Cara Levine grew up in Los Angeles CA. She currently lives and works in Portland, OR. Levine is an artist exploring the intersections of the physical, metaphysical, traumatic and illusionary through sculpture, video, photography, and socially engaged practice. She has shown work in various places including the Wattis Center for Contemporary Art in San Francisco, The Orange County Center for Contemporary Art, and The Center for Contemporary Art, Tel Aviv. She has been a recent artist in residence at The Arctic Circle Residency, SIM Residency in Iceland, Anderson Ranch Art Center, Kala Institute for Art, Vermont Studio Center, and Signal Fire Arts. She is currently a Visiting Assistant Professor of Sculpture at Lewis and Clark College and has taught as a lecturer in at UC Berkeley and California College of the Arts. She taught ceramic arts at Creative Growth Art Center in Oakland CA from 2013-2015, and was a Sculpture Teaching Fellow at California College of the Arts (CCA) from 2013-2015. She received her MFA in sculpture from CCA in 2012. She has worked extensively with the disability arts community over the last 7 years with organizations including NIAD (Richmond CA), Creative Growth (Oakland CA), UCPLA (Los Angeles), Project Grow and Public Annex (Portland OR). Cara practices yoga and meditation, contemplative and authentic movement. She believes in the human in the body. She lives with her dog and constant collaborator, Pigeon.
Cynthia E. Smith serves as Cooper Hewitt, Smithsonian Design Museum’s Curator of Socially Responsible Design. Trained as an industrial designer; for more than a decade she led multidisciplinary design and planning projects for cultural institutions; and after earning a graduate degree from Harvard’s Kennedy School of Government joined Cooper Hewitt where she integrates her work experience with her advocacy on human rights and social justice issues. She co-authored The Politics of Genocide: U.S. Rhetoric vs. Inaction in Darfur for the Kennedy School Review; curated By the People: Designing a Better America (2016); curated Design with the Other 90%: CITIES at the United Nations (2011); co-curated the Design Triennial: Why Design Now? (2010); curated the groundbreaking Design for the Other 90% exhibition (2007);co-organized the Social Impact Design Summit and white paper with the NEA; serves on international design juries; and lectures widely on socially responsible design.
Eliza Myrie born in New York in 1981 and currently lives and works in Chicago, IL. Myrie was a fellow at the MacDowell Colony in 2016, Artist-In-Residence at The University of Chicago in 2012, and participant at The Skowhegan School in 2010. Myrie received her MFA from Northwestern University and her BA from Williams College. Myrie has taught at the School of the Art Institute of Chicago and Williams College and convenes The Black Artists Retreat. Exhibitions include Vox Populi, Philadelphia (2016); Shane Campbell, Chicago (2016); Roots and Culture, Chicago (2014); Museum of Contemporary Art Chicago, Chicago (2012); New Museum of Contemporary Art, New York (2011); Hyde Park Arts Center, Chicago (2010); Davidson Contemporary, New York (2010). Myrie experiments with multiple forms of popular media, focusing on class, ethnicity, politics, and race. She manipulates images through sculpture, printmaking, and drawing to create new narratives.
Elizabeth “Oscar” Maynard has a self-designed B.A. in Visual Art, Psychology, and Gender Studies from Antioch College. They have an MFA from San Francisco Art Institute in Printmaking. Their work has been shown at Somarts, Mission Cultural Center, and in a number of the National Queer Arts Festival shows. They were a Queer Cultural Center Grantee for a 2014 show called Breaking Code, looking at mental health through a queer lens. They are currently a fellow at Yerba Buena Center for the Arts. Their cohort is grappling with and responding to the question “Why Citizenship?” They are an Artist in Residence and educator at Kala Art Institute. In 2016 they were a resident at A Studio in the Woods in New Orleans, through Tulane University. They were awarded a residency at Santa Fe Art Institute in 2017. In their spare time they nerd out about gender, feed wild animals in local parks, carve gourd luminaries, and make new things from the Southern Living magazine recipes section.
Gil Ngolé Memphis based artist, born in the Republic of the Congo-Brazzaville during the postcolonial era, a social and political environment that is an important source of inspiration. He got a BFA in painting and installation at Rueil-Malmaison’s College of art in France, and he is pursuing a MFA in sculpture and sound installation at the Memphis College of Art, where he is developing a nomadic practice combining sound and sculpture. His works was on display at The Musée du Mac-Val (France, 2008), Crosstown Arts Memphis (2014 and 2015), the Memorial Art Gallery (2014), and the Season Moved Tops Gallery (2015), and since November 3rd 2016 at the MidnightWalks Sumter Art Gallery in South Caroina. Currently collaborating with Oxford University Department of law, on the Border Criminologies project since April 27th 2017. His awards includes The Honenberg Scholarship (2015), The RiverArts Scholarship (2015), The Merit Scholarship (2014), and others private scholarship.
