Regine Basha currently lives in Brooklyn as an independent curator, writer, and consultant. Throughout her 20+ year career she has produced seminal exhibitions for non-profits and public spaces throughout North America and internationally - be it in collaboration with an entire town (The Marfa Sessions), an intervention into an office or magazine (Exchange with Sol LeWitt, Cabinet), a radio presentation (Tuning Baghdad, WUNP Berlin), a series of discreet projects in private collectors’ homes (Nina Katchadourian at Testsite, Austin), or interventions throughout Bloomberg’s Financial Headquarters (Speculative Futures). Collaboration and connecting diversified fields of knowledge drives her curatorial practice into wildly diverse contexts. Basha is co-founder of Austin’s Fluent~Collaborative with Laurence Miller and sits on the board of Aurora Picture Show and Denniston Hill Residency.

Demian DinéYazhi´ (born 1983) is an Indigenous Diné transdisciplinary artist born to the clans Naasht’ézhí Tábąąhá (Zuni Clan Water’s Edge) and Tódích’íí’nii (Bitter Water). Growing up in the colonized border town of Gallup, New Mexico, the evolution of DinéYazhi´’s work has been influenced by their ancestral ties to traditional Diné culture, ceremony, matrilineal upbringing, the sacredness of land, and the importance of intergenerational knowledge. Through research, mining community archives, and social collaboration, DinéYazhi´ highlights the intersections of Radical Indigenous Queer Feminist identity and political ideology while challenging the white noise of contemporary art. They have recently exhibited at Honolulu Biennial (2019), Whitney Museum of American Art (2018), Henry Art Gallery (2018), Pioneer Works (2018), CANADA, NY (2017); and Cooley Art Gallery (2017). DinéYazhi´ is the founder of the Indigenous artist/activist initiative, R.I.S.E.: Radical Indigenous Survivance & Empowerment. They are the recipient of the Henry Art Museum’s Brink Award (2017), Hallie Ford Fellow in the Visual Arts (2018), and Eiteljorg Contemporary Art Fellow (2019). @heterogeneoushomosexual

Linda Earle is Professor of Practice at Tyler School of Art, Temple University where she is teaching and building the schools Arts management program. She has worked in the arts as an educator, administrator, funder, curator and advocate, Linda is especially interested in issues of outreach, equity and inclusion, freedom of expression, and development of new platforms for cultural practice, participation, and discourse.

Gai Gherardi is the co-founder/designer—with Barbara McReynolds—of l.a.Eyeworks, an optical adventure that began as a single storefront on Melrose Avenue in Los Angeles in 1979. Today, Gherardi and McReynolds design groundbreaking collections of limited-edition eyewear that are distributed to independent opticians and optical boutiques worldwide. In addition to its signature eyewear, Gherardi and McReynolds have cultivated l.a.Eyeworks as a multi-faceted platform from which to provoke ideas about vision and freedom of expression, engaging artists, designers, writers and architects in a free-wheeling exploration now beginning its fifth decade. A passionate fan of all the arts, Gherardi has served frequently on arts/design juries and lectured internationally on l.a.Eyeworks’ unique approach to design and brand development. Gherardi is also a protector of the California Desert Tortoise and a champion of the Dumpy Tree Frog.

Alexander Gray is Principal and Co-Founder of Alexander Gray Associates, a contemporary art gallery based in New York focused on artists who emerged in the 1960s, 1970s, and 1980s. Prior to establishing the Gallery, Gray held numerous leadership positions in the arts, including Artadia: The Fund for Art and Dialogue; Artpace, San Antonio; Art Matters Foundation; the National Campaign for Freedom of Expression; Visual AIDS; and the Museum of Modern Art, New York. Gray is a trustee of the Archipenko Foundation and Artpace San Antonio.

