Emilie Clark?is a New York artist who works in drawing, painting, installation and writing. Her work has been exhibited in solo shows at Morgan Lehman Gallery (New York, NY), the Nevada Museum of Art (Reno, NV), the San Jose Museum of Art, and the Lynden Sculpture Garden (Milwaukee, WI), where she continues to work with the local public schools on her science through art project. Clark represented the sin of “gluttony” at the Katonah Museum (Katonah, NY), as part of the Seven Deadly Sins project in 2015. Other exhibitions include Wave Hill (NY), the Royal Hibernian Academy (Ireland), the Children’s Museum of the Arts (NY), the Weatherspoon Museum (NC), and the Hunterdon Art Museum (NJ).
Clark’s work has been featured in many publications, including The New York Times, The New Yorker,?The Wall Street Journal,?Bomb, Printed Project, Cabinet Magazine, ?Art in America, Art Week, and Hyperallergic. She is the recipient of numerous awards, including the Pollock Krasner and the Rockefeller Foundation’s Bellagio fellowship. She was an Artist Fellow at The Drawing Center in New York City from 2013-2015 and at the Brooklyn Botanical Garden in 2010. Clark has also collaborated and published books with poets including The Traveler and the Hill and Hill 1999, and ?The Lake 2001, with Lyn Hejinian (Granary Books). With her husband, Lytle Shaw, she has published several books and co-edited Shark, a journal of art writing and poetics.?Clark is currently Interim Director of the New York Arts Program. More at:?http://www.emilieclark.com/
Jennifer Firestone is a poet and critic; she is the author of five books of poetry, including Story (Ugly Duckling Press, forthcoming 2019), Ten, (BlazeVOX [books], forthcoming 2018), Gates & Fields (Belladonna* Collaborative, 2017), and four chapbooks, including?Swimming Pool?(DoubleCross Press, 2016), Flashes?(Shearsman Books, 2013), Holiday?(Shearsman Books, 2008), Waves?(Portable Press at Yo-Yo Labs, 2007), from Flashes and snapshot (Sona Books, 2006) and Fanimaly (Dusie Kollektiv, 2013). She co-edited (with Dana Teen Lomax) Letters To Poets: Conversations about Poetics, Politics and Community (Saturnalia Books, 2008), and she is collaborating with Marcella Durand on a book about Feminist Avant-garde Poetics. Firestone’s work has been anthologized in Kindergarde: Avant-Garde Poems, Plays, Songs, & Stories for Children?(2013) and in?Building is a Process / Light is an Element: essays and excursions for Myung Mi Kim?(2008). She won the 2014 Marsh Hawk Press’ Robert Creeley Memorial Prize. Firestone is an Assistant Professor of Literary Studies at the New School’s Eugene Lang College and is also the Director of their Academic Fellows pedagogy program. More at:?http://jenniferfirestone.net
Mimi Gross is a painter, set-and-costume designer for dance, and maker of interior and exterior installations. She has had several international exhibitions, including work at the Salander O’ Reilly Galleries (New York City), the Ruth Siegel Gallery (New York City), the Inax Gallery (Ginza, Tokyo), and Galerie Lara Vincey (Paris). She has also shown work at the Municipal Art Society and at the Port Authority Bus Terminal in New York. Her anatomically-themed art-work is on permanent display, courtesy the New York City Parks Department, at the Robert Venable Park in East New York. Her work is included in numerous public collections, including those of the Metropolitan Museum of Art, the Art Institute of Chicago, the Hirschhorn Museum and Sculpture Garden, the Museum of Contemporary Art in Los Angeles, The Brooklyn Museum, the Jewish Museum, le Musee des Art Decoratifs in Paris, the Nagoya Museum of Art, the Onasch Collection in Berlin and the Lannon Foundation, as well as at the Fukuoko Bank in Japan and New York’s Bellevue Hospital.?Gross has been the recipient of numerous awards and grants including from the? New York State Council on the Arts, twice from the National Endowment for Visual Arts, the American Academy & Institute of Arts and Letters, and a “Bessie” for sets and costumes.?She held the McMillan/Stewart Endowed Chair in Painting at the Maryland College of Art in 2010-2011 and has taught at the Art Institute of Chicago, the Rhode Island School of Design, the Penland School of Crafts, Syracuse University, SUNY Purchase, as well as at other universities and educational institutions, giving workshops and advising students, as a visiting artist.
