Kaucyila Brooke is an artist based in Los Angeles. She and Jane Cottis co-produced the feature length videotape Dry Kisses Only (1990). She edited the book Gendered Geographies, pub. Hochschule fur Gestaltung und Kunst Zürich, (2002), and she produced the artist book Vitrinen in Arbeit, published by Michael Dawson Gallery, Los Angeles (2004). The catalogue Vitrinen in Arbeit (2008) which accompanied her solo show at the Alfred Ehrhadt Foundation was published by Schaden Verlag, Cologne. She is the former Director of the Program in Photography and Media at CalArts where she has been a regular member of the faculty since 1992.

Nancy Buchanan is an L.A.-based artist working in a variety of media. She was a member of Grandview Gallery at The Woman’s Building, then of Double X, a feminist art collective. Since 1988, she has taught at CalArts.

Nao Bustamante work encompasses performance art, video installation, visual art, filmmaking, and writing. Bustamante has presented in Galleries, Museums, Universities and underground sites worldwide, including the Institute of Contemporary Arts in London, the New York Museum of Modern Art, Sundance 2008, 2010, and the Kiasma Museum of Helsinki. In 2001 she received the prestigious Anonymous Was a Woman fellowship and in 2007 named a New York Foundation for the Arts Fellow, as well as a Lambent Fellow. Currently, Bustamante holds the position of Associate Professor of New Media and Live Art at Rensselaer Polytechnic Institute.

CamLab is a collaboration between Jemima Wyman and Anna Mayer begun at CalArts in 2005. CamLab has had solo shows at Sea and Space Explorations (LA), 40000 (Chicago), and Dan Graham/Leslie Dick (LA), in conjunction with which they performed a guerilla-style feminist tour of MOCA’s First Thirty Years at the museum. Group exhibitions include Fellows for Contemporary Art (LA), Track 16 (LA), Galerie Califia (CZ), and Ben Russell (Chicago). CamLab has performed in LA at The Lounge at REDCAT, Wildness at the Silver Platter, and PØST. They’ve attended residencies at ThreeWalls in Chicago and Ox-Bow School of Art in Michigan. CamLab curated the feminist exhibition, Gathered in a Clearing at LEVEL in Brisbane, Australia in early 2011. From January to March 2012 CamLab will present three events at the Museum of Contemporary Art in Los Angeles as a part of the Engagement Party series.

Carolina Caycedo (born in 1978 in London; lives and works in Los Angeles) is an artist who is invested in urban street cultures, issues of immigration, and processes of exchange. Her practice often incorporates bartering in city streets in order to develop an alternative value system to the traditional capitalist structure. In 2002, starting with a van with a full tank of gas, she subsisted for a month solely on what she could barter in Vienna for her project Daytoday, that spanned seven years. Her work has been exhibited in well-known museums and festivals worldwide, including the 2009 New Museum’s Generational, the 2006 Whitney Biennial, the 2003 Venice Biennial and the 2002 Istanbul Biennial.

Audrey Chan (b. 1982, Chicago, IL) is a Los Angeles-based artist, writer, and Gallery Teacher at the J. Paul Getty Museum. She received a BA with Honors in Studio Art and Political Science from Swarthmore College and an MFA from the Program in Art at CalArts. Chan co-organized Exquisite Acts & Everyday Rebellions: 2007 CalArts Feminist Art Project, a collaborative inter-generational investigation of contemporary feminist practice. Her multidisciplinary practice addresses civic discourse, rhetoric, and the feminist construct of “the personal is political.” Recent projects include a video memorial of the Iraq War and meditation on the legacy of Maya Lin, a twine graffiti homage to Shirley Chisholm, and performances as Judy Chicago. Chan was an artist-in-residence at the École Régionale des Beaux-arts de Nantes (France) in 2009. She recently published a book about the experience, Conseil juridique et artistique / Legal and Artistic Counsel, which explores the promiscuous relationship between art and politics in French law.

