Sarah Arison is a passionate supporter of the arts who is committed to cultural institutions that increase access to arts education, support aspiring and emerging artists, and encourage world-class artistry. Born and raised in Miami, Arison is President of the Arison Arts Foundation, a private grant-making organization that supports emerging artists and the institutions that foster them. She is Chair of the Board of Trustees at the National YoungArts Foundation, where she has developed strategic partnerships with The Metropolitan Museum of Art, Sotheby’s, and Sundance Film Festival. Arison is Vice-Chair of the board of MoMA PS1, a trustee and member of the Committee on Education of MoMA, a trustee of American Ballet Theatre and Chair of the Education Committee, a trustee of the Brooklyn Museum and Chair of the Education Committee, a trustee at Lincoln Center, a trustee at New World Symphony, a member of the Board of Directors of Americans for the Arts, and a trustee of the Americas Foundation of the Serpentine Galleries. In addition to creating alliances between cultural institutions, Arison has capitalized on her professional experience in the fashion industry to help build partnerships between luxury brands, such as Swarovski and Khirma Eliazov. In 2015, she produced her first feature film, Desert Dancer, starring Freida Pinto. She later went on to co-produce The First Monday in May, a documentary film chronicling the creation of The Metropolitan Museum of Art’s Costume Institute blockbuster exhibition China: Through the Looking Glass. Arison earned a Bachelor of Arts degree in Business and French with a minor in Art History from Emory University.
Sonel Breslav is an independent curator and the Director of Fairs & Editions at Printed Matter. From 2013–2017 she was the Director of Murray Guy, New York, where she curated exhibitions of work by gallery artists such as Moyra Davey, Matthew Buckingham, Zoe Leonard, Lucy Skaer, Leidy Churchman, and Alejandro Cesarco, among others. In 2012, she founded Blonde Art Books, an independent organization dedicated to promoting small press and self-published art books through exhibitions, talks, online exposure, and book fairs, including the Bushwick Art Book & Zine Fair (2013–2017). Publications to date include: Kitsch Encyclopedia by Sara Cwynar, 2014; Dust: The plates of the present, February 2013 – July 2015, published in collaboration with Secretary Press, New York, 2015; Words With Love, published in collaboration with artist Cara Benedetto and Small Editions, Brooklyn, 2016. She has organized exhibitions and events at venues such as PS1, MoMA, Queens, NY; ICA, Philadelphia, PA; Mattress Factory, Pittsburgh, PA; Wexner Center for the Arts, Columbus, OH; Hyde Part Center, Chicago, IL; and Dorsky Curatorial Programs, LIC, NY.
Isolde Brielmaier is the Executive Director and Curator of Arts, Culture & Community at Westfield. For over ten years, she has worked internationally as a curator and cultural strategist, collaborating with noted art institutions, companies, and contemporary artists including Ellen Gallagher, Leonardo Drew, Richard Mosse, Fred Wilson, and Bharti Kher. She also serves as Assistant Professor of Critical Studies in Tisch’s Department of Photography, Imaging and Emerging Media at New York University as well as Curator-at-Large at the Tang Museum, and in December of 2016 she was named to the Board of Trustees of the New Museum. She has developed and contributed to contemporary art and culture programs and platforms for a broad range of organizations including Prospect New Orleans Biennial and the Peninsula Hotel Group, Hong Kong as well as the Armory Show/VOLTA NY, CIRCA Puerto Rico, and ARCO Contemporary Art Fair in Madrid, Spain, among others. Previously, Isolde has worked for the Guggenheim Museum, the Bronx Museum of Art, and as Chief Curator for the SCAD Museum of Art. Brielmaier is based in New York and received her Ph.D from Columbia University.
