victor Burgin was nominated for the Turner Prize and his photographic and video work is represented in such public collections as Museum of Modern Art, New York; Corcoran Gallery, Washington DC; Museum of Contemporary Art, Los Angeles; Los Angeles County Museum of Art; The Walker Art Center, Minneapolis; The Tate Gallery, London; The Victoria and Albert Museum, London; and the Centre Georges Pompidou, Paris. Victor Burgin is the author of Thinking Photography, Between, The End of Art Theory: Criticism and Postmodernity, In/Different Spaces: Place and Memory in Visual Culture, Shadowed.
Victor Burgin came to prominence as an originator of conceptual art in the late 1960s when he was also part of now historical exhibitions such as “When Attitudes Became Form” (1969) and “Three Perspective on Photography” (1979). Trained as a painter, Victor Burgin explains his turn to photography to be a political act. Nevertheless, although not easily recognized, Victor Burgin claims that one of the major influences on him and his approach to the world comes from one of the important movements in painting, cubism. Often, his work has been categorized as expressing an unusual combination of conceptual rigor and poetic elegance.
Born, Brooklyn, NY; 1955-6, Museum of Modern Art NY: high school scholarship for painting; 1963, BFA cum laude, Pratt Institute, NY
Over Fifty solo shows since 1971 in Galleries such as: Tibor de Nagy, NY; Hal Bromm, NY; Julian Pretto, NY; Newark Museum, NJ; Eaton Fine Art, FL; Farideh Cadot, Paris; American Center, Paris; and Arnaud Lefebvre, Paris.Over One Hundred Sixty group shows since 1963 in Galleries such as Tibor de Nagy; Hal Bromm; Stable; Paula Cooper; Dwan; Hirschl & Adler; School of Visual Arts; Parker 470, Boston; Banco Galleria, Brescia Italy. Institutes and museums such as Vancouver Art Gallery; Museum of Modern Art, NY; Storm King Art Center; Newark Museum; Whitney Museum; Smithsonian Institute; Stadtische Kunsthalle, Dusseldorf, Germany; Hirshhorn Museum, DC; Institute of Contemporary Art, PA; Pratt Institute, NY; Boca Raton Museum, FL; Grey Art Gallery, NYU; FIAC, Paris; Wadsworth Athenaeum, CT; U. of Mass., Amherst; U.S. Mission to the United Nations; Fort Zachary Taylor State Park, Key West, FL; MoMA, PS1, LIC,NY; Anderson Gallery, U of Buffalo, NY; Whitworth Art Gallery, University of Manchester, England; "Architectures/Dessins/Utopies", CNAP France support, Muzeul National de Arta Contemporana, Bucharest; Brooklyn Museum; ArtPark, Lewiston, NY. Over One Hundred Seventy reviews, articles, catalogs and book inclusions such as Conceptual Art, Ursula Meyer, EP Dutton, 1972; "Rosemarie Castoro: Working Out", Lucy Lippard, Artforum, Summer, 1975; Hilton Kramer, NY Times, June 25, 1976; "Gesture as Object", Carter Ratcliff, Art in America, Jan/Feb 1979; "The Flashers on Third Avenue", Alan Mirabella, Daily News, May 7, 1984; CNAC Magazine, Sept., 1986, Paris; Flash Art International, March-April, 1990; "Ethereal Concrete Flasher", NY Times, June l3, 1996; Catherine Millet, Art Press, June, 1999; Out of the Box, Carter Ratcliff, 2000; 2004 "Writings-Écrits", Arnaud Lefebvre, publisher; Whitworth Art Gallery, University of Manchester, England. Public and Corporate collections including MoMA; Newark Museum; University Art Museum, Berkeley; Boca Raton Museum, FL; Goldman Sachs; Bank of America; Greenwich Library; J.P. Morgan Private Bank: Chase; Merrill Lynch; Lintas/World Wide; CNAP, Paris, France, U.S. General Services Administration and Craven's World, Anderson Gallery, U. of Buffalo, NY. Visiting teaching and lecturing including Boston Museum School of Art; Syracuse University; U of Colorado, Boulder; Pratt Institute, Brooklyn, NY; Hunter College, NY; U. of C., Berkeley; California State University, Fresno; The Art Institute, Chicago, Il; American University, Corciano, PG, Italy Grants including Guggenheim Fellowship, 1971; NYS Council, 1972, 1974; National Endowment for the Arts, 1975, 1985; Tiffany Foundation, 1977; Pollock-Krasner Foundation, 1989, 1998.
Julia Christensen is a multidisciplinary artist whose work explores systems of consumerism, community, landscape, and history. Her work has exhibited internationally, at venues such as the Walker Art Center in Minneapolis, Carnegie Museum of Fine Arts in Pittsburgh, and the Center for Contemporary Art in Thessaloniki, Greece. Her work has been funded by the New York State Council on the Arts, Turbulence, and she is a 2013 Creative Capital grantee in Emerging Fields. Julia is the author of Big Box Reuse, published by the MIT Press in 2008. Her writing has been published in magazines such as Orion, Print, and Slate. Her work has been featured in publications such as The New York Times, The Washington Post, Bookforum, The New York Review of Books, and Dwell Magazine. Ms. Christensen is also an active experimental musician. She is the founder and director of WAM: Women and Art Music Ensemble at the Oberlin Conservatory of Music. WAM is a group of women performers playing experimental music by living women composers. The group has commissioned works by and/or performed with composers such as Miya Masaoka, Pauline Oliveros, and Bevin Kelley. Ms. Christensen is Assistant Professor of Integrated Media in the Studio Art Department at Oberlin College. Before coming to Oberlin, she taught at Stanford University, Pratt Institute, California College of the Arts, and other colleges. She has been an invited speaker and critic at dozens of colleges and universities, including Georgia Tech, Yale University, Virginia Commonwealth University, and the San Francisco Art Institute.
Maya Ciarrocchi is a video artist whose work presents nuanced views of social, political and cultural issues that are often part of common discourse yet distant from our actual experience. Her work has been exhibited in New York at chashama, The Chocolate Factory, Microscope Gallery, New York Live Arts, Sasha Wolf Gallery, and at Artisphere (VA), Hammer Museum (CA), the Borderlines Film Festival (UK), and the Moving Pictures Festival (CAN). Additionally she has created video and projections for performance with choreographers and directors such as Ping Chong, Merce Cunningham, Bebe Miller, and Donna Uchizono among others. Ciarrocchi has completed residencies from the Kala Art Institute (CA) the Lower Manhattan Cultural Council (NY) and the Ucross Foundation (WY). She is the recipient of a Bessie (New York Dance & Theater Award) and a Jeff Award (Chicago Theater Awards) for video design in performance and has received project grants from the Jerome Foundation and the Puffin Foundation.
