Our 2019 advisors are a well rounded group of producers, educators, artists, activists, and community leaders whose work speaks directly to the themes of Speaking Truth | Summit X. We are grateful for their focused feedback, critical direction, and support in organizing this year’s Summit.
Emily Johnson creates body-based work that considers the experience of sensing and seeing performance. Emily is of Yup’ik descent and, in partnership with Abrons Art Center and Lenape Center, hosts monthly ceremonial fires in Mannahatta. She is a Bessie Award winning choreographer, Guggenheim Fellow, and recipient of the 2014 Doris Duke Artist Award. She is one of the lead organizers and curators of First Nations Dialogues, serves as the Pueblo Arts Collaborative Diplomat at Santa Fe Opera, and is working with a transnational consortium including BlakDance, Vallejo Gantner, Indigenous Performing Arts Alliance, ILBIJERRI and others to develop the Global First Nations Performance Network.
Tiffany Lenoi Jones is the New Museum Educator in Residence for Art & Social Justice and a public school Art Educator. Teaching and learning is her ultimate art practice. Currently, she is working on a project dedicated to youth lost to gun violence and the teachers who loved them.
Lauraberth Lima is a cultural consultant, health advocate and activist who works to create equitable spaces at the intersection of medicine and the arts. She is a founding member of the arts education organization, The Love Yourself Project, NYC, 501(c)3, serves on the Advisory Board of Making Gay History podcast, and is a member of The Committee to Empower Voices for Healing and Equity (NYC DCLA). After years of family and community engagement work in museums, Laura is currently a pre-med student pursuing a medical career with a health justice lens.
Tess Maunder is an Australian curator, writer, and researcher whose work focuses on the politics of the Global South, engaging with the Asia-Pacific region. She is currently the Mittelheuser Scholar in Residence at the State Library of Queensland and teaches at the Queensland University of Technology. Tess is the editor of the publication Absolute Humidity (Hardworking Goodlooking, 2018) and writes for international publications, academic journals, and catalogues.
KAMEELAH JANAN RASHEED
Kameelah Janan Rasheed is a learner and interdisciplinary artist who seeks to make her thinking, somewhat, visible through an ecosystem of iterative and provisional projects as well as experiments. This includes sprawling xerox-based “architecturally-scaled collages” (Frieze Magazine, 2018), publications, large-scale text banner installations, digital archives, lecture performances, library interventions, poems/poetic gestures, stand up comedy, and other forms yet to be determined.
Gregory Sholette is an author, educator, and activist. He is a founding member of Political Art Documentation/Distribution, REPOhistory collective, and Gulf Labor Coalition. He recently guest-edited FIELD Journal of Socially Engaged Art focused on “Art, Anti-Globalism, and the Neo-Authoritarian Turn”. He is the author of Delirium & Resistance: Art Activism & the Crisis of Capitalism (2017); Dark Matter: Art and Politics in an Age of Enterprise Culture (2011), and co-editor with Chloë Bass of Art as Social Action (2018).
Sally Szwed is Director of Programs at Eyebeam, where she guides the organization’s residency program and strategic partnerships, and creates artist-led public programs to engage society’s relationship with technology. She currently co-chairs the Board of Directors of Flux Factory, a non-profit artist in residence program and community space. Previously, Sally served as the Director of the Creative Time Summit, where she developed the Summit to its current scale and global scope.
Jasmine Wahi is a curator, activist, and a founder and co-director of nomadic non-profit Project for Empty Space. Her practice focuses on issues of female empowerment, complicating binary structures within social discourses, and exploring multipositional cultural identities through the lens of intersectional feminism.