Founder and Director of Aubin Pictures, Catherine Gund is an Emmy-nominated producer, director, writer, and activist. Her media work focuses on strategic and sustainable social transformation, racial justice, arts and culture, HIV/AIDS and reproductive justice, and the environment. Her films have screened around the world in festivals, theaters, museums, and schools; on PBS, the Discovery Channel, Sundance Channel, Netflix, and Amazon Prime. Her most recent films include: Primera, a gripping feature documentary about the activists on the frontlines of the Chilean uprisings, Aggie (Sundance, Doc Fortnight), a stunning journey with powerhouse art maverick Agnes “Aggie” Gund who sold a Roy Lichtenstein painting to end mass incarceration through her Art for Justice Fund fueling artists and activists working at the forefront of the movement, Dispatches From Cleveland (CIFF, MSPIFF), a five-chapter documentary that looks at the police murder of 12-year-old Tamir Rice and shows how people joined together to vote out the prosecutor who didn’t have their backs; and Chavela (Berlinale, Hot Docs, Ambulante) a documentary about the life of the iconic Latin American gender-ending diva, Chavela Vargas, America, Born to Fly: Elizabeth Streb vs. Gravity, What’s On Your Plate?, A Touch of Greatness, Motherland Afghanistan, Making Grace, On Hostile Ground, and Hallelujah! Ron Athey: A Story of Deliverance.

In addition to Art Matters, Gund currently serves on the boards of Art for Justice, Baldwin for the Arts, and is the Chair of The George Gund Foundation. She co-founded the Third Wave Foundation which supports young women and transgender youth, and DIVA TV, an affinity group of ACT UP/NY. She was the founding director of BENT TV, the video workshop for LGBT youth. She was on the founding boards of Bard Early Colleges, Iris House, Working Films, Reality Dance Company, and The Sister Fund and has also served for MediaRights.org, The Robeson Fund of the Funding Exchange, The Vera List Center for Art and Politics at the New School, and the Astraea Foundation. An alumnus of Brown University and the Whitney Independent Study Program, she lives in NYC with her four children.

Rujeko Hockley is Assistant Curator of Contemporary Art at the Brooklyn Museum. She joined the Museum in 2012 and has since worked on exhibitions including LaToya Ruby Frazier: A Haunted Capital (2013), The Bruce High Quality Foundation: Ode to Joy, 2001-2013 (2013), Unfolding Tales: Selections from the Collection (2013, 2014) (Co-curator), Crossing Brooklyn: Art from Bushwick, Bed-Stuy, and Beyond (2014) (Co-curator), Kehinde Wiley: A New Republic (2015), I See Myself in You: Selections from the Collection (2015) (Co-curator), and Kara Walker: African Boy Attendant Curio (Bananas) (2015) (Curator). Previously, she worked as Curatorial Assistant at The Studio Museum in Harlem (2005-07). She received her B.A. from Columbia University in Art History and is a Ph.D. Candidate in Art History, Theory, and Criticism in the Visual Arts Department at the University of California, San Diego.

Việt Lê is an artist, writer, and curator. Lê is an Associate Professor in Visual Studies at California College of the Arts. Recent solo exhibitions include Sonic Spiritualities (Vargas Museum, Manila 2020), lovebang! (Kellogg University Art Gallery, LA '16), vestige (H Gallery Bangkok '15), tan nÁRT cõi lòng | heARTbreak! (Nhà Sàn Collective Hà Nội ‘15). Lê has presented his work at The Banff Centre, DoBaeBacSa Gallery, Seoul; UCLA Hammer Museum; 1a Space, Hong Kong; Bangkok Art & Cultural Center (BACC), Civitella Ranieri; Shanghai Biennale, Dartmouth College, Rio Gay Film Festival, among other venues. White Gaze is an art book (poetry, images, performance) in collaboration with Michelle Dizon and Faith Wilding (Sming Sming Books & Objects | Candor Arts). Lê co-curated humor us (with Leta Ming and Yong Soon Min; Los Angeles Municipal Art Gallery, LA, CA, 2008), transPOP: Korea Việt Nam Remix (with Yong Soon Min; Seoul, Sài Gòn, Irvine, San Francisco, 2008-09), the 2012 Taipei Kuandu Biennale and Love in the Time of War (UC Santa Barbara and SF Camerawork). He coorganized the 2015 Artistic Interventions conference (Ph.D. workshops and symposium) in Hong Kong.

