Rachel Zolf is a cross-border transplant from Toronto to Philadelphia whose writing and other artwork tends to queerly enact how ethics founders on the shoals of the political. Her five books of poetry include Janey’s Arcadia, Neighbour Procedure and Human Resources, all from Coach House Books, and a Selected Poetry is forthcoming. Films Zolf has written and/or directed have shown internationally at such venues as White Cube Bermondsey, the International Film Festival Rotterdam, and the Wexner Center for the Arts. Her work has won the Trillium Book Award for Poetry and been a finalist for two Lambda Literary Awards, among other honors. She is nearing completion of a theoretical text called A Language No One Speaks: The Dangerous Perhaps of Monstrous Witness.
Basel Abbas and Ruanne Abou-Rahme (b. 1983) work together across a range of sound, image, text, installation and performance practices. Solo exhibitions include the Institute of Contemporary Art (Philadelphia), Office for Contemporary Art (Oslo), Carroll/Fletcher (London), Akademie Der Kuenste Der Welt (Cologne), New Art Exchange (Nottingham), Delfina Foundation (London). Abbas and Abou-Rahme were fellows at Akademie der Kunste der Welt in Cologne in 2013 and artists and recipients of the Sharjah Biennale Prize in 2015. Their publication, And Yet My Mask is Powerful, was recently released from Printed Matter.
Will Rawls is an artist and writer based in Brooklyn, NY. Working with dance, objects, sound and language, Will creates performances that unravel and reconfigure around ideas of becoming. Will has presented work at The Whitney Museum of American Art, Danspace Project, The Chocolate Factory Theater, Performa 15, Tanzquartier Wien and MoMA PS1. He is editor-at-large for Critical Correspondence and his writing and interviews have been published by Adult Contemporary #01, Artforum, Triple Canopy, Recess Art, les presses du réel and The Museum of Modern Art. In Fall 2016, with Ishmael Houston-Jones, he co-curated Danspace Project’s Platform: Lost & Found, exploring themes of AIDS, absence and queer performance.
He is a recipient of a 2015 Foundation for Contemporary Arts Grants to Artists Award and is a 2017-2018 Guggenheim Fellow.
Kendra Sullivan is an artist, writer, boatmaker, and curator whose work centers the study of ecosystems and the ocean. She is the associate director of the Center for the Humanities at the CUNY Graduate Center, where she runs the Andrew W. Mellon Seminar on Public Engagement and Collaborative Research and publishes Lost & Found: The CUNY Poetics Document Initiative. She has a MA in Sustainability and Environmental Education and is currently pursuing her PhD in English, also at the GC, with a focus on coastal economies and ecologies. Her writing has appeared in BOMB, F.R. DAVID, and C magazine, among others. Her artwork has been exhibited at the Parrish Art Museum in Water Mill, NY; The Bureau for Open Culture at MASS MoCA; and The Carpenter Center for Visual Arts at Harvard University, among others. Her curatorial projects include: SeaWorthy, Accompaniment, and Resistance After Nature. With Dylan Gauthier, she is a current an artist in residence at the National Park Service and the Cape Cod Modern House Trust, in Welfleet, MA. She is the grateful recipient of grants and residence from the Graham Foundation for Advanced Studies in Fine Arts, the Banff Centre, and the Montello Foundation. She is a member of the eco-art collective Mare Liberum and a co-founder of the Sunview Luncheonette, a community space for art and politics run out of a stopped-in-time diner in Greenpoint, Brooklyn.
Robert Ouyang Rusli is an artist and film composer based in Brooklyn, NY, and is the recipient of the 2017 Van Lier Fellowship for Music Composition. He scored the award-winning 2017 Trinidadian film Moko Jumbie and his score for the feature documentary Good Game won Best Original Score at the IndieCapitol Film Festival in 2015. Recently, Rob composed music for artist Casey Tang’s Untitled (Rivers) video installation at the Queens Museum, and sound design for performance artist Wo Chan’s WHITE FLAG/WHITE FACE at Dixon Place’s Hot! Festival. He also performed a performance art piece titled I <3 U Always 4 Ever with Wo Chan at the Brooklyn Academy of Music Next Wave Festival. He produces and performs experimental rap music and performance art under the name OHYUNG.
Niall Jones is a dance artist working and living in New York City. Niall is Assistant Director / Creative Producer for the School of Dance at the University of the Arts in Philadelphia. Niall works between dance, performance, and visual art practices, exploring time and impermanence with an unruly fascination in affective environments, disorientation, seriality, and labor. Jones’ work has been presented in New York by New York Live Arts, the Invisible Dog Art Center, the Kitchen, Gibney Dance Center, Roulette, Movement Research, Danspace Project, Abrons Arts Center, Dixon Place, Dance Theater Workshop, Jack Art Center, Chez Bushwick, Center for Performance Research, and the New Museum, as well as the Krannert Center for the Performing Arts in Illinois. Niall received a 2017 Outstanding Emerging Choreographer Bessie award nomination for Splendor #3. Niall also works as Assistant Director / Creative Producer for the School of Dance at the University of the Arts in Philadelphia.
