Mentored by: Keith Miller

Bio: Shraddha Uday Borawake, has been a photographer for 7 years. She started in Pune at the age of 18, India assisting fashion photographer in India. Published in Seventeen Magazine, the Daily News and Analysis Newspaper and Art India Magazine. In 2005 she completed the One Year Certificate Program at the School of International Center of Photography. Following that she freelanced in New York and India and exhibited her work on at the DUMBO Arts Festival in 2006 and 2008, Women in Construction India in Washington, and Indian Roads installation at the Collective Gallery. She is studying Interdisciplinary Visual Media and Asian Culture at Gallatin.

Statement: ‘Speedy’ is a compilation of images photographed from within a moving car on the Indian roads from the western state of Maharashtra, to the eastern state of Bengal, and through the southern states of Tamil Nadu and Karnataka. These photographs are superimposed on rearview and side view mirrors, providing hindsight on a fast and ever changing country continuously navigating the aspect of globalization. With this portrait, I would like to ask the viewer, as they see their reflection in the mirror to contemplate the spirit, and strength of the long winding road and its many travelers.

Mentored by: Kathryn Posin

Bio: Inspired by Savion Glover’s appearances on Sesame Street, 2009 youngARTS scholarship recipient Ryan P. Casey began studying tap and jazz at the age of five at The Dance Inn in Lexington, Massachusetts. He spent seven years with the Legacy Dance Company, under the direction of Thelma Goldberg, and served as Dance Captain of the New England Tap Ensemble, directed by Aaron Tolson. He has danced in ensemble pieces and self-choreographed solos throughout New England as well as in New York, Miami, and Baltimore, and was featured on an episode of the sixth season of So You Think You Can Dance.

Statement: This poem describes the fascinatingly paradoxical manner in which Manhattan thrives and makes sense of its own pandemonium. In order to be a part of the city, therefore, one must succumb to the disarray and acknowledge that, although isolating and intimidating, it is the very essence of an urban lifestyle, and because everybody else lives the same way, one is never truly alone. By fusing tap dancing with the performance of my poem, Ryan creates music through two ostensibly dissonant musical ideas. The sounds of the taps and the words of the poem reflect the city’s polyrhythmic nature and attempt to capture its pulse and vibe.

Bio: Alexander Denker grew up in Chicago and started music lessons at the age of six. He began playing clarinet in the fourth grade. He has trained two summers at the Interlochen Center for the Arts and was granted admission to the Merit School of Music in Chicago during his freshman year of high school where he studied for a semester before moving to Cleveland. Alexander is most influenced by classical music and jazz, especially the music of George Gershwin. Alexander is currently concentrating in neuroscience and its relation to music and photography.

Statement: Alexander will be performing two pieces. The first is a sample of a simple klezmer tune. Klezmer, a Yiddish music, embodies the Jewish traditional song and the music that may have been heard from hopeful immigrants to America. Although usually happy, Klezmer may also contain a liturgical style. Second, Alexander will play a selection from Aaron Copland’s Clarinet Sonata, a sonata taken from Copland’s Sonata for Violin and Piano. Copland, who happened to be a gay composer, dedicated the piece to his friend Lieutenant Harry Dunham who was killed in the South Pacific and is therefore very much a war piece. Please note the similarity between the two pieces.

Mentored by: Johanna Unzueta

Bio: Hayden Dunham is from Austin Texas and spent her youth making blanket forts and animal clothes for her and her friends. In 2006 she traded blue bonnets for the bright lights of the big apple and started attending classes at NYU regarding psychology, visual aesthetics and environmental studies. She enjoys making things, which usually involve large quantities of scavenged materials and down time. Her addresses empowerment strategies, home spaces and discomfort. Right now she is very interested in how individuals use secrets or sacred objects to protect themselves from their environment. Hayden can be found taking urban children on invisible adventures, sitting with her sewing machine or practicing telekinesis.

Statement: This project creates a soft warm nesting site for humans to seek refuge from the harsh hyper-urban environment of New York City. This project integrates sound, scavenged materials, animal parts, symbols, pockets and sacred objects into a cape to provide a safe space for individuals to return to their natural selves. It does not shield one from participating in the chaos but equips individuals with the tools necessary to push through the hardships that confront humans living in a man made place.

Bio: Kate Fritz is a senior at Gallatin concentrating in Environmental Politics, Political Theory and China Studies. After graduation, she plans to work on a documentary film with her mother about fiddlers from Scotland and Cape Breton, and then move to Beijing to work as a clown and pursue a career in US/China diplomacy.

Statement: Kate grew up playing with the San Francisco Scottish Fiddlers under music mentor and fiddle master Alasdair Fraser. The elders of that community taught her about the explicit connections between the suppression of traditional music and other forms of oppression. Since she moved to New York City in 2006, Kate has explored American traditional music including old-time and bluegrass fiddle styles. The theme of the GAF music night ‘Music of Survival’ speaks to her understanding of the deepest meaning musical expression.