Dorit Cypis is an award winning artist and professional mediator. Her explorations on identity as corporeal, psychological and political have been presented at museums and public venues internationally since 1980. Her focus led her to study mediation and in 2007 she founded Foreign Exchanges, building conflict engagement and relationship building capacity through aesthetics and mediation tools. Dorit has founded many public programs including Kulture Klub Collaborative, 1992, artists working with homeless youth to bridge survival and inspiration. She is a Founding Member, Mediators Beyond Borders and past Chair/MBB Middle East Initiative. She holds a Masters of Fine Art, California Institute for the Arts, and Masters of Dispute Resolution, Pepperdine University.

Sandra de la Loza’s work critically investigates questions related to power and representation within the contemporary political, social, and cultural landscape. She is the founder of the Pocho Research Society (PRS), an on-going collaborative project dedicated to the systematic investigation of place and memory through archival and curatorial projects and public interventions.
De la Loza has exhibited her work in Los Angeles, New York, Madrid, Mexico City and Cairo. She has received grants from the Center for Cultural Innovation, the California Community Foundation, the Durfee Foundation and the Department of Cultural Affairs. Recent exhibits include, Phantom Sightings: Art After the Chicano Movement, a traveling exhibit organized by the Los Angeles County Museum of Art, Invisible City at the Instituto Cervantes in Madrid, as part of the Arco Madrid Art Fair’s focus on Los Angeles, and Citizen/Participant at Darb 1718 in Cairo. In her most recent exhibit, Mural Remix (2011), a solo project at the Los Angeles County Museum of Art that is a part of the Getty’s Pacific Standard Time, she takes on the role of a performative archivist extracting, slicing, and blowing up forgotten details in Chicanoa/o murals produced in the 1970’s to highlight iconographic and aesthetic approaches ignored by official discourse. De la Loza has taught cultural studies, contemporary art seminars and studio art courses at various universities including the Masters in Public Practice Program at Otis College of Art and Design. Sandra de la Loza received her B.A. in Chicano Studies at the University of California, at Berkeley and her MFA in Photography at Cal State Long Beach. She is the author of the Pocho Research Society’s Field Guide to Erased and Invisible Histories (2011).

Zackary Drucker is a Los Angeles-based artist. Drucker holds a MFA from the California Institute of the Arts (2007), and a BFA from the School of Visual Arts (2005). Interested in obliterating language obstacles, pulverizing identity disorders and revealing dark subconscious layers of outsider agency, Drucker disarms audiences using live performance, film, video, and photography. Keeping normative culture on the periphery, Drucker uses her body to illicit desire, judgement, and voyeuristic shame from her viewer. Her work has been featured at Jerome Zodo Contemporary (Milan), Steve Turner Contemporary (LA), Les Recontres Internationales (Paris, Berlin, Madrid), Cercle Blanc (Berlin), Invisible Exports (NYC), Leo Koenig Projekte (NYC), Yerba Buena Center for the Arts (SF), and Venice Biennial (Swiss Offsite Pavilion).

Anoka Faruqee is a painter who lives and works in New Haven, Connecticut. She has exhibited her work in New York, Los Angeles, San Francisco, Chicago, Seoul, Korea and Dhaka, Bangladesh. Group and solo exhibitions include Max Protetch and Monya Rowe Galleries (New York), PS 1 Museum (Queens), Albright-Knox Gallery (Buffalo), Angles Gallery (Los Angeles), Chicago Cultural Center, and Hosfelt Gallery (San Francisco and New York). She received her MFA from Tyler School of Art in 1997 and her BA from Yale University in 1994. She attended the Whitney Independent Study Program, the Skowhegan School of Art, and the PS1 National Studio Program. Grants include the Pollock Krasner Foundation and Artadia. Faruqee is currently an Associate Professor in Painting at the Yale School of Art. She has also taught at California Institute of the Arts, where she was Co-Director of the Art Program, the School of the Art Institute of Chicago, Cooper Union and Vermont College.

