Adele Balderston is a place-based storyteller from Kailua, Hawai‘i. Working at the intersection of geography, art and activism, Adele promotes awareness of socio-spatial inequality through mapping and interaction with urban environments. She holds an MA in Geography from Hunter College (CUNY) and a BA in New Media Communication Studies from New York University. Her involvement with storytelling through mapping, public art and urban exploration began at Soundwalk where she produced audio walking tours of neighborhoods, institutions and museums all over the world. In 2010 she served as assistant director of Conflux, New York City’s annual festival for contemporary psychogeography. She is cofounder of the Brooklyn-based artist collective, B&AB Projects, which from 2010-2012 produced pop-up exhibitions in unconventional spaces including garages, rooftops and inside a refrigerator. In 2014 she created 88 Block Walks, an ongoing series of walking tours in Kaka’ako, a Honolulu neighborhood currently undergoing large-scale redevelopment. Inspired by the atlases of Rebecca Solnit and the Detroit Geographical Expeditions of William Bunge and Gwendolyn Warren, 88 Block Walks aims to remove the lens through which landowners and developers present Kaka’ako’s narrative to the public and invite the community to create their own. In 2016 Adele received a grant from the Hawai’i Council for the Humanities to produce the fifth walking tour in the 88 Block Walks series—a multimedia living history experience featuring actors and projections entitled “The Living Archive”—which will debut in fall 2017.
Aditya Rawal is a writer and actor from Mumbai, India. After completing a six-month course in devised theatre at the London International School of Performing Arts, he went on to graduate from the Dramatic Writing MFA Program at NYU, Tisch. His play, The Queen, was produced in New York City by the Theater for the New City soon after, in May, 2016. He has since adapted Sunday: A Memoir for the screen for Tina Louise (Gilligan’s Island) and is currently developing screenplays for directors in India and the United States. His short films and plays have been screened and performed at multiple festivals around the world. Aditya co-authored two story books on child rights, which are part of the Australia Quality Education Program. Additionally, he has conducted workshops on playwriting in London and New York City.
Originally from Truchas, New Mexico, Alicia Inez Guzmán currently lives and works in Santa Fe. Her writing focuses on indigenous and mestizo art practices and histories of land use in the Southwest. She is a 2017 recipient of an Andy Warhol Foundation Creative Capital Arts Writers Grant for her website Tierra Firme Projects.
Ann Lewis is a multidisciplinary activist artist using painting, installation, and participatory performance to explore themes related to American identity, power structures, and justice. In early 2014 the artist garnered national media attention when she installed an oversized police tape banner that read ‘GENTRIFICATION IN PROGRESS’ at the former graffiti mecca 5 Pointz in Queens, New York. Her work was exhibited in the White House in the fall of 2015 during the Obama Administration. In early 2017 her work was acquired by the New York Historical Society Museum. Since receiving her bachelor’s degree in Fine Art from the University of Wisconsin- Madison, her art has been reviewed in Blouin Art Info, Hyperallergic, Brooklyn Street Art, Huffington Post, Le Monde, and The New York Times. She has exhibited in solo and group shows throughout the US and abroad including shows at Petzel Gallery in New York, Seyhoun Gallery in Tehran, Iran, and Truth to Power during the 2016 Democratic National Convention in Philadelphia. Lewis has lectured at PACE University as well as CAA, and is a teaching artist with the Young New Yorkers. She has recently been selected for the Equal Justice Residency at the Santa Fe Art Institute during the 2017-18 season. Through community organizing, participatory performance events, murals, uncommissioned street work, gallery installations, and curatorial projects she continues her dialog of mindful and social evolution.
Ato Ribeiro (b. 1989) was born in Philadelphia, Pennsylvania, but spent the formative years of his life in Accra, Ghana. He received his B.A. from Morehouse College in Atlanta, Georgia, and has worked in a variety of media, including sculpture, installation art, drawing and printmaking. His work has been exhibited at venues such as the Nubuke Foundation (Accra, Ghana), ABSA Gallery (Johannesburg, South Africa), the Mercedes-Benz Financial Services Headquarters (Farmington Hills, Michigan), The Ink Shop (Ithaca, New York), Agnes Scott College Dalton Gallery (Atlanta, Georgia), and most recently at the Cranbrook Art Museum (Bloomfield Hills, Michigan), The Carr Center (Detroit, Michigan), Detroit Artist Market Gallery (Detroit, Michigan), the N’Namdi Center for Contemporary Art (Detroit, Michigan), the Next Step Studios and Gallery (Ferndale, Michigan) and Anastasia Tinari Projects (Chicago, Illinois). Ribeiro recently completed his M.F.A. in Print Media from Cranbrook Academy of Art and is currently a 2017 Summer Fellow at the Ox-Bow School of Art in Saugatuck, Michigan.
Bruce McKaig has been a visual artist for over thirty years, living in North and South America, Europe, Siberia, and India. Starting with photography, his art now also explores sculpture, audio/visual projections, and performance pieces. He has been awarded private and public grants from the city of Paris and Washington DC, and has participated in over forty-five solo and two hundred group exhibitions since 1980. His photographs are in museum collections in the USA, France, and Guatemala. Bruce has also worked in art education since 1987. In addition to teaching in accredited academic universities, he has taught in museums and community centers, working with the general public, senior citizens, autistic teenagers, and incarcerated psychiatric patients. He has over ten years experience in teaching the arts to children ages 5 through 12, and has offered classes in French and Spanish as well as in English. He regularly lectures and writes on photography, and has curated group and solo exhibitions of other artists’ work since 1988. Bruce was a 2016 Fellow with the Institute for Policy Studies, working on funding policies and practices in the arts as part of their New Economy Maryland (NEM) program. He received the 2016 Crusade for Art Engagement Grant to build a barter network between artists and tradespeople in Baltimore. Since 2000, he has devoted his time to community based public art projects and advocating for ethical funding policies in the arts and humanities. He currently teaches in the Art & Art History Department at Georgetown University, writes for the Baltimore blog What Weekly, and lives at Artists’ Housing Inc. in East Baltimore.
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.
Celeste De Luna is a painter/printmaker from the Rio Grande Valley, Texas. She received her MFA from the University of Texas Pan American in 2008. She has shown artwork in group exhibitions since 2007 in the various cities in the Rio Grande Valley of Texas, San Antonio, Houston, Austin, San Diego, San Francisco, Council Bluffs, and Chicago. “A true daughter of the borderlands, her art celebrates the quotidian and the exceptional on the border,” writes Ines Hernandez-Avila. De Luna continues to explore the geo-political aspects of post-911 militarization of her environment such as border walls, drones, checkpoints, and bridges. Much of De Luna’s work is centered on the border experiences of mixed documentation status communities. Her iconography frequently shows razor wire, fences, bridges, and “anchor babies”. De Luna started as a painter but now primarily works as a self-taught printmaker whose work includes large scale woodcuts. Influenced by political printmakers of the Chicago school such as Carlos Cortez and Mexican master Jose Guadalupe Posada, her violent subject matter is social commentary with a feminine sensibility. Currently, De Luna has also begun printing on fabric and experimenting with sewing and installation. Recently, De Luna’s work was included in the book Entre Guadalupe Y Malinche by Ines Hernandez-Avila and Norma E. Cantu and published by UT Press. She works part time at the University of Texas Rio Grande Valley and lives with her family in Harlingen, Texas.
Chelsea Weathers is an art historian and writer living in Santa Fe, New Mexico. Her art writing has been published in Artforum, ArtLies, Criticism, Hyperallergic, THE Magazine, and elsewhere. Originally from Birmingham, Alabama, she holds a PhD in art history from the University of Texas at Austin. Since 2013, she has been a co-director and editor of Pastelegram (pastelegram.org), where she collaborates with contemporary artists and writers. Before moving to Santa Fe, Chelsea worked as an archivist at the Harry Ransom Center in Austin, TX. Recently, her writing has focused on issues of visual art and place, including subjects such as sustainability in the US Sun Belt and debates around Confederate monuments in the American South. For SFAI, Chelsea will focus on a memoir of her experiences with her mother, a refugee from Vietnam.
Christina Patiño Houle is an award winning artist and performer. Her work has appeared at SOMA (D.F. Mexico), Movement Research at Judson Church (NY, NY), the Hemispheric Institute of Performance and Politics (NY, NY) , 222Lodge Extern (Dordrecht, NL), The Jewish Museum (NY, NY) and Second City (Chicago, IL). Her work sits at the intersection of protest, futurism and community development processes. As an artist she works to determine how collaborative imagining processes can be used as a tool to advance equity in the social sphere. Houle is a 2012 recipient of the Andy Warhol Foundation Idea Fund Grant, holds an MFA from Columbia University in Visual Arts and an EdM from the Harvard Graduate School of Education. While at Harvard Houle co-founded the School of Education’s Anti-Racism Coalition and worked with students to gather data on how to decolonize and dismantle institutionally systemic racism on campus. She has worked as a producer, artist and educator at Creative Time, the Center for Urban Pedagogy, The College of New Jersey and most recently at buildingcommunityWORKSHOP.