Lê has co-edited special issues of Asian American Literary Review ([Re]Collecting Vietnam, 2015), BOL Journal (Việt Nam and Us, 2008) and Reflections: A Journal of Writing, Service Learning, and Community Literacy (Syracuse University Press, 2008). He has also co-edited with Professor Lan Duong a special issue of Visual Anthropology (Routledge, winter 2018. He is a reviews co-editor (with Prof. Laura Kina) of Asian Diasporic Visual Cultures and the Americas (Brill). He was a nominated finalist for the 2009 Sovereign Art Foundation Art Prize (Hong Kong). He received the inaugural Prudential Eye Prize for Best Writing on Asian Contemporary Art (2015). Lê received his M.F.A. from the University of California, Irvine, where he has also taught Studio Art and Visual Culture courses. He received his M.A. and Ph.D. from the University of Southern California. He is a board member of the Queer Culture Center and on the editorial board of the Journal of Vietnamese Studies (JVS). vietle.net

Julio César Morales (b. 1966, Tijuana, Mexico lives and works in Phoenix, Arizona)

Employing a range of media and visual strategies, artist, educator, and curator Julio César Morales explores issues of migration, underground economies, and labor, on personal and global scales. Morales works by whatever means necessary: In an indelible series of watercolor illustrations, he diagramed means of human trafficking in passenger vehicles, while in other projects he has employed the DJ turntable, neon signs, the historical reenactment of a famous meal, or the conventions of an artist-run gallery to explore social interaction and political perspectives.

He is the founder and director for Queens Nails Annex, an artist-run project space in San Francisco from 2003 to 2012. He was adjunct professor at The San Francisco Art Institute from 2000 to 2012 and associate professor in Curatorial Studies at The California College for the Arts from 1999 to 2010. Morales was an advisor and writer for The San Francisco Quarterly Art Magazine, from 2008 to 2012 he was adjunct curator for visual arts at Yerba Buena Center for The Arts in San Francisco, Morales was a contributing curator for the Japanese pavilion at the 2013 Venice Biennale and is currently curator of visual arts at Arizona State University Art Museum. Morales has curated more than 100+ exhibitions to date.

Morales’ artwork has been shown at Lyon Biennale; (Lyon, France), Istanbul Biennale; (Turkey), Los Angeles County Art Museum (Los Angeles); Singapore Biennale; (Singapore), Frankfurter Kunstverein (Frankfurt, Germany); Rooseum Museum of Art (Malmo, Sweden); SFMOMA (San Francisco), and The UCLA Hammer Museum (Los Angeles) amoungst others. His work has been written about in Flash Art, The New York Times, Artforum, Frieze, Art Nexus, and Art in America. His work is in private and public collections including The Los Angeles County Art Museum, MOMA, New York, The Kadist Foundation, The San Diego Museum of Contemporary Art, Houston Fine Arts Museum, Perez Art Museum Miami and Deutsche Bank amongst others.

Claire Morton is an artist working in performance, fashion, publication, and archives. Born and raised in Los Angeles, Claire received her BA in Studio Art from Oberlin College in 2014. She went on to work at the Graham Foundation for Advanced Studies in the Fine Arts in Chicago as the Bookshop Manager and a Program Assistant from 2015-2018. Claire sits on the Arts & Collections Committee of the Gaylord and Dorothy Donnelley Foundation and the Art Matters Foundation as a Donnelley family member. She is committed to transforming philanthropy, taking up the mantle of her family’s legacy in the field with the goal of making its practice obsolete. She believes that dismantling White Supremacy is the only way to achieve this goal and is a student of movement work that strives for its dissolution.