Lenka Clayton is a conceptual artist whose work considers, exaggerates and reorganizes the accepted rules of everyday life, extending the familiar into the realms of the poetic and absurd. Her process begins with a fleeting curiosity or question, which is carried out by methodical and often laborious means to its logical conclusion. The visible labor applied toward these ephemeral, sometimes impossible goals asks for a suspension of disbelief from both audience and artist - a sharing of an uncertain, optimistic mythology, not only as to the likelihood of achieving the task, but also to the value of the undertaking.
In previous projects she searched for and photographed the 613 people mentioned by name in a German newspaper; collected, hand-numbered and redistributed 7,000 stones; filmed one person of each age from 1-100; re-edited the 4,100 words of President Bush's televised "Axis of Evil" speech into alphabetical order and is in the middle of sending a hand-written letter to every household in the world. Until 2014 she is serving as the first ever "Artist in Residence in Motherhood" www.residencyinmotherhood.com.
Her work has been exhibited internationally at numerous sites including The Carnegie Museum of Art, Pittsburgh - FRAC, Paris - Kunsthalle St. Gallen, Switzerland - Anthology Film Archives, New York - Galerie für Landschaftskunst, Hamburg - Mannheim's main town square - CNEAI Paris - a Danish mediaeval tower - Tehran International Documentary Festival, Iran - Hot Docs, Canada - Channel 4 Television, U.K., and in mailboxes around the world. She holds an MA in Documentary Direction from the National Film & Television School, UK and a BA in Fine Art from Central St. Martins, London.
Roger Conover is a former poet and boxer. In the 1970s, he established the publishing program in art, architecture , and visual culture at The MIT Press, a program he still directs. He is currently writing a biography of the proto-dadaist and missing person Arthur Cravan [aka the husband of Mina Loy] last seen in Salina Cruz in 1918.
Eduardo Costa was born in Buenos Aires. He studied Literature and Art History at the University of Buenos Aires. Under the theoretical influence of Oscar Massota, he became interested in the connection between artistic practice, performance, cultural industry products and mass media as a new field for experimentation. In 1967 Costa travelled to New York and showed Fashion Fiction 1 to Vogue magazine, where it was published Feb 1968. In 1969, Costa wrote the manifesto Useful Art for Street Works, a series of works made in the Streets of New York by a group of poets and artists. With Hannah Weiner and John Perrault he developed that same year The Fashion Poetry Event, in which artists Claes Oldenburgh, Andy Warhol, James Rosenquist, Marisol Escobar, Alex Katz, Marjorie Strider, participated. He also edited with Perreault Tape Poems, a publication of a stereophonic tape with works by Scott Burton, Bernadette Mayer, Vito Acconci, Dan Graham, and the editors among others. In 1971, Costa returned to Argentina. In 1977, he participated of an Homage to Marcel Duchamp, where he presented his Duchamp/Costa Wheel. A year later he moved to Rio de Janeiro and became part of a group brought together by Helio Oiticica and frequented by Lygia Pape, Lygia Clark, Antonio Manuel, and others. In 1981 he returned to New York, where he stayed until 2003 and created a series of Volumetric Paintings which continue to this date. In the early 90s he started to write for Flash Art and Art in America.
Holly Crawford is an international artist, art historian and curator. Her art and poetry give new meanings and draws categories themselves into question through transformative juxtapositions. Many projects are ongoing, site specific and participatory. Selected projects: Offerings (Ars Electronica, (.net Participant, 1998); May I have your autograph? (unofficial, Basel Miami Art Fair 2007), Critical Conversations in a Limo, NY 2006 (VIP project, Armory), 2007 in Melbourne (MIAF) & San Francisco (The LAB & Sesnon Gallery UCSC). Orphans Offered Up (2010 NYC and Lakeside Art Gallery University of Essex); Open Adoption (Pool Art Fair 2005), Hyphens (Gallery 303 NY Photography Fair & Brown Bag Contemporary San Francisco Photograph Fair), Voice Over NYC to Wels (via Twitters) 2009, MKH, Wels, Austria, Found Punctuation (video) Tate Modern 2007; 13 Ways of Looking at a Blackbird, Riverside Art Museum and other spaces; The Road and Water, Water, Water, Downey Art Museum.
Curated projects: Sound Art Limo, NY and Melbourne 2007, Flatland Limo, NYC 2008, and Live in the Limo was co-curated with Sonya Hofer, NYC 2009.Publications: Attached to the Mouse, (2006) and catalogue essay, "Disney and Pop" in Once Upon a Time Walt Disney Studio; Artistic Bedfellows, editor, (2008); "Who Can Play, in Popular Culture Values in the Arts (2009), ed Ray B. Browne and Lawrence A. Kreiser, Jr., Button, Hooks & Eyes (2012), Voices Over Art (2012); Outsouced Critics (2012); Claude Closky Project, catalogue essay (2012); Entropy Slices (2012); Down the Rabbit Hole (2012); Last Vispo Anthology, edited by Crag Hill and Nico Vassilakis (2012). She is the Director and founder of AC Institute an experimental spaces for research and exhibition in contemporary art (www.artcurrents.org). She taught art and art issue in the UCLA Art Department and at SVA. She received her Ph.D. from the University of Essex in Art History and Theory, B.A and M.A. in Economics and M.S. in Behavioral Science from UCLA. From 2004-2006, she was a non-clinical Fellow at NYU Medical School Psychoanalytic Center. She was born in California and now lives in New York City. And it takes her years to document her own art work. Member AICA
Dorit Cypis has been exploring aesthetics and the artist for many years with a practice that has moved fluidly between studio practice, education and community building. Cypis' art, over a landscape of 30 years, has utilized performance, photography, text, immersive installation and social sculpture to explore the psycho-physical-social aspects of history, knowledge and experience.
