Kate Green

Kate Green is an art historian, curator, and critic. She holds an MA in curatorial studies from the Center for Curatorial Studies at Bard College, and a PhD in art history from the University of Texas at Austin. She has taught art history courses at the University of Texas and Trinity University, and has also worked as a curator and educator at Artpace, Dia Art Foundation, and MoMA PS1. Her writing has appeared in Art In America, Artforum.com, and Frieze. She is currently director of Marfa Contemporary in Marfa, Texas.

“I began researching the art historical, theoretical, social, technological, and economic factors conditioning the rise of institutional interest in performance art through my dissertation, ‘Encountering Vito Acconci: Performing Conceptual Art circa 1970,’ which I completed at University of Texas at Austin in summer 2016. More recently I have been pursuing the topic through writing for Art In America, Artforum.com, and other publications, as well as through developing and teaching a course for upper-division undergraduates titled ‘How Did We Get to Tino Sehgal?’” —Kate Green

Ruslana Lichtzier

Ruslana Lichtzier is a writer, curator and artist. Born in Russia and raised in Israel, she received her BFA with honors from Bezalel Academy of Fine Arts and Design in Jerusalem, and her MA in visual and critical studies from the School of The Art Institute of Chicago. Her background as a migrant is a principal force in creating cultural productions that push toward the radicalization of differences while highlighting ethical stands. Recent productions include the 2015 group exhibition Terrorists in The Library at Harold Washington College in Chicago, and the group exhibition Familiar Malaise, part of a curatorial fellowship at ACRE in Chicago. Lichtzier was recently head curator of Efrain Lopez Gallery and an instructor at the School of the Art Institute of Chicago.

“I was born in Russia, raised in Israel, and, reside today in the United States. As such, my production originates within a state of migration; a condition that shapes a desire to produce new cultural, politically charged products, while also being consistently burdened beneath the reconsideration of hegemonic canons.  The work evolves by exceeding the limits of its given form, be it an exhibition, a publication or a lecture; each instance a stage providing a platform for multiple voices that refuse to be heard ‘in-sync.’” —Ruslana Lichtzier

 

Laura Wellen

Laura A. L. Wellen makes texts and exhibitions which find points of connection between our emotional lives and our regional histories and landscapes. Since 2014, she has been working between Houston and Guatemala City, where she runs the apartment gallery and artist residency Yvonne. In 2017, her exhibitions include Hellen Ascoli: I woke early to comb the world and Jorge de León: En los prósperos días at Proyectos Ultravioleta; Una piedra y la lluvia // One stone and the rain at Lawndale Art Center; Lily Cox-Richard: If not an hongo at Yvonne; Caída Libre at Alianza Francesa Guatemala; and Acts of Aggression at Southern Methodist University. Her writing has been published in ArtForum, Art Lies, Artishock, Art Review, Arts + Culture Texas, and Pastelegram, among other international publications. She holds a PhD in art history and is a 2017 recipient of the Creative Capital | Andy Warhol Foundation Arts Writers Grant for her website, Piedrín. 

“I am interested in the points of connection language creates between our emotional lives, our creative production, and the objects and images with which we surround ourselves. Much of my work has been about the interrelationships between artists and writers, between members of specific communities at particular historical junctures. In the end, criticism is about a life. It is about how we organize our thoughts about the world around us, before us, and behind us, and try to make sense of them in words, alongside objects, images, and experiences.” —Laura A.L. Wellen