Marianne Weems is artistic director of The Builders Association (www.thebuildersassociation.org) and has directed all of their productions, beginning in 1994. The Builders Association is an OBIE award-winning New York-based performance and media company. Their work has been presented at venues including the Brooklyn Academy of Music, the Singapore Arts Festival, London’s Barbican Centre, Romaeuropa Festival, the Festival Iberoamericano de Teatro de Bogota, and the Melbourne International Arts Festival, among hundreds of other venues. In addition to her work with the company, she is currently at work on a new theater/music event with David Byrne and Fatboy Slim titled “Here Lies Love,” and she recently directed a multimedia workshop with Disney Creative Entertainment and Walt Disney Imagineering. Weems has lectured internationally on media, performance, and contemporary art and also serves on the boards of Yaddo and Arts Presenters and on the advisory committee of the Center for Research in Engineering, Media and Performance at UCLA. She is the co-author, with Philip Yenawine and Brian Wallis, of Art Matters: How The Culture Wars Changed America (NYU Press 2000.) In the distant past, she also worked as a dramaturg with Susan Sontag, The Wooster Group, and others.

Mimi Wheeler is first and foremost a mother two, living in Venice, California. Mimi is a board member of the Gaylord and Dorothy Donnelley Foundation which supports land conservation, artistic vitality and collections in Chicago and the Lowcountry of South Carolina. She is also a board member of the Good Works Foundation which supports art, the environment, social action and education in Los Angeles. Mimi has a passion for social justice, human rights, environmental action, and the arts. Mimi is a graduate of Sarah Lawrence College where she studied English Literature and Fine Art.

Sacha Yanow is a NYC-based performance artist and actor. Her work has been presented by venues including Danspace Project, Joe's Pub, and the New Museum in NYC; PICA’s TBA Festival/Cooley Gallery in Portland; and Festival Theaterformen in Hanover, Germany. She has received residency support from Baryshnikov Arts Center, Center for Performance Research, Denniston Hill, Lower Manhattan Cultural Council, SOMA Mexico City, and Yaddo. As a creative advisor for fellow artists, Yanow has recently worked with Faye Driscoll, Morgan Bassichis, Elisabeth Subrin and Dynasty Handbag and is a member of the Dyke Division of Theater of the Two-Headed Calf. Yanow served as Director of Art Matters Foundation for 12 years, and previously worked at The Kitchen as Director of Operations. She received a BA from Sarah Lawrence College and is a graduate of the William Esper Studio Actor Training Program.

www.sachayanow.com

Bruce Yonemoto’s work as a video and media installation artist began in the mid 1970’s. His body of single channel video work (many in collaboration with his brother, Norman) which was created from 1976 to the late 1980’s examined the effects of the mass media on our perceptions of personal identity (sexual, ethnic, and political), romantic love, melodramas and soap operas to TV commercials and the electronic metatext (the ultimate products of Hollywood’s search for audience identification and manipulation), desired to manipulate audiences while making them aware of that manipulation. He has been honored with numerous awards and grants from the National Endowment for the Arts, the American Film Institute, The Rockefeller Foundation, and the Maya Deren Award for Experimental Film and Video. Most recently, Yonemoto’s solo installations, photographs and sculptures have been featured in major one person shows at the ICC in Tokyo, the ICA in Philadelphia, and the Kemper Museum in Kansas City. He has had solo exhibitions at Blum & Poe and Lemon Sky, Los Angeles; Gray Kapernekas, New York; Tomio Koyama, Tokyo and his work was featured in Los Angeles 1955-85 at the Pompidou Center, Paris. His work is featured in a 2007 exhibition at the Generali Foundation, Vienna. Since the early 1990’s, Yonemoto’s solo work has been exploring experimental cinema and video art within the context of installation, photography and sculpture. He has continually been a strong proponent of the integration of fine arts and media. Recently, Yonemoto has pursued international production, exhibitions and peer-reviewed residencies, focusing on post colonial remnants imbedded in popular cultural forms. His present interests include the creation of media artworks in collaboration with performance and conceptually based media artists in the US and Asia.

