Brian Getnick

Brian Getnick is an artist, curator and writer about contemporary performance in Los Angeles.

He is the director of PAM residencies, a showcase and residency program for performers making long form work (30+minutes).

He is the founder and co-director with Tanya Rubbak of Native Strategies, a journal documenting performance art in LA since 2011.

The books mentioned in the interview  are “Further on, Nothing. Tadeusz Kantor’s Theatre” by Michal Kobialka and “The Children’s Book” by A.S. Byatt

“Moonchops” 2016, solo performance, Automata Theater, photo by BG

“RGB” 2013, installation of costumes and curtains made between 2007-2013, Monte Vista Projects, photo by Ruben Diaz

Hana van der Kolk

Hana van der Kolk makes body-centric performances, events, videos, drawings, and writing that investigate community/collaboration and how thought shapes somatic life, how the body shapes thinking, and how being thoughtfully engaged bodies might destabilize our notions of gender, race, sex, work, nature, and politics.

Based in Los Angeles from 2005-10 Hana is currently based in Troy, NY. Hana is a contributing facilitator of communityLAB, an initiative that empowers individuals to step into roles as change agents, coalition build, and make positive change within their communities, and co-hosts the bi-monthly queer dance party/community fundraiser, Polly. Hana also maintains a private practice in sexual healing that draws from elements of massage, BDSM, meditation, and The Internal Family Systems. 

Her performance projects have been presented in a variety of places including Kule (Berlin), REDCAT (Los Angeles), Cariddi Mills (North Adams, MA), The Hammer Museum (Los Angeles), Human Resources (Los Angeles), Williams College Museum of Art (Williamstown, MA), BCA (Boston, MA), Space Gallery (Portland, ME), PAM (Los Angeles, CA), 51 3rd (Troy), and n/a (Oakland, CA). She has taught dance/performance internationally including at Williams College (MA), The School for New Dance Development (Amsterdam), Torteaturn (Stockholm), The University of Tallinn (Estonia), Colgate University (Hamilton, NY), and Marlboro College (VT). Hana has collaborated with numerous artists and activists including Asher Woodworth, Coral Short, Layard Thompson, Jesse Aron Green, Emily Mast, Hana Lee Erdman, Tove Sahlin, Jane Pickett, Joy Mariama Smith, Winnie Ho, Jason Martin, Jack Magai, Senem Pirler, Margit Galanter, Shanna Goldman, and Ellen Foster, and is currently involved in an ongoing collaboration with Tomislav Feller. She holds an MFA in Dance from UCLA and is greatly influenced by her work with Deborah Hay, Guillermo Gomez Pena, and the Body Weather Laboratory. 

Learn more about her work in the following links; Somewhere, as well as deepbodyglitter, and The Apprenticeship Project and Between Us (a project with students of Colgate University)

The books e mentioned in the interview were; Autobiography of Red by Anne Carson, Bluets by Maggie Nelson, Urban Tantra by Barbara Carrellas and Object Oriented Feminism edited by Katherine Behar

Shana Nys Dambrot

With painter Justin Bower and director Andi Campognone artist talk at Lancaster Museum of Art and History

Shana Nys Dambrot is an art critic, curator, and author originally from NYC but based in Los Angeles since 1995. She studied Art History at Vassar College, during and after which she interned with Gagosian and Castelli Galleries, and worked at the Guggenheim Museum. But she always knew she wanted to write about art, and over the past decades has worked the gamut of digital and print platforms, covering visual, literary, cinematic, and performing arts across a rapidly changing media landscape.

Dambrot is an independent writer who plays different roles at a roster of arts publications; she is currently LA Editor for Whitehot Magazine, Contributing Editor for Art Ltd., and a contributor to Art and Cake, Flaunt, the Huffington Post, Creators (Vice Media), Fabrik Magazine, Palm Springs Life, Vs. Magazine, Porter & Sail, and KCET’s Emmy-winning cross-platform series, Artbound. Formerly Managing Editor at, previous publications have included the LA Weekly, Modern Painters, Art Review, Artweek, ARTnews, Desert Magazine, Montage, Bespoke, The Believer, tema celeste, Angeleno, Art Asia Pacific, Bluecanvas, Scene, and Juxtapoz.

