Part Time Faculty:
Analisa Coats Bacall received her MA in art history from the University of Utah. She is interested in contemporary art and now lives in New York where she was pursuing a PhD in Art History.
Tyler Coburn is an artist and writer based in New York, working in performance, installation, writing, and sound. His work critically engages trends in computing, manufacturing, and urban design, investigating contemporary tensions between waged and leisure time; the self and the social media public; and the virtual world and its complex material infrastructures. Coburn received a BA in Comparative Literature from Yale University and an MFA from the University of Southern California. He also served as a fellow in the Whitney Independent Study Program from 2014-2015. His work has been been presented at South London Gallery; Kunstverein Munich; Kunsthalle Wien; CCA Glasgow; Western Front, Vancouver; Grazer Kunstverein; UCCA, Beijing; LAXART, Los Angeles; and Sculpture Center, New York. Coburn’s writing has appeared in Frieze, e-flux journal, Dis, Mousse, and Rhizome, among others.
Saim Demircan is a curator and writer based in New York City and Berlin. Between 2012 and 2015 he was a curator at Kunstverein München. Previously, he curated a two-year program of offsite projects, as well as an exhibition of works by German artist Kai Althoff, at Focal Point Gallery in Southend-on-Sea. Most recently, he was curator-in-residence at the Academy of Fine Arts in Munich. Saim has published on numerous artistic practices. His writing regularly appears in periodicals such as frieze and Art Monthly and he is a contributing editor to Art Papers.
Anaïs Duplan is a trans* poet, curator, and artist. He is the author of forthcoming book I NEED MUSIC (Action Books, 2021), a book of essays, Blackspace: On the Poetics of an Afrofuture (Black Ocean, 2020), a full-length poetry collection, Take This Stallion (Brooklyn Arts Press, 2016), and a chapbook, Mount Carmel and the Blood of Parnassus (Monster House Press, 2017). He has taught poetry at Bennington College, Columbia University, Sarah Lawrence College, amongst others. As an independent curator, he has facilitated curatorial projects in Chicago, Boston, Santa Fe, and Reykjavík. He was a 2017-2019 joint Public Programs fellow at the Museum of Modern Art and the Studio Museum in Harlem. In 2016, he founded the Center for Afrofuturist Studies, an artist residency program for artists of color, based at Iowa City’s artist-run organization Public Space One.
Brian Droitcour is a writer, translator, curator, associate editor & online editor at Art in America.
João Enxuto and Erica Love
João Enxuto and Erica Love collaborate on projects about art institutions, labor conditions, and value systems shaped by recent technologies. Enxuto received an MFA in Photography from RISD and Love holds BAs from Brown University in Economics and Visual Arts and an MFA from UCLA. Together they were fellows at the Whitney Museum Independent Study Program for 2012-2013. They have given talks, written essays, and exhibited at the Centre Pompidou, Whitney Museum of Art, the New Museum, Anthology Film Archives, Walker Art Center, Pratt Institute, Yossi Milo Gallery, Carriage Trade, Louisiana Museum in Denmark, ArtCenter/South Florida, and the Tamayo Museum in Mexico City. Enxuto and Love’s writing has appeared in Art in America, Mousse Contemporary Art Magazine, Wired Magazine, X-TRA Contemporary Art Quarterly, among others. They have taught at the Cooper Union, School of Visual Arts, New York University, City College, and as Ernest G. Welch Fellows at Georgia State University. Additionally they were visiting artists at the Institute for Curatorial Practice at Hampshire College, SOMA Summer in Mexico City, and Maumaus in Lisbon, Portugal. Enxuto and Love were awarded a New York Foundation for the Arts (NYFA) Artist Fellowship and a Creative Capital Andy Warhol Foundation Arts Writers Grant for 2017.
Taraneh Fazeli is a curator, educator, editor, and researcher from New York. She was recently a fellow at the Van Eyck Academy in The Netherlands and critic in residence at the Museum of Fine Art Houston’s Core Program. She studied at the Cooper Union and previously worked within the New Museum’s Education Department, was a Contributing Editor to Triple Canopy, and was the Managing Director of e-flux.