Lowery Stokes Sims served as Executive Director of The Studio Museum in Harlem from 2000 to 2005 and as President in 2005-2006. From 1972 to 1999 she worked on the educational and curatorial staff of The Metropolitan Museum of Art, concluding her tenure there as Curator of Modern Art. Sims received her B.A. in Art History from Queens College, her M.A. in art history from Johns Hopkins University, and her PhD in art history from the Graduate Center of the City University of New York. She has also received honorary degrees from the Maryland Institute College of Art, Parsons School of Design at the New School University, the Atlanta College of Art, and Brown University. In 2003-04 Dr. Sims was also a member of the jury to select the design for the memorial at the World Trade Center. Sims has published extensively on modern and contemporary art with a special interest in African, Native, Latin, and Asian American artists. She has curated and juried exhibitions and lectured and participated in symposia nationally and internationally. In 1991 she was the recipient of the Frank Jewitt Mather Award for distinction in art criticism from the College Art Association. Her publication, Wifredo Lam and the International Avant-Garde, 1923-1982 is made available by University of Texas Press (2002). Sims was a visiting critic in the VIEWPOINT program in the Art Department at the University of Texas, Austin in 1996 and 2006. She is currently adjunct curator at The Studio Museum in Harlem and Visiting Professor at Hunter College and Queens College of the City University of New York.

Since its inception in 1981, Mary Livingstone Beebe has been the Director of the Stuart Collection, which is an on-going program commissioning outdoor sculpture for the 1200-acre campus at the University of California, San Diego. Major works have been completed by Terry Allen, Michael Asher, John Baldessari, Niki de Saint Phalle, Jackie Ferrara, Ian Hamilton Finlay, Richard Fleischner, Jenny Holzer, Robert Irwin, Tim Hawkinson, Barbara Kruger, Elizabeth Murray, Bruce Nauman, Nam June Paik, Alexis Smith, Kiki Smith, Doh Ho Suh, and William Wegman. A book documenting the first 20 years of the collection, Landmarks: Sculpture Commissions for the Stuart Collection at the University of California, San Diego, was published in 2001 by Rizzoli International Publications, Inc. From 1972 to 1981, Beebe was Director of the Portland Center for the Visual Arts in Portland, Oregon. She has served on numerous boards and committees including the Art Advisory Board for the University of California, the Art Advisory Board for San Francisco’s Mission Bay campus, and the Public Art Committee for the San Diego Commission for Arts and Culture. She has been a member of the Art Steering Committees for the Greater Toronto Airport (Ontario) and the Denver International Airport, the Art Advisory Committees for the University of Washington, Seattle, and Harvard and Radcliffe (Cambridge). She has lectured widely and served on many panels for the National Endowment for the Arts and as juror for public art projects across the country and in Europe. In the sixties she worked at the Portland Art Museum (Oregon), the Boston Museum of Fine Arts, and the Fogg Art Museum at Harvard University.

The son of cattle ranchers in the Yakima Valley, WA, Cee Brown moved to New York City in 1977 to take a position at the Museum of Modern Art (MoMA), where he worked in the single contemporary program of the Museum called The Projects Program. After three years at MoMA, he became director of the Holly Solomon Gallery and had the opportunity to work with some of the most exciting and non-traditional artists of the time. Brown went on to become simultaneously the Executive Director of Creative Time, Inc. and the Executive Vice President of Art Matters Inc. He concluded his 20 years in the art world with his last stint running the Art Matters Foundation and spearheading the successful Art Matters Catalog, which featured merchandise and artworks by well-known and emerging artists. All profits from the mail-order business went back into the foundation to be granted to younger and more challenging visual artists across the U.S. In 1996, Brown moved to his waterfront cottage in Sag Harbor Village full-time and began working in real estate. He has since earned top producer status and an extensive following of creative and artistic customers and clients. With his business run mainly through referrals, Brown has a superior track record for successfully servicing his buyers and sellers and fulfilling their real estate needs from Hampton Bays to Montauk. Brown was the chairperson of the Sag Harbor Village Architecture and Historic Preservation Review Board and spent time working with the Parrish Art Museum in Southampton and currently joined its Board of Trustees.