Confluence Collective creates Random Acts of Art at the intersection of community transformation, climate, and civil rights. Founded in late 2016 in Santa Fe, New Mexico, Confluence convenes art practitioners and curators to co-conceptualize socially-engaged public space projects that extend into the community in urgent ways. We embrace visual, sound, multimedia, choral, film, body, literary, spoken word, theatrical arts to wake-up and shake-up our still somnolent world regarding environmental justice and civil rights; New Mexico’s energy sacrifice zones; the climate crisis; the sixth great extinction; and planet earth careening into oblivion with current fossil fuel and large-scale agriculture practices. We are gathering as alchemists to creatively transform in a positive manner, the texture of civic dialog. Nonviolence in image, word, and movement guides the creative drama of our investigatory approach to art, as we strive to grow the environmental movement. Confluence is guided by the principle that no people should sacrifice their health or wellbeing for the sake of under-regulated, inappropriately located, or climate-ignorant industrial development. We envision a 100% environmentally safe and habitable world for generations to come, and the consciousness required for a nonviolent/nontoxic world. The time for fossil fuels is over. The time for renewable energy is now. Confluence Collective core members participating in the Equal Justice residency include: Ahní Rocheleau (founder), Mayumi Nishida, Alicia Marie Da Silva Rencountre, Bobbe Besold, and Cate Cabot, all involved in visual and performance art. Confluence is the flowing together of separated energies, a merging force reconnecting humanity with biotic communities.
Cyndie Bellen-Berthézène’s diverse artistic gifts and academic accomplishments – in modern dance, opera, languages, the visual arts and as a published children’s book author and creative director – support and energize the innovative arts-based pedagogy of Time In. After studies with some of the world’s leading dance teachers, Cyndie became director of Windham College’s dance department at just 18. She danced professionally in New York and Paris, and then turned to opera, studying with Alberta Masiello, Rita Patane, Adele Addison, Eugene Kohn, among others. Combining opera theory with doctoral work as a Fellow in Slavics at Penn and Columbia. Cyndie received awards and fellowships in both disciplines. She was an Opera Fellow at Aspen, taught Russian at the University of Pennsylvania, studied extensively in the former Soviet Union, writing and presenting musico-literary scholarship at conferences in the US and the USSR. In the field of early childhood education, Cyndie is a proven innovator. She developed a unique, interdisciplinary pedagogy suited to the multi-modal learning style of very young children. Cyndie’s extraordinary programs – Opera ‘N Art, Arty Readers: An Operatic/Literary Journey through Manga and CosiTV – are an engaging marriage of high and low art forms for children from Pre_K-Grade 5. For her groundbreaking work in arts and education, Cyndie was the recipient of the very prestigious 2007 Maxine Greene Award. Huffington Post’s 2015 Woman of the Year in Art, Cyndie is the creator of studio-art based classroom materials for over two dozen operas, ballets and symphonic works. She was the Creative Director/author for Scholastic’s Kidsketch. Through her unflagging commitment to equality, opportunity and access for at-risk public school children, Cyndie has changed the lives and learning of over 2000 of New York City’s youngest and most at-risk public school children from Harlem and the South Bronx and brought a decade of meaningful work to up-and-coming artists in New York.
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.
Darice Polo was born in New York City and studied drawing and painting at SUNY, Albany (MFA) and the School of Visual Arts in Manhattan (BFA). Polo is a 2016 recipient of a Creative Workforce Fellowship awarded by the Community Partnership for Arts and Culture through Cuyahoga Arts and Culture and a 2015 recipient of a Puffin Foundation Grant; both in support of her independent film, A Wise Latina Woman. Polo was one of nine artists responding to Trump’s first 100 days as president in the highly anticipated exhibition The First 100+ Days at Spaces Gallery in Cleveland. Two of her large-scale drawings (each almost eight feet long) included the text as represented in their titles “Immigration Mass Deportation” and “Resist Agent Orange.” Steven Litt of the Cleveland Plain Dealer wrote in his review, “The real marvel of the drawings is that Polo has drawn each razor sharp letter with infinitesimally subtle shading that lends power, intensity and presence to the words.” In 2016 her work was included in the exhibition Latino Art of the Midwest: Into the 21st Century at the University of Dayton. She has had solo exhibitions at West Virginia University in Morgantown; William Busta Gallery, Raw & Co Gallery and Some Time Gallery in Cleveland; and has exhibited throughout the U.S.—New York, San Francisco, Sacramento, Chicago, Philadelphia, Baltimore, San Antonio, and at the University of Puerto Rico in Mayagüez. Polo is an Associate Professor of drawing and painting at Kent State University’s School of Art.
Deborah Koenker is a Vancouver based artist with interests in writing and curating. Her years as Associate Professor at Emily Carr University of Art and Design have been an integral component of her art practice. A founding member of Malaspina Print Society, she served as first Director of Malaspina Print Workshop, a cooperative artist studio now in its 5th decade. Koenker utilizes print, drawing, photography and textile in mixed media installations investigating current interests in borders, globalization, migration/immigration and social justice. Her work, represented in more than twenty-five public collections in the US and Canada, has been exhibited in Canada, Mexico, Spain and the USA. In 2016 Koenker completed a solo exhibition at the Kelowna Art Gallery on migrant Mexican farmworkers, and a residency/exhibition for the Klondike Institute of Art and Culture, a collaborative project with Karen Kazmer aka Volcano Collective.
Deirdre is a Ph.D. candidate in the Department of Sociology at Carleton University in Ottawa, Canada. Her research interests include: systems and practices of standardization and categorization by government institutions and their consequences; engaging in a ‘reflexive’ sociology that interrogates the analytic categories employed in the social world; and correctional and justice systems with an emphasis on the historical formation of offender management and supervision practices. Her current research explicitly addresses issues central to social equity, by looking to not only sociology, but to history, anthropology, law, policy, art, advocacy, and activism, among other disciplines. Through her work she seeks to cultivate meaningful and integrative thought across disciplines and national borders. This approach highlights the interconnectedness of her work to the work of others and to the broader social world exhibiting barriers to social equity. She views her involvement in the engaging locale provided by the Santa Fe Art Institute’s Sponsored Equal Justice Residency as an extraordinary opportunity to work in new mediums and to expand her work across creative fields of inquiry directed towards interrogating structural issues of social inequity.
Eileen Shaughnessy and Catherine Newth
Eileen and Cathy met at a life changing Work that Reconnects Intensive retreat in Guelph, Ontario, in May 2016. Discovering a shared deep care for the natural world, resistance to oppression in all its forms, and passion for living social justice through a community oriented approach to music making, they quickly formed a productive working relationship. Since that day, they have facilitated, recorded, and toured together, bringing a message of resilience and hope to audiences across Canada. They draw upon expertise in individual and collective healing from trauma, engaging, inspiring and mobilizing humans through music, and oppression aware facilitation to create a collaboration that is multifaceted and unique.
Ekene Ijeoma is an interdisciplinary artist and designer exploring the intersections of social issues, data studies and life experiences through websites, apps, installations, and performances. Commissioners of his work include: Annenberg Space for Photography (Los Angeles), Neuberger Museum of Art (Purchase, NY), Storefront for Art and Architecture (New York), Pratt Manhattan Gallery (New York), Panorama Festival (New York), Google Creative Lab (New York) and American Institute of Graphic Arts. His work has been exhibited at galleries and museums including Design Museum (London), Istanbul Design Biennial, Annenberg Space for Photography, Neuberger Museum of Art, and Storefront for Art and Architecture. Ekene was awarded fellowships and residencies from Kennedy Center (Citizen Artist, 2017/2018), New Museum (Ideas City, 2016), New York Foundation for the Arts (Architecture/Environmental Structures/Design, 2016/2017), California College of the Arts (Vibrant Cities, 2017), Santa Fe Art Institute (Equal Justice, 2017/2018), New Lab/Simons Foundation (Science Sandbox, 2017), Urban Design Forum (Forefront, 2017), and Fabrica (2014). He was featured on the cover of GDUSA’s People to Watch “who embody the spirit of the creative community”, named Adweek’s Creative 100 “visual artist whose imagination and intellect will inspire you” and also GOOD’s GOOD 100 “tackling pressing global issues.” His work has also been featured in MoMA, Huffington Post, The Atlantic, Le Monde, Corriere della Sera, Internazionale, Vice, Fusion, WIRED, Fast Company, Dezeen, Designboom, Domus, Hyperallergic and Artsy. He’s appeared on TV and radio shows including Fox 4 News, W Radio and Canadian Broadcasting Company (CBC) Radio. Ekene has a BS in Information Technology from Rochester Institute of Technology and an MA in Interaction Design from Domus Academy. He was a lecturer at The New School, guest lecturer at Columbia, New York University, University of San Francisco, The New School and School of Visual Arts (SVA), guest critic at Yale and SVA, and visiting artist at Virginia Commonwealth University and School for Poetic Computation. He was recently appointed as a Mitchell Visiting Professor in Architecture, Interior Architecture and Designed Objects (AIADO) at the School of Art Institute of Chicago (SAIC). A first generation Nigerian-American, he was born in Fort Worth, Texas and lives and works in New York City.
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.