Pradeep Dalal is Mumbai-born artist and writer based in New York. His solo show “Copy/Scan/Print/Repeat” was recently at Sala Diaz in San Antonio. His work was included in “Compassionate Protocols” at Callicoon Fine Arts, “I need my memories. They are my documents” at sepiaEYE, “Strange Invitation” at Franklin Street Works, “Picturing Parallax” at San Francisco State University, “Vision is Elastic. Thought is Elastic” at Murray Guy and “Fifty Artists Photograph the Future” at Higher Pictures. His photographs were included in BOMB 140, Grey Room 65 Artists Dossier, Blind Spot 43 and Cabinet 52. His artist book “Bhopal, MP” was published in 2017, and was also excerpted in “Chandigarh is in India,” and his essay “A Bifocal Frame of Reference” was published in “Western Artists and India.” He holds an MFA from ICP/Bard College and a MArch from MIT. He is co-chair of the MFA in Photography at Bard College and he directs the Andy Warhol Foundation’s Arts Writers Grant Program in New York. http://www.pradeepdalal.
Born in Montreal, Canada, David Deitcher is a writer, art historian, and critic whose essays have appeared in Artforum, Art in America, Parkett, the Village Voice, and other periodicals, as well as in numerous anthologies and monographs on such artists as Felix Gonzalez-Torres, Isaac Julien, and Wolfgang Tilmans. He is the author of Dear Friends: American Photographs of Men Together, 1840-1918 (Abrams, 2001) and curator of its accompanying exhibition at the International Center of Photography in New York. Since 2003, he has been core faculty at the International Center of Photography/Bard College Program in Advanced Photographic Studies. He lives in New York City.
Justine Kurland was born in 1969 in Warsaw, New York. She received her B.F.A from School of Visual Arts, NY in 1996, and her M.F.A. from Yale University in 1998. Her work has been exhibited extensively at museums and galleries in the U.S. and internationally. Recent museum exhibitions include Open Road at Detroit Institute of Arts, Detroit, Mi. and Crystal Bridges Museum of America Art, Ar; Looking Forward: Gifts of Contemporary Art from the Patricia A. Bell Collection at the Montclair Art Museum in Montclair, NJ; More American Photographs at the Wexner Center for the Arts in Columbus, OH; and Off the Grid #1 and #2 at Fotodok in The Netherlands. She was the focus of a solo exhibition at CEPA in Buffalo, NY, and Moma’s exhibition Into the Sunset, in 2009. Her exhibition, Sincere Auto Care, was shown at Mitchell Innes and Nash in the fall of 2014.Justine Kurland has been featured in the New York Times, The Washington Post, and Vice Magazine. Reviews of her work have appeared in Art Forum, Frieze Magazine, Time Out, and The New Yorker among others. Coromandel published a monograph of work, Spirit West, in 2001; Art Space published Old Joy in 2003; Ecstatic Peace Library published This Train Is Bound for Glory in 2009; and Black Threads of Meng Chiao in collaboration with John Yau was published fall 2015. Aperture will publish a monograph of her work this fall, entitled Highway Kind.Her work is in the public collections of institutions including the Whitney Museum, the Guggenheim Museum, and the International Center of Photography, all in New York; the Corcoran Gallery in Washington, DC; and the Museum of Fine Arts in Montreal. In 2013, she was awarded The New York Foundation of the Arts’ Artists’ Fellowship for Photography. She is represented by Mitchell-Innes & Nash, New York.
Arthur Ou was born in Taipei, Taiwan, and is based currently in Queens, New York. He works in photography, painting, sculpture, and installation, and explores photographic seeing and how it shapes our relationship to the world. He has exhibited internationally, most recently in the 2018 Queens International at the Queens Museum, “99¢” at the Museum of Contemporary Art, Detroit, and “Astoria,” at the Grazer Kunstverein in Graz, Austria. His work has been featured in publications including Artforum, Aperture, Blind Spot, Camera Austria, and Art in America. His work has also been considered in published surveys “The Photograph as Contemporary Art,” by Charlotte Cotton, “The Beauty of a Social Problem: Photography, Autonomy, Economy,” by Walter Benn Michaels, and “Photography is Magic,” also by Charlotte Cotton. Ou has published critical texts in Aperture, Afterall.org, Artforum.com, Bidoun, Foam, Fantom, Words Without Pictures, and X-Tra. Ou received his MFA from the Yale School of Art. He is an associate professor of photography at Parsons School of Design in New York City.
