Public 58 by PUBLIC Journal: Art Culture Ideas

EDITED BY ROSA AIELLO, NATALEAH HUNTER-YOUNG, AND MICHAEL LITWACK

PUBLIC 58

SMOKE : FIGURES, GENRES, FORMS

TABLE OF CONTENTS 6

Smoking Out: An Introduction Michael Litwack, Rosa Aiello, and Nataleah Hunter-Young

Unsettling Inscriptions: An Interview with Michael Gaudio Michael Litwack

Jade Windscreen Powder: Sympoeitic Tissue Sludge Compostition Laurie Kang and Tiziana La Melia

Smoke Screens and Cinematic Representations of the MOVE Bombing Nataleah Hunter-Young

Seeing Skies Seemingly Blue Elise Rasmussen

The Smoker Ella Dawn McGeough

in memoriam… Mary Cecil, Victoria Callihoo (née Belcourt), and Eleanor (Helene) Thomas Garneau Postcommodity, Alex Waterman, and Ociciwan Contemporary Art Collective

Excerpt from Citizen: An American Lyric Claudia Rankine

The Ashes Series Wafaa Bilal

Site Specific Work 2017 (Suggested Corporate Names – Catholic Church Child Abuse Entity) Shevaun Wright

Ancient Sunlight: An Interview with Elizabeth A. Povinelli Xenia Benivolski

A Stuck Place Rosa Aiello

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Fire, Earth, Ecstasy: Gossiping with the Gods Dagmar Atladóttir and Sandra Huber

110

Leak Erik Annerborn

112

This is not about you it’s about us or at the very least me Xenia Benivolski

118

Sound, Disability, and Durere Amidst Smoke and Smoulder Stefana Fratila

127

Habitat 2067 Martha Kenney and Tristram Lansdowne

134

The Cut of the Generic: An Interview with Jodi Dean Michael Litwack

140

Phantasmagoric City: Technologies of Immersion and Settler Histories in Montreal’s Cité Mémoire May Chew

148

Untitled Åsa Ersmark

154

Reflecting Torpor Sandrine Schaefer

169

On Fire: Notes on the Spread of a Non-deterministic Schema Yaniya Lee and Rosa Aiello EXHIBITION REVIEWS

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Nicolas Baier, Asterisms Ian MacKay

184

Record Shop Nathan Heuvingh BOOK REVIEWS

188

Archiveology: Walter Benjamin and Archival Film Practices Catherine Russell Aimée Mitchell

191

Code and Clay, Data and Dirt: Five Thousand Years of Urban Media Shannon Mattern Jesse Cumming

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CONTRIBUTORS

Still from video. Black Celebration (Tony Cokes, 1988). Image: Stephen Crocker. Courtesy of the Artist, Electronic Arts Intermix, and Greene Naftali Gallery, New York.

TONy COKES

BLACK CELEBRATION 1988, 17:11 min, b&w, sound Editor: Eleanor Goldsmith, Electronic Arts Intermix. Funded by the New York State Council on the Arts. Midway through video artist Tony Cokes’s Black Celebration (1988), a montage of slow-motion television news footage— featuring flaming buildings, militarized tanks and helicopters, and police occupying city streets—disappears into a scrolling intertitle. The single word “NOTHING,” composed of white text set against a black background, ascends from the bottom of the frame, followed by letter “O” and then the interjection “NO,” each in close succession. Subtitled A Rebellion Against the Commodity, Cokes’s video intersperses recycled newsreel of 1960’s Black urban uprisings in Watts, Detroit, Boston, and Newark with asynchronous sound and fragments of pre-existing text to “contradict received ideas,” promulgated through the optics of the state and its media apparatus, about these rebellions.1 If the intertitle’s outcry “O NO” mimes the media industry’s mourning of private property and its calculated antagonism to Black life, this political and visual economy is sharply interrupted by the autonomy of the exclamation “NO,” which affirms a radically different desire and gathers a radically different demand. Against media efforts to frame the riot as an immediate or spontaneous irruption, Black Celebration slows down the image of crisis, and makes palpable the longue durée of racialized surplusing, disposability, and state violence—and of ongoing, organized resistances to these brutal machinations—that propel the riot’s emergence and its endurance. Here, in what critic Yaniya Lee has dubbed Black Celebration’s “decidedly seditious” aesthetic, we glimpse an other image of the riot, one that persists in excess of the televisual frame.2 The riot, as Cokes renders it, is the “NO”— the exorbitant, celebratory refusal—embedded within (those said to be) the “NO-THING.”3 In the video’s celebration of Blackness, its aesthetic study in the Blackness of insurgent celebration, we are invited to a past and future gathering of survival, destruction, and irreducible possibility; we are invited to an ongoing Black Celebration. NOTES 1 Tony Cokes, “On Non-Visibility,” Greene Naftali Gallery, 2018, https://www.greenenaftaligallery.com/ exhibitions/tony-cokes/press-release1 (accessed 1 November 2018). 2 Yaniya Lee, “Rebellious Inversions: Tony Cokes’s 1988 video Black Celebration (A Rebellion Against the Commodity),” Flash Art 322 (2018): 42-47, 47. We are also guided here by Kara Keeling, The Witch’s Flight: The Cinematic, the Black Femme, and the Image of Common Sense (Durham and London: Duke University Press, 2007). 3 On the no-thing, see Denise Ferreira da Silva, “To Be Announced: Radical Praxis or Knowing (at) the Limits of Justice,” Social Text 31.4 (2013): 43-62.

