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.
Dafni Kalafati / Greece Fulbright Fellow
Dafni is a freelance documentary filmmaker and art therapist, based in Athens Greece. She was born in her homeland at the beginning of the eighties. She studied Intercultural Education and Photography and then followed a master’s degree in art therapy, in the school of fine arts of Buenos Aires, in Argentina. There she worked for several years in the public mental institution «Borda» as an art therapist using the new media (video and photography) as therapeutic tools. Her love for social action and the arts made her engaged in documentary film making and since then she has travelled to some of the most remote parts of the planet together with her video camera filming documentaries and teaching photography and art . Among others, she has filmed documentaries with the indigenous tribes of the Amazon basin and with the street children of the big Argentinian metropolis of Buenos Aires, travelled with a group of scientists through Africa’s East Coast in search of traditional ways to preserve solar and wind energy, she has followed the truck drivers in their arduous journey from Tajikistan to China through the Pamir Highway and captured the Greek sponge divers diving in depths of over 50 m in the Aegean Sea in their search for sponges. Nowadays she lives in Athens where she splits her time between conducting Art Therapy and Participatory Video workshops and developing her personal documentary projects. Since 2008 she has founded the N.G.O. AMAKA which runs various programs of social help through the Arts catering for underprivileged urban groups. Whatever free time remains, she likes to spend it on the mountains.
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.
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.
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.
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.
Niomi Fawn is a queer artist currently living in Santa Fe, New Mexico. She grew up in California and Hawaii. The art of Niomi Fawn developed from a technique dubbed neo-pastiche, which brought digital tools and visions to traditional collage in an effort to recontextualize familiar images and, through creative juxtaposition, to create new statements from old concepts. Neo-pastiche is primarily a two-dimensional technique and, while it remains a vital component of Niomi Fawn’s art, she has been applying the theories of the technique on a wider scale – moving into a third dimension and blurring the boundaries that too often separate art and audience. Her latest works involve the creation of objects, informed but not limited by neo-pastiche, which are placed in natural and constructed environments, gradually transforming the surroundings and fuzzing the lines between the artistic and non-artistic worlds. Niomi Fawn was part of the Meow Wolf art collect 2010-2014. She has sinced left to form Curate Santa Fe. She also works with Victory Grrrls.
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.
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.
Scott Davis has been living, working, and organizing in Rio Arriba and Santa Fe counties since 2007. In his professional career, his focus during this time has been project management rehabilitating Indian housing at the Eight Northern Pueblos. Working for a Native Woman owned construction firm, and the Ohkay Owingeh Housing Authority, Scott has come to love the people and history of his new home in Northern New Mexico. During these years, he has been educated through close relationships at Tewa Women United in Española. This work has brought him face to face with what it means to be a settler colonial in the Tewa World. Coupled with a new position as a Resource Trainer for A CALL TO MEN, Scott has found purpose in exploring the nature of white male privilege, and how it can be leveraged toward creating Justice. As a writer and facilitator, Scott continues to push himself and others into the uncomfortable conversations so critical to realizing social change. As a self identified immigrant to Tewa Country, he continues to learn and grow as a newcomer to this place.
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.