Joy Garnett is a New York painter and writer who also works with social media to create objects and images. Garnett studied painting at the École des beaux-arts in Paris and is the recipient of an MFA in painting from The City College of New York. Recent projects include Pink Bomb, a painting with accompanying video for a traveling exhibition originating at the Milwaukee Art Museum and Lost Library, a social media project included in “Bibliomania” at the Visual Arts center of New Jersey. Notable past exhibitions include: “That Was Then…This is Now” at PS1 MoMA; “Image War: Contesting Images of Political Conflict,” The Whitney Museum of American Art; “Atomic Afterimage,” Boston University Art Gallery; “With Food in Mind” at The Center for Book Arts, NY; “Terrorvision” at Exit Art, NY; and “N01se,” Kettle’s Yard Cambridge (UK). She serves as Arts Editor for the Duke journal Cultural Politics where she produces and edits original projects by contemporary artists, and blogs about art, copyright reform and open source culture at NEWSgrist.
Orit Gat writes about contemporary art, publishing, internet culture, and different meeting points between these things. Her writing and criticism is published regularly on Rhizome, where she is a contributing editor, and has appeared in a variety of magazines, including frieze, ArtReview, The White Review, Art Agenda, Flash Art, The Art Newspaper, Momus, The Brooklyn Rail, Spike Art Quarterly, and BOMB Magazine. Gat is currently the managing editor of WdW Review, published by Witte de With Center for Contemporary Art, she has taught at the New School and CSS Bard.
Ariel Goldberg is a writer and artist.
Anthony Graves was a fellow at the Whitney Independent Study Program in 2004-5. Since 2005 Graves has collaborated with Carla Herrera-Prats and others to produce exhibitions, performances, and research projects under the name Camel Collective. Through images, installations, performances, and texts, Graves’ artworks stage relationships between performativity and labor, protest, and pedagogy. Graves’ current research revolves around immaterial labor and the production of subjectivity. With and as Camel Collective Graves has exhibited and staged performances at the Hessel Museum, Bard CCS, Annendale-on-Hudson; Casa del Lago, UNAM, Mexico City; The Trienal Poli/Gráphica de San Juan, Puerto Rico; Sala de Arte Público Siqueiros, Mexico City; OCAT, Shenzhen, China; Aarhus Kunstbygning, Denmark; Overgaden Samtidskunst, Denmark; and Artists Space, Art in General, and Cooper Union, in New York
Terike Haapoja is a Finnish visual artist, based in New York City. In 2016, Haapoja won the ANTI Festival International Prize for Live Art. She has also been awarded Dukaatti prize (2008), the Säde prize (2009) and she received honorary mention for artist of the year in 2007 at Finland’s Festival.
Haapoja’s work investigates the existential and political boundaries of the world, exploring things like nature, death and other species, she questions how different structures of exclusion and discrimination function as foundations for identity and culture. Haapoja approaches these themes by building large projects in the form of installations. Her work also consists of videos and staged projects that are characterised by the use of new media and new technology. Her work has been shown widely in solo and group exhibitions and festivals, both nationally and internationally.
Haapoja represented Finland in the 55. Venice Biennale with a solo exhibition Closed Circuit – Open Duration in the Nordic Pavilion. She gained notoriety from her work, Museum of Nonhumanity, that was created alongside Finnish author Laura Gustafsson. Museum of Nonhumanity has been exhibited in Taipei Biennale (2019), Santarcangelo Festival (2017) and Momentum Biennial (2017), and as part of the summer exhibition Animals and Us at Turner Contemporary, Margate. In 2016, Haapoja and Gustafsson were both awarded with the Finnish State Media Art Award.
Clarinda Mac Low
Clarinda Mac Low has been a professional performing, visual, and socially engaged artist for more than 30 years. Her childhood was spent in the avant-garde arts scene of the 1960s and 1970s, and her first performing experiences were with her father, poet Jackson Mac Low, and with Meredith Monk. She graduated from Wesleyan University with a double major in Dance and Molecular Biology and Biochemistry. For over 20 years she created dance and performance productions in New York City and elsewhere before branching out into installation, interdisciplinary visual arts, and video art. She received an MFA in 2014 from the Digital and Interdisciplinary Arts Practice (DIAP) program at CCNY-CUNY. Her work straddles digital arts, live performance, dance, and sound art, with a concentration on social practice and site-responsive work in unusual spaces. She creates interactive and participatory situations that investigate social constructs and corporeal experience, with a recent concentration on climate change. She is interested in nurturing creative activism of all kinds, striving to support liberatory, anti-racist, and pro-queer work, and seeing art as part of a wider set of tools for changing and developing culture and society. Part of this work is in starting new experimental institutions, including Culture Push, which nurtures new visions for art and social change through the Fellowship for Utopian Practice, Works on Water, an organization dedicated to artists working with water and waterways in response to climate crisis and changing anthropogenic landscapes, and (D)IRT, a research and action group affiliated with Decolonize This Place, and begun in response to the crisis at the Whitney Museum.. Mac Low’s most recent artistic projects include Sunk Shore, speculative fiction tours of specific locations that are based in a deep dive into climate change; Incredible Witness, a series of games and interactive environments built to give people visceral insight into the internal lives of others; Free the Orphans, an investigation of the spiritual and intellectual implications of intellectual property in a digital age; The Year of Dance, a research-based artwork that investigated how bonds form in art-making to create unconventional family and kinship structures; and Cyborg Nation, which uses one-to-one unscripted conversation as an interactive meditation on the interface between bodies and technology.