cONTRIBUTORs ROsa aIEllO is an artist and writer. Her practice

MaY cHEW is an Assistant Professor at the Mel Hoppen-

takes many forms, most often fiction writing, word games, CG animation, live action films, and sculpture. Recent solo exhibitions include The Coquette/The Prude, Southern Alberta Art Gallery, Lethbridge; Builder and Demon, Eclair, Berlin; 27 seasons, Galleria Frederico Vavassori, Milano; The Demagog, Bureau des Réalités, Brussels. Her writing has been published in Triple Canopy, Art Papers, Canadian Art, and F. R. David. Her video works are part of the public collection of the Whitney Museum of American Art (New York), and of the Centre George Pompidou (Paris).

heim School of Cinema and Department of Art History at Concordia University. Chew collaborates on Houses on Pengarth, a research and curation project centered on developing a socially-engaged, experimental art lab in Toronto’s Lawrence Heights community. Her recent work includes a chapter in the anthology Material Cultures in Canada (Wilfrid Laurier University Press, 2015), and articles in Imaginations: Journal of CrossCultural Image Studies, the International Journal of Heritage Studies, and an upcoming issue of the Journal of Canadian Art History. Along with Susan Lord and Janine Marchessault, Chew also co-edited Public 57: Archives/Counter-Archives.

ERIK aNNERBORN is a costume designer and artist

based in Stockholm. He is currently enrolled at the Royal Institute of Art where he applies his fashion background to digital sculpture and animation. His earlier works include costume for Something Must Break (directed by Ester-Martin Bergsmark) and a number of performance works, and exhibitions in Sweden. This fall he had a solo show at Weld, Stockholm, and has been working with Ester-Martin on their new sci-fi project “Infinite Possibilities”. DaGMaR aTlaDóTTIR lives and works in Reykjavík,

Iceland. Dagmar finished her M.A degree from The Dirty Art Department at The Sandberg Institute and currently works at The Iceland University of The Arts. Her interests are situated at the interface of art and design. In her work, sculptures claim absurd functionality and performance is mobilized in service of addressing notions of truth and speculating on the nature of fiction. XENIa BENIVOlsKI is a curator and writer based in

Toronto. She is a co-director of the new institute SUGAR. Iraqi-born artist WaFaa BIlal , an Associate Arts Professor at New York University’s Tisch School of the Arts, is known internationally for his online performative and interactive works provoking dialogue about international politics and internal dynamics. His work can be found in the permanent collections of the Los Angeles County Museum of Art, Los Angeles, CA; Museum of Contemporary Photography, Chicago, IL; MATHAF: Arab Museum of Modern Art, Doha, Qatar; among others.