Huang Yi Ying / Annpo
I am Huang Yi Ying with a pen name: Annpo which combine my English name Ann with nickname PO. In Chinese, the name or words means “active” or “tough,” so that present me well. My writing focus on non-fiction, which bases on my major course :anthropology and journalism. I had worked in international development and as a journalist, before concentrating on my writing full time. These experience leads me to build my writing career in humanitarian and global view, and in cross-culture. As journalist, I focus on human right , environment and culture issues, and I wrote a lot of reports about China. But in my own fieldwork and writing, I prefer to study Asian culture and society , such as the identity and struggle of Okinawa people, the stories and difficulties of the migrant workers from Southeast Asia. I enjoy finding out the life stories of Asia people, thinking about the meaning of borderline and boundary. Anthropological methods shape the very way I sees the world, every day life is fieldwork. I also takes a deep interest in cultural topics and learning Asia’s many different languages. I am hungry to know the world, that’s why I travel, and talk to locals. What judges the success of a trip by how many times I am invited to eat with strangers and new friends in their houses. I previously published Unseen Beijing, TRISTES FRONTIÈRES , Not just an observer and won the award of the China times best book in 2015 , and was nominated The best five essays of Taiwan Literature award in 2016.
Israel Francisco Haros Lopez is both a visual artist and performance artist. He was born and raised in East Los Angeles, graduated from Roosevelt High School with a 1.59 G.P.A. He is a graduate of Laney and Vista Community College with an A.A. in English Literature, survived UC Berkeley with a degree in English and Xikan@ Studies, and received an M.F.A. from California College of the Arts. His work is an attempt to search for personal truths and personal histories inside of American cosmology. His work, both written and painted, attempts to mark and remark historical points in the Americas and the world, and the undeniable presence of a Native America that will continue to flourish for generations to come. His visual motifs are drawn from a pre-columbian America that had far far less physical, mental or spiritual borders. He also draws inspiration from the contemporary styles of inner city youth who use public space by any means necessary for their artistic expression, and from his peers who constantly show him innovative ways to approach cultural and political dilemmas. Neither the written work or visual work can be without sound without vibration, as all things on this earth carry vibration. As such his written and oral work is constantly shifting as it is performed or recording. The same poem, story, monologue or abstract diatribe shifts within the space it is performed taking into consideration audience and the theatrics and vibration of the moment.
Jay Critchley is a conceptual, multi-media artist, writer and activist who is based in Provincetown, has traversed the globe, and shown his work across the US and in Argentina, Japan, England, Spain, France, Holland, Germany and Columbia. He founded the controversial patriotic Old Glory Condom Corporation and was recently featured in Sculpture magazine.Jay’s movie, Toilet Treatments, won an HBO Award at Provincetown Film Festival in 2002, where his showcase was featured in 2015 in conjunction with his survey show at the Provincetown Art Association & Museum, Jay Critchley, Incorporated. His one act experimental musical, Planet Snowvio, about the meeting of Free Speech Movement leader Mario Savio and NSA whistleblower Edward Snowden was presented at UC Berkeley Art Museum and Pacific Film Archive in 2014. Jay was honored in 2012 by the Massachusetts State Legislature as an artist and director of the Provincetown Community Compact (The Compact), producer of the Swim for Life & Paddler Flotilla, which has raised $4M+ for AIDS, women’s health and the community. The Swim for Life’s Prayer Ribbons project, which has collected 2,800 personally inscribed colored ribbons, recently memorialized the 49 victims of the Orlando nightclub shootings. The Compact was invited by the City of Orlando to share the special strand of Orlando ribbons with the families of the victims. The Prayer Ribbons were then displayed at Orlando City Hall for public viewing. Also, on World AIDS Day, December 1, 2016, the Prayer Ribbons were featured in a ceremony on Capitol Hill in Washington, DC.
Jessica Lawless was an adjunct professor for nearly a decade, including at Santa Fe Community College. She left teaching to organize adjunct faculty unions in the Bay Area. A writer and artist, Jessica speaks, and facilitates workshops about emotional and material realities of living in economic precarity. She co- curated and produced No Justice No Service: Bay Area Art, Education, and Justice Festival, is a regular contributor to make/shift magazine: feminisms in motion, was recently interviewed on Contrivers Review, and invited to present at the Houston Art League and The Howard Zinn Book Fair. Her work has been shown at festivals and spaces including the REDCAT in Los Angeles, PS 122 in New York, The Chicago Anarchist Film Festival, and The Queer Country Road Show in Madrid, NM.