LaJuné McMillian is a new media artist, and creative technologist creating art that integrates performance, virtual reality, and physical computing to question our current forms of communication. LaJuné has had the opportunity to show and speak about their work at National Sawdust, Creative Tech Week, and Art && Code’s Weird Reality. LaJuné was previously the Director of Skating at Figure Skating in Harlem, where they integrated STEAM and figure skating to teach girls of color about movement and technology. They have continued their research on Blackness, movement, and technology during residencies at Eyebeam, Barbarian Group, Pioneer Works and Barnard College.
While at Eyebeam, they created The Black Movement Project, an online library equipped with 3D black character base models and motion capture data from black performers previously unrepresented in available databases.
Aily Nash is a curator based in New York. She is co-curator of Projections, the New York Film Festival’s artists’ film and video section, and a Biennial advisor and co-curator of the film program for the 2017 Whitney Biennial. She is program advisor to the International Film Festival Rotterdam’s Short Film section and has curated programs and exhibitions for MoMA PS1, Brooklyn Academy of Music, Anthology Film Archives, FACT (Liverpool), Image Forum (Tokyo) and others. Her writing has appeared in the Brooklyn Rail, BOMB, Artforum.com, Film Comment, and elsewhere.
David Rios is a New York City based artist, educator, student, musician, and maker. Rios continues to explore the various intersections of music, circuits, mechanical movements, computer programming, and the internet. Rios has recently participated in the NYC World Maker Faire and has been featured on Makezine.com and Lifehacker.com. Rios was a research resident at NYU’s Interactive Telecommunications Program (ITP). Most importantly, Rios is dedicated to making things, making things happen, and making friends.
Jasmine Soltani is a researcher, developer, and designer with several years of experience collecting, normalizing, and linking data sources for research and program evaluation. She recently completed a research residency at NYU’s Interactive Telecommunications Program (ITP), an interdisciplinary program at Tisch School of the Arts that combines new media, emerging technology, art, design, and engineering where she also received a master’s in 2018. She teaches creative computing at NYU’s Integrated Digital Media (IDM) program and at the Digital & Interdisciplinary Art Practice MFA Program (DIAP) at City College.
Her work examines the material and ecological aspects of digital media, and its role in advancing sustainability, equity, and social connection while also undermining these benefits. She is interested in applying regenerative and modular design principles to digital products, and leveraging technologies to mitigate the climate crisis.
Elvia Wilk is a writer and editor living in New York. She often contributes to publications like Frieze, Mousse, Metropolis, and Artforum. From 2012 to 2016 she was a founding editor at uncube magazine, and from 2016 to 2018 she was the publications editor for transmediale and a contributing editor at Rhizome. Currently, she’s a contributing editor at e-flux journal and writes a monthly column on ethical quandaries for Monopol magazine. She’s finishing a masters at the New School for Social Research and has taught at the University of the Arts Berlin, Eugene Lang College, and City College of New York. Her first novel, Oval, was published in June 2019 by Soft Skull press. She is the recipient of a 2019 Andy Warhol Arts Writers grant and a 2020 fellow at the Berggruen Institute.
Joe Winter makes sculptures that re-purpose familiar technological systems and undermine their functional ”sense.“ Past works have targeted sound-related technologies and objects, and have included: a cassette tape that draws three-dimensional moving images; pianos driving in endless circles; and telephones that talk only to each other. Recent work revolves around contemporary technologies of image production. Joe is currently assembling a subjective astrophotographic archive using an office photocopier as an observational instrument with which to catalog fake stars.