Presentation Slide Deck Here

Join us for a live zoom Q&A Session with EFA Project Space Program Director Dylan Gauthier and Program Manager Judy Giera, and friends.

About this event

Thinking of applying to Project Space's Open Call for Curatorial and Artist Project Proposals? Join us for this casual, hour-long public Q&A session on Zoom. Come with your questions, queries, and quandaries...

Can't make the event? We'll post a recording on our website and Instagram later in the week.

The call (full details here)

How far can the idiom of the contemporary art exhibition be stretched before it begins to lose its commonly-understood meaning? Where are the bounds of site located that allow us to inscribe what it is to curate, to make shows, to invite a public, to further the work of artists and curators, or to share a work in public? 

This open call invites curatorial proposals, publication ideas, artist project proposals, one-off gatherings or series, and other forms that respond to and pose questions about the limits and boundaries of contemporary exhibition-making.

Once the exclusive product of the gallery, museum, project space, kunsthalle, the exhibition has found its way into the world in a surprising number of novel forms. This has taken place both before the pandemic, and accelerated during – as in the shift to outdoor venues out of the necessity to socially distance, or the increase of virtual platforms for NFTs, as crypto-currency backed artworks and other “online only” exhibition spaces found new markets and new audiences. With this changed landscape as the background, we are increasingly interested in rethinking the Project Space form and propose this open call as an opportunity for artists and curators to address this question in public and alongside the organization.

We envision multi-layered, multidisciplinary, multi-generational, multi- or meta-verse formulations on what it means to practice in the alchemical form of exhibition-making today. Art historical and/or future looking and speculative proposals are welcomed. We have moved so far beyond the white box motif, while the form has not been abandoned, it does allow us to think through ways that please other formulations that both are and are not aligned with additional exhibition making practices. 

The call for proposals will program Project Space's gallery and website through 2023 and into 2024, and guide the creation of a symposium that draws on Project Space's 15-year history of pushing the boundaries of curatorial practices, blurring the edges between artist project, activism, community building, and this other thing called putting on an art exhibition, and of process-based exhibitions.

A publication featuring essays and responses by past Project Space curators and exhibiting artists will be released alongside the symposium.

Please join Hilma's Ghost on Wednesday, January 26th from 3:00-4:30 EST for a free workshop with Sarah Potter, a professional and renowned Tarot reader, who will guide us through the basics of the ABSTRACT FUTURES TAROT deck. Learn how to use the cards intuitively, expressively, and creatively to create your own spreads and read Tarot.

RSVP for a Zoom Link Here

Geared towards creatives and artists, this workshop will look at non-traditional ways of using Tarot cards. We will talk through using the deck to navigate challenging questions in your creative practice, as a tool for choosing opportunities, and general ways of deepening your intuition with your creative practice with the use of the cards.

This session is free and open to all. If you have your own Tarot deck, please bring it to this virtual session. If you would like to buy one of our decks, EFA Project Space has a limited supply of ABSTRACT FUTURES TAROT decks in New York that you can purchase in person. Please contact Judy Giera at judy@efanyc.org to reserve your deck and pay and pick up the deck in person. For shipping outside of New York, purchase the decks on the Hilma’s Ghost website here.

ABOUT

Hilma's Ghost's ABSTRACT FUTURES TAROT deck holds itself in conversation with the Rider-Waite-Smith, which is not only the most popular deck in worldly distribution today but was illustrated by a womxn, Pamela Colman Smith. More than a century later, Brooklyn-based artists, Dannielle Tegeder and Sharmistha Ray apply an abstract lens to the cards’ rich symbolism to access their semiotic potential and surface divinatory meanings. The artists worked together for more than 300 hours to construct the 78 original drawings for their tarot deck, an amalgamation of their unique and distinct visual languages. The original drawings are on Fabriano Murillo paper with a combination of gouache, ink, and colored pencils, their size directly proportional to the Tarot card dimensions. Both artists hold extensive knowledge regarding western and non-western abstraction, with Tegeder pulling from Bauhausian and Minimalist traditions, and Ray from spiritual and esoteric forms from South Asia, as well as the patterning and craft traditions of Asian textiles. Within these drawings lies a rich sensibility for color, shape, and compositional elements, expressing hybrid traditions of abstraction that is intrinsically experimental and daring. The project in its entirety was presented by Carrie Secrist Gallery at The Armory Show in September 2021 and was included in this as one of the exhibitions to see in a review for The New York Times by Will Heinrich.