From 1960-1976? Gross collaborated with Red Grooms on many large, multidimensional installations, including the fabled “Ruckus Manhattan.”?Since 1979, she has collaborated in a fruitful (and on-going) partnership with the dancer Douglas Dunn and his company, designing sets and costumes for his performances.?She has also collaborated with the poet Charles Bernstein. Her on-site drawings of the World Trade Center from 9/11 and after are included in the volume Some of These Daze?(Granary Books, 2005). More at:?http://www.mimigross.com/.
Anna Maria Hong‘s first poetry collection, Age of Glass, won the Cleveland State University Poetry Center’s First Book Poetry Competition and was published in April 2018. Her novella, H & G?(Sidebrow Books, May 2018), won the A Room of Her Own Foundation’s Clarissa Dalloway Prize. Her second poetry collection, Fablesque, won Tupelo Press’s Berkshire Prize and is forthcoming in early 2020. A former Bunting Fellow at the Radcliffe Institute for Advanced Study, she has published poetry, fiction, and essay in The Nation, The Iowa Review, Poetry, The Best American Poetry, and many other places. She joined the Literature faculty at Bennington College in July 2018. For more information, see: https://www.english.upenn.edu/people/anna-maria-hong and https://www.bennington.edu/academics/faculty/anna-maria-hong.
Erica Hunt?is a poet, essayist, and author of?Local History?(Roof Books, 1993, expanded and republished 2003)?and?Arcade?with prints by Alison Saar?(Kelsey St. Press, 1996), Piece Logic?(Carolina Wren Press, 2002), Time Slips Right Before Your?Eyes?(Belladonna*, 2015), and?A Day and Its Approximates?(Chax Press, 2013). With Dawn Lundy Martin, she co-edited the anthology?Letters to the Future, Radical Writing by Black Women?(Kore Press, 2018). Her poems and?non-fiction have appeared in?BOMB, Boundary 2, Brooklyn Rail, Conjunctions, The Los Angeles?Review of Books, Poetics Journal, Tripwire, Recluse,?In the American Tree?and?Conjunctions.?Essays on poetics, feminism, and politics have been collected in?Moving Borders: Three?Decades of Innovative Writing by Women?and?The Politics of Poetic Form,?The World,?and other?anthologies.?Hunt has received awards from the Foundation for Contemporary?Art, the Fund for Poetry, and?the Djerassi Foundation and is a past fellow of Duke University/University of Capetown?Program in Public Policy.
Past writer in residence in the Contemporary Poetics/Creative Writing program at the University?of Pennsylvania, and at Bard College’s MFA program, Hunt has?taught at Wesleyan University?and was a repeat faculty member at Cave Canem Retreat, a?workshop for Black writers from?2004 to 2015. She?is the Parsons Family Professor of Creative Writing at LIU Brooklyn.
Judy Hussie-Taylor?is the?Executive Director and Chief Curator of?Danspace Project, a New York City venue for independent experimental choreographers. Her theme-based Platform series there has mobilized artists as advocates and curators for a great range of dialogues within the field. She has over twenty years of experience in arts administration and community relations. The former Executive Director of the nationally acclaimed Colorado Dance Festival (CDF), she has also served as Artistic Director for Theater Programs at the Boulder Museum of Contemporary Art and Deputy Director of the Museum of Contemporary Art/Denver. She taught in the Department of Art & Art History at the University of Colorado-Boulder and served as a director of the Department’s prestigious Visiting Artist Program. Through her work at CDF, she participated in the National Performance Network and the National Dance Project. She has been a consultant for the National Dance Project’s Regional Dance Development Initiative and Contemporary Art Centers Initiative. Her interviews, articles and essays have been published in Colorado newspapers, journals, and in catalogs and gallery brochures.
Kyoo Lee is a Professor of Philosophy, Gender Studies and Women’s Studies at John Jay College and The Graduate Center, CUNY. She is the author of Reading Descartes Otherwise: Blind, Mad, Dreamy, and Bad (2013) and Writing Entanglish: Come in Englysshing with Gertrude Stein, Zhuangzi … (2015, chapbook). She is also the coeditor of journal issues on “Safe” (WSQ 2011), “Xenophobia & Racism” (Critical Philosophy of Race 2014), and “Derrida in China Today” (Derrida Today 2018).
A public-facing scholar-writer nomadically schooled in European philosophy and literary theory, she works widely in the interwoven fields of the Arts and Humanities. Some of her recent academic recognitions include faculty fellowships from the Mellon Foundation, Korea Institute for Advanced Study (KIAS) and the Graduate Center, CUNY, along with John Jay Faculty Research Excellence Award. Her philopoetic writings have appeared in 3:AM Magazine, Asian American Literary Review, The Brooklyn Rail, Dis and The Volta among others. A member of PEN America Translation Committee and Poetry Translation Center (London, UK), she serves as the coeditor of philoSOPHIA: A Journal of transContinental Feminism?and is on the editorial boards of Derrida Today, Open Humanities Press, Simone de Beauvoir Studies and Women’s Studies Quarterly. More at:?http://www.kyoolee.net.
