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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.



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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 ,


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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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Rob Horning,
Spring 2015

Rob Horning is the Executive Editor of The New Inquiry and author of Marginal Utility. The New Inquiry is a space for discussion that aspires to enrich cultural and public life by putting all available resources—both digital and material—toward the promotion and exploration of ideas. 

http://thenewinquiry.com/author/rob/,


Geof Oppenheimer,
2008

Geof Oppenheimer’s practice takes up questions of civic value, the ways in which political and social structures are encoded in images and objects and how meaning is formed in the modern world. Starting from the from the proposition that formal value is a social value, his projects interrogate the forms and rules of civic discourse as a material, positing art as a space of liberated social dialogue. Trained as a sculptor, Oppenheimer works across multiple mediums including stage set video productions, and photography.

His work has been exhibited nationally and internationally at a variety of venues such as the Mary and Leigh Block Museum of Art, PS1/MOMA, The Contemporary Museum, Baltimore; The Museum of Contemporary Art, Chicago, SITE Santa Fe, The Indianapolis Museum of Art, The Aspen Art Museum, The 4th Athens Biennale and CAB Art Center, Brussels. His work has been the subject of published writings in Art in America, The Wall Street Journal, The Chicago Tribune and The New Yorker. He studied at the Maryland Institute, College of Art where he received his BFA and received an MFA from the University of California, Berkeley. He also studied at the Academia voor Beeldende Vorming in the Netherlands. Geof Oppenheimer is an Associate Professor of Practice in the Department of Visual Arts at the University of Chicago and lives and works in Chicago, Illinois.



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Wangechi Mutu,
Fall 2014

Kenyan-born Wangechi Mutu is a Brooklyn-based artist whose sculptures, works on paper, installations, and videos explore gender, race, and sexual identity using collage and assemblage strategies that create provocative juxtapositions of the female body. Her collages are constructed using fragments from fashion and travel magazines, pornography, African art books, automotive schematics, and images drawn from science fiction as well as hand-drawn or painted elements which create a variety of new formations of the body. Photo-based collage elements are often intermixed with decorative or abstract patterns which create a simultaneous feeling of familiarity and other-worldliness to the works.



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