Sarah Potter is a Tarot reader and professional witch based in NYC. Her writing about the occult is regularly featured in Cosmopolitan, Astrology.com, Bust Magazine, and other popular outlets. Her first book, The Cosmo Tarot: The Ultimate Deck and Guidebook, debuted in 2021.

Hilma’s Ghost, a feminist artist collective, was co-founded by Brooklyn-based artists Dannielle Tegeder and Sharmistha Ray in 2020. The collective seeks to address existing art historical gaps by cultivating a global network of women, nonbinary, and trans practitioners whose work addresses spirituality. Hilma af Klint’s groundbreaking exhibition at the Guggenheim in 2018 served as a reckoning for art history’s blindspots, especially for women artists considered too ‘mystical’ for the conservative art world.

​Named after af Klint, Hilma’s Ghost believes that western heteropatriarchal societies maintain a false binary between spirituality and science. This bias serves to overlook womxn artists whose explorations of ancient and pre-modern knowledge systems is a source of personal strength and aesthetic innovation. Following a year of lockdowns and social distancing, Hilma’s Ghost acts as a restorative project that uplifts these voices and makes them visible. Since its inception, Hilma’s Ghost has run online workshops that have been attended by over 700 people, from all over the world. The Instagram archive also documents the stories of womxn artists. To learn more about Hilma's Ghost, check out our website or follow us on Instagram. We regularly post about our programs and profile living womxn artists working with aspects of the occult and/or spirituality.

This program is made possible with the kind support of Carrie Secrist Gallery.

Digital World Building _An Act of Resistance
November 19th,
5 - 7 PM EST via ZOOM

RSVP Required

Digital World Building: _An act of resistance will explore the process to reconstruct digital and 3D design into tools for community and world building URL and AFK (away from keyboard). As a group we will discuss the dichotomy of navigating social media, despite its relentless surveillance, as sites for community organizing and how this influences our abilities to reimagine, speculate and manifest alternative futures, meanwhile existing in the present. Our discussion will preface a brief introduction and collaborative work session using Blender, a free open-source 3D software.

This workshop is suitable for participants 13+ years or older. Beginner to immediate level computer and social media skills are suggested. Please download Blender at blender.org before joining the workshop. To personalize your designs during the group work session, Adobe Illustrator or a substitute software and/or website to create .svg files is highly recommended.

Suggested Focus Materials

_text**
‘I Say Tear It All Down’: Curator Legacy Russell on How ‘Glitch Feminism’ Can Be a Tool to Radically Reimagine the World
The Ambient Well by Hawa Arsala

_artist talks**
Encrypted Enclosures//Glitching Visibility: Zach Blas in Conversation with Legacy Russell
Danielle Brathwaite Shirley, kamra and Myles E Johnson \\\[Artist Talk\\\] at black beyond _origins

About the Moderator:
JAZSALYN’s (she/her/hers) work begins where fiction and reality collide. As an anti-disciplinary artist, she combines new media and community organizing practice to reimagine black futures.

As a participating Artist and Director of black beyond, a radical space for artists and activists to define alternate realities for blackness, JAZSALYN collaborates with black and non-black co-liberators to decolonize and re-indigenize social and creative practice. Through black beyond, she curates a series of workshops, artist talks, exhibitions, performances, as well as a monthly segment titled alternate realities on Dublab Radio.