In addition to the core practice of critique and chronicle — and the occasional piece of short fiction — Dambrot has written hundreds of essays for monographs and exhibition catalogs, which in some ways is her favorite form of prose, marrying analysis with evocative interpretation, art historical context, biography, and even a little bit of poetry. She also curates and juries a few gallery exhibitions each year, typically exploring specific cultural and social themes at the invitation of independent venues, and frequently expanding into the realm of immersive, experiential, festival-like environments inclusive of video, performance, and early AR and VR technologies.

Besides speaks in public at galleries, schools, and cultural institutions nationally, Dambrot currently serves on the board of Art Share LA as well as the non-profit’s Gallery Exhibition Committee, dedicated to preserving a historical landmark of independent local, actual art and artists in the heart of the now-famous and fancy Downtown Art District. She is also the Advisory Board of Building Bridges Art Exchange, an international residency and exhibition program dedicated to the crossing of every kind of border.

An account of her activities is sometimes updated at

With artists Amy Kaps and Eric Schwabel inside Kaps Striped World installation at CMay Gallery in LA part of a show Dambrot curated called Continental Drift 2015

On a studio visit with painter Wyatt Mills in Los Angeles

Ellen Jantzen

Ellen Jantzen self-portrait, “No Botox Needed”

I don’t consider myself a “photographer” but an image-maker, as I create work that bridges the world of photography, prints and collage. As digital cameras began producing excellent resolution, I found my perfect medium. It was a true confluence of technical advancements and creative desire that culminated in my current explorations in photo-inspired art using both a camera to capture imagery and a computer to alter, combine and manipulate the pieces.

My work is shown and published internationally; was one of 15 women photographers chosen to receive the Julia Margaret Cameron Award! This is quite a distinction in the photography world honoring women photographers!!! 

Along with the honor, I participated in the Berlin Biennial that took place in October 2016. My work (8 large dye sublimation prints) is installed at the New Dubai Opera House. I was honored with a two month feature at the Griffin Museum of Photography, Winchester MA of my “Disturbing The Spirits” series to help celebrate the 200th anniversary of Thoreau’s birth.  I was also awarded First Place (Fine Art, Special Effects Category) in the Moscow International Foto Awards, 2016 and First Prize, Fine Art in the prestigious PX3, Prix de la Photographie Paris for my series “Transplanting Reality; Transcending Nature”

My work has been shown in galleries and museums world-wide as well as numerous web-based sites. I am represented by, among others, the Susan Spiritus Gallery in Newport Beach CA and the Bruno David Gallery in St. Louis MO. My work can also be seen on my website: Ellen Jantzen.

Barrier Relief from her “Coming Into Focus” series

Amplification from her “Coming Into Focus” series

Promise of Summer, from her “Disturbing The Spirits” series

Matthew Schum

Matthew Schum is a writer based in Los Angeles. In 2015 he received his PhD from the University of California San Diego and has been a lecturer in art history at Otis College of Art, NYU Steinhart and Cal State University Bakersfield. Curatorial projects include the MYSYSYPYN at the Nemeth Art Center, Park Rapids; Bosco Sodi,Malpaís in West Hollywood; Itasca at the Bindery Projects, St. Paul; Five Artists at David Nolan Gallery, New York; David Hartt, Interval, and Eamon Ore-Giron, Morococha for LAXART, Hollywood, among others. He is editing an anthology for SALT, Istanbul, as well as a monograph on filmmaker-artist Mark Boulos for Forma Art London, published by Hatje Cantz. Matthew has written for X-tra, Mousse Magazine, Flash Art International and Artforum. 


Damien Davis, River (For Till), 2016

Hermione Spriggs, Thames River, 2016


Installation shot with Nyeema Morgan (wall sculptures left) and Damien Davis (behind)

Colette Gaiter

Colette Gaiter, Associate Professor of Visual Communication, Department of Art & Design, University of Delaware.

After working in graphic design for ten years in Pittsburgh, Washington, DC and New York, she became an educator, artist and writer. She has exhibited her work internationally and in galleries, museums and public institutions in the United States such as the Contemporary Arts Museum of Houston, Studio Museum in Harlem, and the Pennsylvania Academy of the Fine Arts.