194 PUBLIC 58 CONTRIBUTORS

JODI DEaN is the Donald R. Harter ’39 Professor of

Humanities and Social Sciences at Hobart and William Smith Colleges in Geneva, NY. She is the author of numerous books in political and media theory, including Crowds and Party: The Communist Horizon, Blog Theory: Democracy and Other Neoliberal Fantasies, Žižek’s Politics: Publicity’s Secret, Aliens in America; and Solidarity of Strangers. Åsa ERsMaRK (b. 1981, Stockholm) is an artist and filmmaker based in Stockholm. Her work explores the concepts of freedom and sexuality, as well as the unconscious and its place in a patriarchal consumption-driven age. She works with film, installation, photography, painting, handmade objects, and the human body. She received her MFA and BFA from The Royal Institute of Art, Stockholm. Her work has been exhibited at The Modern Museum in Stockholm, Uppsala Art Museum, Sweden, Microscope Gallery, New York and Tribeca Film Festival. sTEFaNa FRaTIla is a Romanian-born composer, DJ, multimedia artist and writer based in Toronto, Canada. Since 2012, she has been creating sound works for dance, theatre, and public gallery spaces. Stefana has exhibited, performed, and screened her work internationally, including e-flux (NY), the 2nd Kamias Triennial (Quezon City, Philippines), and Humber Galleries (Toronto). She recently completed the BRiC residency at the Banﬀ Centre and finished her Master’s in Political Science at the University of British Columbia. Over the years, she has received critical acclaim for her artistic work by various media outlets, including: Exclaim, e FADER, Vice, and xlr8r.

MIcHaEl GaUDIO is Professor of Art History at the

University of Minnesota. He is the author of Engraving the Savage: The New World and Techniques of Civilization (University of Minnesota Press, 2008), and The Bible and the Printed Image in Early Modern England: Little Gidding and the Pursuit of Scriptural Harmony (Routledge, 2017). His most recent project, Soundings: Art and the Aural Imagination in the Atlantic World, is forthcoming with University of Minnesota Press in 2019. saNDRa HUBER is currently doing a PhD at Concordia University, where she focuses on mediumship and communication with the dead, particularly in contemporary witchcraft. She is the author of Assembling the Morrow: A Poetics of Sleep (Talonbooks, 2014), which resulted from a 9-month residency at a sleep laboratory in Lausanne, Switzerland. NaTalEaH HUNTER-YOUNG is a film programmer, media artist, and PhD student in Communication and Culture at Ryerson University. Her research interests include visual culture, Black visualities, civic engagement (broadly defined), and documentary media. Nataleah’s doctoral research explores the sociocultural impact of social media police brutality videos and the ways in which visual artists are navigating those themes in their work. She has supported festival programming for the Hot Docs Canadian International Documentary Festival, the Durban International Film Festival, and the Toronto International Film Festival. She holds a Master’s of Social Work from Ryerson University, and Bachelor’s degrees in Social Work and Sociology from McMaster University. laURIE KaNG (b. 1985, Toronto) works in photography, sculpture, installation, and video. Kang has exhibited internationally at Topless, New York; The Power Plant Contemporary Art Gallery, Cooper Cole, Gallery TPW, 8-11, The Loon, and Franz Kaka, Toronto; L’inconnue, Montreal; Carl Louie, London; Wroclaw Contemporary Museum, Wroclaw, Poland; Raster Gallery, Warsaw; Camera Austria, Graz, Austria; and Tag Team, Bergen, Norway. She was recently artist in residence at Tag Team; Rupert, Vilnius; The Banff Centre, Alberta; and Interstate Projects, Brooklyn. Kang lives and works in Toronto and holds an MFA from the Milton Avery School of the Arts at Bard College.

MaRTHa KENNEY (Assistant Professor, Women & Gender Studies, San Francisco State University) is a feminist science studies scholar whose research examines the poetics and politics of biological storytelling. Her latest project on environmental epigenetics uses speculative fiction to interrupt dominant biological narratives and imagine more radical ecological futures. She has recent articles in Social Studies of Science, Science as Culture, BioSocieties, and Catalyst: Feminism, Theory, Technoscience, as well as an interview with Donna Haraway in Art in the Anthropocene (2015). She teaches classes on the politics of science, feminist theory, and speculative fiction. TIzIaNa la MElIa (b. 1982, Palermo) is an artist and

writer currently residing in Vancouver (unceded territories). A book of poetry titled The Eyelash and the Monochrome was printed in summer 2018 by Talon books. Recent solo and collaborative exhibitions include Garden Gossip, Walter Phillips Gallery, Banff (2017-18); The Pigeon Looks for Death in the Space Between the Needle and the Haystack, Unit 17, Vancouver (2018); Broom Emotion, galerie anne barrault, Paris (2017); Johnny Suede, Damien and the Love Guru, Brussels (2017). Group exhibitions include Ambivalent Pleasures, Vancouver Art Gallery, Vancouver (201617); Down to Write You This Poem Sat, Oakville Galleries, Oakville (2016); Nature’s Way, Cooper Cole, Toronto (2017); Domestic like a Pre-raphaelite brotherhood, Truth and Consequences, Geneva (2017); Stopping the Sun in its Course, Ghebaly Gallery, Los Angeles (2015). Her writing has appeared in Art21, Organism for Poetic Research, C Magazine, The Interjection Calendar, and other places. TRIsTRaM laNsDOWNE is a visual artist based in

