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.
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.
Huang Yi Ying / Annpo
I am Huang Yi Ying with a pen name: Annpo which combine my English name Ann with nickname PO. In Chinese, the name or words means “active” or “tough,” so that present me well. My writing focus on non-fiction, which bases on my major course :anthropology and journalism. I had worked in international development and as a journalist, before concentrating on my writing full time. These experience leads me to build my writing career in humanitarian and global view, and in cross-culture. As journalist, I focus on human right , environment and culture issues, and I wrote a lot of reports about China. But in my own fieldwork and writing, I prefer to study Asian culture and society , such as the identity and struggle of Okinawa people, the stories and difficulties of the migrant workers from Southeast Asia. I enjoy finding out the life stories of Asia people, thinking about the meaning of borderline and boundary. Anthropological methods shape the very way I sees the world, every day life is fieldwork. I also takes a deep interest in cultural topics and learning Asia’s many different languages. I am hungry to know the world, that’s why I travel, and talk to locals. What judges the success of a trip by how many times I am invited to eat with strangers and new friends in their houses. I previously published Unseen Beijing, TRISTES FRONTIÈRES , Not just an observer and won the award of the China times best book in 2015 , and was nominated The best five essays of Taiwan Literature award in 2016.
Israel Francisco Haros Lopez is both a visual artist and performance artist. He was born and raised in East Los Angeles, graduated from Roosevelt High School with a 1.59 G.P.A. He is a graduate of Laney and Vista Community College with an A.A. in English Literature, survived UC Berkeley with a degree in English and Xikan@ Studies, and received an M.F.A. from California College of the Arts. His work is an attempt to search for personal truths and personal histories inside of American cosmology. His work, both written and painted, attempts to mark and remark historical points in the Americas and the world, and the undeniable presence of a Native America that will continue to flourish for generations to come. His visual motifs are drawn from a pre-columbian America that had far far less physical, mental or spiritual borders. He also draws inspiration from the contemporary styles of inner city youth who use public space by any means necessary for their artistic expression, and from his peers who constantly show him innovative ways to approach cultural and political dilemmas. Neither the written work or visual work can be without sound without vibration, as all things on this earth carry vibration. As such his written and oral work is constantly shifting as it is performed or recording. The same poem, story, monologue or abstract diatribe shifts within the space it is performed taking into consideration audience and the theatrics and vibration of the moment.
Jay Critchley is a conceptual, multi-media artist, writer and activist who is based in Provincetown, has traversed the globe, and shown his work across the US and in Argentina, Japan, England, Spain, France, Holland, Germany and Columbia. He founded the controversial patriotic Old Glory Condom Corporation and was recently featured in Sculpture magazine.Jay’s movie, Toilet Treatments, won an HBO Award at Provincetown Film Festival in 2002, where his showcase was featured in 2015 in conjunction with his survey show at the Provincetown Art Association & Museum, Jay Critchley, Incorporated. His one act experimental musical, Planet Snowvio, about the meeting of Free Speech Movement leader Mario Savio and NSA whistleblower Edward Snowden was presented at UC Berkeley Art Museum and Pacific Film Archive in 2014. Jay was honored in 2012 by the Massachusetts State Legislature as an artist and director of the Provincetown Community Compact (The Compact), producer of the Swim for Life & Paddler Flotilla, which has raised $4M+ for AIDS, women’s health and the community. The Swim for Life’s Prayer Ribbons project, which has collected 2,800 personally inscribed colored ribbons, recently memorialized the 49 victims of the Orlando nightclub shootings. The Compact was invited by the City of Orlando to share the special strand of Orlando ribbons with the families of the victims. The Prayer Ribbons were then displayed at Orlando City Hall for public viewing. Also, on World AIDS Day, December 1, 2016, the Prayer Ribbons were featured in a ceremony on Capitol Hill in Washington, DC.
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.
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.
Reveca Torres was injured and paralyzed in a car accident at the age of 13. After completing degrees in Fashion Design and Theatre Arts, Reveca worked as a costume designer and simultaneously worked with various organizations doing disability work in the realms of health & fitness, transitioning, recreation, education and peer support. She started a nonprofit called BACKBONES in 2009 after realizing that years of interaction and friendship with others living with spinal injuries (SCI) had made a significant impact in her self-image, confidence and drive to succeed. Reveca wanted to ensure that others, especially those newly injured, had access to resources, information, and the same type of peer support she has had. She is the director of ReelAbilities Film Festival Chicago and has curated touring photography and art exhibitions that showcase the work of people with disabilities and bring awareness to disability rights. Reveca uses painting, illustration, photography, film, movement and other media as a form of expression and a tool for advocacy and social justice.
Robert García is a civil rights advocate. He engages, educates, and empowers communities on equal justice, human dignity, and equal access to public resources. He is Founding Director and Counsel of The City Project, a non-profit advocacy team in Los Angeles, California. The City Project works with diverse allies on (1) healthy green parks, recreation areas, and cultural monuments through planning by and for the community; (2) climate justice and conservation; (3) quality education including physical education; (4) health equity in all policies; and (5) economic vitality, jobs, and displacement. Robert received the President’s Award from the American Public Health Association. Hispanic Business Magazine recognized him as one of the 100 most influential Latinos in the U.S., and PODER Magazine one of the Top 100 Latino Green Leaders. Green 2.0 celebrates his work as an environmental leader of color. Robert graduated from Stanford and Stanford Law School, and served on the Stanford Law Review Board of Editors. He is an Assistant Professor at Charles Drew University of Medicine and Science, preparing health professionals to address health equity.
Moving alternately between Colorado and Illinois as a child, Tamara (Inupiat/Kawerak, Swede) jokes she was raised on Interstate 80. As an adult she has lived in Alaska, Australia, Wisconsin and the Chicago area. Tamara also spent several years in New Mexico in a community of other artists where she exhibited her work locally, including a two-woman installation entitled MY LIFE AS A DRESS; inspired by animistic tribal peoples who seemingly dress to reflect their beliefs. After more than a decade in NW Arkansas caring for her elderly mother, Tamara is back in New Mexico with a studio in Santa Fe. Tamara’s regionalist drawings are part of permanent collections at the college and public library in Nome, Alaska and University of Alaska, Juneau. While she appreciates modern technique, Tamara cannot ignore the tactile appeal of material from nature. The combination of the two in some of her work perhaps reflects the two worlds she inhabits: that formed by a suburban upbringing and that influenced by her Inupiat heritage. This dichotomy reveals itself in an important body of mixed media pieces entitled THE ENCULTURATED WHITE MAN: If Early America Had Embraced the Nobel Savage Rather Than Attempt to Destroy Them; a project just completed in 2015 and some 15 years in the making. Tamara has also found basketry to be a medium in which she can integrate natural materials such as gourds, pine needles, fibers, spruce pitch and beeswax into forms that explore and express her Native heritage and archetypal and personal myths.
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.