As a pioneer in new media art since 1982, she presented and exhibited her work at SIGGRAPH, ISEA, and other new international new media venues. Currently her work remains interdisciplinary—from artist books to mixed media sculptural objects and textiles, usually including digital imagery.

Her writing on former Black Panther artist Emory Douglas’s work appears in the monograph Black Panther: The Revolutionary Art of Emory Douglas, and West of Center: Art and the Counterculture Experiment in America, 1965-1977, among other publications. Since 2004, she continues to write about Douglas’s work including his current international human rights activism. She wrote the introduction to the second edition of his monograph, published in 2011.

An essay on Cuban artists in The African Americas: A Collaborative Project on the African Diaspora in the Cultures of Latin America, the Caribbean, and the United States reflects her many visits to the island to study art, design and culture.

Putting her interest in socially engaged art into practice, she initiated two community projects in Wilmington, Delaware— Urban Garden Cinema in 2012 and The Beauty Shop Project, currently underway.
Here are more links to writing and information on Emory Douglas online; Black Panther: The Revolutionary Art of Emory Douglas,  West of Center Art and the Counterculture Experiment in America, 1965–1977 “The Revolution Will Be Visualized: Black Panther Artist Emory Douglas.” From the Black Panthers to Black Lives Matter, Fifty Years of Activist Art by Emory Douglas. Black Panthers and Black Lives Matter – parallels and progressChicago 1969: When Black Panthers aligned with Confederate-flag-wielding, working-class whites.

Visualizing a Revolution: Emory Douglas and The Black Panther Newspaper, AIGA Journal: The Professional Association for Design.

Please Note – Correction to the interview Don Mulford was a California Assemblyman who introduced the gun control bill in response to the Black Panthers. She mistakenly said that Mulford was the Attorney General. 

Emory Douglas © 2015 / Emory Douglas / Artists Rights Society, New York Black Lives Matter Original image, 1976

Colette Gaiter ©2016, Elect/ricity Artist book, 9 x 12 inches

Alison Jackson

Photo by Bill Bryson at Windsor Park

Alison Jackson is a contemporary artist who explores the cult of celebrity  – an extraordinary phenomenon created by the media,  publicity industries and the public figures themselves.  

Her work sits squarely in the middle of the current fake news, alternative facts or news debates. Jackson makes convincingly realistic work about celebrities doing things in private using lookalikes. Likeness becomes real and fantasy touches on the believable. She creates scenarios we have all imagined but never seen – the hot images the media can’t get.  

Jackson raises questions about whether we can believe what we see when we live in a mediated world of screens, imagery and internet. She comments on our voyeurism, on the power and seductive nature of imagery, and on our need to believe. Her work has established wide respect for her as an incisive, funny and thought-provoking commentator on the burgeoning phenomenon of contemporary celebrity culture.

Alison works across all arts and media platforms in TV, Publishing, books, is widely exhibited in galleries and museums attracting extensive interest in the  news and press. Her images themselves have become just as much a part of popular culture as images of the real celebrities.

Born in Hampshire, Alison trained in Fine Art Sculpture at Chelsea College of Art in London, and in Fine Art Photography at The Royal College of Art. She lives and works in London. Alison is Ambassador to the Spinal Injuries Association.

ROYAL SELFIE by Alison Jackson

Prince Philip looks at Marilyn by Alison Jackson

Ku Klux Klan and Donald Trump by Alison Jackson

Trump Spraytan by Alison Jackson

Neil Goldberg

Neil Goldberg makes video, photo, mixed media and performance work that focuses on embodiment, mortality and the everyday. He’s exhibited this work at venues including The Museum of Modern Art (permanent collection), The New Museum of Contemporary Art, The Aldrich Contemporary Art Museum, The Hammer Museum, The Museum of the City of New York, The Kitchen, The Pacific Film Archive, NGBK Kunsthalle Berlin, and El Centro de Cultura Contemporània de Barcelona, among others.

His work has received support from the Guggenheim Foundation, the New York State Council on the Arts, the Lower Manhattan Cultural Council, the Experimental Television Center, Harpo Foundation, CEC ArtsLink, Stillpoint Fund, Yaddo, and the MacDowell Colony.