Eva Rocha is a multimedia artist from Brazil. After working as an actress and performer in her country, she studied Cultural Studies and Art at the undergraduate level in the United States and in the Andes of Peru. In 2016 she earned her Masters of Fine Arts Degree from VCU School the Arts, with a focus in Kinetic Imaging. After a strong solo show in an abandoned warehouse, in which she used multimedia installations to comment on media dehumanization, object-oriented art and its relationship to current social issues such as human trafficking, she was honored with the Theresa Pollack Award for Excellence in the Arts in the category of Emerging Artist. In 2015 she was also selected as a “Woman in the Arts” by Style Magazine, an annual award recognizing women who have made an outstanding social impact through the arts; and her project Object-Orientalis, displayed at the Virginia Museum of Fine Arts, won the People’s Choice Award in an event attended by twenty-one thousand people. Her work has been included in special exhibitions at the following museums: Art Museum of the Americas in 2013, Museu Brasileiro de Escultura in 2013, the MOCA-VA in 2015, Virginia Museum of Fine Arts 2015, the King William Museum in 2016, the Valentine and the Taubman Museum in 2017. Eva Rocha’s installation environments confront viewers with traumatic aspects of history and human experience that have been, directly or indirectly, denied through the repression of personal or collective archives.
Farrah-Marie Miranda is an Abu-Dhabi born, Toronto-based artist of Goan and Mangalorean descent. She holds a Master of Environmental Studies from York University (2017), and has studied under performance scholar and feminist theatre director, Honor Ford-Smith. Miranda has exhibited at Artcite Inc. (Windsor), the Surrey Art Gallery (British Columbia), Astérides (Marseille) and Whippersnapper Gallery (Toronto). Her writing appears in several art, academic and activist publications. Miranda is the recipient of the Elementary Federation of Ontario Social Activism Award, and the Funding Engaging Actions with Sustainable Tactics Award (2013). Her latest project, Speaking Fruit, is one of 200 exceptional projects funded by the Canada Council for the Arts New Chapter Program. It has also received generous support from the Social Sciences and Humanities Research Council and the Ontario Arts Council.
Evelyn Encalada Grez
Evelyn Encalada Grez is a community organiser and researcher who was born in Chile and raised in Canada. Her dissertation focuses on migrant work across rural Ontario and Rural Mexico. Evelyn has worked in El Salvador, Nicaragua, Guatemala and Honduras with the Central American Network in Solidarity with Women Maquila Workers and with the Workers Support Centre in Puebla, Mexico. Evelyn is a founding member of Justice for Migrant Farm Workers, a political collective that has fought for the rights of migrant farm workers in Canada since 2001. In the summer of 2009 she created an innovative online course-Migration and Displacement- based on her academic and transnational organizing work for the Centre for Intercultural Communication at the University of British Columbia.
Feminist Art Museum
The Feminist Art Museum (FAM) secures space for women (women-identified and gender non-binary people) in contemporary art. Conceived of by Toronto based curators Xenia Benivolski and Su-Ying Lee, the project is currently in the research and development phase. We are prioritizing feminist spatial practices that take responsibility to the land into account and will be foundational to our approach in working with organizations and artists to produce exhibitions, discursive events and land-based art. Rather than occupying a building, constituent art organizations across Canada come together as FAM. This allows us to avoid gentrification, and deeply consider the implications of taking up space on colonized land. FAM has an objective to produce land-art projects. The Feminist Art Museum is committed to contemporary art and its discourses with the historic, current and developing social situation of women (woman-identified and gender non-binary people) at the fore. Feminists undertake the governance, operations, curation and directorship. It is an intersectional, inclusionary organization. As such, within museum, gallery and art organizational structures we will foreground the voices and contributions of individuals with group identities that have been historically excluded, underrepresented, underserved or who have experienced inequitable access to privileges or benefits available to others. Xenia Benivolski is the founder of several collective art spaces, an international artist-in-residency program and sits on the curatorial committee for the 2017 Beijing Biennale. Su-Ying Lee is an independent curator. She has worked in a curatorial capacity in Canadian institutions and curated exhibitions across Canada and in Hong Kong.
Fran is an artist, disability activist, curator and designer with expertise in universal design and the creation of accessible exhibitions and spaces. She graduated from Reading University with a BA (Hons) in Typography & Graphic Communication, and worked as a freelance designer and educator in London, before moving to California in 2008, where she completed her masters in Museum Studies from San Francisco State University. Fran was born into a farming family and her ties to agriculture continue to inform her artistic practice within the landscape of the USA. In 2015 she curated two exhibitions and three evening events for the disability community in the bay area. DIS/PLAY at SOMArts in San Francisco featured work by more than 35 artists with and without disabilities and ‘Patient No More’ in Berkeley and San Francisco featured 40 oral histories and a historic civil rights sit-in and victory from 1977. Fran has taught and mentored graduate level students and created workshops for a range of underserved communities. She was a 2016/17 fellow at the Yerba Buena Center for the Arts in San Francisco, grappling with the question, ‘What does equity look like?’ and delivered a presentation called ‘Taking The Common Ground’ at the UCLA conference ‘Disability As Spectacle’ in April 2017. As an independent consultant she is also creating art workshops for low-income seniors residing at five local housing association properties and developing a structured program of art engagement for those with Alzheimer’s.
Gabriel Sosa is an artist, linguist, and curator based in Boston. Through various media including drawing, video, and installation, he interrogates his experiences as a court interpreter and a Cuban-American as he explores language, the fallibility of memory, and the synthesis of fact and fiction. Born and raised in Miami, Florida, he graduated from New World School of the Arts and earned an MFA from the School of the Museum of Fine Arts at Tufts University in 2016. Recent exhibitions of his work include El Acercamiento at La Fábrica de Arte Cubano in Havana, Cuba, I Come From Where the Palm Tree Grows at the LATLab in Los Angeles, and The Yud Video Project at the Contemporary Jewish Museum in San Francisco. Some of his curatorial projects include Three Acts For(giving) at Haley House in Boston and Drawing Connections at the Museum of Fine Arts, Boston. He was an artist-in-residence at the Santa Cruz Museum of Art and History in Santa Cruz, California in 2016.
After B.A. at the University of Montreal, she was hired as a communication specialist for a company. She worked for eight years until multiple sclerosis forced her to stop. After taking some time off to cope with the diagnosis, she went back to study something that fascinated her for a long time: East Asian Studies. From learning Mandarin, to Chinese philosophy and history, she found herself learning Chinese calligraphy, which strangely led to acrylic in 1998. She has been painting with passion ever since. Since 1998, she did more than fifteen exhibitions; from Magdalen Islands to Montreal, Bothell (WA) to Japan, where she won the FIRST PRIZE OF THE INTERNATIONAL COMPETITION 2013-2014, BIG-I ART PROJECT for the painting: “ Frank’s desert” in Osaka, Japan. And, awarded for the “2016 Hiroaki Nakatsugawa Prize” at the same event, for her painting “Singing With Her Soul”. She is Raw Art fanatic. She likes this form of art because it comes from artists who experienced what it is to be on fringes of society like her and where technic doesn’t matter, only expression. Her life is marked by practical limitations. She has her own way of working which is partly due to her disability. Strangely, while this limits her, it also gives her complete freedom.
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.
Glynn B. Cartledge
With black shoulder-length hair down and immaculate pin-stripe suit, Glynn Cartledge strode into the cavernous waiting room of a maximum-security prison. It was in the remote desert area of Ely, Nevada and she was meeting a new client. The “cop-killer.” Edward. A 6’ 2” comely, Death Row inmate, he stood anxiously at attention beside one of the front cafeteria tables, anticipating her arrival. After pulling away from this stranger’s needy hug, she noticed his inscrutable blue eyes beaming through a flat affect. There he was. Glynn’s innocent charge. The man she would represent for over twenty years. Edward and three others faced the death penalty for the murder of a policeman. On the advice of trial counsel and without a plea agreement, Edward pleaded guilty to capital murder. Then, at his only hearing, his lawyer proceeded to tell the court that Edward was “a Judas Goat…who lured the victim, James Hoff to the scene of his death…[T]hese other boys were influenced and coerced and under the dominion and control of my client, [Edward]…” who “was yelling for his friends to stab Jim Hoff.” An artist who spent twenty-five years working as a criminal lawyer, Glynn Cartledge is concerned with issues of criminal justice. Glynn primarily focuses on the formerly incarcerated, a marginalized population that suffers isolation, continued punishment, and government-imposed impediments to successful reentry. Her work explores through interactive art the relationship that society has with those of us who have committed crimes and to the process of re-criminalization.
Heidi Boisvert is a new media artist, creative technologist, experience designer, researcher and writer. She founded and serves as the CEO and Creative Director of the futurePerfect lab, a boutique creative agency that works with non-profits to develop imaginative applications of integrated media and emerging technology. Heidi was formerly the Media Director at Breakthrough where she designed, developed and promoted a range of viral, new media and pop culture campaigns that helped raise awareness and instigate policy change on pressing social issues. She created the first 3D social change game, ICED I Can End Deportation, to shift the frame around unfair U.S. immigration policies. Heidi also designed America 2049, an alternative reality game on Facebook about pluralism, which was nominated for Games for Change and Katerva awards. Most recently, she co-founded, XTH, an open-source bio-creative technology start up, and was named a Harvestworks Creativity + Technology = Enterprise Fellow as well as a Media Impact Fellow at both the Harmony Institute and the Norman Lear Center at USC. She received her PhD in Electronic Arts at Rensselaer Polytechnic Institute and is currently an Assistant Professor of Emerging Media Technologies at New York City College of Technology (CUNY) and a research affiliate at the MIT OpenDoc Lab.