Cypis has exhibited internationally including at the Whitney Museum of American Art, International Center of Photography, San Francisco Museum of Modern Art, Musee d'Art Contemporain/Montreal, Musee des Beaux Arts/Bruxelles, Walker Art Center, Hammer Museum, Orange County Museum of Art, Los Angeles County Museum of Art, Bank, Las Cienegas Projects, Tom Jancar and RedCat.
Cypis reshaped Foundation for Art Resources, 1979-1982, Los Angeles, to model partnership between artists and public sites, inspiring interaction and discourse. FAR continues today in the hands of a new group of arts professionals every few years. In 1992 Cypis founded Kulture Klub Collaborative, Minneapolis, developing partnerships between artists and homeless youth with support of social service, arts organizations and funders to offer innovative programs bridging survival and inspiration. KKC is thriving 20 years later. In 2007 Cypis founded Foreign Exchanges building capacity for engagement and transforming conflict across personal and cultural differences. FE bridges aesthetics and mediation to innovate models of generative relationship building.Cypis has taught on identity and social relations across the USA, Canada, Holland, France, Switzerland, Germany and Israel. She has been honoured with awards including Japan Foundation, Bush, McKnight, Jerome, Ordway and Durfee Foundations, City of Los Angeles Cultural Arts, Fellows of Contemporary Art, and the National Endowment for the Arts. She earned a Masters of Fine Art, Californian Institute of the Arts, and a Masters of Conflict Resolution, MDR, Pepperdine University.
Ghen Dennis is a film and video artist who uses both mediums in her non-fiction and essay-style work that copes with spaces after disasters or other significant political, environmental or cultural change. And she draws things on paper -– in this case songs and maps. She has lived in Anchorage, Minneapolis, and Brooklyn, and has worked at Squeaky Wheel in Buffalo, NY, and at the Film-Maker’s Cooperative and The Mix Festival, both in New York City. She recently completed her MFA at Hunter College and teaches film and media studies as a wandering adjunct. Her most recent works are centered-around post-Katrina New Orleans, including the collaboration with Poets for Living Waters that is featured in the ENACT exhibition.
Adam Frelin (b.1973, Grove City, PA) divided his undergraduate education between Indiana University of Pennsylvania, Indiana, PA; Hunter College, New York, NY; and the Art Center of Lorenzo De' Medici, Florence, Italy. In 2001 he received his MFA from the University of California, San Diego, CA. From 2001-2004 he was a Visiting Assistant Professor at Webster University in St. Louis, MO, and since 2006 has held the position of Associate Professor of Art at SUNY University at Albany in Albany, NY. He has shown at such venues as the Los Angeles County Museum of Art; the Getty Research Institute; the Aldrich Museum of Contemporary Art, and the Contemporary Art Museum St. Louis. Frelin has received awards from the National Endowment for the Arts, New York Foundation for the Arts, the Gateway Foundation, and College Art Association. He has attended numerous artist residencies such as Skowhegan School of Painting and Sculpture, Skowhegan, ME; MacDowell Colony, Peterborough, NH; Atlantic Center for the Arts, New Smyrna Beach, FL, and the Fine Arts Work Center, Provincetown, MA. Frelin has completed projects in Japan, Finland, Austria, Ukraine, and most recently India. He has had two books of photography published, and has had several public artworks commissioned. Frelin lives and works in Troy, NY.
Born in Jersey City, New Jersey 1955
Lived in San Diego, California, 1961 - 2004
Live in Caracas Venezuela, 2004 - Present
Only a messenger
Drawing on critical theory, sound studies, and emergent media, Lyn Goeringer’s work focuses on how we are impacted by power, and in particular, how power influences our relationship to space and place in the larger context of the Everyday.
She currently resides in Oberlin, Ohio, and is a Visiting Assistant Professor of Electronic Music and Digital Arts in the TIMARA program at the Oberlin Conservatory of Music. Her work has been presented and performed throughout the United States, Hong Kong, and Europe.
The Guerrilla Girls are a group of anonymous artists who use facts, humor and outrageous visuals to expose discrimination and corruption in art, film, politics and pop culture. They seek out the understory, the subtext, the overlooked, and the downright unfair — then expose it. They've done hundreds of stickers, posters, banners and billboards, and written five books, including The Guerrilla Girls' Bedside Companion to the History of Western Art and The Guerrilla Girls' Art Museum Activity Book. They do exhibitions criticizing venerable institutions like the Venice Biennale and the Museum of Modern Art right on their own walls. Their performances and workshops encourage thousands of people to invent their own crazy kind of activism, too. Just in the last few years, they have been in Australia, Brazil, Spain, Sweden, Finland, Norway, Switzerland, Poland, Ireland, France, and Canada, as well as all over the United States. Recent street projects include anti-film industry billboards in Hollywood just in time for the Oscars; campaigns for marriage equality and voting rights in Minneapolis; plus posters and interactive banners in Krakow, Istanbul, Mexico City, Montreal, and Shanghai. They could be anyone; they are everywhere.
The majority of my work is installation based. I was drawn to this form early in my career and have explored it ever since. Installation allows me to bring together the variety of materials I enjoy working with and provides me a forum within which I can address larger critical issues. I have always been influenced by theoretical writings on the subject of identity. Both feminist works, and more recently, the many cultural studies texts on the developing cyber culture have fed my creative impulses. Michel Foucault, Luce Irigaray, Elaine Scarey. Donna Haraway, and Roseanne Stone have been very influential authors for me, especially their writing on identity formation and on the nature of the individual. Body issues, and the development of the individual identity, have always been central to my work.
In the history of my work, there has been a gradual move from photographic based installation to sculptural and digital based works. The manipulated and repeated photographic imagery are now being interspersed with objects and digitally manipulated imagery. There has always been an obsessive element to my work. This has manifested itself through sheer quantity, physical labor, and, more recently, through the production of multiples. The materials have occasionally changed, but the obsessive nature of the work has remained constant.Margaret Hart received her BFA from the University of Iowa and her MFA form the University of Colorado, Boulder.
Denise Iris’s work uses intense observation and unexpected connections to defamiliarize the familiar, transforming it into whimsical reveries that blur the line between inner and outer, real and imagined worlds. Her films, ranging from 1 min. cinematic haikus for mobile screens to 1 hr. theatrical works, have been shown at MoMA, on PBS, and at many venues internationally. They have won the Critics’ Prize at the Dakino International Film Festival, a Silver Spire at the San Francisco International Film Festival, a Director’s Choice Award at the Black Maria Film and Video Festival and the Runner Up Prize at A.F.I.’s Visions of US Competition; they are in Harvard University’s permanent collection and are referenced in the seminal film studies textbook The Film Experience, by Timothy Corrigan and Patricia White.