He teaches at the Yale School of Art and Parsons, was resident faculty at the Skowhegan School of Painting and Sculpture, and have served as a visiting artist at Cooper Union, The School of Visual Arts, New York University, the Rhode Island School of Design, the MIT Media Lab, and UCLA, among others.

Be sure to see his upcoming  performances that he talked about in the interview.  They will be at Cristin Tierney Gallery in connection with the group exhibition Indirect Representations. The performances are Thursdays March 30th, April 6th, and April 13th at 7:00 pm and are free. The gallery is at 540 West 28th Street. 

Here are the books mentioned in the interview ; Jacqueline Novak, How to Weep In PublicSarah Schulman, Conflict is Not AbuseTed Steinberg, Gotham Unbound.

Neil Goldberg, Drag Queen Studio Visits (Jackie Beat), single channel video, ongoing series.

Neil Goldberg, Inhibited Bites, video installation and performance, ongoing.

Declan Clarke

Declan Clarke, photo by Nikola Radić Lucati

Declan Clarke is an artist and filmmaker. He studied at the National College of Art and Design, Dublin, and the Chelsea College of Art and Design, London. In 2002/03 he was awarded the PS1MOMA International Residency Program by The Arts Council of Ireland.

 Recent solo exhibitions include I Wanted to Share My Lover’s Fate, Farbvision, Berlin; Declan Clarke: Recent Film Work, Torrence Art Museum, Los Angeles, USA; The Hopeless End of a Great Dream, Temple Bar Gallery, Dublin, Belfast Exposed, Belfast, and the Centre Culturel Irlandais, Paris; Geist Trilogie, Tromsø Kunstforening, Norway, (all 2016). Wreckage in May, Dublin City Gallery the Hugh Lane, Dublin, 2015; Group Portrait with Explosives, Mother’s Tankstation, Dublin, 2014.

Recent group exhibitions include: Transmediale 2016, Haus der Kulturen der Welt, Berlin; Over You/You Ljubljana Biennial of Graphic Arts, Ljubljana, Slovenia; The Shock of Victory, Centre for Contemporary Arts, Glasgow; The Heart is Deceitful Above All Things, HOME, Manchester; Un-Speak, CCA Lagos, Nigeria, 2015;  Invisible Violence, Salzburger Kunstverein, Salzburg, Austria, MOCA Belgrade, Serbia, Basque Museum of Contemporary Art, Vitoria, Spain 2014/5; Built With Love, Mother’s Tankstation, Dublin, 2013; We Are Grammar, Pratt Manhattan, New York.

His films have recently been included in the FID-Marseille International Film Festival, in 2016 and 2013; Tromsø International Film Festival in 2014; Cinéphémère, Jardin Des Tuilieries, FIAC, Paris, 2013 and 2016. In 2016 he won the Jury Prize at the Ljubljana Biennial of Graphic Arts.

The Most Cruel of All Goddesses, 2015, 16mm film, 60 minutes

The Hopeless End of A Great Dream, 2016, 16mm film, 65 minutes

Andreja Kulunčić

Andreja Kulunčić’s art practice is based on exploration of new models of sociability and communication situations, an interest for socially engaged themes, confrontation with different audiences, and collaboration on collective projects. She sets up her own interdisciplinary networks, seeing artistic work as a research, process of cooperation and self-organization. She often asks the audience actively to participate and “finish” the work. Some of Kulunčić’s frequent subjects are correlations between economy, transition, feminism and racism.
Art is understood as research, by which research results are no longer primary, but are rather one of the integral components, the background on which artistic production unfolds. The interdisciplinary in which specific artistic skills are complemented by complementary skills from other areas is an important element of Andreja Kuluncic’s artistic practice, whose works are almost regularly created in collaboration with sociologists, philosophers, scientists, programmers, designers, or anthropologists.

By operating in the marginal areas of opposition and focusing her critique on the central values of imaginary institutions of globalizing societies and divisions conditioned by them, her artistic production suggests the capability of art to offer polemical grounds for the rethinking and dissolution of certain institutional forms and the creation of new ones.

Her work has been presented at international exhibitions, including: Documenta11 (Kassel), Manifesta4 (Frankfurt/Main), 8.Istanbul Biennial (Istanbul), Liverpool Biennial04 (Liverpool), 3.Tirana biennial (Tirana), 10.Triennial-India (New Delhi) among others.