Israel Haros Lopez
Israel Francisco Haros Lopez was born in East Los Angeles to immigrant parents of mexican descent. He brings his firsthand knowledge of the realities of migration, U.S. border policies, and life as a Mexican American to his work with families and youth as a mentor, educator, art instructor, ally, workshop facilitator and activist. Even with a 1.59 High school G.P.A., Israel managed to go back to the community college and raise his grades to get accepted into U.C. Berkeley and receive a degree in English Literature and Chicano Studies followed by an M.F.A in Creative Writing. At formal and informal visual art spaces, Israel creates and collaborates in many interdisciplinary ways including poetry, performance, music, visual art, and video making and curriculum creation. His work addresses a multitude of historical and spiritual layered realities of border politics, identity politics, and the re-interpretation of histories.
Jackie Munro & La Familia Medical Center
This collaboration is generously supported by La Familia Medical Center (Santa Fe, NM), and aside from Jackie Munro, all artists are patients in LFMC’s Substance Abuse Treatment Program for pregnant women.
Jackie Munro is a filmmaker, photographer and educator working at the intersection of storytelling and community engagement. She believes in the ability of intimate documentary work to help us know individuals who seem very different from us as well as more deeply understand ourselves, our place in our communities and our ability to affect change. Jackie produces communication campaigns for mission-driven organizations with her company Stories for Change in Santa Fe, NM. Using collaborative, storytelling-based processes, she co-produces the content for her campaigns with those most affected by a social issue. Her first feature-length documentary, Una Nueva Tierra (A New Land), is currently on the festival circuit. The film traces the struggles of three families living on the Pajarito Mesa, a breathtakingly beautiful but perpetually trash-ridden swath of desert overlooking Albuquerque, NM without access to water or electricity. As a director, Jackie’s work has screened on NoBudge.com, at Cinema Club in Brooklyn, NY and the Ashland Independent Film Festival in Ashland, OR. Jackie has taught photography at the International Center of Photography, New York University, PhotoManhattan and Santa Fe Community College. She has implemented community-based photography education projects in Nicaragua and Paraguay. She is currently developing a documentary film set in rural Nicaragua, where she has taught photography and made photographs and videos for 10 years. She holds a BFA in Photography & Imaging from New York University’s Tisch School of the Arts and has studied Spanish through Instituto Cervantes in New York City and Albuquerque, NM.
Nicole Romero is a mother of 3 from Santa Fe, NM. She believes strongly in women’s rights and supporting women who have been victims of domestic violence. She has felt the effect of the stigma of addiction in her life, as someone who was formerly addicted to heroin, and hopes that by sharing her story she can open peoples’ minds. Nicole attends many domestic violence and parenting support groups and strives to be the best mom she can be by teaching her daughters the difference between right and wrong, how to take care of themselves and how to be emotionally stable. She hopes to soon complete her Community Health Worker certificate at Santa Fe Community College so that she can help others in her situation. Her message to those suffering from addiction is to not give up on their health, which is the source of life. Nicole likes to take afternoon walks with her family, make photographs and appreciate her daughters’ laughs. According to her daughter, “my mom should believe that she can do anything.”
Candice McKim was born and raised in Santa Fe, NM. She was addicted to heroin and crack for 7 years and decided to change her life when she learned that she was pregnant. She has not used for 5 years. Candice was sexually assaulted at a young age and then repeatedly assaulted when she lived on the streets. She suffers from PTSD from these assaults. She believes that women have the right to be in control of their own bodies and that there is never an excuse for sexual assault. She hopes that by telling her story through photography, she can draw women together to engage in conversation about these issues and ultimately move toward justice for victims. “Being raped takes everything from you,” she says, “but getting help and having your story listened to helps you reclaim yourself.” Candice enjoys spending time with her family, taking her daughter to the park, the movies and swimming. She couldn’t be so successful without the support of her boyfriend and her family. She also appreciates ongoing counseling and the friendly staff of La Familia Medical Center. Candice hopes to complete her GED and advance her career to build a better life for her daughter. She is also happy to report that she is Hepatitis C-free. Candice likes taking pictures because it’s soothing and fun, and she has learned a great deal about herself by doing so. She enjoys being able to see clearly and live a sober life.
Jolene Martinez is a mother of 3 from Santa Fe, NM. She believes strongly in God, that things happen for a reason and that individuals can recover from addiction if they are committed to making it happen. Jolene has struggled with domestic violence and not having a stable home. She used heroin for a year and a half and entered treatment after getting out of jail for the last time. She credits her time in jail for helping her get her head clear through bible study. “But when you get out, it’s hard,” she says, “Everything you planned, you have to make it happen.” When Jolene learned she was pregnant with her third child, she committed to staying off heroin. Jolene loves photographing her kids. Her two older children are being put up for adoption through the Children, Youth and Families Department (CYFD), and she visits them every opportunity she gets. She likes taking pictures of moments with them and their fleeting expressions. She hopes that her story can expose the injustice of CYFD and how it is separating her family and making her recovery more challenging. Jolene likes to draw, share food and chat with her family, make art, play games and joke with her kids and see how much her baby changes and learns every day. “I didn’t know what love was until my son was born, and I held him in my arms,” she says, “All I want to do is be a good mom to them.”
Jacqueline Barnes creates worlds that reflect our current society through a fantastical lens. She is a storyteller that engages with different forms of escapist media such as animations, speculative fiction, video games, and graphic novels. She also deals with creating different forms of representation within these mediums in terms of race, gender, and sexuality. Jacqueline’s work stems from a personal need to see herself and others represented positively in a fun and engaging way. Interdisciplinary at heart, she believes there is no one tried and true way to tell a story, and often employs different mediums in her work. Whether it be through word processing, panels and comics, or the in-betweens in an animation, Jacqueline finds the many facets of storytelling fun to explore. Currently, she is working on exploring the different facets of black fantasy and developed a new term: PhantaNoir, an exploration in black fantasy, in order to contextualize that work.
Jaimie Page Brill
Jaimie Page Brill currently resides in both Portland and Dallas. She grew up in San Diego, where she began studying art in college, and then changed her major to social work after witnessing the treatment of Mexican migrant workers. She received her BSW from San Diego State University, her MSW from the University of Hawaii, and her PhD in Social Policy with an emphasis in social policy and oppression. She has worked for 30 years in the field of social work and social justice, partnering with individuals who have been labeled as homeless, mentally ill, ex-offenders, and those with addiction issues and working in the sex industry, and those with ‘disabilitie’. Her most recent work has been with exonerees – those who were wrongfully convicted, 95% of whom are men of color. Jaimie’s work has included direct practice, administration, community organizing, research and policy advocacy, and academia. She has always regarded and witnessed art as a source of powerful individual and community change. Jaimie is now returning to art and interested in exploring its relationship to social and equal justice. For example, she is looking forward to applying the elements of Participatory Action Research to participatory action art.
Janet Rogers is a Mohawk/Tuscarora writer, media producer and sound artist from the Six Nations territory, living as a guest on traditional Coast Salish territory (Victoria British Columbia) since 1994. She is most inspired and thrilled when all three of her loves, writing, radio and sound art, can come together to produce new creative territory which gives voice to identity and provide a foundation for dynamic future practices in media, sound and radio. Janet is one half of 2Ro Media Inc and has published her fifth book of poetry in the fall of 2016 titled Totem Poles and Railroads with ARP Books.
Jay is a conceptual, multi-media artist, writer and activist based in Provincetown whose work has traversed the globe, showing 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. He created the inspired “Ten Days That Shook the World” in 2012 before the demolition of the 1953 Herring Cove Beach Bathhouse in the Cape Cod National Seashore. 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. The show recently traveled to Florida Atlantic University in Boca Raton, FL. He also has received awards from the Boston Society of Architects and the Cooper-Hewitt Smithsonian Museum. He has taught at the Museum School at Museum of Fine Arts, Boston, and has had artist residencies at: Harvard University; AS220, Rhode Island; Harvestworks, NYC; Williams College, MA; Real Art Ways, Hartford; Milepost 5, Portland, OR; Fundacion Valparaiso, Mojacar, Andalucia, Spain; and CAMAC, Marnay-sur-Seine, France. 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. And his play, Bound East for Easter Rebellion, which connected the Centennials of Eugene O’Neill in Provincetown and the Irish Rebellion, was presented in Provincetown in 2016. 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.
Jess Zimbabwe serves as Director of Urban Development at the National League of Cities (NLC) and founding Executive Director of the Daniel Rose Center for Public Leadership—a partnership of NLC and the Urban Land Institute. The Center’s flagship program is the Daniel Rose Fellowship for public leaders, which brings the mayors and senior leadership teams of 4 cities together for a year-long program of learning from land use experts, technical assistance, study tours, leadership development, and peer-to-peer exchange. The Rose Center also convenes thought leaders, conducts research, and delivers educational programs on topics of public/private interest in real estate development, design, planning, economic development, and land use strategy. Previously, Jess was the Director of the Mayors’ Institute on City Design. During her time at the Mayors’ Institute, she also served as Vice President for Programs at the American Architectural Foundation, overseeing that organization’s Great Schools by Design program and developing the Sustainable Cities Design Academy. Prior to that, Jess served as the Community Design Director at Urban Ecology, providing pro bono community planning and design assistance to low-income neighborhoods in the San Francisco Bay Area. Jess is a member of the urban planning faculty at Georgetown University. She earned a Master of Architecture and Master of City Planning from UC Berkeley and a B.A. in Architecture from Columbia University. Jess was an Urban and Regional Policy Fellow at the German Marshall Fund, and a Fellow of the Women’s Policy Institute of the Women’s Foundation of California. She serves as Chair of the Board of Directors of Next City, and she holds a mayoral appointment to the Washington, DC Green Building Advisory Council. She is a licensed architect, certified city planner, and a LEED-Accredited professional.