Toronto. His practice, which includes watercolour, sculpture, installation and print, is focused on themes of progress and idealism in landscape and architecture. His work has been exhibited in museums and galleries across North America and the UK, and can be found in various public collections, including the National Gallery of Canada. He holds an MFA from the Rhode Island School of Design (2016) and a BFA from the Ontario College of Art & Design (2007). He is represented by Galerie Nicolas Robert in Montréal.

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YaNIYa lEE’s interdisciplinary research questions crit-

ElIzaBETH a. POVINEllI is the Franz Boaz Professor

ical-reading practices and reconsiders Canadian art histories. Her writing has appeared in Flash, FADER, Canadian Art, C, Vice and Magenta, and she was the 2017-2018 writer-in-residence at Gallery 44. She is a founding collective member of MICE Magazine and was previously a member of the editorial advisory committees for FUSE Magazine and C Magazine. She currently works as associate editor at Canadian Art magazine and teaches art criticism at the University of Toronto.

of Anthropology at Columbia University. Her research and writing have focused on developing a critical theory of settler late liberalism that would support an anthropology of the otherwise. This potential theory of the otherwise has unfolded across six films with the Karrabing Film Collective and numerous books, including Geontologies: A Requiem to Late Liberalism, Economies of Abandonment: Social Belonging and Endurance in Late Liberalism, The Empire of Love: Toward a Theory of Intimacy, Genealogy, and Carnality; The Cunning of Recognition: Indigenous Alterities and the Making of Australian Multiculturalism, and Labor’s Lot: The Power, History, and Culture of Aboriginal Action.

MIcHaEl lITWacK is assistant professor of media

culture and history in the Department of English and Film Studies at the University of Alberta. He is currently completing a book-length study that traces the role of media technologies, as philosophical and material resources, in both imagining and managing Black freedom struggles in twentieth-century U.S. modernity. Ella DaWN McGEOUGH is a cross-disciplinary artist whose work often centres on practices of historicisation, myth-making, and speculative feminism. She is interested in relays. Imagine: a runner holding a baton, watch her hand the baton to another, and so on and so forth. In an instant, the feeling of palming a thing and the tangibility of sweat and chalk are transferred between subjects; time and space collapse. Multiple entities apprehend each other, rub off on each other, give each other power, meaning, reality. This is a metamorphic process, an enduring aesthetic event, a perpetual act of poeisis. OcIcIWaN is an inanimate Plains Cree noun relating to current or river, translated to mean the current comes from there. The name references the North Saskatchewan River that has brought many people over time to the region. It conveys an energy of engagement with Indigenous contemporary culture, linking present with the past and the future. Ociciwan supports Indigenous contemporary art, experimental creative practices, and innovative research. Based in the region of Edmonton, Alberta, Ociciwan supports the work of Indigenous contemporary artists and designers and engages in contemporary critical dialogue. We value artistic collaboration and foster the awareness of Indigenous contemporary art practices.

196 PUBLIC 58 CONTRIBUTORS

POsTcOMMODITY is an interdisciplinary arts collec-

tive comprised of Raven Chacon, Cristóbal Martínez, and Kade L. Twist. Postcommodity’s art functions as a shared Indigenous lens and voice to engage the assaultive manifestations of the global market and its supporting institutions, public perceptions, beliefs, and individual actions that comprise the ever-expanding, multinational, multiracial and multiethnic colonizing force that is defining the 21st Century through ever increasing velocities and complex forms of violence. Postcommodity works to forge new metaphors capable of rationalizing our shared experiences within this increasingly challenging contemporary environment; promote a constructive discourse that challenges the social, political and economic processes that are destabilizing communities and geographies; and connect Indigenous narratives of cultural self-determination with the broader public sphere. claUDIa RaNKINE is the Frederick Iseman Professor

of Poetry at Yale University in the Departments of African American Studies and English. She is author of five collections of poetry including Citizen: An American Lyric and Don’t Let Me Be Lonely; two plays including Provenance of Beauty: A South Bronx Travelogue, and numerous video collaborations. She is the editor of several anthologies including The Racial Imaginary: Writers on Race in the Life of the Mind. Rankine won a distinguished Guggenheim Fellowship in 2017. She was awarded the MacArthur Fellowship “genius” award in 2016.

