Gina Adams spent her early youth in the San Francisco Bay, and then her adolescent and early adult years in Maine. Gina’s formal education includes a BFA from the Maine College of Art and MFA from the University of Kansas, where she focused on Visual Art, Curatorial Practice and Critical Theory. Adam’s cross-media, hybrid studio work includes the reuse of antique quilts and broken treaties between the United States and Native American tribes, sculpture, ceramics, painting, printmaking and drawing. Her work is exhibited extensively throughout the US and resides in many public and private collections. The noted international art critic Lucy Lippard wrote the introduction on her artwork for her Nerman Museum of Contemporary Art Exhibition Its Honor Is Here Pledged which launched her art career and body of work Broken Treaty Quilts into a new contemporary art arena in 2015. In 2016 she was SARF Smithsonian Artist Research Fellow, and had Its Honor Is Hereby Pledged exhibitions in Boulder Colorado at Naropa University’s White Cube Gallery where she is a Faculty in Visual Arts. In the summer of 2017, Gina presented and exhibited at the AIW Conference at Goldsmiths College, University of London, England which will be followed by an exhibition at the Bemis Center of Contemporary Art titled Monarch’s curated by Risa Puleo. 2018 brings many exciting opportunities for Gina including being Artist-in-Residence at Dartmouth College which includes a Solo exhibition, and several more.
Rosa Alcalá is the author of two books of poetry, Undocumentaries (2010) and The Lust of Unsentimental Waters (2012), both from Shearsman Books. Spit Temple: The Selected Performances of Cecilia Vicuña (Ugly Duckling Presse, 2012), edited and translated by Alcalá, was runner-up for the 2013 PEN Award for Poetry in Translation. She is also the recipient of a 2015 NEA Fellowship in Translation. She holds an MFA in Creative Writing from Brown University, and a PhD in English from the State University of New York at Buffalo
Amber Atiya is a multidisciplinary poet whose work incorporates elements of performance, book arts, and visual arts. Her poems and nonfiction have appeared in Boston Review, PEN America, Poets & Writers Blog, Nepantla: A Journal Dedicated to Queer Poets of Color, and elsewhere. A proud native Brooklynite, she is a member of a women’s writing group that will be celebrating sixteen years in 2018. Her chapbook the fierce bums of doo-wop (Argos Books) is currently in its second printing.
Caroline Bergvall is an artist, writer, and performer. Works across artforms, media, and languages. The recipient of many awards and commissions, her work frequently develops through exploring material traces, literary documents and linguistic detail, language and literary history, sites and histories, hidden or forgotten knowledges. Her sparse textual, spatial, and audio works often expose hidden or difficult historical/political events. A strong exponent of writing/reading methods adapted to contemporary audiovisual and contextual situations, fugitive and mobile contemporaneity, as well as multilingual identities. Projects alternate between books and printed matter, audio pieces, collaborative performances, site-specific installations. Based in London and Geneva. Most recent large-scale project: DRIFT (2013-2015). This has taken multiple forms in a range of environments, countries, and artforms. It explores narratives and mappings of travel, migrancy and disappearance, specifically old nordic maritime navigation, the politics and horrors of contemporary sea migrancy, Anglo Saxon sea poetry, being lost as sea in literal and allegorical ways, through contemporary, historical, archeaological means. Initially commissioned by Theatre du Grutli, Geneva 2012 as a collaborative performance involving voice, percussion, datawork. UK tour 2014 with Norwegian percussionist Ingar Zach, Swiss visual artist and programmer Thomas Köppel, Swiss dramaturg Michele Pralong. Solo show of graphic works and audio compositions at Callicoon Fine Art gallery (NY, Jan-Feb 2015). Texts, drawings and maps published as Drift by Nightboat Books, NY, 2014. Research funded through a Judith E Wilson Fellowship, University of Cambridge (2013-2014).
J’Lyn Chapman’s essays and prose poems have been published in Conjunctions, Fence, Sentence, and American Letters & Commentary, among other journals. Calamari Archive published the chapbook, Bear Stories, and in early 2016, they published the full-length collection, Beastlife. Her long essay, A Thing of Shreds and Patches, was a recipient of the Essay Press Chapbook Contest. Essay Press also published her pedagogy of conversation chapbook, The Form Our Curiosity Takes. She is Assistant Professor in the Jack Kerouac School at Naropa University in Boulder, Colorado.