Bianca Stone is a poet and visual artist. She is the author of the poetry collectionSomeone Else’s Wedding Vows, (Tin House & Octopus Books 2014); Poetry Comics From the Book of Hours, (Pleiades, 2016), the illustrated edition ofAntigonick, (New Directions, 2012) a collaboration with Anne Carson, and The Mobius Strip Club of Grief, forthcoming from Tin House, 2018. Bianca runsThe Ruth Stone Foundation & Monk Books along with her husband, the poet Ben Pease, and their daughter Odette, in Goshen, Vermont.
Legacy Russell is a writer, artist, and cultural producer. Born and raised in New York City’s East Village, her work can be found in a variety of publications worldwide: BOMB, The White Review, Rhizome, DIS, The Society Pages, Guernica, Berfrois and beyond. Holding an MRes of Visual Culture with Distinction from Goldsmiths College at University of London, her academic and creative work focuses on gender, performance, digital selfdom, idolatry, and new media ritual. Her first book Glitch Feminism is forthcoming from Verso. Twitter: @legacyrussell | Instagram @ellerustle. www.legacyrussell.com.
Malik Gaines is an artist and writer based in New York. His essays have appeared in Art Journal, Women & Performance, and in numerous exhibition catalogues and arts publications. His book, Black Performance on the Outskirts of the Left (NYU Press, 2017), traces a circulation of political ideas in performances of the 1960s and beyond. Since 2000, Gaines has performed and exhibited extensively with the group My Barbarian, whose work has been included in the Whitney Biennial, two Performa Biennials, the Montreal Biennial and the Baltic Triennial, among others. Gaines also makes performance and video work solo, and in other collaborations. He is assistant professor of Performance Studies in New York University’s Tisch School of the Arts.
Born in 1965 in Verdun, France, Nicole Eisenman earned her BFA in 1987 from the Rhode Island School of Design. She lives and works in New York. Her work has been exhibited widely, both in the United States and internationally. Recent one-artist exhibitions have been held at the New Museum, NY (2016); the Institute of Contemporary Art at the University of Pennsylvania, PA (2014); the Tang Museum at Skidmore College, Saratoga Springs, NY (2009-10); Kunsthalle Zurich (2007); and Le Plateau, Paris (2007). In addition, her work has been included in the 2012 Whitney Biennial and Prospect.2 New Orleans (2011), as well as recent group exhibitions at the San Francisco Museum of Modern Art (2011-12); the Jewish Museum, New York (2010); CCS Bard Hessel Museum of Art, Annandale (2010); and the Museum of Modern Art, New York (2009).
Kameelah Janan Rasheed is a Brooklyn-based interdisciplinary artist, writer, and former high school public school teacher from East Palo Alto, CA. She is on the faculty of the MFA Fine Arts program at the School of Visual Arts and also works full-time as a social studies curriculum developer for New York public schools. She has exhibited her work at the 2017 Venice Biennale, ICA-Philadelphia (forthcoming), Printed Matter (forthcoming), Jack Shainman Gallery, Studio Museum in Harlem, Bronx Museum, Queens Museum, Schomburg Center for Research in Black Culture, Project Row Houses, the Luminary, Brooklyn Academy of Music, among others. Recently shortlisted for the Future Generation Art Prize, she is the recipient of several other awards and honors including the Harpo Foundation Grant, Magnum Foundation Grant, Creative Exchange Lab at the Portland Institute of Contemporary Art Residency, Triple Canopy Commission at New York Public Library Labs, Artadia Grant, Art Matters Grant, Rema Hort Mann Foundation Grant, among others. She has participated in readings and performances at Housing Works, Cave Canem, and Red Bull Arts New York, among others.
Emma Hedditch (b.1972, U.K) is an artist and writer living in New York. Emma has published texts in Afterall, Mute Magazine, and Art Monthly, and contributed to the books Rereading Appropriation (If I Can’t Dance, 2015) and Anarchic Sexual Desires of Plain Unmarried Schoolteachers (Selected Press, 2015). Emma’s self-published work includes A Political Feeling, I Hope So, Coming to Have a Public Life, Is it Worth it? and the e-book of performance scripts, I Don’t Want you to Work as Me, I Want you to Work for Me. Emma has worked at Cinenova, a feminist film and video distributor (1999–present), The Copenhagen Free University (2001–2008), and No Total, a site for performance (2012–present). She has participated in recent exhibitions including Finesse, curated by Leah Pires at the Wallach Art Gallery in New York, Claim a hand in the field that makes this form foam at Outpost Gallery in Norwich, U.K and Other Romances, curated by Em Rooney at Rachel Uffner in New York.
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