Peggy Diggs is an artist who, for four decades, has made public work that addresses contemporary social issues such as domestic violence, contemporary life, and race. With a BA from George Washington University and an MFA from Cranbrook Academy of Art, Diggs was trained as a printmaker but in order to reach a broader public, she has utilized forms such as junk mail, flags, milk cartons, and billboards. She often collaborates with specific communities to produce site-responsive, issue-specific projects that are relevant to a unique set of conditions. Through these public works, she has printed on money and then put it into circulation, given collapsible furniture to formerly homeless seniors, and distributed napkins printed with questions about race in college eating facilities.Diggs’ work has been exhibited and collected throughout the United States, featured at institutions such as Mass MoCa, Project Row Houses, and the Museum of Modern Art, among others. She has received broad support for her work, most notably from Creative Capital, National Endowment for the Arts, Lower Manhattan Cultural Council, and Creative Time. Diggs has taught at Brown University, Rhode Island School of Design, The School of the Art Institute of Chicago, Williams College and Berkshire County Community College. In 2013 she moved to Galisteo, NM, and plans to stay and work there forever.
Reveca Torres was injured and paralyzed in a car accident at the age of 13. After completing degrees in Fashion Design and Theatre Arts, Reveca worked as a costume designer and simultaneously worked with various organizations doing disability work in the realms of health & fitness, transitioning, recreation, education and peer support. She started a nonprofit called BACKBONES in 2009 after realizing that years of interaction and friendship with others living with spinal injuries (SCI) had made a significant impact in her self-image, confidence and drive to succeed. Reveca wanted to ensure that others, especially those newly injured, had access to resources, information, and the same type of peer support she has had. She is the director of ReelAbilities Film Festival Chicago and has curated touring photography and art exhibitions that showcase the work of people with disabilities and bring awareness to disability rights. Reveca uses painting, illustration, photography, film, movement and other media as a form of expression and a tool for advocacy and social justice.
Robert García is a civil rights advocate. He engages, educates, and empowers communities on equal justice, human dignity, and equal access to public resources. He is Founding Director and Counsel of The City Project, a non-profit advocacy team in Los Angeles, California. The City Project works with diverse allies on (1) healthy green parks, recreation areas, and cultural monuments through planning by and for the community; (2) climate justice and conservation; (3) quality education including physical education; (4) health equity in all policies; and (5) economic vitality, jobs, and displacement. Robert received the President’s Award from the American Public Health Association. Hispanic Business Magazine recognized him as one of the 100 most influential Latinos in the U.S., and PODER Magazine one of the Top 100 Latino Green Leaders. Green 2.0 celebrates his work as an environmental leader of color. Robert graduated from Stanford and Stanford Law School, and served on the Stanford Law Review Board of Editors. He is an Assistant Professor at Charles Drew University of Medicine and Science, preparing health professionals to address health equity.
Moving alternately between Colorado and Illinois as a child, Tamara (Inupiat/Kawerak, Swede) jokes she was raised on Interstate 80. As an adult she has lived in Alaska, Australia, Wisconsin and the Chicago area. Tamara also spent several years in New Mexico in a community of other artists where she exhibited her work locally, including a two-woman installation entitled MY LIFE AS A DRESS; inspired by animistic tribal peoples who seemingly dress to reflect their beliefs. After more than a decade in NW Arkansas caring for her elderly mother, Tamara is back in New Mexico with a studio in Santa Fe. Tamara’s regionalist drawings are part of permanent collections at the college and public library in Nome, Alaska and University of Alaska, Juneau. While she appreciates modern technique, Tamara cannot ignore the tactile appeal of material from nature. The combination of the two in some of her work perhaps reflects the two worlds she inhabits: that formed by a suburban upbringing and that influenced by her Inupiat heritage. This dichotomy reveals itself in an important body of mixed media pieces entitled THE ENCULTURATED WHITE MAN: If Early America Had Embraced the Nobel Savage Rather Than Attempt to Destroy Them; a project just completed in 2015 and some 15 years in the making. Tamara has also found basketry to be a medium in which she can integrate natural materials such as gourds, pine needles, fibers, spruce pitch and beeswax into forms that explore and express her Native heritage and archetypal and personal myths.
Veronica Jackson makes connections across the various disciplines of visual culture—art, architecture, and design—as compiled in her multi-decade portfolio in the areas of exhibition, interpretive, and communication design. She honed her ability to deliver information in accessible methods and to broad audiences by working on culturally significant and historically prominent projects. Examples range from the African Voices exhibit for the Smithsonian Institution’s National Museum of Natural History to Discovering the Civil War at the National Archives and Records Administration. Jackson brings numerous capabilities to each enterprise. At a minimum, these encompass communicating to diverse audiences and creating inviting and engaging exhibits that promote discovery. As the Lead Designer on several large and small-scale endeavors, she collaborates with clients, industry professionals, and the public to ensure elegant and approachable experiences from concept to implementation. Jackson is also a dedicated proponent for accessibility in the visual arts. She holds firm that once exposed to it, art is a transformative experience. Whatever role artistic exploration plays for an individual or a society, Jackson is committed to ensuring its existence and availability to anyone who wants to produce it, gaze at it, debate it, or simply live with it. With the intent of integrating her personal ontology with her professional practice, Jackson pursued and recently received a Master’s degree in Visual and Critical Studies from California College of the Arts, San Francisco. Her graduate school and ongoing work examines identity, agency, and empowerment as performed by women of color in visual culture.