Gabrielle Civil is a black feminist performance artist, poet, and writer originally from Detroit, MI. She has premiered almost fifty original solo and collaborative performance art works around the world, including a yearlong investigation as a Fulbright Fellow in Mexico and a trilogy of diaspora grief works after the 2010 earthquake in Haiti. She has guest-edited special issues of Aster(ix) and Obsidian and contributed to Small Axe, Art21, The Third Rail and the recent anthologies Kitchen Table Translation and Walk Towards It. Her memoir in performance art, Swallow the Fish, was named by Entropy as a “Best Non Fiction Book of 2017.” Her forthcoming book, Experiments in Joy, engages race, performance, and collaboration. The aim of her work is to open up space.
Aisling Daly is a graduate of the MFA in Writing and Poetics at the Jack Kerouac School of Disembodied Poetics and former Writing Fellow at the Writing Center and a Core Writing Seminar Instructor at Naropa University. Her writing is influenced by interests in traveling, nature, art, and horses. Daly moved to Colorado from Ireland and is enjoying her experience immensely. Currently, she is working on a manuscript inspired by a 2013 wildfire in the San Juan mountains.
Jill Darling is the author of (re)iteration(s), a geography of syntax, Solve For, and begin with may: a series of moments. She teaches writing in and around southeast Michigan. Regarding diversity: “I’m interested in the transcendence of the limits of human possibility, in a revolution in human thought and human activity. In acknowledging our connected humanity, we have to recognize our reliance upon, and reciprocal and symbiotic relationships with, other humans and species.”
Sarah Escue is a poet, visual artist, and editor. She is an MFA candidate at the Jack Kerouac School, and holds a BA in Creative Writing from the University of South Florida. Her work appears or is forthcoming in DIAGRAM, Gulf Stream Literary Magazine, Dialogist, Permafrost Magazine, Lullwater Review, Atticus Review, Wildness, So To Speak, The Nottingham Review, and Rogue Agent, among others. Sarah is the Assistant Editor at The Adirondack Review and a contributing editor at BEATS. Her book Bruised Gospel is forthcoming from dancing girl press this spring.
Dani Ferrara is a poet, bandmate, philosopher, teacher, pseudo-scientist, & co-conspirator of collective.off. She received her MFA from the Jack Kerouac School of Disembodied Poetics.
Megan Heise is a writer, performer, artist, and pedagogue based in Boulder, CO. Her creative work has been published in ink & coda and Antinomies, and her first chapbook, Quasar #6, was recently published by Eggtooth Editions. An alumna of the Creative Writing and Poetics MFA at Naropa University’s Jack Kerouac School of Disembodied Poetics, she worked at the Naropa Writing Center, taught courses in writing and writing pedagogy, and is active in anti-racist social justice movements. Megan enjoys studying queer and feminist theories, and creating hybrid, “genre queer” works exploring a/sexuality, mental illness, repression and expression, and the emotional undercurrents of life.
Eugene Lim is the author of the novels Fog & Car (Ellipsis Press, 2008), The Strangers (Black Square Editions, 2013) and Dear Cyborgs (FSG, 2017). He works as a high school librarian, runs Ellipsis Press, and lives in Queens, NY.
Fred Moten teaches and conducts research in black studies, performance studies, and poetics. He is author of consent not to be a single being, In the Break: The Aesthetics of the Black Radical Tradition, Hughson’s Tavern, B. Jenkins, The Feel Trio, The Little Edges, The Service Porch and co-author, with Stefano Harney, of The Undercommons: Fugitive Planning and Black Study and A Poetics of the Undercommons, and, with Wu Tsang, of Who touched me? Moten works in the Department of Performance Studies at New York University.
John Pluecker is a writer, translator, interpreter, and artist. He frequently collaborates with artists, organizations, and communities; one example is the language justice and literary experimentation collaborative Antena he co-founded with Jen Hofer in 2010. His work is informed by experimental poetics, radical aesthetics, and cross-border cultural production. He has translated numerous books from the Spanish, including most recently Gore Capitalism (Semiotext(e), 2018) and Antígona González (Les Figues Press, 2016). His most recent chapbook is An Accompanying Text (She Works Flexible, 2015). His book of poetry and image, Ford Over, was released in 2016 from Noemi Press. He is a member of the Macondo Writing Workshop.
Marthe Reed has published five books, most recently Nights Reading (Lavender Ink, 2014). Her poetry has been published in New American Writing, Golden Handcuffs Review, Entropy, New Orleans Review, HOW2, Fairy Tale Review, and The Offending Adam, among others. Reed lives in Syracuse, NY, and is co-publisher and managing editor for Black Radish Books. Counter-Desecration: A Glossary for Writing in the Anthropocene, co-edited with Linda Russo (Wesleyan University Press), is forthcoming in 2018.
