Jessica Berson teaches Dance Studies at Yale University, and has previously been a member of dance and theater faculties at Harvard, Wesleyan, and University of Exeter in the U.K. She holds a PhD in Theater Studies from University of Wisconsin-Madison, where she studied with Sally Banes, and is a Certified Laban Movement Analyst. In addition to her academic work, Jessica directs a consulting business, Movement Coaching for Effective Presence. Her publications include essays in the anthologies Bodies in Commotion: Disability and Performance, Dance and American Culture, The Community Performance Reader, and in The Drama Review. Her book, The Naked Result: How Exotic Dance Became Big Business, explores the corporatization of striptease, and is forthcoming from Oxford University Press.  Additional Website Link

Patty Chang (b. 1972, San Francisco) tests the limits of endurance and taste in here video and performance work, addressing Asian identity, prostitution, and cultural stereotypes among others. Chang has had solo shows at the Museo Nacional Centro de Arte Reina Sofía in Madrid (2000), Baltic Art Center in Visby, Sweden (2001), Jack Tilton Gallery in New York (1999 and 2001), Hammer Museum in Los Angeles (2005), and Bowdoin College Museum of Art in Brunswick, Maine (2008), among others. She has appeared in group shows and performances such as the Performance Festival at Kunstpanorama in Lucerne (2000), Quadrennial of Contemporary Art at the Stedelijk Museum voor Actuele Kunst in Ghent (2001), Mirror, Mirror on the Wall at the Massachusetts Museum of Contemporary Art in North Adams (2002), Only Skin Deep: Changing Visions of the American Self at the International Center of Photography in New York (2003), Still Points of the Turning World at SITE Santa Fe (2006), Family Pictures at the Guggenheim Musem in New York (2007), and New Directors/New Film Festival at the Museum of Modern Art in New York (2008). She produced Revolver, a show for European cable television, in 2002. Chang has received grants from the New York Foundation for the Arts (1999), Louis Comfort Tiffany Foundation (2000), Rockefeller Foundation (2003), and Tides Foundation (2005). In 2003, she served as resident faculty at the Skowhegan School of Painting and Sculpture in Maine. She lives and works in Boston.

Andrew Durbin is a writer based in New York City and the author of Mature Themes (Nightboat Books, 2014) as well as several chapbooks, including Believers (Poor Claudia, 2013). He is a contributing editor to Mousse, where he writes frequently about art and technology. His writing has appeared in the Boston Review, BOMB, Fence, Triple Canopy, Artforum and elsewhere. Durbin coedits Wonder, a publisher of innovative writing, and curates the talk series at the Poetry Project.

LaToya Ruby Frazier (born 1982, Braddock, Pennsylvania) received her BFA in applied media arts from Edinboro University of Pennsylvania (2004) and her MFA in art photography from Syracuse University (2007). She also studied under the Whitney Museum of American Art Independent Study Program (2010–2011) and was the Guna S. Mundheim Fellow for visual arts at the American Academy in Berlin (2013–2014). Frazier has had solo exhibitions at the Brooklyn Museum; Seattle Art Museum; Institute of Contemporary Art, Boston; and Contemporary Arts Museum Houston; her work has been ehibited in group shows at the Generational Triennial: Younger Than Jesus (2009), New Museum, NY; Greater New York (2010), MoMA PS1, NY; Commercial Break, Garage Projects (2011), 54th Venice Biennale; Gertrude’s/LOT (2011), Andy Warhol Museum, Pittsburgh; Empire State (2013), Palazzo delle Esposizinoi, Rome; and The Way Of The Shovel: Art as Archaeology (2013), Museum of Contemporary Art, Chicago among many others.  Her work has been exhibited in the following biennials: the Whitney Museum of American Art Biennial (2012), NY; Recycling Memory: Recapturing the Lost City (2014), 11th Nicaraguan Visual Arts Biennial, Managua;Mom, am, I barbarian? (2013),13th Istanbul Biennial; and Busan Biennale (2014), South Korea. Frazier is the recipient of many awards, including a fellowship from John Simon Guggenheim Memorial Foundation (2014), Gwendolyn Knight & Jacob Lawrence Prize of the Seattle Art Museum (2013), the Theo Westenberger Award of the Creative Capital Foundation (2012), the Louis Comfort Tiffany Foundation Award (2011), and Art Matters (2010).

Brennan Gerard and Ryan Kelly have collaborated since 2003. Working within an interdisciplinary framework to create project-based installations and performances, Gerard & Kelly use choreography, writing and a range of other media to address questions of sexuality, collective memory, and the formation of queer consciousness. Recent exhibitions include Timelining at The Kitchen (2014) and Kiss Solo at Kate Werble Gallery (2013), as well as participation in Made in LA 2014 at the Hammer Museum. Their work is represented in the collections of the Guggenheim Museum and Hammer Museum. They are currently artists-in-residence at the New Museum, where their project P.O.L.E. (People, Objects, Language, Exchange) will debut in an exhibition in February 2015.