ElIsE RasMUssEN is a research-based artist working

alEX WaTERMaN is a founding member of the Plus

primarily in photography, video, performance and installation. She assumes the role of artist as investigator to uncover lesser-known histories in an attempt to challenge the hegemonic record from a feminist perspective. Elise has exhibited, performed and screened her work internationally, including the Brooklyn Museum (NY), the Irish Museum of Modern Art (Dublin), Night Gallery (Los Angeles), Pioneer Works (NY), Haus der Kulturen der Welt (Berlin), and ESP | Erin Stump Projects (Toronto). Elise received her MFA from the School of the Art Institute of Chicago and has been an artist in residence at a number of institutions, most recently at LMCC Workspace in New York, Shandaken Projects at Storm King and the Banff Centre in Alberta, Canada. Born in Edmonton, AB, Elise currently lives and works in Brooklyn, NY.

Minus Ensemble, based in Brussels and London, specializing in avant-garde and experimental music. In 2014 Alex completed his PhD in musicology at NYU and published a book about the composer Robert Ashley with the designer and writer Will Holder. Alex was also an artist in the 2014 Whitney Biennial alongside Robert Ashley. He directed and staged 3 operas by Robert Ashley including an all-new live television opera version of Perfect Lives in Spanish (Vidas Perfectas). His writings have been published by Dot Dot Dot, Paregon, FoArm, Bomb, and Artforum.

The work of Boston-based artist saNDRINE scHaEFER offers opportunities to gather and proposes ways to share time not accessible elsewhere in life. Using a sitesensitive approach, Schaefer’s work often presents as durational performance artworks that tend towards material sparseness and draw attention to what is already available in a location. Over the past decade, Schaefer’s work has been exhibited internationally in performance art festivals, galleries, museums, and public spaces. Schaefer has been awarded fellowships through the Museum of Fine Arts Boston, The Tanne Foundation, the ICA Foster Prize, and The Boston Foundation. Alongside her studio work, Schaefer is an Independent Curator of time-based artworks. Her writing on contemporary art has been published in numerous international online and print publications. She is a co-founder of The Present Tense Live Art Initiative and Archive Project and teaches time-based approaches at universities throughout the United States.

sHEVaUN WRIGHT is a lawyer and artist who is pri-

marily engaged in an interdisciplinary practice that utilizes the contractual medium and the notion of the “social contract,” as well as re-contextualized dialogues as a tool for engaging in institutional legal and artistic critique. Informed by her Aboriginal heritage, she aims to extrapolate feminist and post-colonial critiques of the law and art as a means to access and reveal similarities in their discursive practices. She has Masters degrees in law and art, and is currently undertaking an MFA at UCLA in Professor Mary Kelly’s Interdisciplinary Studio.

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PUBLIC 58 Editors for PUBLIC 58: Rosa Aiello, Nataleah Hunter-Young, and Michael Litwack Managing Editor: Shawn Newman Art Reviews Editor: Jim Drobnick Book Reviews Editor: Jessica Mulvogue Copy Editor: Shawn Newman Design: Jennifer de Freitas, Associés Libres Printed in Canada by Marquis PUBLIC EDITORIAL COLLECTIVE Patricio Dávila, OCAD University Christine Davis, New York Jim Drobnick, OCAD University Sylvie Fortin, New York Saara Liinamaa, University of Guelph Susan Lord, Queen’s University Janine Marchessault, York University EDITORIAL BOARD Ariella Azoulay, Bar Ilan University Ian Balfour, York University Bruce Barber, NSCAD University Vikki Bell, Goldsmiths, University of London Simon Critchley, The New School Sean Cubitt, Goldsmiths, London Michael Darroch, University of Windsor Maria Fusco, Edinburgh College of Art Monika Kin Gagnon, Concordia University Peggy Gale, Toronto John Greyson, York University Gareth James, University of British Columbia Michelle Kasprzak, Madeira Interactive Technologies Institute Nina Möntmann, The Royal Institute of Art Kirsty Robertson, University of Western Ontario Nikos Papastergiadis, University of Melbourne Karyn Sandlos, The School of the Art Institute of Chicago Johanne Sloan, Concordia University Imre Szeman, University of Alberta Dot Tuer, OCAD University ADVISORY BOARD Ron Burnett, Emily Carr University of Art + Design Dick Hebdige, University of California, Santa Barbara Arthur Kroker, University of Victoria Chip Lord, University of California, Santa Cruz Dannys Montes de Oca Moreda, Havana Kaja Silverman, University of Pennsylvania Michael Snow, Toronto Aneta Szylak, Wyspa Institute of Art Peter Weibel, ZKM Akram Zaatari, Beirut