José Parlá, born 1973, studied at Miami Dade Community College, New World School of the Arts and Savannah College of Art & Design. Parlá is a critically acclaimed, multidisciplinary artist in painting, large scale murals, photography, video and sculpture. Layers of paint, gestural drawing and found ephemera combine to evoke the histories of urban environments. Using the backdrop of world cities, he creates abstractions that can appear to be photorealist fragments of what he sees in the chaos and rush of the metropolis. His work reflects the ephemeral layers of walls that show a place that was, but no longer is—built over, renewed in some other configuration, in the present, engaging memory and imagination with the contemporary. His work has been exhibited at the High Museum of Art, Atlanta, Georgia; The SCAD Museum of Art, Savannah College of Art & Design, Georgia; The Neuberger Museum of Art, Purchase, New York; National YoungArts Foundation, Miami, FL; Van Every/Smith Galleries, Davidson College, North Carolina; and The Havana Biennial, Havana, Cuba, among others. Parlá’s work is in several public collections including, The British Museum, London, United Kingdom; The Albright-Knox Art Gallery, Buffalo, New York, POLA Museum of Art, Hakone, Japan; and The National Museum of Fine Arts, Havana, Cuba. Collaborative projects include, The 11th Havana Biennial with Wrinkles of the City: Havana, Cuba project, which was completed in 2012 between Parlá and French artist JR. Parlá also worked with the Caldera Arts Program at The Portland Art Museum where he collaborated with participating youth for his Signature Roots, workshop and installation. Permanent Public Arts projects include commissions by ONE World Trade Center, the University of Texas at Austin, the Barclays Center in Brooklyn, Brooklyn Academy of Music, BAM Fisher, North Carolina State University’s Hunt Library by Snøhetta; and at Concord City Place, Toronto, Canada.
Eileen Quinlan (b. 1972, Boston) earned her MFA from Columbia University in 2005. She had her first solo museum exhibition at the Institute of Contemporary Art, Boston in 2009. Her work is in the permanent collections of Metropolitan Museum of Art, Whitney Museum of American Art, the Solomon R. Guggenheim Museum, the Museum of Modern Art, Los Angeles County Museum of Art, Museum of Contemporary Art, Los Angeles, Hammer Museum, Institute of Contemporary Art / Boston, Ackland Art Museum, Whitworth Art Gallery in Manchester and the Seattle Art Museum, among others. Recent exhibitions include Viva Arte Viva, the 57th International Art Exhibition, Venice Biennale, curated by Christine Macel (2017), SYSTEMATICALLY OPEN? New Forms for Contemporary Image Production at the LUMA Foundation, Arles (2016), and Always starts with an encounter: Wols/Eileen Quinlan, produced by Radio Athènes and curated by Helena Papadopoulos at the Museum of Cycladic Art in Athens (2016), Image Support at the Bergen Kunsthall (2016), and Transmission, Recreation, and Repetition at the Palais de Beaux-Arts Paris (2015), What Is a Photograph? at the International Center for Photography (New York) (2014), Outside the Lines: Rites of Spring at the Contemporary Art Museum Houston (2014), and New Photography 2013 at the Museum of Modern Art (New York, 2013). Her most recent exhibition of new work, Dune Woman, was on view at Campoli Presti gallery in London in the summer of 2017.
Phil Taylor is a curator and writer working in the Department of Photography at The Museum of Modern Art. Phil is also a Ph.D. candidate at Princeton University in the Department of Art & Archaeology, where he is finishing a dissertation on the Surrealist photography of Raoul Ubac and the fates of experimental darkroom practice in a time of political crisis. Previously, he was the David E. Finley Fellow 2014-2017 at the Center for Advance Study in the Visual Arts at the National Gallery of Art. Phil has published extensively as a critic for Artforum, among other publications, serves on the Editorial Committee of Apricota (co-edited by Andrianna Campbell and Joanna Fiduccia and published by Secretary Press), and is the primary author of Various Small Books: Referencing Various Small Books by Ed Ruscha (MIT Press, 2013). With collaborators at Princeton, he has co-organized a workshop series with artists for the Department of Art & Archaeology, Framing Practices (2013-2014), and a forum series for the Princeton-Mellon Initiative in Architecture, Urbanism, and the Humanities, Sensorial Urbanism: The Aesthetics of Immateriality (2018). He lives in Queens, New York.