Her work has been featured in CULTURED Magazine, Vogue, The New Yorker, and Huffington Post. Exhibitions and panels such as the Wheaton Biennial, Abolition Planning and Afrofuturism at Pratt Institute, black beyond _origins on New Art City and Textiles as a Second Skin at MoogFest.

JAZSALYN is a current member of the Extended Realities cohort at NEW INC in The New Museum. As well as a faculty member in the Design and Technology program at Parsons School of Design, where she teaches a studio course on speculative design and techno origins. *Her preferred name is unicase and omits last name for decolonial purposes.

Support black beyond's efforts to amplify the work of underrepresented artists in their upcoming exhibition _assembly, alchemy, ascension at the Kellen Gallery in New York, NY, for Spring 2022. *All donations are tax deductible via New York Foundation for the Arts.

VISIT
black beyond _origins, an XR experience reimagining black femme futures.

FOLLOW
blackbeyond.xyz
Instagram @jazsalyn @blackbeyond_
Twitter @blackbeyond_

This program was made in congruence with Dark Data, curated by Gee Wesley with curatorial fellows Bianca Dominguez and Mae Miller, featuring American Artist, Hannah Black, Stephanie Dinkins, E. Jane, Mimi Ọnụọha, Sondra Perry which was held from September 11 - October 30, 2021 at EFA Project Space.

ABOUT THE EXHIBITION
Dark Data presents the work of six artists who explore pervasive forms of data collection, mass-surveillance, and hypervisibility visited upon Black life through technologies of predictive policing, data-mining, algorithmic violence, and artificial intelligence. The project situates these emergent data technologies within a broader lineage of anti-Black surveillance and quantification. Dark Data highlights a host of artistic and social tactics exercised by Black practitioners to actively respond to these conditions through experimental archival strategies, inventive modes of technological encryption, and gestures of digital worldmaking.

Presented with PWRPLNT

POWRPLNT is a space where the digital arts community engages the next generation of creators. It functions as gallery space, internet lounge and an environment where people from all backgrounds may learn the skills necessary to express themselves creatively in today’s networks. We aim to make the digital world accessible, personal and more human. For more information visit: https://www.powrplnt.org/

Medicine for the People is an offering back to the individual to initiate self-realization curated by Bianca Dominguez, Project Space Curatorial Fellow with:

Koyo

Tattfoo Tan

Raelyn Williams

ABOUT

A crucial concept for the relationship between a visionary to their reimagined world is the workings of their inner consciousness in conversation with embodied empowerment. Medicine for the People is an ongoing curatorial project that invites the public to see an individual and their inner consciousness as the microcosm of the collective they exist in, the macrocosm. Perceiving a symbiotic nature between inner consciousness and embodied freedom, within an individual and within a collective, is the guiding ethos. 

Reimagining public art as a pathway for the community to become co-creators alongside the artist, through actively consuming, initiates the process of alchemized healing. Medicine for the People invites the public to engage with the act of consumption through art making and radical healing practices within a co-created collective space. The process of consumption or cannibalism, coined by Oswalde de Andrade, was a major component within Brazil’s revolution during the 1920’s and has the potential to guide us within our present day. Andrade, a Brazilian poet, created the Manifesto Antropófago and he states, “Anthropophagy. Absorption of the sacred enemy. In order to transform him into a totem. The human adventure.” Consumption of the “sacred enemy” translates now as consciously ingesting the oppressive forces that have transpired within the infrastructures that are the social institutions of modern America; including the health care system, the government, the educational institutions, ultimately, the pillars that sustain our reality. Consciously devouring the patriarchy, the colonized traces of white supremacy, American imperialism, and capitalism may offer a path of revolution. 