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.
Jody Wood makes work that is time-based and performative, utilizing video, installation, performance, and community organization to engage with socially informed content. Her work has been honored with grant support from New York Council for the Humanities, Rema Hort Mann Foundation, Brooklyn Arts Council, and residencies with Lower Manhattan Cultural Council, and Skowhegan School of Painting and Sculpture. In 2014 she was a Socially Engaged Art Fellow with A Blade of Grass. Her work has been exhibited internationally and featured in publications such as The Atlantic, Hyperallergic, MSNBC, and TRT World (Turkish Radio and Television).
Kate Daughdrill and Bel Falleiros
Kate Daughdrill and Bel Falleiros work with installation, ceremony, plants, sculpture, writing, cooking, and performance to cultivate a spirit of re-connection with ourselves, the land, and each other.
Kate Daughdrill is an artist, urban farmer, and writer based in Detroit. In 2011, Kate bought a house for $600 and founded Burnside Farm, an urban farm and art ashram on the eastside of Detroit. It is the hub of her art practice and a place for artists, neighbors, and healers to come together for profound artistic experiences and soulful gatherings. Kate is currently cultivating ceremonial dinners that explore the relationship between plants, meditation, wildness, healing, and artistic energy. Her work has been exhibited internationally and has been featured in the New York Times, Dwell, and Oprah Magazine.
Bel Falleiros is a Brazilian artist with a background in architecture whose artistic research originates from her direct contact with the landscape–through walking it. Originally from São Paulo, she is currently exploring the concept of groundedness by researching and witnessing ancient trails and navels around the world. She has participated in residencies to that end at the Sacatar Institute (Itaparica, Bahia) and Pecos National Historical Park (New Mexico, U.S.A.). She is currently working on a site-specific work at Burnside Farm, constructing a navel for that Land. Kate and Bel’s shared interests in the holy feminine, the land, and food have brought them together to collaborate and work alongside each other in rural Virginia, Detroit, and now New Mexico!
Marco, is an activist and an impact filmmaker that aims to build a more just and peaceful world through creative resistance and nonviolent action. He considers his film work to be “a contracorriente” and his philosophy is inspired by the efforts of the “Third Cinema” coined by filmmakers and thinkers of the movement of “New Latin American Cinema” in the 70s where the main purposes aimed at resist, mobilize, agitate, and to promote social consciousness to counter the practices of the American film industry, mainly Hollywood. In 2010, Marco directed his first short documentary Tres Gotas de Agua, in collaboration with Somos Familia. In this film, three Latina immigrant mothers tell their personal stories about their children’s coming out processes. In 2015, he premiered his most recent work, El Canto del Colibri (The Hummingbird’s Song) featuring Latino immigrant fathers discussing acceptance of their LGBTQ children. In 2015, Marco was selected by Obama’s White House for the prestigious Champions of Change award that recognizes LGBT artists who use media to illuminate the experiences of LGBT Americans and create opportunities for dialogue, inclusion, and understanding. More recently, In 2017, he was awarded the Equal Justice Thematic International Residency at Santa Fe Art Institute. In this project, he feels privileged to collaborate with local Latinx queer organizations, exploring the concept “ cinema callejero ” promoting counter-hegemonic narratives, as it relates to the concept of “community” among immigrants, New Mexicans, and Native American queer people, primarily. Marco lives in California with Lola , his cat…so pretty that Lola!
Maria Kelson writes crime fiction, short stories, magazine features, literary essays and poetry. Her mystery novel-in-progress won the inaugural Eleanor Taylor Bland Crime Fiction Writers of Color Award from Sisters in Crime. Her poetry and prose appear in Poetry magazine, Orion, Ms. magazine, Flash Fiction Magazine, and numerous anthologies. Author of two poetry collections (as Maria Melendez) published by University of Arizona Press, her books have been finalists for the PEN Center USA Literary Award and the Colorado Book Award, and both received Honorable Mention at the International Latino Book Awards. Several collaborative art and poetry exhibitions have included her work, among them The Language of Conservation, a permanent installation at the Milwaukee Zoo, and Poetas y Pintores, a traveling exhibition with shows at Self-Help Graphics & Art in Los Angeles, the National Hispanic Cultural Center in Albuquerque, and elsewhere. She has given presentations, workshops, and readings at literary festivals, libraries, writers conferences, and campuses around the country, and is a grateful alumna of residencies at Ragdale, Hedgebrook, and Terraphilia. Her community arts engagement includes work as an Area Coordinator for California Poets in the Schools, collaborative arts advocacy projects with Letras Latinas, the literary branch of University of Notre Dame’s Institute for Latino Studies, and three years as editor and publisher of Pilgrimage magazine, a literary journal focused on themes of story, spirit, witness, and place in the greater southwest and beyond. She holds degrees in English/creative writing from Colorado State University and University of California, Davis, and is currently a faculty member in English at Pueblo Community College in southern Colorado.
Marjorie Beaucage is a filmmaker, cultural worker, and community-based video activist. She was born in Vassar Manitoba and her work as an artist, formally began at age 40 when she attended Film School at Ryerson. Culture is a collective agreement. Being Métis, Marjorie is also committed to building cultural bridges between worlds through her creations/stories. In 2005, she created A Medicine Wheel for the Indian Act as a tool for de-colonisation and restoring relations between cultures as well as a DVD Medicine Bundle for Sexual Health and HIV/AIDS: Me Mengwa Maa Sinatae: Butterfly Patterns of Light. Marjorie is committed to creating a living legacy with the People and making room for diverse worldviews and storytelling. In 2016 she finished “COMING IN: Stories of Two Spirit in Saskatchewan …Taking Our Place.” As a film and video maker, her work has been screened in bingo halls and at City Hall, from Northern Labrador to New Zealand. Some videos are passed around the community; some are in public libraries and at University Film Schools and Art Departments. They have a life of their own. Some work has been screened on specialty channels – wtn, aptn, Knowledge Network, pride vision and Global. Marjorie’s work also has been programmed in Festivals and Gallery shows from Berlin to Edmonton, Canada House in London, MOMA in New York- in a variety of contexts. Her life work has been about creating social change, working to give people the tools for creating possibilities and right relations. Whether in the classroom, community organizations or the arts, her goal has been to pass on the stories, knowledge and skills that will make a difference for the future. In the world of making room for difference and accessing the means of production in the 1990’s, Marjorie was a key agent of change promoting access for Aboriginal artists. As co-founder of the Aboriginal Film and Video Art Alliance, and the “Runner” for the People, Marjorie established the Aboriginal Program at the Banff Centre for the Arts.
Medicine Wheel Collective
The Medicine Wheel Collective is a multi-medium collaborative project that spans the Camino real from Mexico City, Mexico to Santa Fe, New Mexico. It was formed out of the desire to explore narratives derived from migration and its effects on traditional and non-traditional forms of healing, the role of the sacred, and equal access to holistic wellness across existing and perceived socio-economic barriers. The group combines multimedia art, performance, healing traditions, and community/urban planning research, in order to weave together the social, economic and holistic aspects of equal justice at the community level. The Medicine Wheel Collective creates the space to inquire upon forgotten connections between ritual and personal resilience, and how this affects community participation.
Mercedes Dorame, born in Los Angeles, California, is a member of the tribe of Gabrielino Tongva Indians of California and received her MFA from the San Francisco Art Institute and her BA from UCLA. She uses the camera to engage ideas of cultural construction and has worked as a Native American cultural resource monitor over the past 18 years. She has shown her work internationally and is part of the permanent collections of the San Francisco Museum of Modern Art and the Phoebe A. Hearst Museum in Berkeley, California. She is the recipient of grants and fellowships from: Loop Artist Residency, En Foco’s New Works Photography Fellowship program, Galería de la Raza for her solo exhibition there, the Harpo Foundation for a residency at the Vermont Studio Center, and from the Photography Department at the San Francisco Art Institute for her MFA Studies. She received the Phelan Award, the John Collier Award, the Paul Sack award, and a best in show award for her self-published book “Living Proof”. Her writing and photographs have been featured in publications such as News From Native California and 580 Split. She has been interviewed about her work by PBS Newshour, KCET Artbound, the Harpo Foundation, Culture Strike, Black Boots Ink and KQED’s video podcast Gallery Crawl. She has given lectures about her work at the Phoebe A. Hearst Museum of Anthropology, Ithaca College and as part of the PhotoAlliance lecture series in San Francisco, CA.
Michael Murphy is the executive director and founder of MASS Design Group, an architecture and design collaborative that leverages buildings, as well as the design and construction process, to become catalysts for economic growth, social change, and justice. MASS’s work has been recognized globally, and published widely. Most recently, MASS has been recognized as winners of the 2017 Cooper Hewitt National Design Award, The Architectural League of New York’s Emerging Voices Award, the Curry Stone Design Prize and as finalists for The Aga Khan Award for Architecture. Recent projects have appeared in Architectural Record, CNN and The New York Times. Michael’s 2016 TED talk has reached over a million views and he teaches at the Columbia Graduate School of Architecture Planning and Preservation. Michael is from Poughkeepsie, NY and holds a Masters in Architecture from the Harvard Graduate School of Design.