Jacolby Satterwhite received his BFA from Maryland Institute College of Art in 2008 and participated in the Skowhegan School of Painting and Sculpture in 2009. In 2010 he earned a MFA from the University of Pennsylvania. His solo exhibitions include How Lovely Is Me Being As I Am, OHWOW Gallery, 2014, The Matriarch’s Rhapsody, Monya Rowe Gallery, New York (2013), and The Island of Treasure, Mallorca Landings, Spain 2013. His group exhibitions include  The Whitney Biennial 2014, The Whitney Museum of American Art. Radical Presence at the Walker Art Center, Approximately Infinite Universe, Museum of Contemporary Art San Diego (2013); Fore, The Studio Museum in Harlem, New York (2012); 3-D Form: Aboveground Animation, New Museum, New York (2012); Beasts of Revelation, DC Moore Gallery, New York (2012); Bigger than Shadows, Dodge Gallery, New York (2012);Shift: Projects|Perspectives|Directions, The Studio Museum in Harlem, New York (2012); Oh, You Mean Cellophane and All That Crap, Calder Foundation, New York (2012); Pixelated, Museum of Contemporary African Diasporan Arts, Brooklyn (2012); If There’s No Dancing at the Revolution I’m Not Coming, Recess Activities, New York (2011); Robert Melee’s Talent Show, The Kitchen, New York (2010); The Mothership Has Landed, Rush Arts Gallery, New York (2010); The B-Sides, Aljira: A Center for Contemporary Art, Newark, NJ (2008); and Summer Mixtape Volume 1: The Get Smart Edition, Exit Art Gallery, New York (2008)




Johanna Burton is Keith Haring Director and Curator of Education and Public Engagement at the New Museum in New York. An art historian, critic, and curator, she is considered a leading scholar of contemporary art. Her articles and reviews have appeared in numerous journals and publications, including Artforum, Art Journal, October, and Texte zur Kunst, as well as in exhibition catalogues for institutions throughout the world.

Burton has curated or co-curated a number of exhibitions, including Sherrie Levine: Mayhem at the Whitney Museum in 2011 (with Elisabeth Sussman); Anti-Establishment at the Center for Curatorial Studies at Bard College in 2012; Take It Or Leave It: Institution, Image, Ideology at the Hammer Museum in 2013 (with Anne Ellegood); and XFR STN at the New Museum in 2013.

Prior to her work at the New Museum, Burton was Director of the Graduate Program at the Center for Curatorial Studies at Bard College from 2010-2013 and Associate Director and Senior Faculty Member at the Whitney Independent Study Program (2008-2010). Burton holds multiple master’s degrees from the State University of New York at Stony Brook, New York University, and Princeton University, where she is completing her doctorate in art history.

Adriana Blidaru holds a B.F.A. from the Ruskin School of Drawing, University of Oxford, UK and is currently an M.A. Candidate at Bard College, Center for Curatorial Studies. From 2012 to 2014 she lived in Berlin, where she was resident curator at Node Center for Curatorial Studies, an editor and contributor to ‘Elena Michael’ and an Artist Liaison at Plan B Gallery. Recent projects include: Honey, I– , (artists included: Giovanni Anselmo, John Baldessari, Joseph Beuys, Wade Guyton, Mona Hatoum, Cady Noland, William Pope L., and Andreas Slominski) co-curated and on view at the Center for Curatorial Studies, Bard College; languageleaps, at Plan B gallery in Berlin (artists included: Marius Engh, Calla Henkel and Max Pitergoff, Matei Cioata, Hanne Lippard, John Holten, Saskia Noor Van Imhoff); and D, co-curated during the ABC art fair, in Berlin, (artists: Ull Hohn, Lisa Holzer, Michiel Ceulers, Harm van den Dorpel, Ilja Karilampi, Karl Holmqvist, Aleksandra Domanović, David Horvitz and others). She is now based out of Upstate New York.

David Deitcher (b. Montreal, Canada) 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 Gonzales-Torres, Isaac Julien, and Wolfgang Tillmans. He is the author of Dear Friends: American Photographs of Men Together, 1840-1918 and curator of the exhibition of the same name that appeared at the International Center of Photography in New York. He was the editor of The Question of Equality: Lesbian and Gay Politics in America Since Stonewall (Scribner, 1995). He has been core faculty at the International Center of Photography/Bard College Program in Advanced Photographic Studies since 2003 as well as core faculty at the Vermont College of Fine Arts /Visual Arts Department since 1997. He lives in New York City.