Sarah Nicolls

My work is centered on the social act of publishing. I use the tone of authority inherent in the printed word to explore the comforts and limits of community, exploring both the language we use to communicate and the stories that we tell ourselves about who we are. I enjoy the ways in which language can be used to prevent communication as easily as it can be used to foster it. I aim to create interior monologues and alternate histories, and exploit the kinds of interior lapses in time that reading creates.

Chris Bors

My graphic, post-pop, conceptual paintings feature a mash-up of images and text, in which any visuals or themes are fair game for repurposing. I often appropriate logos from hardcore punk bands or use altered text based on song titles, underground or pop culture, or the inner-workings and politics of the art world. They are meticulously hand painted to resemble silkscreen prints, political advertising, or t-shirt graphics. Often focusing on obsessive personality traits while throwing in autobiographical references for good measure, my work is intentionally ambiguous. I coined the term "virtual dumpster diving" to describe the practice of taking images and videos from the web.

Joiri Minaya

My ideas are concerned with otherness, self-consciousness and displacement. Iʼve made work inspired by women in my family, labor, dislocation, psychology, myth, art history, magic realism and symbols. I interrogate the way in which historical hierarchies inform and condition current identity constructions. Iʼm specifically interested in how these constructions manifest through the (mostly female) body: how they are received, internalized and then regurgitated by it.

Rocío Aranda-Alvarado

Graduated in art history from the City University of New York – the CUNY Graduate Center, USA (2000). Her dissertation was dealing about modernist movements in Harlem and Havana between 1925 and 1945. Rocío Aranda-Alvarado works for the Museo del Barrio as associated curator and then curator, since 2009, and after the renovation of the museum. There, occupying this position, she participated in curating El Museo del Barrio’s biennials, The (S) Files. Lately, she was part of the curatorial team of the exhibition Caribbean : Crossroads of the Worldat the Queens Museum of Art, at El Museo del Barrio and in The Studio Museum in Harlem, in New York, USA, 2012-2013. Before that, Rocío Aranda-Alvarado was curator for the Jersey City Museum, from 2000 to 2009. There she curated, amongst others, the exhibitions Hair Tactis, 2010 ; Beth Gilfilen : The Big Hunch @ The Majestic, 2008 ; 99 Cents, by Colwyn Griffith, 2007 ; The Feminine Mystique, 2007 She also curated independently : Dominican York Proyecto Grafica at the NoMAA in New York (2012) ; Viewpoints at Aljira, a Center for Contemporary Art in Newark (2011) ; Boundless Discourse at the Ramapo College of New Jersey Art Galleries, USA (2010) ; Encountersat Governors Island, USA (2010) ; Color/form at the Praxis Gallery in New York, USA (2010) ; Contemporary Humanism at the A.I.R Gallery in Brooklyn, USA (2009) ; Flo : art ,text, new media at the Center for Book Arts in New York, USA (2009) or Urban Renewal : Afro-Caribbean Art & Artists in New York City at the CUNY Graduate Center in New York, USA (2000).In 2011, she was jury for the NEXUS NJ, a contemporary art exhibition in the Arts Guild in New Jersey.

Gabriel de Guzman

Curator of Visual Arts at Wave Hill, where he organizes the Sunroom Project Space series for emerging artists and thematic group exhibitions in Glyndor Gallery. He also coordinates Wave Hill’s Winter Workspace residency program. In 2013, he was one of the co-curators of Bronx Calling: The Second AIM Biennial, featuring 73 artists who participated in the Bronx Museum of the Arts’ Artist in the Marketplace (AIM) program in 2012–13. As a guest curator, he has organized recent exhibitions for Rush Arts Gallery, Northern Manhattan Arts Alliance (NoMAA), Boriqua College, and the Affordable Art Fair, New York. Before joining Wave Hill’s staff in 2010, he was a curatorial assistant at The Jewish Museum, where he coordinated exhibitions on Louise Nevelson, Harry Houdini, Joan Snyder, Andy Warhol, and Schoenberg, Kandinsky, and the Blue Rider. His writings have been published in catalogues for Wave Hill, the Bronx Museum, The Jewish Museum, Rush Arts Gallery, NoMAA, and Kenise Barnes Fine Art. He earned an M.A. in art history from Hunter College, City University of New York, and a B.A. in art history from the University of Virginia.

Alexandra Schwartz

Alexandra Schwartz is the founding Curator of Contemporary Art at the Montclair Art Museum. There she established the New Directions series of exhibitions, which has featured artists including Spencer Finch, Jean Shin, Dannielle Tegeder, Saya Woolfalk, and Marina Zurkow. Her exhibition Come as You Are: Art of the 1990s appeared at Montclair from February to May 2015, and is touring nationally in 2015–16, to the Telfair Museums, Savannah; the University of Michigan Museum of Art; and the Blanton Museum of Art, University of Texas at Austin. It is accompanied by a major catalogue from the University of California Press. Previously she was a curator at the Museum of Modern Art, where her exhibitions included Mind and Matter: Alternative Abstractions, 1940s to Now and Modern Women: Single Channel at MoMA PS1. She is the author of Ed Ruscha’s Los Angeles (MIT Press, 2010), the co-editor of Modern Women: Women Artists at The Museum of Modern Art (MoMA, 2010; winner of the Association of Art Museum Curator’s Prize for Outstanding Permanent Collection Catalogue), and the editor of Leave Any Information at the Signal: Writings, Interviews, Bits, Pages by Ed Ruscha (MIT Press, 2002). A contributor to numerous journals, anthologies, and exhibition catalogs, Schwartz has taught at Columbia University, the University of Michigan, and Montclair State University, and in the Education Departments at MoMA and the Whitney Museum of American Art. She received an A.B. from Harvard University and an M.A. and Ph.D. from the University of Michigan.

Ellen Harvey

Ellen Harvey was born in the United Kingdom and lives and works in Brooklyn, NY. She studied at Harvard and Yale Law School and was a participant in the Whitney Independent Study Program and the PS1 National Studio Program. She has exhibited extensively in the U.S. and internationally and was included in the 2008 Whitney Biennial. Solo exhibitions include The Unloved at the Groeninge Museum, Bruges, Belgium, The Alien’s Guide to the Ruins of Washington DC at the Corcoran Gallery of Art, Washington DC, The Nudist Museum at the Bass Museum, Miami Beach, FL, Ruins are More Beautiful at the Center for Contemporary Art, Warsaw, Poland, Mirror at the Pennsylvania Academy of Art and A Whitney for the Whitney at Phillip Morris at the Whitney Museum at Altria. She has completed numerous commissions, including Arcadia for the opening exhibition of the Turner Contemporary, Margate, UK and permanent installations for New York Percent For Art, New York Arts in Transit, the Chicago Transit Authority, the Flemish National Architect and for the Federal Art in Architecture program, among others. Her book, The New York Beautification Project, was published by Gregory R. Miller & Co. in 2005 and her work been the subject of several books: Ellen Harvey: Mirror published by the Pennsylvania Academy in 2006, Ellen Harvey: The Unloved published by Hannibal Publishing in 2014 and Ellen Harvey: Museum of Failure, published by Gregory R. Miller & Co. this year. Her installation Metal Painting is currently on view at the Barnes Foundation in Philadelphia.