Michelle Angela Ortiz is a visual artist/ skilled muralist/ community arts educator who uses her art as a vehicle to represent people and communities whose histories are often lost or co-opted. Through painting, printmaking, and community arts practices, she creates a safe space for dialogue around some of the most profound issues communities and individuals may face. Her work tells stories using richly crafted and emotive imagery to claim and transform spaces into a visual affirmation that reveals the strength and spirit of the community. For eighteen years, Ortiz continues to be an active educator in using the arts as a tool for communication to bridge communities. As a highly skilled muralist, Ortiz has designed and created over 50 large-scale public works nationally and internationally. Since 2008, Ortiz has led community building and art for social change public art projects both independently in Costa Rica and Ecuador and through the United States Embassy as a Cultural Envoy in Fiji, Mexico, Argentina, Spain, Venezuela, and Honduras. In 2016, she completed the first U.S. State funded public art project since the re-opening of the United States Embassy in Havana, Cuba. Ortiz was awarded the Americans for the Arts’ Public Art Year in Review Award which honors outstanding public arts projects in the nation. She is a Kennedy Center Citizen Artist National Fellow, a fellow of the National Association of Latino Arts and Culture Fund for the Arts, and recipient of the Leeway Foundation Transformation Award and Art & Change Grants.
Minoosh Zomorodinia is an Iranian-born interdisciplinary artist and educator who employs video, photography, installations and performance to make visible for audiences the emotional and psychological reflections of her mind’s eye inspired by nature. Her work exposes and experiments with humanity’s relationship to the natural world. She lives and works in the bay area. She is a member of the Environmental Artist group Open Five in Iran, and serves on the Board of Women Eco Artists Dialog in the bay area. She earned her MFA in new genres from San Francisco Art Institute in 2015, and holds a Masters degree in Graphic Design (2006) and BA in Photography (1998) from Azad University in Tehran. She has thought Photography in Tehran, Iran, Video Production and Photoshop at Berkeley City College, and Environmental Installation and Video at Public Education program at San Francisco Art Institute. Zomorodinia has received an MFA Fellowship from San Francisco Art Institute (2013) and First prize of The Anne Bremer Memorial Library’s Artists’ Book Contest (2015), the Photography Award from Pocono Arts Council (2015), and was finalist of the Tosa Studio Award, San Francisco, CA (2017). She awarded I-Park Artist Residency, East Haddam, CT (2017); the ACRE Artists Residency, Steuben, WI (2017); and the Affiliate Artist in Residence program at Headlands Center for the Arts, Sausalito, CA (2016-2017). Her work has been exhibited locally and internationally such as Everyone Is Hypnotized at ProArt Gallery, Far From Home at Gallery Route One, The Ocean After Nature at Yerba Buena Center for the Arts, Night Light at SOMArts, Living Spaces at Transylvania Art Center Romania, Nietzsche Was A Man at Pori Art Museum, American Gun Show at WORKS San Jose, California Dreamin at Marin Community Foundation, and The Altered Landscape at the Nevada Museum of Art.
Moses Tan (born 1986) is a Singaporean based artist who is interested in ideas revolving queer melancholia and resistance through poetic forms. Employing drawing, sound, video and installation in works, he hopes to create pockets of experiences for viewers. Referencing ideas from Karen Barad and Judith Butler, his research deals with notions of shame, melancholia and the political undertones of these affects while also attempting to expand on ideas of understanding of sexuality. Currently an adjunct faculty with LASALLE College of the Arts, he holds a Bachelors in Fine Arts from LASALLE College of the Arts, a Bachelors in Chemistry and Biological Chemistry from Nanyang Technological University and is the recipient of the LASALLE Award of Academic Excellence 2016, Winston Oh Travel Research Award 2016 and the Noise Singapore Award for Art and Design in 2014. He has also exhibited in The Substation, Sabanci University and recently in Indiana University as part of Videotage’s cross campus exhibition.
Omar Sakr is a bisexual Arab Australian poet from Western Sydney who holds a BA in Communication (Writing & Cultural Studies) from the University of Technology, Sydney (2010), as well as a Masters in Creative Writing from the University of Sydney (2013). His poetry has been published in English, Arabic, and Spanish, and appeared in numerous publications, both national and international. Notable Australian publications include: Best Australian Poems 2016, Contemporary Australian Poetry, Griffith Review, Island Magazine, Overland, Meanjin, Cordite Poetry Review, Mascara Literary Review, Peril Magazine, and Going Down Swinging. International publications include: Circulo de Poesía, Al-Araby Al-Jadeed, Strange Horizons, Wildness, and Cosmonaut’s Avenue. Omar has had poetry commissioned for digital projects by Red Room Company, as well as the Melbourne City of Literature office, and has been shortlisted for the Judith Wright Poetry Prize for New and Emerging Poets, the ACU Poetry Prize, and the Story Wine Prize (flash fiction). His debut collection of poetry, These Wild Houses, came out in February 2017 through Cordite Books. He is currently the poetry editor of The Lifted Brow. Omar’s creative and critical non-fiction has also been published widely in publications including The Sydney Morning Herald, The Guardian, The Saturday Paper, Kill Your Darlings, Archer, Going Down Swinging, Junkee, Daily Life, Overland, SBS Life, The Lifted Brow, and The Wheeler Centre. As of May this year, Omar was the recipient of a Hot Desk Fellowship in support of his debut novel, A Boy Unwoven.
Outposts of Resistance
Sebastian Hirn has realised a large number of projects as freelance director for theatre and opera – ranging from unusual productions of classical operas or plays to performances or videos – in Germany and abroad. His method of working transcends established disciplines and moves within the space between fine art, theatre/dance and music. It is characterised by a great interest in experiments and openness that often results in collaborations with visual artists, musicians/composers or scholars. He also works as stage and video designer. His productions were shown at various theatres such as Wiener Festwochen, Wuppertaler Bühnen, Staatstheater Stuttgart, Münchner Volkstheater, Mozartfestpiele Schwetzingen, Burgtheater Wien, Oper Dortmund, Schauspielhaus Bochum, MaximiliansForum München, Theaterhaus Jena, Oper Nürnberg.
Lisa Hörstmann is a freelance art historian currently doing a PhD at the Department for African Art at Freie Universität Berlin. Her thesis deals with issues of transnationalism and ambivalence in South African settler primitivism in the first half of the 20th century with a focus on women artists and the Jewish diaspora. She has worked for many years as fine arts officer for the City of Munich’s Department for Arts and Culture, curatorial assistant for MaximiliansForum in Munich and research associate for Galerie Bastian in Berlin.
A Native New Mexican, Castillo attended Yale University for two years after high school and then dropped out to work in an electronics factory where she began to forge her early career in contemporary art. She holds a BS from UNM, and an MFA in 3D Studio and Contemporary Theory from the University of New Mexico. Through sculpture, interventions, and film, Castillo’s interest is in translating how the intermingling of tradition, colonialism, modernity, American socioeconomics and the increasingly postmodern circumstances of technology saturate and transform the landscape. An acclaimed contemporary artist, she has produced a range of work from Avant Garde anonymous interventions to large-scale public work and has exhibited her work nationally and internationally. Castillo lives and works in the small village of Córdova three miles east of Chimayo, 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.
Joshua Adler, Syrus Marcus Ware, Melisse Watson and Vanessa Kwan come together as a collective of individuals with decades of experience leading public programs for institutional and community settings. Together, they seek to build methodologies for change that combine the experience of activists and community organizers with the skills and resources of professional artists and artist-networks. They are based respectively in Brooklyn, Toronto and Vancouver.
Joshua Adler is currently senior researcher for National Geographic’s Emmy-winning Explorer television series. He is also Community Director for the Shantigar Foundation, and has programmed cultural events in NYC for over 10 years. He is also poet-in-residence for the U.S. Dept of Arts and Culture. Writings here.
Syrus Marcus Ware is a Vanier scholar, a visual artist, activist, curator and educator. He is a facilitator/ designer at the Banff Centre and is the inaugural Daniel Spectrum Artist-in-Residence (2016/17). Syrus is a core-team member of Black Lives Matter –Toronto. Syrus uses painting, installation and performance to explore black activist culture. https://syrusmarcusware.com/
Melisse Watson is an activist, earthworker and multidisciplinary artist, utilizing performance, visual, aural and installation art to provoke socio-political change and thriving imagined futures for Black and Indigenous bodies. Melisse wrote, directed and performed in their award-winning show I Was Born White at the Toronto Fringe Festival in 2014. Melisse has also performed in the Summerworks Festival and the Rhubarb Festival. Melisse has presented solo and collaborative visual and performance work at The Theatre Centre, The Drake Hotel, Harbourfront Centre, Daniel Spectrum, Buddies In Bad Times Theatre and at Pride Toronto.
Vanessa Kwan is an artist, writer and curator. She has contributed to institutions of varying scale, including her work as Curator of Performance for the Vancouver Art Gallery, Curator/ Producer at Other Sights for Artists’ Projects, and Curator of Community Engagement with grunt gallery. She is concerned primarily with works in public space. http://vanessakwan.com/
Pod Liminal is invested in thinking through the practical concerns and philosophical questions around how to build spaces that support artists to explore alterity, increased consciousness and art in the context of social change. Together, we seek to build vocabularies and methodologies for change that combine the experience of activists and community organizers with the skills and resources of professional artists and artistic networks.