Melissa Levin is the vice president of artists, estates and foundations at Art Agency, Partners (AAP). Before joining AAP, Levin worked at Lower Manhattan Cultural Council for more than 12 years, where she played a leadership role in the development, administration and artistic direction of major initiatives such as the Arts Center at Governors Island; the River To River Festival; and the organization’s Artist Residency programs. Previously, Melissa has held positions at Andrea Rosen Gallery, The Whitney Museum of American Art, and Artforum International Magazine as well as worked as an independent curator and writer.
Cheena Marie Lo is a genderqueer poet born in Manapla, Philippines and currently based in Richmond, Virginia via Oakland, California. They co-founded the Manifest Reading Series, which featured mainly queer experimental artists and writers. They coordinated a youth art program at California College of the Arts, and currently co-edit the literary journal, HOLD. Their first book, A Series of Un/Natural/Disasters was published by Commune Editions in April 2016. They are the author of two?chapbooks:?NO FILTER?(Aggregate Space, 2014)?and Ephemera &?Atmospheres?(Belladonna* Series, 2014).
Bill Mazza?is a Brooklyn-based visual artist and community activist.?His work uses representational forms and media to explore the spatial and temporal relationships of people to their environments. An additional part of of his practice is “art in the service of?community,” most frequently taking the form of volunteer design for arts and activist?organizations. Bill designed the Belladonna* chaplets for more than a decade, until 2017. He has been involved in the music/jazz organization Arts for Art since 2005.?More at:?http://www.mazzastudio.com.
Maryam Ivette Parhizkar is a Ph.D. candidate in African American Studies and American Studies at Yale University, where she also?co-curated the Race & Innovative Poetics reading series.??She holds an MA in American Studies from the CUNY Graduate Center. Maryam’s research focuses on experimental, cross-racial collaborations among artists, writers, and performers in counterpoint to institutional aesthetic histories and racial formations in the Americas.? She has worked for non-profit organizations including the Foundation for Contemporary Arts, Music Before 1800, and Turtle Bay Music School. She also served as Managing Editor for Litmus Press and is part of its editorial board. She is the author of two chapbooks:?As for the future?(Portable Press @ Yo-Yo Labs, 2016) and?Pull: a ballad?(The Operating System, 2014).
Lila Zemborain is a poet and critic from Buenos Aires. She?is the author of several poetry collections: Abrete sésamo debajo del agua (Ediciones último Reino, 1993), Usted (Ediciones último Reino, 1998), Guardianes del secreto (Editorial Tsé-Tsé, 2002), translated into English as Guardians of the Secret (2009), Malvas orquídeas del mar?(Editorial Tsé-Tsé, 2004), translated into English as Mauve Sea-orchids (Belladonna* Series, 2007),?Rasgado (Editorial Tsé-Tsé, 2006), translated into French as Déchiré (L’Oreille Du Loup Editions, 2013), El rumor de los bordes (Biblioteca Sibila – Fundación BBVA de Poesía en Espa?ol, 2011), Diario de la hamaca paraguaya (2014), Materia blanda (2014), and the chapbooks Ardores (1989), and Pampa (2001). She has collaborated with artist Martin Reyna in La couleur de l’ eau / El color del agua (French?trans. Sarah T. Reyna,?Virginie Boissière Editions, 2008) and with poet Joan Navarro and artist Pere Salinas in Llum Cinabri / Calma tectónica (Catalan trans. Joan Navarro, 2015). Her work has appeared in the art catalogues Alessandro Twombly (trans. Rosa Alcalá, 2007), Heidi McFall (trans. Hanya Wozniak, 2005), and in numerous publications from Latin America, Spain and the US. As a critic, she is the author of Gabriela Mistral. Una mujer sin rostro (2002). She is the Creative editor of Xul Solar. Jorge Luis Borges. The Art of Friendship (2013). She has been the director and editor of the Rebel Road Series (2000-2007) and, since 2004, she curates the KJCC Poetry Series at New York University, where she is Clinical Professor in the Department of Spanish & Portuguese. In 2006 she taught in the Summer Writing Program at Naropa University. In 2007 she was awarded a John Simon Guggenheim fellowship, in 2010 a Residency Fellowship at the Millay Colony, and in 2015 she was a finalist for the Festival de la Lira Award, from Ecuador. She was the Director of the Creative Writing in Spanish Program at New York University from 2009 to 2012.