Truong Tran is a visual artist and the author of The Book of Perceptions, placing the accents, dust and conscience, within the margin, four letter words, and a children’s book, Going Home Coming Home. The Book of Perceptions was a finalist for the Kiriyama Prize and placing the accents (Apogee Press, 1999) was a finalist for the Western States Prize for Poetry. dustand conscience (Apogee Press, 2002) was awarded the San Francisco State Poetry Center Prize. His honors include grants from The Fund for Poetry, The Creative Work Fund, The Cultural Equity Grant, and The California Arts Council Grant. Truong lives in San Francisco where he is currently teaching poetry at San Francisco State University and Mills College.
Cecilia Vicuña is a poet, artist, filmmaker, and activist. Her work addresses pressing concerns of the modern world, including ecological destruction, human rights, and cultural homogenization. Born and raised in Santiago de Chile, she has been in exile since the early 1970s, after the military coup against elected president Salvador Allende. Vicuña began creating “precarious works” and quipus in the mid-1960s in Chile, as a way of “hearing an ancient silence waiting to be heard.” Her multi-dimensional works begin as a poem, an image that morphs into a film, a song, a sculpture, or a collective performance. These ephemeral, site-specific installations in nature, streets, and museums combine ritual and assemblage. She calls this impermanent, participatory work “lo precario” (the precarious): transformative acts that bridge the gap between art and life, the ancestral and the avant-garde. Her paintings of early 1970s de-colonized the art of the conquerors and the “saints” inherited from the Catholic Church, to create irreverent images of the heroes of the revolution. A partial list of museums that have exhibited her work include: The Museu de Arte Moderna do Rio de Janeiro, Brazil; The Museo Nacional de Bellas Artes de Santiago; The Institute of Contemporary Arts (ICA) London; Art in General in NYC; The Whitechapel Art Gallery in London; The Berkeley Art Museum; The Whitney Museum of American Art; and MoMA, The Museum of Modern Art in New York. Vicuña has published twenty-two art and poetry books, including Kuntur Ko (Tornsound, 2015), Spit Temple: The Selected Performances of Cecilia Vicuña (Ugly Duckling Presse, 2012), Instan (Kelsey Street Press, 2001) and Cloud Net (Art in General, 2000). Her Selected Poems is forthcoming from Kelsey Street Press in 2017. In 2009, she co-edited The Oxford Book of Latin American Poetry: 500 years of Latin American Poetry. She edited ÜL: Four Mapuche Poets in 1997. She was appointed the Messenger Lecturer 2015 at Cornell University, an honor bestowed on authors who contribute to the “evolution of civilization for the special purpose of raising the moral standard of our political, business, and social life.” She divides her time between Chile and New York.
Kristiane Weeks-Rogers is a Hoosier with a passion for the arts, something that Indiana is not famous for. She’s dabbled in all writing forms, but poetry and creative nonfiction are her niches. She recently graduated with her MA in Poetry at Indiana University in South Bend with the Graduate Student Excellence Award in 2015, received her BA from Flagler College in St. Augustine, Florida, and has since been writing about the ghosts who have followed her from the past landscapes. This path has led her to Colorado, where she is now attending Naropa University’s Jack Kerouac School of Disembodied Poetics for the MFA in Creative Writing and Poetics.
Garen Lavender Whitmore is a genderqueer poet from Upstate New York. They hold two degrees in writing: A BA from Ithaca College and an MFA from Naropa University. They have two poems coming out this year in Jona Fine’s anthology, Morning/Mourning. They are concerned with performative translation across media.
Tyrone Williams teaches literature and theory at Xavier University in Cincinnati, Ohio. He is the author of several chapbooks and five books of poetry: c.c., On Spec, The Hero Project of the Century, Adventures of Pi, and Howell. A limited-edition art project, Trump l’oeil, was published by Hostile Books in 2017. A new book of poetry is forthcoming from Omnidawn Publishing, Inc. in fall 2018.
Karolina Zapal’s writing interests include expounding on multifarious voices of middle-class America. She’s also attentive to exploring her childhood in Poland, which was in the shadows of a dictatorship. These interests lead to her creative work: “Giving Voices” and “Polalka.” She graduated from the University of Illinois in Urbana-Champaign in 2015, where she studied molecular and cellular biology and creative writing. She won the grand prize in the Undergraduate Creative Writing Awards in 2015. An Anselm Hollo Fellowship recipient, she received an MFA in Creative Writing & Poetics from the Jack Kerouac School of Disembodied Poetics.