At solo shows, including: Museo Universitario Arte Contemporáneo (Mexico City), Museo MADRE (Napoli), Salon of the Museum of Contemporary Art (Belgrade), Art in General (New York), Artspace Visual Art Canter (Sydney), Darat Al Funun (Jordan), Gallery NOVA, Gallery Miroslav Kraljevic and Gallery Forum (Zagreb).

At collective shows in museums, including: Whitney Museum of American Art (New York), PS1 (New York), Walker Art Centre (Minneapolis), Museum MUAC (Mexico City), Palais de Tokyo (Paris), Garage Museum (Moskva), Kumu Art Museum (Tallin), Museum of Contemporary Art (Zagreb), Museum of Contemporary Art (Ljubljana), Zacheta National Gallery of Art (Warshaw), Museum of Modern and Contemporary Art (Rijeka), Lentos kunstmuseum (Linz), Museum of Modern Art (Saint-Etienne), Ludwig Museum (Budapest).

Artist’s residencies: MUAC&SOMA in Mexico City, Art in General in New York, Walker Art Center in Minneapolis, Artspace in Sydney, 10th Triennial-India in New Delhi and Jaipur.

Here are the books mentioned in the interview, with comments by Andreja  – Kristian Bang Foss, Death drives an Audi – I bought it today in Croatian translation which come out 2 months ago as I am traveling to do a piece in Denmark quite soon, and Karl Ove Knausgaard, My Struggle – Not translated all 6 parts to Croatian so I did not read all yet, and Max Frisch diaries from1966. to 1971., I am reading again, He said (in the ’60-ties) We wanted workers, but people come instead .. something I was thinking a lot during my work on the “1CHF=1VOICE” piece in Zurich.

Andreja Kulunčić lives in Croatia, where she teaches at the Academy of Fine Arts in Zagreb, Department of New Media.

“1 CHF = 1 VOICE”, political art intervention, Gallery Shedhalle, Zurich, Switzerland, 2007 / 2008. BOSNIANS OUT! (Workers without frontiers), on-site project. Co-authors: OSMAN PEZIĆ, SAID MUJIĆ, IBRAHIM ČURIĆ. Museum of Modern Art, Ljubljana, Slovenia, 2008. “AUSTRIANS ONLY”, newspaper advertisements, posters, direct-mail items. Festival of Regions, Upper-Austria, 2005.

“ART-ACT-BOX”, exhibition and contemporary interactive dance performance based on methods and materials the artists used as means of activating the community during the 60s and the 70s. Author: Andreja Kulunčić / Choreography: Zrinka Užbinec / Performers: Zrinka Užbinec, Ana Kreitmeyer, Maja Kalafatić and Mar Medina. Zagreb, Barcelona, Slovenj Gradec and Novi Sad, 2016 / 2017

George H. Waterman III

George H. Waterman  III.  Waterman graduated from Harvard College where he studied Art History. He was on the first board of directors of the Dia Art Foundation. He has been a member of the Harvard Overseers Committee to Visit the Art Museums, the Collection Committee of the Whitney Museum of American Art, and the Library Committee of The Museum of Modern Art. He has been a trustee of the Archives of American Art and the Rhode Island School of Design. For most of the last 40 years, he has been and continues to be a member of the Museum Committee of the Rhode Island School of Design. He is currently the director of the Visual Art Library.

Felicia Rice

Felicia Rice collaborates with visual artists, performing artists and writers to create artists’ books in which word and image meet and merge. She employs traditional typography and bookmaking methods in conjunction with digital technology, bringing the flexibility of screen-based design to the texture and history of the letterpress-printed page.

Work from the Press has been included in exhibitions and collections both nationally and internationally, from AIGA Annual Book Shows in New York and Frankfurt to the Victoria & Albert Museum. Moving Parts Press has been the recipient of numerous awards and grants including The Rydell Visual Arts Fellowship, Elliston Book Award, Stiftung Buchkunst Schönste Bücher aus aller Welt Ehrendiplom, and grants from the NEA, CAC and the French Ministry of Culture.

Felicia explores the book as performance art in her spoken word performance practice. In 2014 Felicia Rice published the artists’ book, DOC/UNDOC, a seven-year collaboration with four others: Guillermo Gómez-Peña, Gustavo Vazquez, Jennifer Gonzalez and Zachary Watkins. Through the process of developing this transmedia project, Felicia experienced a profound transformation that led to her work as a performance artist.