Medicine for the People invites the public to engage through a virtual series focused on the intersectionalities of radical healing. Reimagining public art through incorporating workshops and interactive art pieces/ performances guiding the community in exploring their inner consciousness and manifested self is another guiding force of the event. I refer to the event as a gathering to highlight the aspect of engagement, interaction, and communal work as participants will be invited to internal conquests, communal discussion, and creative exploration. A youth member from the AYO cohort will be chosen to facilitate a workshop inspired by the activity they created within their mini workbook. In addition, an artist and a healer will be chosen to offer their medicine incorporating the 4 components of holistic wellness; mind, body, spirit, and emotion. This space intends to provide a platform for BIPOC artists, health practitioners, and youth abolitionists to share their rituals, their practices, and their teachings spanning across the topics of ecological activism, political activism, mental health, social justice, spiritual development, and personal growth.

Register via Zoom.

ABOUT THE PRESENTERS

Karen Miranda Rivadeneira (Koyo) is an interdisciplinary artist, a visionaire, and walks the path of curandera. She was raised in the Pacific tropical south and the Ecuadorian Andes. Through her artistic and spiritual pursuits she has weaved a unique journey. Her medicine path is indebted to her mother, grandmothers, elders, ancestral spirits and the land that raised her. Her home has always welcomed the syncretic union of afro-indigi-latinx spiritual traditions. She has lived on and off with a medicine woman in the Ecuadorian Amazon for over a decade. She had her first initiation to shamanism there, where she learned about plant medicine, drum ceremony, tobacco readings, oracle reading, limpias, and vapores. Concurrently, she apprenticed in the Andes with a medicine woman who adopted her, teaching her the Andean way to awakened the original knowledge; from listening with your inner ear, reading the candle, cleansing the body/soul with smoke, fire dancing, fire cleansing, energy healing, to walking between light and night with joy and reverence. Koyo also apprenticed with an Aymara priest who introduced her to the Andean energetic movements and sun gazing. Ultimately, her goal is to share how to journey within and awaken the curanderx that lives in us, through humility, integrity, wisdom and creativity.

Tattfoo Tan is an artist who collaborates with the public on issues relating to ecology, sustainability and healthy living. His work is project-based, ephemeral and educational in nature. Follow him on Instagram @tattfoo

Raelyn Williams (she/her) currently works as a preventionist at the Virginia Sexual and Domestic Violence Action Alliance in Richmond, VA. Her work and passion is around youth justice and empowerment. Williams fights for liberation and abolition and believes in the power of art as a tool for social change. She believes that one of the steps toward abolition is recognizing and undoing the ways that we police others, most often the most marginalized members of our communities.

ABOUT THE CURATOR

Bianca Rose Dominguez (1996) is an artist, a writer, and a medicine woman. Her work addresses the power in silence, the primitive and ancestral practices connected to humanity, and embodied practices of healing. Her multidimensional work begins as an internal meditation and a devotion to the Great Mystery, transforming into poetry, intuitive symbols, medicine books, visual images, site specific installations or collective ceremonies.The impermanence of life is a part of her work just as much as the materiality. She believes art is a way of being interwoven with life activating humanities consciousness. 

She was a collaborative artist alongside Tanya Aguinia at the MAD Museum performing Performance Crafting: Backstrap Weaving in 2018.Her ceremonial art performances have been shown at Arts Gowanus in 2018 and in Staten Island at the Newhouse Center of Contemporary Art in 2019. Currently she is attaining a BA in visual arts at Columbia University and is EFA’s Project Space curatorial fellow.

Co-hosted by the Center for Art Law, EFA Project Space, and The Immigrant Artist Biennial.

About this Event

The Visual Artists' Immigration Clinic is designed to guide emerging visual artists through the process of obtaining a visa to the United States. Please be sure to read the information below to ensure that you come fully prepared for the Clinic.

• 6:00–6:30 PM EST: presentation on best practices and practical steps you can take to build and strengthen your application case, focusing on O-1 visas especially.

• 6:30–8:00 PM EST: participating artists will be paired with a volunteer attorney for an initial 20-minute consultation, which may result in the opportunity to work with an immigration attorney throughout the application process.