Quenna Lené Barrett
Quenna Lené Barrett is an actress, teaching artist, organizer with the Black Youth Project 100 and #LetUsBreathe Collective, and ICAH For Youth Inquiry performance company member, where she recently directed her first play, First. She received her BFA in Theatre from New York University and her MA in Applied Theatre from the University of Southern California. She is an alumni of Public Allies Chicago, an AmeriCorps program, has participated in education and social justice programs at Jane Addams Hull House and Chicago Freedom School. She currently serves as the Education Programs Manager at the University of Chicago’s Arts + Public Life, blending Theatre of the Oppressed techniques with acting skills to amplify teens’ voices and hold space to rehearse, tell, and change the stories of their lives. Continuing to build the world she wants to see/live in, she is now developing personal practices of poetic and participatory performance. Recent Chicago performances and projects include: female understudy for Cor Theatre’s Late Company, The Runaways Theatre Lab’s Dead Youth, or the Leaks, Pegasus Theatre’s Young Playwrights Festival 30, Theatre Unspeakable’s Moon Shot at Chicago Children’s Theatre and Stage 773, understudying the roles of asha and kinzie in Oracle’s production of good friday, and a starring role as Dr. Beverly Long in Nikkole Salter’s Lines in the Dust at eta Creative Arts Foundation.
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.
Rosa Naday Garmendia
Rosa Naday Garmendia is an interdisciplinary artist who produces work at the nexus of contemporary art and social action, blurring the boundaries of social activism and art making. Fed by her experiences facing injustices as a woman, an immigrant and an industrial worker, she identifies with the struggles of Blacks and Native Americans. Rosa is an immigrant from a country that has faced hostilities from the United States since 1959. Her work is rooted in her personal relationship to colonization and the ruptures in family heritage that come forth as a result of forced migration. She considers her practice a daily act of resistance. Garmendia was born in Havana, Cuba. She has pursued her fine art studies at the University of South Florida, Parsons School of Design, University of Miami, Vermont Studio Center, and the Fort Lauderdale Art Institute. She has exhibited in Miami, FL; New York, Salt Lake City, Utah; Cuba, Guadeloupe, Tulsa, Oklahoma and Suriname. She has participated in International Cultural Exchanges and exhibition programs across the Caribbean. She is the recipient of several awards; Artist Access Grant, Diaspora Vibe Cultural Arts Incubator grantee and more recently the Equal Justice Thematic International Residency at Santa Fe Art Institute. Garmendia speaks English, Spanish and Haitian Kreyol and is a teaching artist at the Perez Art Museum Miami. She works with children and homeless adults. Through the discourse of artistic representation Rosa continues to reaffirm that she is part of a larger community that transcends geographical borders.
Sabine Mirlesse holds a BA in Religious Studies and English Literature from McGill University in Montreal, Quebec. In 2010 she graduated with a MFA in Photography from Parsons the New School for Design in New York City. Her work explores ideas of mythology, ritual, thresholds, imprints and traces, the individual’s relationship to landscape, and the power of nature. Photography is her primary medium however drawings, video, writing and found images are also incorporated into her practice. Mirlesse’s work has been the subject of features in The British Journal of Photography, Time Magazine’s, Interview Magazine, The New Yorker, and Le Monde’s “M”. She was nominated three times for World Press Photo’s annual Joop Swart Masterclass (2009, 2011, 2012). Mirlesse has contributed as a writer to The Paris Review, BOMB Magazine,Aperture, Art in America, and the Pompidou Center’s Les Cahiers quarterly journal collecting more than twenty five interviews with various artists and curators. She is part of the faculty at Paris College of Art, and a visiting lecturer at Parsons Paris. Her first book, a collection of photographs and drawings made in Iceland between 2011-2013 entitled ‘As if it should have been a quarry’ was released in late 2013 with Damiani publishers and includes an introductory essay by Eduardo Cadava. As if it should have been a quarry was recently shown as a solo exhibition at La Galerie Particulière in Paris and Brussels.
Sandra Paola López Ramírez (BFA EdM) is a dancemaker, improviser and performance activist. Her work is characterized by the investigation of complex issues such as relationship, gender, race, identity, awareness, kinesthetic listening and perception, and it has taken her through the US, Colombia, Brazil, Cyprus, France, Canada and Mexico. Since moving to the United States from her native Colombia in 2004, she has studied under renowned artist such as Kirstie Simson, Ruth Zaporah, Cynthia Oliver and Jennifer Monson and has developed her art practice to integrate her creative process and her cultural organizing efforts. Driven by her commitment to social justice, Sandra Paola co-founded and now directs in2improv – an organization empowering diverse populations through performance and improvisation in the US/Mexico border. She has taught widely in both formal and informal education settings and is currently dance faculty at the University of Texas at El Paso and a candidate in the MFA program in Interdisciplinary Arts at Goddard College.
Sarah Shotland is the author of the novel Junkette, and a playwright whose work has been performed widely nationally and internationally. She is the Co-Founder and Program Coordinator of Words Without Walls, which brings creative writing classes to jails, prisons, and rehabilitation centers in Pittsburgh, PA. She also teaches in the MFA program at Chatham University. She’s currently at work on a collection of essays exploring her work with Words Without Walls.
Sarah Schulman is a novelist, nonfiction writer, playwright, screenwriter, and AIDS historian. She is the author of 18 books, most recently the novel THE COSMOPOLITANS, and the book CONFLICT IS NOT ABUSE: Overstating Harm, Community Responsibility, and the Duty of Repair. Sarah is on the Advisory Board of Jewish Voice for Peace, and is Faculty Advisor to Students for Justice in Palestine at the City University of New York, College of Staten Island where she is a Distinguished Professor.
Shanna Merola is a visual artist, photojournalist and activist legal worker. In addition to her studio practice, she has been a human rights observer during political uprisings across the country – from the deeply embattled struggle for water rights in Detroit and Flint, Michigan, to the frontlines of Ferguson, MO and Standing Rock, ND. Her collages and constructed landscapes are informed by these events – from direct actions against fracking companies, to the privatization of water both globally and locally. Merola lives in Detroit, MI where she facilitates Know-Your-Rights workshops on best practices during police encounters, and coordinates legal support for grassroots organizations through the Michigan Chapter of the National Lawyers Guild. Merola has been a lecturer and visiting artist at the Rhode Island School of Design, the University of Michigan Institute for the Humanities, Cranbrook Academy of Art, the University of Richmond Department of Art and Art History and the School of Visual and Performing Arts at the University of Toledo. Her work has been published by the Humble Arts Foundation, Art 21 Magazine, Wayne State University Press and Nat.Brut. Her artwork has been exhibited both nationally and abroad. She has been awarded studio residencies at The MacDowell Colony and the Santa Fe Art Institute, and fellowships through the Virginia Museum of Fine Art and the Midwest Environmental Justice Network. Merola holds an MFA in Photography from Cranbrook Academy of Art and a BFA in Photo and Film from Virginia Commonwealth University.
Shaun Leonardo is a multidisciplinary artist who uses modes of self-portraiture as a means to convey the complexities of masculine identity and question preconceived notions of manhood. The portraits take the form of cutout paintings, drawings, and sculptures, while also brought to life through performance. Leonardo is a Brooklyn-based artist from Queens, New York City. He received his MFA from the San Francisco Art Institute and has received awards from Skowhegan School of Painting and Sculpture; The New York Studio School; Lower Manhattan Cultural Council; Art Matters; New York Foundation for the Arts; McColl Center for Visual Art; Franklin Furnace; and The Jerome Foundation. His work has been presented in galleries and institutions, nationally and internationally, and was recently featured in the exhibitions Crossing Brooklyn at Brooklyn Museum, Radical Presence at Studio Museum in Harlem, and Between History and the Body at 8th Floor Gallery. Leonardo’s current collaborative work Mirror / Echo / Tilt is funded by Creative Capital.
Shelbie Loomis is a publicly engaged artist and banker, who focus her time and efforts on socio-economic research and creates artwork about forgotten social groups such as the local Santa Fe elderly, third-world countries that she has traveled to, and as of late a social group called the precariat. She is engaged with the community by working on murals through Keeping Santa Fe Beautiful, sits on New Mexico Professional Business Women of Santa Fe executive board which involves themselves with legislation for equal opportunity for jobs and education for women, and puts forth efforts with small business owners through banking to helping them grow financially. Loomis graduated from Santa Fe University of Art and Design in 2014 with a Bachelor’s of Fine Arts Magna Cum Laude after receiving the first Governor’s Scholarship for full tuition in 2010. Since then she has been honored as a 2013 SITE Santa Fe Scholar, President’s Departmental award recipient, and was recently awarded the 2017 Young Professional Business Women of Santa Fe. She hopes to continue conversations about socio-economics, gender, social and financial norms and include more people of diversity through education, artwork, and workshops.
Soulaf Abas (Soully) was born and raised in Damascus, Syria. In 2008 she received her Bachelors of Fine Arts from Indiana State University. Then, she returned to Syria and taught art at the Arab European University. She also spent some time translating books and articles.In 2010, she returned to ISU to get her Masters in Fine Arts. She went back to visit her family in Damascus-Syria in the summer of 2012, a year after the revolution began. To her great surprise, she found that what used to be her playground had been reduced to a pile of rubble, with bloodstains everywhere. The visit completely changed her perspective and her sense of what home means. Upon her return from Syria, she started creating images in painting and printmaking that depicted what she experienced. For the first time, her subject and her process were working together in such harmony that she finally began to understand how far painting can be pushed in terms of process and concept, and how healing it can be. Casualties become trivial numbers during times of war, and neighborhoods become insignificant remains. Soulaf’s work about “Syria” honors those who have lost everything to war, but still smile in spite of that loss. It is dedicated to those who still give, though everything was taken away from them, and to those who love, no matter what.