Elana Mann is a multidisciplinary artist whose artwork explores how performative action can disrupt political, social and interpersonal impasses. Mann co-curated Exquisite Acts and Everyday Rebellions: 2007 CalArts Feminist Art Project and is the 2012 co-organizer (with Audrey Chan) of Shares and Stakeholders: The Feminist Art Project @ CAA a symposium taking place at the Museum of Contemporary Art, Los Angeles. She has shown her artwork nationally and internationally in galleries, museums, buses, windows, walls and senior centers and in 2010 co-founded the Artist Bailout Collective. Mann is a recipient of California Community Foundation’s 2009 Visual Arts Fellowship and has published five books, four of which are in the collection of the Getty Research Institute. She received her B.F.A. from Washington University, St. Louis and her M.F.A from California Institute of the Arts, Valencia. Mann is currently a Visiting Lecturer at Scripps College, Claremont, CA and is based in Los Angeles, CA, USA.

Barbara McCullough received her MFA from UCLA and was part of an unprecedented activist group of students, recently celebrated with the Hammer Museum’s “L.A. Rebellion” screening series. A twenty-year-plus veteran of the visual effects industry, McCullough is currently Chair of the Visual Effects Department at Savannah College of Art and Design – SCAD.

Tavia Nyong’o is a cultural historian and critic, currently Associate Professor of Performance Studies at Tisch School of the Arts, New York University.
His research interests lie at the intersection of art, music, performance, and media. Specifically, he is interested in contemporary mutations of expression and affectability, and how they impact minoritarian subjects. Nyong’o is currently working on a book manuscript on the uses of the untimely in black aesthetics, drawing upon some of the questions that animate afrofuturism, but also trying to reformulate them as questions about temporality as such.

Glenn Phillips is Principal Project Specialist and Consulting Curator in the Department of Architecture and Contemporary Art at the Getty Research Institute in Los Angeles. His exhibition California Video won the International Association of Art Crtics award for best exhibition of digital media, video, or film in 2008. His other exhibitions include Time/Space, Gravity and Light; Marking Time; Evidence of Movement; Reckless Behavior; Pioneers of Brazilian Video Art 1973-1983; Surveying the Border: Three Decades of Video Art about the United States and Mexico; and Radical Communication: Japanese Video Art 1968-88. Prior to working at the Getty he was Assistant Curator for Special Projects at the Whitney Museum of American Art, where he worked on a number of exhibitions, including No Wave Cinema; The American Century: Art & Culture 1900-2000; the 1997, 2000 and 2002 Whitney Biennial exhibitions; Bitstreams: Art in the Digital Age; and Tony Oursler: The Darkest Color Infinitely Amplified. He is currently a member of the curatorial team for Pacific Standard Time: Art in L.A.1945-1980, a series of more than sixty concurrent exhibitions that will open across Southern California between Fall 2011 and Spring 2012.

Howard Singerman is the author of Art Subjects: Making Artists in the American University (1999) and Art History, after Sherrie Levine (2011). He has contributed essays to numerous exhibition catalogues, among them A Forest of Signs: Art in the Crisis of Representation and Public Offerings, exhibitions organized by the Museum of Contemporary Art, Los Angeles, where Singerman was Museum Editor from 1985 to1988, and the retrospective surveys of California artists Chris Burden, Mike Kelley, and Allen Ruppersberg. His essays and criticism have appeared in a number of journals and magazines including Art in America, Artforum, October, Oxford Art Journal, and Parkett. Currently professor and chair of the McIntire Department of Art at the University of Virginia, Singerman previously taught at Barnard College, the California Institute of the Arts, and UCLA.