RSVP Required Here.

Volunteer Attorneys:

• Michael Cataliotti | Cataliotti Law, P.C., NY

• Ryan Morgan Knight | Palm Global Immigration PLLC, FL & DC

• Rakhel S. Milstein | Milstein Law Group, NY

• Betina Schlossberg | Schlossberg Legal, PLLC, MI

• Teresa Woods Peña | Woods Law Group, NY

• Nadia Zaidi | Roam Immigration, NY

Are you interested in becoming a participating attorney? Please contact us at artlawteam@itsartlaw.com.

Hosts:

Center for Art Law is a Brooklyn-based research and education nonprofit that provides resources, programs, and training in visual arts and cultural heritage law. The Center operates at three levels: its website constitutes a database of resources in the field of art law; the Art Law Blast, its monthly newsletter, keeps subscribers updated about art and law-related news, events, case law, and publications; and the Center organizes cultural and educational events include Art & Law Workshops for visual artists, CLE programs for attorneys, Art Law Mixers, film screenings, and studio tours. More at www.itsartlaw.org

The Elizabeth Foundation for the Arts is a 501(c)(3) public charity, dedicated to providing artists across all disciplines with space, tools and a cooperative forum for the development of individual practice. We are a catalyst for cultural growth, stimulating new interactions between artists, creative communities, and the public. EFA Project Space, launched in September 2008, is a collaborative, cross-disciplinary arts venue founded on the belief that art is directly connected to the individuals who produce it, the communities that arise because of it, and to everyday life; and that by providing an arena for exploring these connections, we empower artists to forge new partnerships and encourage the expansion of ideas. More at www.efanyc.org

The Immigrant Artist Biennial (TIAB) is a multi site artist-run project, presenting work by U.S based immigrant artists from around the world. TIAB sets out to form an international dialogue through exhibition of ambitious projects and events with an aim to facilitate a diverse and experimental discourse as well as build a globally connected and united community in the times of extreme anti-immigrant sentiment, unrest, discrimination and exclusion. More at www.theimmigrantartistbiennial.com

FAQs

Who may register?

We encourage participation by visual artists who wish to build and strengthen their case for applications over the next 6-12 months.

The 1:1 consultations that occur at the Clinic are not suitable for artists with urgent immigration issues. However all visual artists are welcome to attend and listen to the presentation.

Pre-registration is mandatory for a $10 fee.

How do I prepare for the Clinic?

(1) Register through Eventbrite.

(2) Dial-in details and other instructions will be emailed once registration has been confirmed (be sure to check your emails in the days leading up to the Clinic).

(3) Answer the online questionnaire that will be emailed to you after registration, in order to allow us to pair you with the right attorney. The information provided will be kept confidential.

(4) Make sure that you have the following documents ready:

1. A passport showing your current visa,

2. CV or resume, and

3. List of exhibitions and media publications about your work.

What happens after the Clinic?

The Center for Art Law will be providing immigration law guides and the contact information of the Volunteer Attorneys. If you and a Volunteer Attorney agree to engage in an attorney-client relationship, you may continue the discussion with them outside of the Clinic.

VERY IMPORTANT:

• Attending this legal clinic does not create an attorney-client relationship.

• The information provided during the individual strategy session does not constitute legal advice.

• All the information shared during the Clinic will be kept confidential.

• Attendees will be invited to schedule a more in-depth consultation with the attorneys present to more closely examine their specific situation.

Media features:

• artnet News

• Hyperallergic

SHIFT: A Residency for Arts Workers and CUE Art Foundation Present:

Ask for More Money
By Art Handler
An Admin ⚙️ Workshop

Thursday, January 30, 6:30-8:30PM | FREE

Are you considering asking for a raise in your job or freelance work? This practical workshop will bring together a roundtable of speakers with experience negotiating salaries, wages and fees to share advice on how to ask for higher pay. Everyone will get a chance to rehearse and fine-tune their ask in front of peers, experts, and bosses and receive their feedback.