Denise attended the Whitney Independent Study Program; she holds a BA in Semiotics from Brown University and an MFA in Film from Columbia University. She has received grants and fellowships from the Sloan Foundation, the Jerome Foundation, NY Foundation for the Arts (3 times), NY State Council on the Arts, Artslink, Art Matters, and the Experimental TV Center, as well as residencies at the MacDowell Colony, Blue Mountain Center, the Wexner Center, and Brush Creek. She has taught at Columbia University and Swarthmore College. Denise grew up in Romania and lives in NY.
Garry Neill Kennedy is a senior Canadian artist who lives in Halifax, Nova Scotia. In addition to an active career as an artist he has been teaching studio art at the Nova Scotia College of Art and Design (NSCAD University) for over forty years where he also served as president for 23 years (1967 - 1990). He was visiting professor at California Institute of the Arts (Cal Arts) and Ecole des Beaux Arts, Paris (ensba). His most recent solo museum exhibitions were held at the National Gallery of Canada, The Art Gallery of Nova Scotia, Portikus (#86) (Frankfurt am Main) and the Owens Art Gallery, Sackville, New Brunswick. In 2003 he was a recipient of the Order of Canada and in 2004, the Governor General's Award in the Visual Arts. He received the Doctorate of Fine Arts, honoris causa, from NSCAD University in May 2011.
He has recently completed a book for MIT Press, The Last Art College: Nova Scotia College of Art and Design, 1968 to 1978 that covers his first ten of 23 years as President of NSCAD. Further, The National Gallery of Canada has recently (2012) completed a catalogue raisonné of his printed matter.
Jen Liu was born in Smithtown, New York, and currently lives and works in Brooklyn. In her individual and collaborative practices she overlaps formal structures and histories, using fictional constructs to consolidate seemingly disparate aesthetics and issues. Paintings on paper and video, at the center of her practice, are often joined by music, performance, installation, and sculpture. Liu received a BA from Oberlin College and an MFA from California Institute of the Arts. She has exhibited internationally, with past exhibitions at Kunsthalle Wien; Upstream Gallery, Amsterdam; On Stellar Rays, New York; Aspen Art Museum, Colorado; Kunsthaus Zurich; Ceri Hand Gallery, London; Royal Academy, London; Henry Art Gallery, Seattle; Czarna Gallery, Warsaw; and De Hallen Museum, Netherlands.
Clarinda Mac Low started out working in dance in the late 1980s and now works in performance, installation and "social practice," creating participatory events of all types. Her solo, collaborative and interactive works have appeared at P.S. 122, the Kitchen, X-Initiative, and many other places and spaces around New York City and elsewhere in the world. Recent collaborations include "The Year of Dance", an anthropology of the dance world; TRYST, performance interventions into everyday life; and "Cyborg Nation," public conversation on the technological body and the nature of intimacy. She has participated in many different residencies, most recently as a guest at Yaddo (2012) and Mount Tremper Arts (2012). She has received a BAX Award in 2004, a Foundation for Contemporary Arts grant, 2007 and a 2010 Franklin Furnace Fund for Performance Art grant. Mac Low is Executive Director of Culture Push, a cross-disciplinary organization encouraging hands-on participation and strong hybrid ideas. She is currently attending the Digital and Interdisciplinary Arts Practice MFA program at the City College of New York. In January 2013 she started reading Lucy Lippard's "Dematerialization of the art object…" and is delighted to be in dialogue with this work.
Graham McDougal was born in Edinburgh, Scotland. He studied at Cumbria College of Art and Design in Carlisle, England, and at Duncan of Jordanstone College of Art and Design in Dundee, Scotland, before earning an MFA at Southern Illinois University. He has received grants from the Scottish International Education Trust, Cornell Council for the Arts, New York Foundation for the Arts and Oberlin College.
His work has been included in exhibitions nationally and internationally at José Bienvenu Gallery and Printed Matter Inc. in New York, I-Space in Chicago, the Print Center, Philadelphia and Bunkier Sztuki Contemporary Art in Krakow, Poland and Gallery St. Vitus in London. McDougal was a co-founder of The Working Relationship (08-09), an art collective that organized exhibitions, events and public art projects in Ithaca, NY.
Theresa Loong and Laura Nova created the Feed Me a Story project which has existed since the spring of 2011. We were artists in residence on Ellis Island, the LaGuardia Senior Center, and Governors Island. We also performed and collected stories at the Brooklyn Museum, the Eldridge Street Museum, and The Museum of Chinese in Americas. We collected stories from our mobile production cart at Cook Out NYC, the Egg Roll and Egg Cream Festival and the Hester Street Fair as part of the Locating the Sacred Festival. We were selected as participants in two POV Hackathons where we created a plan for collecting, curating and distributing stories and recipes on the web.
Feed Me a Story has also garnered distinction from the National Endowment for the Arts, the Lower Manhattan Cultural Council, and the Asian American Arts Alliance. It was recognized by Feet in 2 Worlds, a project of the Center for New York City Affairs at The New School, as well as Seniors Partnering with Artists Citywide (SPARC), a collaboration among the Department of Cultural Affairs (DCA), the Department for the Aging (DFTA) and the City's five local arts councils.
Alexandra Opie received a BA from Southern Oregon University in 1997 and an MFA from the School of the Museum of Fine Arts, Boston in 2001. Her artwork has been shown in museum and experimental spaces in Boston, Chicago, Portland, Seattle, San Francisco and New York. She teaches video art and photography at Willamette University. In form, her artwork has always bridged multiple media, but her creative explorations often arise out of a central interest in the tension between the old and the new, the competing desires to look back at the past and face forward into the future. In photography, single channel video, and installation video, Opie's work revolves around related themes of nostalgia, history, and place in the context of contemporary life. It often pairs traditional artmaking approaches—landscape, still life, portraiture—with new technology or uses old technologies to re-frame contemporary settings.
Arzu Ozkal is a Turkish-born media artist and designer. Her practice engages with different interpretations of the body and its relationship to the environment. She raises questions about dogmas, traditions, laws, and patriarchal value systems through videos, public interventions, performances and design work. Ozkal received her MFA from the Department of Visual Studies at University at Buffalo (SUNY) and BFA in Graphic Design from Bilkent University. Her work has been exhibited broadly in exhibitions and festivals nationally and internationally. She serves as Assistant Professor at San Diego State University School of Art and Design.