The book she mentioned reading is Gilead.

CODEX ESPANGLIENSIS is a collaborative artists’ book made up of performance texts and poems by Guillermo Gómez-Peña interwoven with collage imagery by Enrique Chagoya into book form by Felicia Rice of Moving Parts Press


A mixed-media production housed in a hi-tech aluminum case, which contains Felicia Rice’s artists’ book with performance texts by artist/writer Guillermo Gómez-Peña and critical commentary by art historian Jennifer González; video by artist Gustavo Vazquez; and sound art by Zachary Watkins.

A mixed-media production housed in a hi-tech aluminum case, which contains Felicia Rice’s artists’ book with performance texts by artist/writer Guillermo Gómez-Peña and critical commentary by art historian Jennifer González; video by artist Gustavo Vazquez; and sound art by Zachary Watkins.

Jenny Marketou

Jenny Marketou born and raised in Athens ,Greece is a New York-based interdisciplinary artist, art educator , author and activist.After graduating with a Bachelors Degree   in Comparative Greek and English Literature at the Greek Kapodistrian University in Athens she moved to New York in 1986 to study art. She is a graduate from Pratt Institute in Brooklyn where she created an interdisciplinary degree working in video, photography ,socially engaged projects and critical thinking and where she received a Master in Fine Arts. Her thesis project is a published book titled The Great Longing ;The Greek of Astoria , (English & Greek ) Kedros Publishers which combines her photographs with short personal stories that she was able to record from first generation Greek Immigrants community who made their home Astoria ,Queens.

She has taught at Cooper Union School of Art in New York and from 2015-2016 at the Media and Photography Dept at California Institute for the Arts, (CalArts) Valencia, California. During the spring semester 2017 she will be teaching as a visiting artist at the School of Fine Arts (ASFA) in Athens ,Greece.

She cofounded the art collective “Workshopping the Unruly” based in New York City from 2011 to 2013. and she has served at the Services for Arts Committee (SAC) at International College Arts Association Conference (CAA) where she has been curating the program at the Media Lounge/Arts Space from 2014 till present.

Marketou contributed a chapter to Living and Sustaining a Creative Life : Essays by 40 Working Artists , 2013 published by Intellect (amazon, library).The book brought together forty essays by working artists, each sharing their own story of how to sustain a creative practice that contributes to the ongoing dialogue in contemporary art.

Marketou’s art practice and activities range widely—from video works, public performances to artist retreats; from sculptures, installations, and books to interactive websites ; and from live-stream events to numerous collaborative projects. Marketou’s site-specific interventions and research projects aesthetically respond to the social, political and cultural history of their sites, gathering materials, people, actions, objects, information, and geography to reconstruct “the landscape” generated by its inherent conflicts, questioning the strategies of power imposed upon them. For the last four years, she has organized annual, weeklong gatherings and workshops and round table discussions to explore knowledge connected to spatial experience and to the commons through commoning.She defines herself as an initiator and often collaborates with multiple institutions as well as many individuals so that the full realization of her artwork occurs when others adopt and perpetuate it.

Marketou considers teaching as an activity which is an extension of her work and she believes there are no hard lines between her artistic practice, her research ,writing, or her teaching or political activism .For her, being a Greek who is living in the US the EU (and worldwide) economic crisis and the situation in her home country are a special point of interest. Her dual citizenship gives her the opportunity to experience the world continuously from different perspectives. The opportunity through her work to travel to different locations around the world and to engage to negotiate and to subordinates any pre-conceived notion of aesthetic or artistic strategies to the needs of the “here and now,” have been very essential in her art practice .

Marketou’s works and projects have been shown around the world at major museums, film festivals and biennials .She represented Greece at the Biennial of Sao Paolo in Brazil and Manifesta, International European Biennial at Withe de With, Rotterdam.