As arts workers we often expect low pay, making it all the more crucial to advocate for our value—but these are difficult conversations. Employers might use any number of reasons, consciously or not, to pay you less. The purpose of our session is to build confidence in your ability to negotiate and get paid.

This event is organized and facilitated by Clynton Lowry and Lucy Hunter with Admin ⚙️, and hosted by the Shift Residency at EFA in partnership with CUE Art Foundation. Admission is free and first come, first served. We request that you kindly RSVP through the EventBrite link below:

RSVP

Clynton Lowry is an artist and writer, as well as the founder and editor-in-chief of Art Handler magazine, and founder of jobs.art. Lucy Hunter is the managing editor of Art Handler magazine. She is a PhD candidate in the History of Art department at Yale University, where her dissertation explores intersections of experimental art and corporate culture in the Cold War era.

Art Handler is the first publication to make the behind-the-scenes of the art world its focus. We celebrate the day-to-day grind that makes possible art’s rarefied and glamorous scene. Art Handler’s goal is to uncover the inner workings of labor and logistics in the art world—conversations that are too often buried and ignored. More than a magazine seeking readers, we are building a platform for an expanded consideration of art culture. http://art-handler.com/

This workshop is part of the Admin ⚙️ series, a space for arts administrators to support one another, discuss pressing issues, and workshop new forms of cultural institutions. Admin does so by developing resources and organizing events that draw on personal experience and a collaborative spirit. All meetings are free. Based in New York City, Admin's current administrators include Tracy Fenix, Noe Gaytan, Melissa Liu, Natalia Nakazawa, Kira Simon-Kennedy and David Xu Borgonjon. www.admin.network

EFA Project Space's SHIFT Residency provides peer support, mentoring, and studio space for artists who work in arts organizations (as curators, educators, administrators, etc) to boost their personal creative practices. SHIFT honors these artists/arts workers' commitment to the arts community with a supportive environment to revitalize their creative practices. In addition to its role as a support network, SHIFT promotes advocacy for arts workers and seeks to increase equity and representation within the field.

Accessibility: EFA Project Space is on the 2nd floor of 323 West 39th Street. The building has an ADA wheelchair accessible elevator that provides access to the gallery from the ground floor. There are all-gender single stall bathrooms and an ADA approved bathroom on the 3rd floor. The space is not scent-free, but we do request that people attending come low-scent. Children are welcome. Admission to the building does not require an ID, but you will be asked to sign-in. The closest MTA subway station is the Port Authority A, C, E stop which is ADA wheelchair accessible. Texts and programs are in English. Large format texts can be provided with advance request.

Co-Presented with:

With over 40 contributors from around the world, this issue of the On Curating journal wrestles with “forgetting”, “seeing”, “collecting” and “making” AIDS related culture in the 21st century, and the growing impulse to historize aspects of early responses to the crisis. Through academic essays, conversations, visual projects, reprints and personal reflections, a reader will be exposed to ideas, theories, images, and advice from artists, academics, activists, curators, writers and others around the ethics and practices of curating AIDS-related culture within the ongoing epidemic.

Edited by writer, organizer and educator Theodore (ted) Kerr, WHAT YOU DON’T KNOW ABOUT AIDS COULD FILL A MUSEUM is an important contribution to the vital conversation about HIV/AIDS-related culture that both centers the role of museums as sites for community, knowledge sharing, inspiration and healing, while also exploring their limits and future possibilities.

At this event, NYC based contributors will share their work, and engage in conversation with each other and guests. Free. All are welcome. Please RSVP here .

Note: This event will be held in the EFA Center Conference Room on the 3rd floor.