Laura Donnelley is an innovative philanthropist passionate in her support of the arts and the environment. She co-founded Art Matters in 1985 with educator Philip Yenawine to support artists and their process, which coincided with the growing Aids epidemic and issues of freedom of speech. In addition to Art Matters, Donnelley founded the Good Works Foundation, a private, family foundation, which supports education, the arts, and the environment; And in the late ‘70s, she helped develop the Aspen Art Museum. Donnelley is a longtime board member of The Institute of Contemporary Art Los Angeles, formerly the Santa Monica Museum of Art; and the Gaylord and Dorothy Donnelley Foundation (GDDF), funders in the regions of Chicago and the Low Country of South Carolina. GDDF focuses on support for small vibrant arts organizations, collections of regional importance, and long-term collaborative land conservation initiatives. Donnelley also currently serves as a trustee of Sarah Lawrence College. Laura has four children, Max, Mimi, Claire and Zane. Her grandchildren, Felix and Naomi are the coolest kids on the planet.

Laurence Miller began his visual arts career in the late 1960’s as Director of Theme Exhibitions for Hemisfair 68. In the early 1970s, he joined the adjunct faculty of the University of Texas at Austin and the staff of the Harry Ransom Humanities Research Center as a Special Assistant to the Chancellor and Curator of Literary Iconography. From 1974 to 1990, Miller served as Director of the Austin Museum of Art (formerly Laguna Gloria Art Museum). In 1990, he formed a consulting group to assist non-profit visual arts organizations with program development and strategic planning. In 1993, he was appointed Senior Advisor for Programs at Artpace, A Foundation for Contemporary Art in San Antonio and from 1995-1999, he served as the organization’s Founding Director. He held the position of Artpace’s Senior Advisor for Special Projects until November 2001 when he became Director Emeritus. In the spring of 2002, Miller founded Fluent~Collaborative (formerly baluartecreek.org). Fluent’s two primary projects ...might be good, a contemporary art e-review, and testsite, an exhibition platform for collaborations between artists and writers, have received international attention. Throughout his career, Miller has been pro-active in professional organizations at the local, state, and national level.

Philip Yenawine is co-founder of Visual Understanding in Education (VUE), a non-profit educational research organization that develops and studies ways of teaching visual literacy and of using art to teach thinking and communication skills. Director of Education at the Museum of Modern Art from 1983-93, he worked in 1992-94 as consulting curator at the Institute for Contemporary Art and during the academic year 1993-94 as Visiting Professor of art education at Mass College of Art, both in Boston. Yenawine is the author of an introduction to modern art, called How to Look at Modern Art and has written six children’s books about art – Stories, Colors, Lines, Shapes, People, and Places. Key Art Terms for Beginners was published in 1995. His contributions have been recognized within the arts community by the National Art Education Association Award for Distinguished Service, 1993; National Art Education Association Museum Educator of the Year, 1991; New York State Governor’s Award for Visual AIDS and A Day Without Art, 1990; and the New York State Governor’s Award for the Museum of Modern Art’s program for people with hearing disabilities, 1984. Additionally he was made a George A. Miller Visiting Scholar at the University of Illinois, 1996 and awarded a Doctorate of Fine Art, Honoris Causa, from the Kansas City Art Institute, 2003. Yenawine was a guest at Yaddo in both 2004 and 2005.