Her recent multifaceted project HOW Assemblies Matter?2014 – 2017 has been sponsored by OutSet/NEON in Athens and presented as part for the 6th Biennial of Athens ,Greece. It will be published in a book in collaboration by Naked Punch (London &New York) ,Spring 2017 . Her video THE CHOIR shot at the Saharawi refugee camps in Western Sahara was commissioned by the Greek Film Archive for Images of Crisis Festival ,(2015) ; her video FLOWS commissioned by the 1st International Biennial of Art in Cartagena des India in Colombia, (2014) which explores human voice and performance as tools for agency and resistance. Other commissions include “Uncommon/Commons at 4th Biennial of Athens, Greece (2013); Undoing Monuments (2013), sponsored by Goethe Institute and Benaki Museum Athens, Greece; “Looking Out of My Window” sponsored by Goethe Institut Ankara, Turkey (2012), “Sun spotting a Walking Forest” at the High Line Public Park commissioned by More Art in NYC (2012); “Paperophanies” a PRAXIS Project” ARTIUM Museum of Contemporary Art in Basque Country Vitoria, Spain (2011).

Other venues include Centre of Contemporary Art (CCA) Glasgow in Scotland; Onassis Foundation, Athens, Greece ; Kumu Art Museum, Tallinn, Estonia; Museum of Contemporary Art, (EMST) Athens, Greece; Centro de Arte Museum Reina Sofia, Madrid; Foundation Claudio Buziol, Venice, Italy; 3rd Biennial of Seville, Spain; APEX Art, New York City; ZKM, Karlsruhe, Germany; Strozinna Center for Contemporary Art, Palazzo Strozzi, Florence; The New Museum, New York City among many others.

Marketou has been awarded residencies and grant such as HIAP in Helsinki, at ARTIfariti in Western Sahara, Contemporary Art Center, (CCA), Santa Fe, New Mexico, Eyebeam, New York ,New York, Art OMI International Art Residency on Hudson, New York ,NY, MECAD-Media Center for Art and Design, Barcelona,Spain , Banff Centre for the Arts ,Alberta Canada, Western Front, Vancouver, Canada among others.

Jenny Marketou, The Assembly in No Particular Order, 2016 from Museum of Contemporary Cuts on Vimeo.

Silver Series, 2011 Jenny Marketou Outdoor installation view with 50 silver mylar weather balloons inflated with helium and tethered to the ground, 10 wireless surveillance cameras, computer, of, real time streaming data, video projectors. Kumu Art Museum, Tallinn, Estonia, 2011 Commissioned by Geothe Institut and Tallinn Cultural Capital of Europe.Photo by Christian Rhoner

HOW Assemblies Matter?2016 Jenny Marketou Installation View The Meeting Room, Varvakeio Building Central Market Omonoia, Athens,Greece Commissioned by 6th Athens Biennial Photo by Panagi Marketos

Are You Happy Now? 2014 Jenny Marketou Installation view, single channel HD video 3 min 45 sec projection and sound (loop) Academia Platonos Park, Athens, Greece.Commissioned for Visual Dialogues by Onassis Foundation in Athens.Photo Nadine Bernstein

Stephanie Taylor

Stephanie Taylor

Stephanie Taylor is a sound and visual artist based in Los Angeles. Her books include The Stephanie Taylor Kong Boos (MAK Press, 2016), The Stephanie Taylor Songbook (Ood Press, 2010), and Chop Shop (Les Figues Press, 2007). She has exhibited and performed her work internationally, including at the MAK Center for Art and Architecture, West Hollywood (2016, 2011); the Generali Foundation, Vienna (2007) and the Royal College of Art, London (2002). She received an M.F.A. from Art Center College of Design, Pasadena in 2000, and a BA from Oberlin College in 1993. She is a 2015 recipient of a mid-career fellowship from the California Community Foundation.

The Stephanie Taylor Kong Boos, performance photo, MAK Center for Art and Architecture, West Hollywood, CA, October 23, 2016

The Stephanie Taylor Kong Boos, performance photo, MAK Center for Art and Architecture, West Hollywood, CA, October 23, 2016- January 8, 2017.

Kathryn Kramer

In addition to the memoir Missing History, Kathryn Kramer is the author of the novels A Handbook for Visitors from Outer Space, Rattlesnake Farming, and Sweet Water, and co-author of a language textbook, Welcome to Vermont: English for Working and Living.

She is currently completing a book about a village in Vermont entitled The Rise and Fall of the Republic of West Delphi. She lives in Vermont and teaches at Middlebury College.