COver: still from video. Black Celebration (Tony Cokes, 1988). Image: stephen Crocker. Courtesy of the Artist, electronic Arts Intermix, and Greene Naftali Gallery, New York.

PUBLIC 303 Goldfarb Centre for Fine Arts York University, 4700 Keele St Toronto, ON M3J 1P3 Canada public@yorku.ca www.publicjournal.ca Fall 2018/Volume 29 Issue 58 Print ISSN: 0845-4450 Online ISSN: 2048-6928 INDIVIDUAL SUBSCRIPTIONS 1 year (2 issues): $35 2 years (4 issues): $65 Please subscribe at www.publicjournal.ca/subscribe. Back issues are also available on our website. INSTITUTIONAL SUBSCRIPTIONS PUBLIC is available in both print and electronic formats through Turpin Distribution: +1 860 350 0031 (North America) +44 (0) 1767 604 951 (UK and ROW) custserv@turpin-distribution.com DISTRIBUTION PUBLIC is distributed domestically by Magazines Canada and by Central Books in Europe. Content © 2018 Public Access and the authors and artists. Content may not be reproduced without the authorization of Public Access, with the exception of brief passages for scholarly or review purposes. Any opinions suggested or expressed in the images and texts are those of their respective authors. PUBLIC is a biannual magazine published by Public Access, a registered Canadian charity (# 13667 9743 RR0001), in association with Intellect Ltd. It is funded by the Canada Council for the Arts, the Ontario Arts Council, and York University.

SMOKE : FI GU RES, GE N RES, F ORM S EDITED BY ROSA AIELLO, NATALEAH HUNTER-YOUNG, AND MICHAEL LITWACK

PUBLIC 58 proposes smoke as a pressing figure of our global present that calls forth a capacious counter-archive of knowledge and sociality. Tracking smoke’s figural and material sojourns across the domains of ecology, aesthetics, ethics, and politics, contributors to this issue consider the genres of relationality and forms of destruction that smoke signals and produces. Smoke engulfs and indiscriminately incorporates, engendering common spaces and common worlds, while it simultaneously signals the still-unfolding histories of exclusion and dispossession that render racialized and colonized populations structurally over-exposed to smoke’s pathways and thereby to premature death. Smoke divides and it entangles; it obfuscates vision while giving depth to landscape by delineating a shared or general horizon. Smoke directs our attention at once to the contemporary devastation of the world and to the ongoing creation of otherwise worlds that remain imperceptible to the logics of the dominant order. SMOKE: FIGURES, GENRES, FORMS explicates these generative tensions by addressing the formal and conceptual challenges that smoke poses to received understandings of visuality, connection, place, duration, violence, and solidarity. Bringing together artists, scholars, and writers, PUBLIC 58 invites readers to consider how thinking with smoke may open otherwise ecologies and habitable atmospheres of collective existence.

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CONTRIBUTORS ROSA AIELLO ERIK ANNERBORN DAGMAR ATLADÓTTIR XENIA BENIVOLSKI WAFAA BILAL MAY CHEW JESSE CUMMING JODI DEAN ÅSA ERSMARK STEFANA FRATILA MICHAEL GAUDIO NATHAN HEUVINGH SANDRA HUBER NATALEAH HUNTER-YOUNG LAURIE KANG MARTHA KENNEY TIZIANA LA MELIA TRISTRAM LANSDOWNE YANIYA LEE MICHAEL LITWACK ELLA DAWN MCGEOUGH IAN MACKAY AIMÉE MITCHELL OCICIWAN ELIZABETH A. POVINELLI POSTCOMMODITY CLAUDIA RANKINE ELISE RASMUSSEN SANDRINE SCHAEFER ALEX WATERMAN SHEVAUN WRIGHT