Saturday, December 5th, 2020

Clareese Hill is “a Practice-Based Researcher dealing with the word identity through my experience as an Afro-Caribbean American woman. My practice fluidly utilizes material tools but has included performance lectures, virtual reality, writing, time-based media, photography, physical computing, and installations. I have disseminated my research in London, New York, Chicago, France, and Cyberspace. I also contributed to various peer-reviewed Journals in Europe and New York. I have my MFA from The School of the Art Institute of Chicago, and I’m finishing up my Ph.D. in Art Research at Goldsmiths’ College, University of London. I’m currently an Eyebeam Rapid Response Fellow (Phase 1).”

Genevieve Quick has exhibited at the Wattis Institute, San Francisco; Asian Cultural Center, Gwangju, South Korea; Asian Art Museum, San Francisco; Mills College Art Museum, Oakland; [2nd floor projects]; Royal Nonsuch Gallery; and Southern Exposure. Quick has been awarded visual arts residencies at Headlands Center for the Arts, Recology, MacDowell, Djerassi, the deYoung Museum, and Yaddo. She has received a San Francisco Arts Commission Grant; a Eureka Grant from the Fleishhacker Foundation; a Kala Fellowship; and grants from the Center for Cultural Innovation. She has contributed writings to Artforum, cmagazine, Art Practical, Daily Serving, Temporary Art Review, and College Art Association.

David Bayus lives and works in San Francisco, CA. His work is a cross-disciplinary practice centered around experimental film-making with a focus on the dualistic relationship between science and spirituality. He received his MFA from The San Francisco Art Institute in 2010 and is a co-founder of BASEMENT art collective located in San Francisco's Mission District. He has exhibited his work extensively in the Bay Area, most recently at Bass & Reiner, Et Al Etc, the San Francisco Arts Commission, and Yerba Buena Center for the Arts. Further afield, his work has been exhibited at Vacancy, Los Angeles; Field Contemporary, Vancouver; and at Material Art Fair, Mexico City. Editions of his work can be found in the collections of the Los Angeles County Museum of Art; the Museum of Contemporary Art, Los Angeles; the Museum of Modern Art, New York; and the Whitney Museum of American Art, New York.

Surabhi Saraf is a media artist, composer, organizer and founder of Centre for Emotional Materiality. Her practice explores our complex relationship with technology using embodiment as a tool, and the body as a site for transformation. Surabhi is the recipient of the Eureka Fellowship Award (2015) by the Fleishhacker Foundation, the Djerassi Resident Artist Award (2012) and the Artist + Process + Ideas (2016) Residency at Mills College Art Museum. Surabhi has shown her videos and performed at museums and festivals internationally. She was 2019 Technology Resident at Pioneer Works, Brooklyn and is a 2020 resident at Harvestworks, New York.

Laura Splan mines the materiality biotechnology for poetic subjectivities. Her interdisciplinary artworks have been commissioned by The Centers for Disease Control Foundation and exhibited at the Museum of Arts & Design and Beall Center for Art + Technology. Her work is represented in the collections of the Thoma Art Foundation and the Chan Zuckerberg Initiative. Her research and residencies have been supported by the Jerome Foundation and the Pollock-Krasner Foundation. She’s been a lecturer at Stanford University teaching creative technology courses including “Embodied Interfaces” and “Data as Material”. She is a member of NEW INC, the New Museum’s cultural incubator.

Christina Corfield is a British-born video artist and media scholar currently with a PhD in Film and Digital Media from UC Santa Cruz. She has publishing her work in the online journal Media Fields, as well as The Journal of Early Popular Visual Culture and has presented at many international media conferences. Christina has exhibited in Europe and across the US, most recently as part of CultureHub’s ReFest 2020 art and technology festival, and at Johansson Projects in Oakland, CA. Her scholarly and artistic work focuses on media history, specifically focusing on the representation of science and technology in popular culture.

Claudia Hart emerged as part of a generation of 90s intermedia artists in the identity-art context. She still examines issues of identity, now focusing on how technology affects cultural constructions of gender identities and issues of the body, perception, and nature collapsing into technology and then back again. Hart was an early adopter of virtual imaging, using 3D animation to make media installations and projections, then later as they were invented, other forms of VR, AR, and objects using computer-driven production machines, all based on the same computer models. At the School of the Art Institute of Chicago, she developed a pedagogic program based on this concept - Experimental 3D - the first program dedicated solely to teaching simulations technologies in an art-world context. Hart is also an occasional curator and art historian, focusing on simulations. She lives in New York, works with bitforms gallery there, and is married to the Austrian media artist Kurt Hentschlager.

Mark Amerika solo exhibitions have taken place at the Denver Art Museum, the Institute of Contemporary Arts in London, and at gallery 9 at the Walker Art Center in Minneapolis. His comprehensive retrospective exhibition entitled UNREALTIME was held at The National Museum of Contemporary Art in Athens, Greece. His net art work, Museum of Glitch Aesthetics, was commissioned by Abandon Normal Devices in conjunction with the London 2012 Olympics and various curators remixed the online components for exhibitions in Manchester, London and Preston. In 2017, his exhibition "GlitchMix: not an error" premiered at Estudio Figueroa-Vives and the Norwegian Embassy in Havana, Cuba. Amerika's seminal work of net art, GRAMMATRON, was a selection for the 2000 Whitney Biennial of American Art.

Penelope Umbrico installations, video, and digital media works utilize photo-sharing and consumer-to-consumer websites as an expansive archive to explore the production and consumption of images. Umbrico’s work has been exhibited internationally and is represented in numerous museum collections including the Berkeley Museum of Art, CA; Denver Art Museum, CO; Guggenheim Museum, NY; Los Angeles County Museum of Art, CA; Metropolitan Museum of Art, NY; Milwaukee Art Museum, MI; Minneapolis Institute of Art, MN; Museum für Kunst und Gewerbe, Hamburg, Germany; Museum of Contemporary Art San Diego, CA; Museum of Fine Arts, Houston; Museum of Modern Art, New York, NY; Perez Art Museum Miami, FL, San Francisco Museum of Modern Art, CA. She has received numerous awards, including a Guggenheim Fellowship; a Smithsonian Artist Research Fellowship; a NYFA Fellowship; Anonymous Was a Woman Award.

Danielle Siembieda is an Alter Eco-Artist based in the San Francisco Bay Area Siembieda works at the intersection of community, emerging technologies, and the environment. She is also an artist in residence at the University of Santa Cruz Genomics Institute home of the Genome Browser through UCSC's Arts Research Open Lab. Siembieda has an MFA in Digital Media Art at San Jose State University at the CADRE Laboratory for New Media with a focus on green technology and sustainable materials. As the founder of Art Inspector: Saving the Earth by Changing Art, Siembieda has turned this social practice project into a business, acquiring funding from Silicon Valley Energy Watch and working with the City of San Francisco Department of Environment to help artists work healthier and safer. She defines her art at “Alter-Eco Art” bridging Eco-Art practice and New Media at the intersection of environment, technology, and community. Her work has been presented globally including the 01SJ Biennial in the heart of Silicon Valley, the National Gallery in Copenhagen and the Education Center of the National Hermitage in Saint Petersburg, Russia.