Brainard Carey

Jeremiah Ariaz artworks explore the West as both a physical space and a terrain for the imagination. For his most recently completed project, Louisiana Trail Riders he was the recipient of a 2018 ATLAS grant, the Michael P. Smith Award for Documentary Photography from the Louisiana Endowment for the Humanities, the Southern Arts Finalist Prize from South Arts, as well as being named the Louisiana State Fellow. The photographs have been exhibited nationally and a monograph of the work was released last fall by UL Press (2018).

His forthcoming project TUCUMCARI is a decade-long work focused on the New Mexico town while providing a window to the country at the time of a changing workforce and increasing economic inequality. The photographs create a portrait of a distinctly American place caught between a vanishing past and an uncertain future. Ariaz is a Professor at Louisiana State University.

Rosa Lleó (Barcelona, ​​1980) is a curator and director, since April 2014, of the small-scale organization The Green Parrot in Barcelona, Spain. Since its opening, it has established itself as a reference space in the city with a collection of exhibitions, publications and activities with local and international artists such as Oriol Vilanova, Shana Moulton, Marc Camille Chaimowicz, Basim Magdy, Lúa Coderch, Teresa Solar, among others. She is currently a resident curator at the Fundació Antoni Tàpies where she prepares an individual exhibition of the Brazilian artist Ana Vaz. He has also collaborated with institutions such as MACBA and during 2013 he was part of the Curatorlab research program (Konstfack University, Stockholm). He has also curated exhibitions and projects at ARCO Madrid (2018), Fundaçao Iberé Camargo, Porto Alegre (2018), Art-o-Rama Marseille (2016), Can Felipa – Museu de l’Empordà (2014) Sant Andreu Contemporani (2011). Formerly appointed as editor at Actar and as editorial assistant at Afterall magazine (London). He writes occasionally for newspaper supplements and other magazines, in addition to teaching at the Pompeu Fabra University, Barcelona.

Founded by art consultant Mary Dinaburg, critic Saul Ostrow, art historian Kathy Battista and financial planner Bryan Faller, Art Legacy Planning brings together a multiplicity of art world expertise to offer a much needed and unique organization. Our expertise, tacit knowledge and our active participation allows us to observe, analyze prescribe and facilitate the necessary course of action for our clients.

Mary Dinaburg brings to ALP four decades of experience in the art world. From setting up galleries and private advising to exhibitions and projects with major museums and corporations. She has worked all over the globe, with extensive experience in Asia. She has experience working with pre-eminent artists including, among many others, Julian Schnabel, Isa Genzken, Sigmar Polke, and William Legman.

Born in Birmingham, Alabama, Patricia Thornley is a multi-disciplinary artist who lives and works in New York City.
She is a graduate of the Atlanta College of Art (BFA in Sculpture), the Whitney Independent Study Program (Studio), and Bard College (MFA in Photography).

In New York City she has been an Instructor at the School of Visual Arts and Pratt Institute. She has also been a Visiting Lecturer at the Massachusetts College of Art and an Instructor at the Vermont College of Fine Arts and Maine College of Art. She was a Fellow at the Salem2Salem Artists Residency Program, Germany. She has exhibited nationally and internationally at museums, galleries, artist-run centers, and site-specific curatorial projects. Selected venues include: P.S.1 Contemporary Art Center (NY), Whitney Museum of American Art (NY), AC Project Room (NY), Wexner Center for the Arts (OH), Walter Phillips Gallery (Banff, Canada), croxhapox (Ghent, Belgium), Paço des Artes (Sao Paulo, Brazil), and Alhamra Art Gallery (Lahore, Pakistan). Her work was featured in Views from the Avant-Garde at the 51st New York Film Festival.

Her most recent project, THIS IS US, is a seven-year series of artworks that emulate and embrace the collaborative fantasies we enact through popular media in the United States, as it shifts ubiquitous media forms to a place of social gesture, and acts of desire.

The Western asks the viewer to recognize the enduring stereotypes persisting in a culture still besotted by old mythologies, and to connect with them. The work ultimately speaks of the malleability of ourselves, to the interchangeable costumes we wear everyday, and the history and specificity of what we consider to be our personal choices.

“I use conversation, song, props, and cheap effects to create a dialogue between the participant’s actual identity and the mythologies that I, and our culture, imagine around them. In my role/performance as Director I expose my expectations, desires, and blindspots. The work speaks of that weakness—of an inability to disentangle one’s self from personal and cultural forces—and of our shared willingness, or need, to be transported.”