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SYMPOSIUM PARTICIPANTS

Amra Brooks was born and raised in California. Her novella California was published in 2008 by Teenage Teardrops. Her fiction, critical reviews, essays, interviews, and poems have appeared in such publications as Artforum, Spin Magazine, index, the LA Weekly, The Encyclopedia Project Volume F-K, Ping Pong: the literary journal of the Henry Miller Library, Not Enough Night, Inventory Magazine, and others. She has taught at the University of California in Santa Cruz and San Diego, Naropa University, and Muhlenberg College. Currently she lives in Providence, Rhode Island with her family and is the Director of the Creative Writing program at Stonehill College in Easton, MA.

Carmen Giménez Smith is the author of a memoir, Bring Down the Little Birds, four poetry collections— Milk and Filth, Goodbye, Flicker, The City She Was, and Odalisque in Pieces. She is the recipient of a 2011 American Book Award, the 2011 Juniper Prize for Poetry, and a 2011-2012 fellowship in creative nonfiction from the Howard Foundation. Formerly a Teaching-Writing Fellow at the Iowa Writers’ Workshop, she now teaches in the creative writing programs at New Mexico State University, while serving as the editor-in-chief of the literary journal Puerto del Sol and the publisher of Noemi Press.

Jennifer González is Associate Professor in the History of Art and Visual Culture department at the University of California, Santa Cruz. Her scholarship has been published in numerous journals, including "Aztlán," "Frieze," "Bomb," "Camera Obscura," and "Art Journal." Her book Subject to Display: Reframing Race in Contemporary Installation Art, published in 2008, was a finalist for the Charles Rufus Morey Book Award. Professor González's work explores the representation of the human body and its relation to discourses of race and gender within a range of visual contexts, including digital art.

Mary Kelly is an American conceptual artist, feminist, writer, and professor of art and critical theory in the School of Art and Architecture at UCLA. She is known for her project-based work, addressing questions of sexuality, identity and historical memory in the form of large-scale narrative installations, including Post-Partum Document, a six-year exploration of the mother-child relationship. When it was first shown at the ICA in London in 1976, the work provoked tabloid outrage because Documentation I incorporated stained nappy liners. Each of the six-part series concentrates on a formative moment in her son’s mastery of language and her own sense of loss, moving between the voices of the mother, child and analytic observer. Informed by feminism and psychoanalysis, the work has had a profound influence on the development and critique of conceptual art.

Natalie Loveless is a Canadian conceptual artist, curator, writer, and professor of contemporary art history and theory in the Department of Art and Design at the University of Alberta. Her dialogic and instruction-based wall-drawing installations, performance actions, and video works have been presented in festivals, galleries and artist-run centers in North America, South America, Europe and Asia. Her recent artistic work explores feminist embodiment and material entanglement in the everyday, and she is currently at work on two book projects: one on artistic research and the Fine Arts PhD and the other on new feminist art and the maternal.

Irene Lusztig is a filmmaker, media archeologist, and new media artist. Her film and video work mines old images and technologies for new meanings in order to reframe, recuperate, or reanimate forgotten and neglected histories. Her work has been screened around the world, including at MoMA, Museum of Fine Arts Boston, Anthology Film Archives, Pacific Film Archive, IDFA Amsterdam, and on television in the US, Europe, and Taiwan. She has been awarded fellowships at the MacDowell Colony, the Radcliffe Institute for Advanced Study, and Harvard's Film Study Center.

Jill Miller  is an art practitioner who works collaboratively with communities and individuals. Working with maternal knowledge and the maternal body, her recent experiments and cultural probes challenge issues of ownership, identity and status quo. She presents her work with humor, curiosity and often reverence, recontextualizing objects, images and processes in order to look deeper within them. Born in Illinois, she received her MFA in from University of California, Los Angeles and her BA from University of California, Berkeley, in English. Her work has been shown nationally and internationally, and collected in public institutions worldwide including CA2M Centro de Arte Dos de Mayo in Madrid and the Hirshhorn Museum and Sculpture Garden. She has taught at California College of the Arts, San Francisco Art Institute and Carnegie Mellon University.

Megan Moodie, Assistant Professor in Anthropology at UC Santa Cruz, is a cultural anthropologist, writer, and feminist whose work is broadly concerned with social justice and the imagination of alternative futures in South Asia and the U.S. Her articles on microfinance and the reproductive logics of state-making have appeared in journals such as American Ethnologist, Signs, and Identities, and her forthcoming book, We were adivasis: aspiration in an Indian Scheduled Tribe, about gender, indigeneity, and affirmative action in India, will appear in the South Asia Across the Disciplines series with the University of Chicago Press.

Kate Moses is the author of Wintering: A Novel of Sylvia Plath and Cakewalk: A Memoir . Moses is the coeditor, with Camille Peri, of Because I Said So: 33 Mothers Write About Children, Sex, Men, Aging, Faith, Race & Themselves and the national bestselling, American Book Award-winning Mothers Who Think: Tales of Real-Life Parenthood. As a senior editor and contributing writer for Salon, Moses cofounded Salon’s groundbreaking, award-winning Mothers Who Think site.

Mother Art Collective is a collective of women artists, most active during the 1970′s and 1980′s, dedicated to creating social-political art. By gathering women’s personal stories and crafting them in such a way as to incite collective action and intervention, the collective personalized issues, such as the social invisibility of maternal labour and the impact of the lack of socially supported day care on the professional practices of working artist-mothers, in ways that are still relevant today. Recently, Mother Art has produced a video and book detailing the history of their collective, and have been featured in retrospectives and invitational exhibitions internationally. Participating members of the collective are Deborah Krall, Suzanne Siegel, and Laura Silagi.

Micah Perks is the author of a novel, We Are Gathered Here, and a memoir, Pagan Time, about growing up on a commune in the Adirondack Wilderness. Her short stories and essays have appeared in Epoch, Zyzzyva, Tin House, and The Rumpus, among many other journals and anthologies. She’s won an NEA Award, a Saltonstall Foundation for the Arts grant, four Pushcart Prize nominations, and several residencies at the Blue Mountain Center. Her most recent publication is the short memoir, Alone In The Woods, an ebook from Shebooks, about motherhood and the wild.

Michelle Tea is the founder and editor of Mutha Magazine, an alternative parenting site obsessed with all things Mom. Her blog Getting Pregnant With Michelle Tea, on xoJane.com, has documented her struggle to get knocked up. Tea is the founder and Artistic Director of RADAR Productions, a literary non-profit which oversees the annual Sister Spit performance tours; Sister Spit Books, a publishing imprint with City Lights; the monthly RADAR Reading Series at the San Francisco Public Library, and other programs. She is the author of many memoirs and novels, and a collection of poetry.