.-_-. is a trans-territorial and trans-cultural distributed peer identity. everybody is free to use this identity, attribute this identity to their works and appropriate the works of this identity. .-_-. are not attributed as “he” or “she” or “they”, but just as .-_-. , in any language. .-_-. is trans-lingual and also there is no single way to pronounce .-_-. in any language. .-_-. speak any language, but not any of them properly. .-_-. cannot be searched on the internet and can only be associated through the works, however .-_-. is not associated with any single individual. everybody can appropriate the identity and host the works of all .-_-. . all works of .-_-. are works of free culture.
İz Öztat (1981) lives and works in Istanbul. She completed her BA degree in visual arts with honors at Oberlin College, Ohio and her MA degree in visual arts and communication at Sabancı University, İstanbul. She is currently a candidate for PhD in Art Practice at Yıldız Technical University, İstanbul. She lectured at Kadir Has University between 2009 – 2011. In 2008, she co-founded Cura Bodrum residency in Muğla as an investigation into self-organization and non-institutional support mechanisms. Since 2011, she is the director of Cda-Projects Grant for Artistic Research and Production. Her selected exhibitions include 'Here Together Now', Matadero Madrid (2013), 'I am not dealing with triangle, square and circle', Maçka Art Gallery (Istanbul, 2012), 'Underconstruction', Apartment Project (Berlin, 2012), 'Second Exhibition', ARTER (Istanbul, 2010), 'When Ideas Become Crime', DEPO (Istanbul, 2010), 'Public Idea', 5533 (Istanbul, 2010).
Lorelei Pepi is an internationally award-winning independent animation filmmaker. Her work has received international recognition and awards through international festivals, fellowships and grants. Her practice evolves from utilizing time-based strategies to unfold ideas and concepts, while thematic issues include sexual identity and political power.
She is currently working on her own revisionist history project that references the 1930's Hollywood animation short, and is teaching animation and a new path called Open Media, both in the Film-Animation-Video Dept at Rhode Island School of Design in Providence, RI.
Lives & works in Portland, Oregon.
Julie Perini creates videos, films, installations, events, and multimedia projects. Her interests include other people, everyday life, humor, identity, social movements, collaboration, and all sorts of art that deals with time and documentation. Her work often explores the areas between fact and fiction, staged and improvised, political and personal. Her work has exhibited at a variety of national and international venues including Anthology Film Archives in New York City, Echo Park Film Center in Los Angeles, Cornell Cinema in Ithaca, NY, Artists Television Access in San Francisco, the Northwest Film Festival in Portland, Oregon, and Experiments in Cinema Film Festival in Albuquerque, NM. Her writing on art, media, politics, and culture has been published by AK Press, Afterimage, and Incite: The Journal of Experimental Media. She participates in several collaborative initiatives to promote independent media, community cultural production, and progressive social change. She holds an MFA from the University at Buffalo’s Department of Media Study and a BS from Cornell University. Perini is an Assistant Professor of Art at Portland State University.
Adrian Piper is a first-generation Conceptual artist and analytic philosopher who taught philosophy at Georgetown, Harvard, Michigan, Stanford, and UCSD, and presently runs the APRA Foundation Berlin. Piper's sixth traveling retrospective, Adrian Piper since 1965, closed at the Museum of Contemporary Art of Barcelona in 2004. Her collected writings about art and culture were published in the two-volume Out of Order, Out of Sight (MIT Press, 1996). The Second Edition of her two-volume study in Kantian metaethics, Rationality and the Structure of the Self, is available online. Her artwork has most recently won the 2012 College Art Association Artist Distinguished Body of Work Award for having "since the late 1960s … profoundly influenced the language and form of Conceptual Art."
Since the late '90s I have been making abstract works out of everyday gestures and objects that resonate with me, transforming and monumentalizing things that are, for most people, commonplace. My intention is to provide the audience with a new experience of the everyday and a point of entry into abstract and conceptual art. Additionally, a strong component of my work has been the borrowing, referencing, and re-working of various artistic traditions as both a way to participate in these traditions as well as to question my relationship to them. Integral to this approach is my interest in contaminating high art with objects and elements from everyday life and in undermining divisions between high and low culture.
I am also a member of Shake-n-Make, a queer art collective that creates work that references the 1970s while elevating craft and subject matter beyond kitsch to speak to our current moment in history. I live in Hamilton, Ontario, teach in a Multimedia program at McMaster University, and am represented by MKG 127 in Toronto.
My work operates between performance and forms of visual writing identified with assembling methodologies, conceptual interconnectedness and a fluxing observation between the social, the personal and everything else with a longing for the posibility of uncategorizing certainty. There is no "canvas" but vacuum. Inside the "frame" and lending my body to the pulse of language, I sometimes include the work of other artists on projects expanded into the relational and curatorial as a sort of documentary, or biographycal and experiencial essayistic practice. I work in Series. Familys of ideas that breed, branch, stem, rave, meet and reintegrate at times in varied ways, subjects of moving contexts and "chance".
Since 1986 I lived and worked in and between California and the Northwest of Argentina where I was born, currently anchoring in Buenos Aires where I founded and direct Peras de Olmo – Ars Continua (2011), an independent nonprofit contemporary art space. I have an MFA from UCSD. In Argentina I obtained a Licenciatura en Artes Plásticas from UNT/National University of Tucumán and a Professorship in Classical Dance, I worked as soloist dancer, independent choreographer and dance teacher (1971-1985). I was member of the collectives Grupo Crónica (Argentina 1984-1985), Border Arts Workshop / Taller de Arte Fronterizo and Las Comadres (San Diego-Tijuana 1990-93). I was also member of the Arts Advisory Committee at Centro Cultural de la Raza in San Diego California (1989-98). I have participated in numerous collective exhibits since 1983, and produced over 50 individual shows and major projects in museums, cultural centers and galleries of Argentina, Mexico, USA, Japan, Spain, Pakistan, Thailand, Brazil, Ecuador.