Mickalene Thomas is a 2015 United States Artists Francie Bishop Good & David Horvitz Fellow, distinguished visual artist, filmmaker, and curator who has exhibited extensively both nationally and internationally. She is known for paintings that combine art-historical, political, and pop-cultural references. Her work introduces complex notions of femininity and challenges common definitions of beauty and aesthetic representations of women. Thomas holds an MFA from Yale University and a BFA from Pratt Institute. She’s held solo museum exhibitions at the Brooklyn Museum, Aspen Museum, and L’Ecole des Beaux Arts, Monaco. Recent solo exhibitions include “Mickalene Thomas: Do I Look Like a Lady?” at MOCA Grand, Los Angeles; “Mickalene Thomas: Mentors, Muses and Celebrities” at Aspen Art Museum and Spelman College, and “Muse: Mickalene Thomas Photographs” at Aperture Foundation, New York, which is scheduled to travel to several venues across the United States through 2019 and features her notably curated exhibition, tête-à-tête. Other recent shows include the group exhibitions “Figuring History” at the Seattle Art Museum, and “You Are Here” at the North Carolina Museum of Art. Thomas’s work is in the permanent collections of New York’s Museum of Modern Art, Brooklyn Museum, Solomon R. Guggenheim Museum, Whitney Museum of American Art, Hammer Museum, and Smithsonian American Art Museum, among many others. She is also currently working on solo exhibitions at the The Wexner Center for the Arts and the Art Gallery of Ontario. Thomas is represented by Lehmann Maupin, New York and Hong Kong; Kavi Gupta Gallery, Chicago; and Galerie Nathalie Obadia, Paris and Brussels. She lives and works in New York.
Helen Toomer is a Co-Founder and Artistic Director of STONELEAF RETREAT; a place for artists and creatives to connect and collaborate through a residency program and series of events in the Catskill Mountains of New York. She is an Adjunct Professor at Sotheby’s Institute for Art, teaching Social Media and Marketing of the Arts and The Business of Art Fairs as part of the Art Business Masters program. Helen is the former Director of PULSE Contemporary Art Fair, which she lead for three and a half years and prior to this, she was the Director of Collective Design Fair which she helped launch in New York in 2013. Helen has guest lectured at New York Academy of the Arts, Bournemouth Arts University, Pratt Institute and Christie’s Education, taken part in panel discussions with The Barnes Foundation, 21c Museum Hotel Group, Soho House, NeueHouse and Artsy, and previously taught at the Fashion Institute of Technology. in 2011-2013 she co-founded and managed a contemporary art gallery, toomer labzda, which focused on emerging artists, in the Lower East Side of New York.
Hannah Whitaker is an artist based in New York. She has had solo exhibitions at Marinaro, New York; M+B, Los Angeles; Galerie Christophe Gaillard, Paris; Thierry Goldberg, New York and Locust Projects, Miami. Whitaker was featured in Public Art Fund’s citywide exhibition, Commercial Break in New York in February 2017 and the Cincinnati Art Museum’s Big Pictures in 2014. Group shows include those at Casey Kaplan, New York; Galerie Xippas, Paris; Cherry and Martin, Los Angeles; Higher Pictures, New York; and Rencontres d’Arles in France, where she was nominated for the Discovery Prize. Her writing has appeared in Objektiv, The PhotoBook Review,Triple Canopy, and Blind Spot. The artist’s first monograph, Peer to Peer, was published in 2015 by Mörel Books. In addition, she is a Triple Canopy contributing editor.