Image Credit: On Curating Issue #42 cover
Untitled (Politicians), Chloe Dzubilo, 2010
Letter coloring by Volker Schartner
Thank you T DeLong and Visual AIDS

The Non-Professional Development Workshop
In partnership with the Artists Alliance Inc. (AAI)

This workshop brings together artists from EFA Project Space, Artists Alliance Inc., and other organizations for a conversation on the topic of the over-professionalization of the arts.

Professional development programs endeavor to give artists the practical tools to survive in the art world in this time of rising expectations, and education and living costs.  This training, with its emphasis on “how to emerge, how to network and build your name” is often focused on art as a means of production for the market, instead of art as a form of creative expression.  In its well-intentioned mentoring on strategic planning for the career track, it --purposefully or not-- sets expectations about what constitutes professional success, constraining the possibilities for making art and being an artist. The Anti-Professional Development Workshop seeks to provide alternative approaches, reflections and humor on the evolving realities of the creative person and extend the definition of what it means to be an artist in the 21st century. This event will be presented in collaboration with Artist Alliance Inc.

Founded in 1999, Artists Alliance Inc. (AAI) is an artist and curator-centered 501c3 non-profit organization committed to supporting emerging and underrepresented contemporary artists. Through innovative programming, experimentation and collaboration, AAI serves as a resource and forum to engage the community of the Lower East Side.

PARTICIPANTS

Bill Carroll is director of the Studio Program at EFA.

Mary Ting is a visual artist working in installation, drawing, sculpture, and community projects that examine cultural history, grief and nature.  Her varied work reflects on our stories - our devotions and desperations. Recent solo exhibitions in the NYC area include Lambent Foundation, Dean Project, metaphor contemporary art, and Kentler International Drawing Space and at the Wake Forest University, North Carolina.   International group shows include: Social Justice and the Right to be Human at the Athens School of Fine Art, Greece; 2011 Art Stays 9 ,Slovenia; 2009 International Women’s Biennale, Incheon, Korea; and the Sofia Paper Biennial, Bulgaria. A two-time recipient of the New York Foundation for the Arts fellowship,  2016 Joan Mitchell Center New Orleans Residency, 2016 Lower Manhattan Cultural Council  In Process Residency, 2010 Gottlieb Foundation individual grant, Lambent Fellowship,  Pollack Krasner Foundation among others.  Residencies include MacDowell Colony, Lower Eastside Printshop Special Editions, Dieu Donne Papermill Workspace, and others. Mary Ting currently teaches at CUNY John Jay College in the studio art department and the Sustainability and the Environmental Justice Program.  She is also  faculty at Transart Institute MFA Program, New York/Berlin.  Mary is an avid gardener certified master composter and citizen She is also a frequent lecturer, independent curator and writer.  The crazed ravaging of the earth, the displacement of vulnerable communities and pending extinctions is what keeps her up at night and also awakens her in the morning. She is currently researching and writing about Chinese Modern History, Trauma, and the Lust for Endangered Species Parts.  Mary has a bachelors degree from Parsons School of Design, NYC, a diploma from the Central Academy of Fine Arts, Beijing in Chinese folk art studies, and a masters degree from the Vermont School of Fine Art. 

Jodi Waynberg is Executive Director at Artists Alliance Inc.

Martha Wilson is a pioneering feminist artist and gallery director, who over the past four decades created innovative photographic and video works that explore her female subjectivity through role-playing, costume transformations, and “invasions” of other people’s personae. She began making these videos and photo/text works in the early 1970s while in Halifax in Nova Scotia, and further developed her performative and video-based practice after moving in 1974 to New York City, embarking on a long career that would see her gain attention across the U.S. for her provocative appearances and works. In 1976 she also founded and continues to direct Franklin Furnace, an artist-run space that champions the exploration, promotion and preservation of artists’ books, installation art, video, onliine and performance art, further challenging institutional norms, the roles artists play within society, and expectations about what constitutes acceptable art mediums.

This event takes place in conjunction with As Far as the Heart Can See (September 21 – November 17, 2018).