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Julia Fish,
2013

Julia Fish is Professor of Studio Arts in the School of Art and Art History, UIC. She completed studies for the BFA degree at Pacific Northwest College of Art, and MFA degree at the Maryland Institute, College of Art, and has lived and worked in Chicago since 1985. Her work has been presented in twenty-two solo exhibitions since 1980, and was the subject of a ten-year survey exhibition, View, at The Renaissance Society, University of Chicago in 1996.

Paintings and drawings are included in the permanent collections of the Art Institute of Chicago, Museum of Contemporary Art, Chicago, Los Angeles Museum of Contemporary Art, The Museum of Modern Art, New York, The Smart Museum of Art, University of Chicago, and Illinois State Museum, Springfield. National/ international exhibitions include, among others: San Francisco Museum of Modern Art; MAK Center for Art and Architecture/Schindler House, Los Angeles; Galerie Remise, Bludenz, Austria, and 2010, the Whitney Biennial. Recent work is currently on view in Homebodies, curated by Naomi Beckwith for the MCA Chicago, through October 13, 2013.



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Trace 2: after Threshold, SouthEast - One, 2010
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Trace 2: after Threshold, North
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Mark Dion,
2013

Since the early 1990s, Mark Dion has examined the ways in which dominant ideologies and public institutions shape our understanding of history, knowledge, and the natural world. Appropriating archaeological and other scientific methods of collecting, ordering, and exhibiting objects, the artist creates work that addresses the distinctions between objective scientific methods and subjective influences. By locating the roots of environmental politics and public policy in the construction of knowledge about nature, Dion questions the authoritative role of the scientific voice in contemporary society.

Born in Massachusetts in 1961, Dion received a BFA (1986) and an honorary doctorate (2003) from the University of Hartford School of Art, Connecticut. Major recent exhibitions include his presentation at dOCUMENTA 13, Kassel, Germany, 2012 (group); The Macabre Treasury, Museum Het Domein, Sittard, The Netherlands, 2013 (solo); Oceanomania: Souvenirs of Mysterious Seas, Musée Océanographique de Monaco and Nouveau Musée National de Monaco / Villa Paloma, Monaco, 2011 (solo); Den, a site-specific installation for the National Tourist Routes, Norway, 2012 (solo); The Marvelous Museum: A Mark Dion Project, Oakland Museum of California, Oakland, CA, 2010-11 (solo). His newest work, The Curator's Office, is now on permanent display at the Minneapolis Institute of Art, and another large-scale installation, The Octagon Room, is on long-term view this year at the Massachusetts Museum of Contemporary Art. Dion currently lives in New York City.



MARK DION, “SEA LIFE”, 2012,
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MARK DION, “THE ETHNOGRAPHER AT HOME”, 2012,
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MARK DION, “FRESH SCULPTURE” (INCLUDING COLLABORATIONS WITH DANA SHERWOOD), 2012,
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MARK DION, “FRESH SCULPTURE” (INCLUDING COLLABORATIONS WITH DANA SHERWOOD), 2012,
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Claire Pentecost,
2013

Claire Pentecost’s work engages diverse strategies—collaboration, research, teaching, field work, writing, lecturing, drawing, installation and photography—in an ongoing interrogation of the institutional structures that order knowledge. Her work has long addressed the contested boundary between natural and artificial, focusing the last fifteen years on food, agriculture and bio-engineering. Recently Pentecost has exhibited at dOCUMENTA(13), Whitechapel Gallery, and the 13th Istanbul Biennial. Represented by Higher Pictures in New York, she is a Professor in the Department of Photography at the School of the Art Institute of Chicago and often collaborates with Compass in the Midwest Radical Cultural Corridor.



CLAIRE PENTECOST, “THE FORCE THAT THROUGH THE FOSSIL DRIVES UTOPIA DRIVES MY GREASED AGE”, 2015,
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CLAIRE PENTECOST, “SOIL-ERG”, 2012,
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Brian Holmes,
2013

Brian Holmes is an art and cultural critic with a PhD in Romance Languages. He has a longstanding interest in neoliberal globalization and a taste for on-the-ground intervention. From 1990 to 2009 he lived in Paris, collaborated with political art groups such as Ne Pas Plier, Bureau d'Etudes, Public Netbase, Hackitectura, Makrolab and others, and published in journals such as Multitudes, Springerin, and Brumaria. With Claire Pentecost and the 16 Beaver Group he co-organized the Continental Drift seminars from 2005 to 2009, with variations up to the present. His essays revolve around art, free cooperation, the network society, political economy and greassroots resistance (brianholmes.wordpress.com). In Chicago he is a member of the Compass group (midwestcompass.org), teaches a class a year at UIC, and is working with Rozalinda Borcila on a geographical investigation called "Foreign Trade Zone," opening at Three Walls on April 25.



Denise Markonish,
2013

Denise Markonish (BA, Brandeis University; MA, Center for Curatorial Studies, Bard College) is the curator at MASS MoCA, where exhibitions have included Life's Work: Tom Philips and Johnny Carrera); Oh, Canada (catalogue: MIT Press) Nari Ward: Sub Mirage Lignum, Petah Coyne: Everything That Rises Must Converge (catalogue: Yale University Press); Inigo Manglano-Ovalle: Gravity is a Force to be Reckoned With (Catalogue: DAP); These Days: Elegies for Modern Times and Badlands: New Horizons in Landscape (catalogue: MIT Press). Markonish also co-edited with Susan Cross the publication Sol LeWitt: 100 Views (Yale University Press). Upcoming projects include: Teresita Fernandez: As Above So Below; Explode Everyday: An Inquiry into the Phenomena of Wonder co-curated with artist Sean Foley and a new commission with Nick Cave. Markonish recently taught at the Rhode Island School of Design; curated a project for the 2012 Luminato Festival in Toronto and will participate in 2014’s Nuit Blanche, Toronto.