Lia Rousset is based in Chicago, IL. She grew up on the beaches of southern California, received her BA from the University of Massachusetts, Boston, and MFA from the School of the Art Institute of Chicago. Lia's professional vocations have progressed from Olympian and coach, performing highly technical and teamwork related skills; to craftswoman, building aesthetic and functional objects such as flutes and boats; to artist, creating place-andexperience- based environments.
Given her work with the inherent potential within people, material, and place, Lia sees art-making as a connective tool. Her work involves generating spaces where people come together as creative agents— and asks us to imagine. Whether in formal venues like the Museum of Contemporary Art of Chicago where she has shown collaborative works Tapping the Audience and re-pur-pose, or in informal venues like street corners and abandoned lots, Lia works to s l o w u s d o w n and to draw attention to the experience of the body and spirit through material and community.Lia is currently working on a series of agriculture-based installations. In an effort to derive deeper meaning, insight and engagement with soil, food and community, she has graduated Farm Beginnings, obtained a certificate in permaculture, and has been teaching
Paul Lloyd Sargent is a multidisciplinary artist triangulating his body between Buffalo, Brooklyn, and Wellesley Island, NY. He is currently enrolled in the PhD program in Media Study at the University at Buffalo where his practice-based research examines externalities of the supply and disposal chains, focused primarily on urban waterways connected by the St. Lawrence Seaway. He has presented his research at the Society for Social Studies of Science, ISEA, the 2011 Festival of Ideas for the New City in New York, and in the 2012 book Making the Geologic Now: Responses to Material Conditions of Contemporary Life, edited by smudge studios and published by Punctum Books of Brooklyn. He has exhibited his work in an array of media at Exit Art, Smack Mellon, the Conflux festival, and Proteus Gowanus in New York City, Para/Site Art Space and the Microwave Media Festival in Hong Kong; Gallery M in Berlin; the Impakt Festival in Utrecht; the Invideo festival in Milan; the Hyde Park Art Center, Mess Hall, the Onion City Film Festival, the Chicago Underground Film Festival, and Gallery 400 at the University of Illinois at Chicago; and Hallwalls, Squeaky Wheel, and Big Orbit in Buffalo, NY.
Paul Schick is Artistic Director of Real Time Opera, based in Oberlin, OH. He has written libretti for numerous new works, including "A House In Bali" by Evan Ziporyn, "Feynman" by Jack Vees, and "Sunburst", "Amarama" and "Cactus Co." by Dan Plonsey; forthcoming projects include libretti for "Nova" by Lewis Nielson (a satire, Cleveland Public Theatre), and "Reverb: A Chronotope" by Vees (a serial piece for the web, reimagining an ancient Hawaiian epic in the California surf-rock era). He has served on the directing staffs of the Wiener Staatsoper, the Teatro alla Scala, the Bayerische Staatsoper, and the Salzburger Festspiele, and has directed for both stage and television. As a producer for RTO, he recently launched a series of pop-up operas in collaboration with Cleveland artist Don Harvey, short works designed and filmed for web presentation. The first, "Double Figure," is on a text by Paul Celan in Schick's translation and setting. Works by Randall Woolf, David Mahler and an ASL opera by Larry Polansky are in production.
Schick is a proponent of exploring the rich and many intersections between the arts, humanities and technology. He has taught Musicology at the Oberlin College Conservatory of Music, and enters the 13/14 academic year as Visiting Assistant Professor in the Department of German Language and Literatures at Oberlin. His scores and other writings are published by Frog Peak Music (a composers' collective). Ongoing research interests address questions surrounding the body during instances of musical multimedia from Greek Antiquity to the present.
BIO: Kalan Sherrard is a "you" poet from Devonshire, Vermont, where xe lives on a punk farm with twenty-three crazy dogs. Kalan is also an active modular limb of the gROUPSELF Kollective. [I have not included any Typos in this document.]
Joao Simoes (*1971, Luanda) Studied art and architecture in Lisboa, Milano, Paris and Barcelona and since 2004 lives between Lisboa and New York. Since his first exhibition, in 1996 - at the Musée d'Art Moderne de la Ville de Paris - invited by David Medalla shows his work regularly. In 2012 represent, among other architects, Portugal at La Biennale di Venezia Arch. Upcoming shows include The Emily Harvey Foundation, New York; Tinguely Museum, Basel and Palais de Tokyo, Paris. Presently Simoes is devising a new free art school in Lisbon, Portugal and continues to design his long-term project - a house in Malibu for the fluxus artist Jeff Perkins.
Melissa Smedley is an artist, writer and educator currently based in the Salinas/ Monterey region of central California. Whether designing threedimensional objects for a public setting, making performative contraptions, blogging, or teaching college, her goal is to engage in the performance of everyday life: to create and transmit excellent art, however it may manifest.
Melissa Smedley was raised in Denver, Colorado. She comes from a pioneer family who required her to climb mountains and swim around lakes and ride her bicycle over mountains. This thorough physical training fused with her intellectual development as an artist.
She received her undergraduate education at Brown University, worked for a hunger relief agency in Boston and then continued with her MFA at The University of California, San Diego. In between, there was a summer at the Skowhegan School of Painting and Sculpture.She is presently a "visiting scholar" for the Visual and Public Art Department at California State University at Monterey Bay. She has also been a lecturer at UCSD and at Southwestern College. From 1989-2006, Smedley lived in the San Diego region. During that time, she was founding partner and art director of Green Field Paper Company, a hand made paper business. Her sculptures, installations and videos were exhibited in several museums and galleries in southern California, as well as at the Insite Festival in Tijuana and San Diego.
Sam Smiley is a media artist and educator who works within the intersection of video art, video music, and the sciences. Her work has shown at media festivals around the world: Deutscher Videokunstpries: The German Award for Video Art, Karlsruhe, Germany, The National Poetry Association's Cine(e) Poetry Festival, San Francisco, CA, Spain, and Locarno Film and Video Festival, Locarno, Switzerland, 6dofpuebla07 muestra de cine y video experimental y alternativo in Puebla, Mexico, and she has presented work at the Society for Literature, Science, and the Arts, 4S, EASST and various social science and cultural studies conferences. She produces a video compilation and journal called INtransit about art and technoscience.
Zach Steinman and Ben Tear are artists from New York City. They have been working together as the artist team Steinman & Tear since 2010.