Stephanie Dinkins is an artist interested in creating platforms for ongoing dialog about artificial intelligence as it intersects race, gender, aging and our future histories. She is particularly driven to work with communities of color to develop deep-rooted AI literacy and co-create more culturally inclusive equitable artificial intelligence. Dinkins’ holds an MFA from the Maryland Institute College of Art. She is also an alumna of the International Center of Photography and the Independent Studies Program of the Whitney Museum of American Art. Her artwork is exhibited internationally and presented at venues of varying stature – by design. These spaces include Herning Kunstmuseum, Denmark; Spellman College Museum of Fine Art; Contemporary Art Museum, Houston; Wave Hill, Studio Museum in Harlem; The Long Island Museum, NY; Spedition Bremen; and the corner of Putnam and Malcolm X Blvd, Bedford-Stuyvesant, Brooklyn. Past residencies include the NEW INC, Blue Mountain Center; The Laundromat Project, Art/Omi and Center for Contemporary Art, Czech Republic. Her work has been reviewed in the New York Times, Washington Post, and Baltimore Sun, among other media outlets. She is 2016/17 Artist-in-Residence at NEW INC, project catalyst for Team Haptics, Cyborg Futures 2017 and the recipient of a 2017/18 A Blade of Grass Fellowship. Professor Dinkins teaches digital and interactive media at Stony Brook University.
Storycatchers prepares young people to make thoughtful life choices through the process of writing, producing and performing original musical theatre inspired by personal stories. Through the creation of a statewide artistic platform that engages the public with the stories of incarcerated and re-entering youth, Storycatchers Theatre inspires the community to embrace and receive these children and young adults. For over 33 years, Storycatchers Theatre has served court-involved youth. Storycatchers has developed trauma-informed wrap-around programs from probation through detention, incarceration, and reentry. In November of 2013, Storycatchers received a “National Arts & Humanities Youth Program Award” in recognition of its work with detained and incarcerated youth. Ira Glass, a long time supporter, has featured Storycatchers on “This American Life.” Storycatchers Theatre is proud to partner with the Illinois Department of Juvenile Justice, Cook County Juvenile Detention Center, the Chicago Symphony Orchestra, and Steppenwolf Theatre.
Tamara Ann Burgh
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. Tamara created dresses to reveal what she believed about herself and/or her worldview. 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 in New Mexico she worked two years on a project conducted by an internationally recognized artist. Just as important to her art is the library Tamara has established. Books by Joseph Campbell, Gary Zukav, J. Krishnamurti, Paramahansa Yogananda, Carolyn Myss and other metaphysical authors have been strong influences. Tamara’s NATURE CONSCIOUSNESS, a series of 20 oil paintings using three motifs (cloud, hill and trees) explores the kinetic and possible conscious relationships between elements of nature. Her self portrait watercolors, a series of eight, represents a mythological working out of self image through personal, faith related and familial experiences and challenges. 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 found basketry to be a medium in which she can integrate natural materials such as gourds, pine needles, fibers, spruce pitch and beeswax into a form that explores and expresses her Native heritage and archetypal and personal myths. Tamara graduated with a studio art degree from Illinois State University which she attended on a talent scholarship. By chance she entered the publishing field as a graphic artist and illustrator in Chicago. This led to a studio business designing product and contract sculpting for the giftware industry with clients across the country. Tamara produced and marketed a line of Christmas ornaments and a set of seven polychrome Eskimo figurines. “Most of what I have learned is through experience—my experiences are processed through a library of books—my processes are reinterpreted through art”.
Ames and Sherrard have been supporting each other’s individual projects since 2014. This residency marks the beginning of their public collaboration and the collaborative group, them/me.
Crista Ann Ames is a sculptor working primarily in ceramics and textiles. Through the layering of mythology, iconography and personal narrative, Crista explores how our own animal nature relates to the ways we establish and sustain personal relationships. Crista often draws on her own experiences to explore pastoral life, animal husbandry, women’s craft and fertility. Crista attended Washington State University where she obtained her BFA in Ceramics with a minor in Art History and Disability Studies. After receiving her BFA, Crista received her MFA from the University of Montana. She has been a resident at A.I.R. Vallauris, Guldagergaard International Ceramic Research Center, Archie Bray Foundation for Ceramic Arts, and The Clay Studio of Missoula. This fall she will be an Artist-In-Residence at Red Lodge Clay Center.
Aja Mujinga Sherrard is a conceptual artist working out of Missoula, Montana. She is completing Masters Degrees in Fine Art and Art History while teaching classes in studio art and art criticism at the University of Montana. She was a multicultural fellow at NCECA in 2017. She has worked for Tippet Rise Art Center in 2016, the Headlands center of the Arts in 2013, and she received her undergraduate degree in Postcolonial and Diaspora Studies in Literature from Sarah Lawrence College in 2011. She is also the Moderator and facilitator of the monthly artist lecture series, artTALK.
Tiger Toe Radical Recess
Rebecca and Heather (aka Tiger Toe Collective) met at an adult summer camp where they instantly bonded over their love of play, sports and all forms of creativity. While painting each other’s faces, they hatched a plot to make the world a more just and fun place.Rebecca is a creative professional specializing in animation, illustration, typography and visual art that doesn’t take itself too seriously. She is driven by a sense of play and helping others feel permission to let their creative, goofball flags fly. While in Chicago she spent several summers facilitating campouts for kids in their local parks. Rebecca loves helping kids of all ages unleash their messy creativity, learn to trust their instincts, and take responsibility for themselves and the natural environment. Heather is a bounce house of fun dedicated to facilitating play, recreational opportunities and helping people discover their bodies are a joyful place to be. She’s a writer, fitness coach, play facilitator, creator and glue gun cowgirl. Heather is a certified strength and conditioning specialist (CSCS) and earned her master’s in recreation, parks and tourism from San Francisco State University, with an emphasis in encouraging women’s active leisure. She is interested in using the creative process and play to explore physical culture and mind/body/feeling relationships.Rebecca and Heather are a dynamic duo combining sports and art in unique ways. They’re collaborative energies unleash Tiger Toe Collective whose mission is to facilitate empowering play and active creativity.
Miche Fabre Lewin and Flora Gathorne-Hardy are co-founders of Touchstones, a ecological and socially-engaged and arts practice dedicated to transformative pedagogy and trans-epistemic research within the fields of food, soil and agroecology. Our focus is to create inclusive and convivial environments where people can engage with issues of social and ecological justice through artful processes. Between us we have over 30 years of experience in arts-based research facilitating experiential courses and workshops focussed on inter-cultural dialogue and healing. Our writings appear in arts, therapy and design journals, academic publications, practitioner guides, and policy reports. We are both Research Associates at Centre for Agroecology, Water and Resilience (CAWR), Coventry University, UK. In 2014 Miche was awarded a doctoral scholarship by CAWR to reflect upon her food ritual practice. These convivial food happenings make visible the connections between the health of the body, the well-being of communities and the regenerative practices for the living Earth. In 2015 we were awarded a special commendation for our ecological artist collaboration by the CIWEM/CCANW Nick Reeves AWEinspiring Award for Arts, Water and the Environment.
Originally from Chicago, Veena moved to Santa Fe in 2013 after twenty years of living in England. Primarily based in London during that time, she focused her work on embedding human rights principles into social policymaking. Since 2010, she has been working as a freelance writer, facilitator and mediator. Veena self-identifies as a Wake-Up Artist and Movement Maker, with a vocation to cultivate Beloved Community. In recent years, she has become particularly passionate about exploring the relationships between soul work, collaborative art-making and systems design/re-creation. This is the focus of her Equal Justice Residency and she has published articles about these relationships in OpenDemocracy. When Veena is not playing and experimenting in this arena, she can be found hiking, cooking family recipes, dancing, practicing the art of clowning and training to become a Feldenkrais Method teacher.
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.
Wesley Fawcett Creigh lives and works in Tucson, Arizona. In 2008 she completed her Bachelor’s Degree at Prescott College in the self-designed major of Public Art with an Emphasis on Social Impact. Since this time she has engaged in numerous social practice projects, two of which were funded by the Tucson Pima Arts Council through their P.L.A.C.E. Initiative grant program. Her work at this time aimed to bring the arts into community spaces, foster a sense of creative placemaking, and bring overlooked issues into the forefront of a broader community dialogue. Most recently, she has employed animation and multi-media installation for her artwork and received a grant in 2016 from the Arts Foundation for Tucson and Southern Arizona for an animation and installation project that examines the complexity of violence on the US/Mexico border. As an arts collaborator, she frequently works for theater companies throughout the Southwest as a set designer and scenic painter. Currently, she teaches scene design, stage lighting, theater graphics, and stagecraft at Pima Community College. Her work has often focused on sharing personal and community narratives as a means of promoting social justice for individuals and groups. Bringing these narratives to the forefront of the public’s awareness fosters social and political movement that addresses these societal inequalities and injustices. Contributions to the larger discourse are, in turn, contributions to progress.