Claudia Slanar studied Art History, Aesthetics and Politics and Creative Writing in Vienna/AT and Valencia/CA, and has been working as curator, writer and teacher for fine arts and film/video. Her interest in the intersection of critical theory and fiction brought her to the work of 1970s artist Laura Wollen on whom she is currently writing a biography/catalog. She has been part of several collaborative projects and artist groups, the most recent one being Los Angeles-based Untitled Collective.
Mariángeles Soto-Díaz holds an MA from California Institute of the Arts and an MFA from Claremont Graduate University. Her primary area of research is abstraction’s intersection with politics. She has developed an extended studio practice that includes bouts of writing, experimental curation and performance. Her work has been exhibited, reviewed and published internationally and in peer-reviewed academic journals. Soto-Díaz’s essay, “Post Partum Blues, the Figure/Ground,“ will be published in the book Reconciling Art and Motherhood, forthcoming from Ashgate Press (2012). She is represented by the Ruth Bachofner Gallery in Los Angeles and the Soho20 Gallery in New York and is currently an Obermann Grant Wood Fellow at the University of Iowa (2011-12).

A.L. Steiner uses constructions of photography, video, installation, collage, collaboration, performance and curatorial work as seductive tropes channeled through the sensibility of a cynical queer eco-feminist androgene. She is a collective member of Chicks on Speed, co-curator of Ridykeulous, founding member and co-orgainzer of Working Artists and the Greater Economy [W.A.G.E.] and collaborates with numerous visual and performing artists. Her work has been recently featured at P.S.1./MoMA, The New Museum, ICA/Boston and Zacheta National Gallery of Art. Steiner is currently visiting faculty at the University of Southern California in Los Angeles, and her work is represented by Taxter & Spengemann, NYC.

Erika Suderburg is a filmmaker and writer. She has produced art, performance, television and film criticism for many eclectic publications. She is co-editor with Michael Renov of Resolutions: Contemporary Video Practices, and editor of Space Site Intervention: Situating Installation Art, both published by the University of Minnesota Press. Her forthcoming 2012 book, co-edited with Ming-Yuen S. Ma is entitled Resolution 3: Global Video Praxis. Her work has been internationally exhibited in festivals, museums, galleries, on television, on the sides of really big walls, and on a hot air balloon. She has made five feature length films and myriad short films and videos that have been exhibited in Korea, Japan, Greece, Germany, Italy, Switzerland, Canada, France, Singapore, Australia, Mexico, Qatar, China, Holland, Egypt, Sweden, the Netherlands, Brazil, Japan, and the UK.

Pilar Tompkins Rivas is an independent curator and arts project coordinator at the UCLA Chicano Studies Research Center. As part of the Getty Research Institute’s Pacific Standard Time: Art in L.A. 1945-1980, she is co-curating the suite of exhibitions, L.A. Xicano, to be held at UCLA’s Fowler Museum, LACMA and the Autry National Center and is curating Civic Virtue: The Impact of the Los Angeles Municipal Art Gallery and the Watts Towers Arts Center for the Los Angeles Department of Cultural Affairs.
Her many projects include Bas Jan Ader: Suspended Between Laughter and Tears, at Pitzer College in Claremont, California, and Museo de Arte Zapopan, Mexico; Citizen, Participant in Cairo, Egypt; L’Ottava Tavola: An Etymology of Contemporary Codes in Cortona, Italy; Suelto in Bogotá, Colombia; Post American L.A., Multiverse, The Passerby Museum, and Vexing: Female Voices from East L.A. Punk, which represented the City of Los Angeles at the 2009 Guadalajara International Book Fair. In 2006, she was a founding director and curator of The MexiCali Biennial, a bi-national art exhibition and music event transcending the constraints of the U.S./Mexico border. Additionally, she has served as director of the Latin American branch of the Artist Pension Trust and is the former curator of the Claremont Museum of Art.
Christine Wertheim is author of “+|’me’S-pace” (Les Figues Press), and editor of “Feminaissance.” With Matias Viegener she has co-edited “Séance” and “The noulipean Analects.” She teaches on the MFA Writing Program at CalArts. With her sister Margaret, she is the 2011 recipient of the Theo Westenberger Grant from the Autry National Center for their work on “The IF’sF Hyperbolic Crochet Coral Reef.”