Kirsten Stoltmann lives and works in Ojai, California. She has exhibited work In Abstract America, New Painting and Sculpture, Saatchi Gallery, London, U.K., Bitch is The New Black, Honor Fraser Gallery, Los Angeles, CA., Think Pink, Gaalak Gallery, Palm Beach, FL., Cut-Ups, Fotografiska Collage, Center for Photography, Stockholm SE., Out of Focus, Sala Pelaires, Mallorca, Spain. Currently, she is screening her new video in the group show Psychosexual, curated by Scott Hunter at the Andrew Rafacz Gallery, Chicago, IL. Her most recent solo shows, Rising From The Ashes of Your Mind, was at the Brennan and Griffin Gallery New York and I AM SO HAPPY at Emma Gray HQ in Los Angeles. She is also included in the book, Concrete Comedy: An Alternative History of Twentieth-Century Comedy by David Robbins for the video, "Self-Reflecting."
Athena Tacha was born in Greece in 1936 and received an M.A. in sculpture from the Academy of Fine Arts, Athens; an M.A. in art history from Oberlin College, Ohio; and a Ph.D. in aesthetics from the Sorbonne University, Paris. She was Curator of Modern Art at the Allen Memorial Art Museum at Oberlin College, OH, (1963-73), and then professor of sculpture 1973 – 2000. She moved to Washington, DC in 1999, and became affiliated with the University of Maryland.
Her numerous exhibitions include six one-artist shows in New York and a retrospective of over 100 works at the High Museum of Art in Atlanta in 1989. In Washington, she has had solo shows at the Marsha Mateyka Gallery, 2004, 2008 and 2013, and at the AU Museum (Katzen Art Center), 2006. In 2010, a large retrospective traveled in Greece, at the State Museum of Contemporary Art, Thessaloniki; the Municipal Art Gallery, Larissa; and the National Academy of Fine Arts, Athens.
She is represented in many museums and has won over 50 competitions for public art, 40 of which have been executed to-date throughout the U.S., including a number this past decade, e.g., for the Muhammad Ali Plaza, Louisville, KY, for Strathmore Music Center, Bethesda, MD, and in front of Bloomingdale's at Wisconsin Place, Friendship Heights, Washington, DC /MD.Many articles and several books were published on her art, including Dancing in the Landscape: the Sculpture of Athena Tacha, DC, 2000, and the bilingual catalog of her Greece show, Athena Tacha: From Public to Private, 2010.
Torke’s artwork functions as an exploration/interrogation of a specific process, site or framed event, with the underlining assumption that these sites are loaded with material, cultural, psychological residue worth investigating. She has always worked from an interdisciplinary perspective with the belief that art is a process of critical investigation, risk-taking and a discursive synthesis of ideas and materials.
She received a BFA from the Minneapolis College of Art and Design, a MFA from the University of California, San Diego and was a fellow in the Whitney Independent Study Program. Her work has been exhibited in venues like AC Direct, New York, Hallwalls Contemporary Art Center, Buffalo, and de Balie, Amsterdam. She has taught at School of the Art Institute in Chicago, Oberlin College and is currently Associate Professor at UMass Boston.
Nanette Yannuzzi was born in El Paso, Texas, she received her MFA from The University of California, San Diego, during which time she was also a fellow at the Whitney Museum ISP. She received her BFA in Painting from The Cooper Union School of Art and Science. She has exhibited nationally and internationally.
Yannuzzi’s work is comprised of actions, deliberations, collaborations, and writings, that respond or are in dialog with the personal, socio-political machinations of the everyday. Yannuzzi has collaborated with many artists and writers who share similar concerns and interests in art, the environment, labor, and value. She is based in Oberlin, Ohio where she teaches the practice of Art at Oberlin College & Conservatory.
Mark Tribe is an artist whose work explores the intersection of media technology and politics. His photographs, installations, videos, and performances are exhibited widely, including recent solo projects at Momenta Art in New York, the San Diego Museum of Art, G-MK in Zagreb, and Los Angeles Contemporary Exhibitions. Tribe is the author of two books,The Port Huron Project: Reenactments of New Left Protest Speeches (Charta, 2010) and New Media Art (Taschen, 2006), and numerous articles. He teaches courses on radical media, the art of curating, open-source culture, digital art, and techniques of surveillance at Brown University, where he is an Assistant Professor of Modern Culture and Media Studies. He also teaches in the Art Practice MFA program at School of Visual Arts in New York City. In 1996, Tribe founded Rhizome, an organization that supports the creation, presentation, preservation, and critique of emerging artistic practices that engage technology. He lives in New York City.
N. Eden Ünlüata is an interdisciplinary artist, an interdisciplinary designer and an interdisciplinary educator. He holds a BID from Middle East Technical University (Turkey), a MFA degree in Graphic Design from Bilkent University (Turkey) and a MA from Department of Interdisciplinary Arts from Columbia College Chicago.
His works investigate the formation of cultural identity and how a society draws conclusions from shared experiences. His intent is to understand the mechanics of cultural identity, highlight problems that evolve from its formation, and stimulate a debate on how to better manage these problems. When the identity of a culture and how it operates is explored in-depth, solutions may reveal themselves.
He currently works as adjunct faculty at Columbia College Chicago, Interactive arts and Media Department, teaching artist at Center Community Arts Partnership (CCAP,) and has exhibited in many places such as Chicago, IL, Istanbul (Turkey,) Paris (France,) Berlin (Germany,) and Oberlin, OH. He currently lives in Chicago, IL.
Eliza Shaw Valk was born in northern Manhattan and spent half her childhood in a sprawling apartment complex inhabited by artists, actors, and an elderly couple who banged on the walls when she played records too loud. After staging many living room dramas and running relays across the courtyard, she moved to Kansas and adopted a tiny black puppy. While Eliza amused herself by sticking out her tongue and trying to stop it from pulsating, her dog didn't share this concern and never stopped twitching, sighing, or growing. Novels, birdwatching, ballet, and shouting over the din of her bff's Wrangler occupied her teenage years. A stint in Portland, Oregon, introduced Eliza to modern dance, bicycles, luminous lichen, Irigaray, Jarry, and bridges. She graduated from Oberlin in art, participating in a slew of solo and collaborative narrative events involving installations, theatre, sculpture, and costume.