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Kerry tribe,
2013

“Tribe’s film, video and installation works are meditations on cognition, using image, text, and sound to explore what she calls “the phenomenology of memory.” Often working with multiple projections and timed loops, her installations are designed to structurally underscore the content of her work. Tribe’s fascination with the literal mechanics of moving images suggests that the medium is capable of mirroring cognitive processes in profoundly generative ways.” – Corinna Peipon

Tribe’s work has been the subject of solo exhibitions at The Power Plant in Toronto, Modern Art, Oxford, Camden Arts Centre in London and Arnolfini in Bristol. It has been included in recent exhibitions at the Museum of Modern Art and the Whitney Museum in New York and the Hammer Museum in Los Angeles. Tribe is a recipient of a Creative Capital grant and a USA Artists Award. She received her MFA from UCLA in 2002. Tribe lives and works in Los Angeles.



KERRY TRIBE,“ THERE WILL BE________” , 2012,
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KERRY TRIBE, “THERE WILL BE________ ”, 2012,
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KERRY TRIBE, “THERE WILL BE________” , 2012,
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Lucía Sanromán,
2013

Lucía Sanromán is an independent curator and writer who lives between Mexico City and San Diego, CA. Her current focus lies in investigating aesthetics in relation to efficacy and public practice, and in exploring the relationships and limits between aesthetics and disciplines outside of the arts. From 2006 to 2011, Sanromán served as Associate Curator at the Museum of Contemporary Art San Diego. In 2008 she co-curated, with Ruth Estévez, the inaugural exhibition for Centro Cultural Tijuana’s expansion with the exhibition Proyecto Cívico/Civic Project. She was curator of Political Equator 3 organized by Teddy Cruz for UCSD/Ford Foundation (2011); Proyecto Coyote for Encuentro Internacional de Medellin 2011 (MDE11); and Anomalia for the University Art Gallery at UC San Diego (2012).

Sanromán is the editor, with Cesar Garcia, of Marcos Ramírez ERRE published by INBA and Museo de Arte Carrillo Gil (2012), and was a lecturer in the contemporary art symposium SITAC: estar-los-unos-con-los-otros in 2013. Sanromán has been awarded the 2012 Warhol Foundation Curatorial Fellowship for Citizen Culture: Art and Architecture Shape Policy, an exhibition and research project organized by the Santa Monica Museum of Art for September 2014. She is co-curating, with Candice Hopkins, Janet Dees and Irene Hofmann the next edition of SITE Santa Fe’s signature Biennial SITElines.2014: Unsettled Landscapes (July 2014. Her current project, the retrospective exhibition inSite: Cuatro ensayos de lo público sobre otro scenario, is on view at La Tallera, in Cuernavaca Mexico (March 28 to June 29, 2014).



Beate Geissler,
Spring 2015

Beate Geissler and Oliver Sann have been active as a collaborative partnership since 1996. Their work concentrates on inner alliances of knowledge and power, their deep links in western culture and the escalation in and transformation of human beings through technology. Their work has been exhibited nationally and internationally in museums, galleries and alternative spaces including The Renaissance Society, Chicago, The Museum of Contemporary Photography, Chicago, the NGBK (New Society for Visual Arts) Berlin, and the Fotomuseum Antwerp. Currently, Geissler is an Associate Professor of Art at the University of Illinois at Chicago and Sann is Assistant Professor at the School of the Art Institute, Chicago.

http://geisslersann.com/,


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Erkki Huhtamo,
Spring 2015

Professor Erkki Huhtamo is a  media archaeologist, author, and exhibition curator. At DMA his areas are the history and theory of media culture and media arts. He is internationally known as a pioneer of an emerging approach to media studies called media archaeology. It excavates forgotten, neglected and suppressed media-cultural phenomena, helping us to penetrate beyond canonized "grand narratives" of media culture. Professor Huhtamo pays particular attention to the "life" of topoi, or clichés and commonplaces that emerge over and over again within media history and provide "molds" for new experiences. What may seem new things often prove to be just newly packaged ideas repeated during hundreds and even thousands of years.

Professor Huhtamo has applied this approach to phenomena like "peep media" (a notion he has coined), the screen, panoramas and dioramas, video games, and mobile media. He has also written about the work of many media artists, including Paul deMarinis, Rafael Lozano-Hemmer, Golan Levin, and Bernie Lubell. Professor Huhtamo's most recent books are Media Archaeology. Approaches, Applications, and Implications (ed. with Dr. Jussi Parikka, University of California Press, 2011) and the large monograph Illusions in Motion. Media Archaeology of the Moving Panorama and Related Spectacles (The MIT Press, 2013). He is currently working on a number of new books: a media archaeology of interactive media (The MIT Press, under contract), a history of mechanical theaters and a theoretical volume tentative titled “Media Archaeology as Topos Study.”

Video of presentation at Strangers: A Symposium ,


Erkki Huhtamo, Illusions in Motion Media Archaeology of the Moving Panorama and Related Spectacles, MIT press,  2013.
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Devin Kenny,
Spring 2015

Devin Kenny is an interdisciplinary artist, writer, musician, and independent curator. Hailing from the south side of Chicago, he relocated to New York to begin his studies at Cooper Union. He has since continued his practice through the Bruce High Quality Foundation University, Skowhegan artist residency, SOMA Mexico City, and collaborations with DADDY, Studio Workout, Comotroovay-sa, Adult Contemporary and various art and music venues in New York City, Chicago, Los Angeles, and elsewhere.

Video of presentation at Strangers: A Symposium, devinkenny.info,


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