Eliza holds master's degrees in landscape architecture and city planning from the University of Pennsylvania. She is the founding co-editor of the Landscape Urbanism website that launched in September 2011 and won a 2012 honor award in communication from the American Society of Landscape Architects. Her dance and performance training instilled the belief that participatory and revelatory experience can transform our relationships with the landscapes in which we live and with each other. Bridging the scales between macro and micro—landscape and ecology, socio-economic conditions, and the cultural legacies of a place; as well as the visceral details of experience, life, and art—continues to motivate and inform her creative and professional endeavors. Eliza is a freelance landscape designer in New Haven, Connecticut and continues to prowl the beaches, woods, and prairie looking for birds.
Georgia Wall (b. 1986, New York, NY) lives and works in New York, creating video and performance work through a multi-disciplinary practice that considers the act of viewing, and the generative space created through distance and concealment. She received her BA from Oberlin College in 2008 and her MFA from The School of the Art Institute of Chicago in 2011. Wall has shown work nationally in New York, Chicago, San Francisco, and abroad in Canada, Italy and Turkey.
Born in 1962, in Tokyo, Japan, Rachel Perry Welty holds a BA from Connecticut College and a Diploma and Fifth Year Certificate from the Museum of Fine Arts Boston. Recently Welty has participated in group shows at Kunstmuseum Bonn (Germany), The Drawing Center (New York) and at the Institute of Contemporary Art, (Boston, Massachusetts). Her work will be featured in the upcoming "Encounters" at Beatriz Esguerra Gallery (Bogota, Columbia). Solo shows include "Lost in my Life" at Yancey Richardson Gallery (New York), "Same Difference" at Barbara Krakow Gallery (Boston) and her first solo museum show "Rachel Perry Welty 24/7" at DeCordova Sculpture Park + Museum which then traveled to the Zimmerli Museum in 2012. Welty was honored with the Cathrine Boettcher Fellowship in her second residency at the MacDowell Colony in 2011 and is a two-time winner of the Massachusetts Cultural Council Award for excellence in drawing and sculpture. Welty's work is held in numerous museum and private collections around the world, and has been reviewed in many national and online publications among them Art in America, The New Yorker, The New York Times, The Chicago Tribune, Huffington Post, Art on Paper, Harvard Business Review and Sculpture Magazine. Her four-page pictorial essay was published in December 2011 Vogue magazine.
Martha Wilson (b. 1947) is a pioneering feminist artist and gallery director, who over the past four decades created innovative photographic and video works that explore her female subjectivity through role-playing, costume transformations, and “invasions” of other people’s personae. She began making these videos and photo/text works in the early 1970s while in Halifax in Nova Scotia, and further developed her performative and video-based practice after moving in 1974 to New York City, embarking on a long career that would see her gain attention across the U.S. for her provocative appearances and works. In 1976 she also founded and continues to direct Franklin Furnace, an artist-run space that champions the exploration, promotion and preservation of artists’ books, installation art, video, online and performance art, further challenging institutional norms, the roles artists play within society, and expectations about what constitutes acceptable art mediums.
Wilson, a native of Newtown, Pennsylvania, who has lived in New York since 1974, is esteemed for both her solo artistic production and her maverick efforts to champion creative forms that are “vulnerable due to institutional neglect, their ephemeral nature, or politically unpopular content.” Described by New York Times critic Holland Cotter as one of “the half-dozen most important people for art in downtown Manhattan in the 1970s,” Wilson remains what curator Peter Dykhuis calls a “creative presence as an arts administrator and cultural operative."
Written into and out of art history according to the theories and convictions of the time, Wilson first gained notoriety thanks to the attention of curator Lucy R. Lippard, who placed Wilson's early efforts within the context of conceptual art and the work of women artists. Commenting on Wilson's first projects, art historian Jane Wark wrote in 2001:
In her conceptually based performance, video and photo-text works, Wilson masqueraded as a man in drag, catalogued various body parts, manipulated her appearance with makeup and explored the effects of "camera presence" in self- representation. Although this work was made in isolation from any feminist community, it has been seen to contribute significantly to what would become feminism's most enduring preoccupations: the investigation of identity and embodied subjectivity.
Wilson's early work is now considered prescient. In addition to being regarded by many as prefiguring some of the ideas proposed in the 1980s by philosopher Judith Butler about gender performativity, many of her photo-text pieces point to territory later mined by Cindy Sherman, among many other contemporary artists.
As a performance artist she founded and collaborated with DISBAND, the all- girl punk conceptual band of women artists who can’t play any instruments, and impersonated political figures such as Alexander M. Haig, Jr., Nancy Reagan, Barbara Bush and Tipper Gore. In 2008 she had her first solo exhibition in New York at Mitchell Algus Gallery, “Martha Wilson: Photo/Text Works, 1971- 74.” In 2009, “Martha Wilson: Staging the Self,” an exhibition of Ms. Wilson’s early photo/text work and one project from each of Franklin Furnace’s first 30 years, began international travel under the auspices of ICI (Independent Curators International); and in 2011, ICI published the Martha Wilson Sourcebook: 40 Years of Reconsidering Performance, Feminism, Alternative Spaces. Martha Wilson joined P.P.O.W Gallery, New York, and mounted a solo exhibition, “I have become my own worst fear,” in September, 2011.
Andrew Witkin, in addition to being an active artist, he serves as Gallery Director at the Barbara Krakow Gallery in Boston, and splits his time between Boston, Massachusetts and Sanbornton, New Hampshire. Witkin's work has been featured in a number of museum exhibitions including the 2008 Foster Prize exhibition at the Institute of Contemporary Art, Boston, of which he was the Prize recipient and What Matters at the Worcester Art Museum, but also as far afield as Beirut, Damascus, and Kyoto. He just had a large solo exhibition at the DeCordova Museum and has an upcoming museum-wide project at the Currier Museum of Art in Manchester, NH. Andrew Witkin is represented by the James Harris Gallery, Seattle.
David Young is the author of eleven books of poetry, most recently Black Lab (2006) and Field of Light and Shadow (2010). He is also known as a translator (Rilke, Celan, Montale, Du Fu, Holub) and editor (FIELD: Contemporary Poetry and Poetics). His "Project for Freight Trains" is from his 1973 volume, Boxcars. "My wife worked at Allen Art Museum, with Athena Tacha, so I was very much aware of the ongoing discussions of conceptual art that were taking place then" he says. "Since I was writing poems about freight trains, developing a conceptual art project for them felt like an apt and natural response at the time. At readings I would call for a random series of numbers, e.g. off a dollar bill, so that we could generate a train-poem on the spot."