Mentored by: William Lamson

Bio: Sam Galison is a sophomore in Gallatin, studying interactive digital and mechanical art, philosophy, and theater. He is originally from Cambridge, Massachusetts, and has worked for a long time in photography, graphic design and the circus.

Statement: As the line between human and machine creativity becomes increasingly blurred (electronic music, chess-playing computers, drawing machines, etc), the focus of What Makes Us Human must shift accordingly. imagination and a sense of mystery are qualities that are, in essence, impossible to automate - and therefore extremely valuable. this project highlights the border (or lack thereof) between creatively intended and coincidentally interpreted meaning.

Bio: Marcie Grambeau is into theater, music, healing, spaces, stories and transformation. Marcie has composed music for a few plays, she has directed a few pieces, performed in a few shows. She has been known to wander towards shiny objects if left unattended.

Statement: There is no true way to bring order to chaos. As artists, we create ‘containers’ : songs and plays that deal with chaos whether it’s internal, or external as truly bringing order to chaos is impossible. This is Survival. The music I chose is from Brundibar, a children’s musical written by Hans Krasa, performed in the Jewish ghetto Terezin during Nazi occupation in Prague, Czech Republic. Its 55 performances were his successful attempt to contain, understand and transform the unconceivable - - - from this, hope for survival emerged for thousands, and in these small victories, there was triumph over evil.

Mentored by: Kristin Horton

Bio: Miriam Tobin is a first year MA candidate in Gallatin, studying directing and physical theatre. She is interested in using human bodies as design elements and inanimate objects as performers. As a visual artist, she is an avid doodler and cartoonist, though this is her first official art gallery entry. She was recently seen in Gallatin's "The Trial" in Prague and assistant directed it in the fall. Please check out her theatre company at: www.m-b-c-t.blogspot.com.

Leah Hamos is also a first year MA candidate, studying dramaturgy, directing and theater management, specifically for new plays. As of late, she has been working on pushing her boundaries in her notions of traditional dramaturgy and theater, having staged a piece on her roof in the fall. Leah also worked on "The Trial" in the fall as producer, and can currently be seen running around New York Theatre Workshop and the Lark Play Development Center.

Statement: “Rambha in the Art Gallery” is the second stage in a three part directing project. The first stage was a structured improv, and the third will be a traditional theatre performance. This middle piece is a constructed situation; text, human bodies, paper, pencil, magazine clippings, glue, elevators, lobbies, and art galleries mix and clash to create a world of distorted repetition. Our gallery pictures are ever-changing, always in motion, as all art and human bodies are. Where does the visual end and the performance begin? Are we in a revolution? January-April, 2010

Mentored by: Ben Steinfeld

Bio: Jade Hawk is a senior in Gallatin, with a concentration in Contemplative Theatrical Practices. He is a founding member and Associate Artistic Director of Fabrefaction Theatre Company, a non-profit organization, in Atlanta, Ga.

Statement: “To carry yourself forward and experience myriad things is delusion. That myriad things come forth and experience themselves is awakening.” – Zen Master Eihei Dogen

How do we experience the world, how do exist from one moment to the next, how do we express that experience? Language allows us to grab hold of the ever-changing, transient world about us. It freezes and encapsulates, locks down our experiences, confines its multiplicity. We need it. It helps us get a handle on all this nonsense. But what happens when you let it go? Or, more importantly, what happens when you don’t?

Mentored by: Keith Miller

Bio: Eden Jeffries is an artist and activist from Los Angeles, CA. She is studying at the Gallatin School with a concentration entitled “Dismantling Systems of Oppression Through Arts and Community Development.” She is a creative writer and performance poet who has begun exploring photography and image collage. Inspired by the bold, honest, and magnetic nature of all forms of art, Eden hopes to use creative expression as a means to promote social change, community empowerment, and the importance of narrative.

Statement: Truth Li(n)es is a series of four 3 ft. x 4 ft. projections of combined and superimposed photographic images of South Africa and other nearby regions of Southern Africa taken in 2009. This project explores the intersection of truth and lies in the way representations of people across borders and the function of storytelling in making meaning out of our own lives and the world around us.

Mentored by: Kathryn Posin

Bio: Jess is a sophomore concentrating in Interdisciplinary Arts Studies: with a Focus on Creating New Works. Born and raised in New York City, she has studied dance and choreography (since the age of two) at The Joffery School of Ballet, 92nd Street Y’s Harkness Dance Center, Kathy Posin (NYU) and with her mentor Andrew Jannetti. She is a member of Andrew Jannetti and Dancers, and recently appeared with Anna Sokolow Theater Dance Ensemble. She attended LaGuardia High School of the Arts (the “FAME” school), where she was a vocal major (jazz and classical). She studies acting, singing, dancing and writing at NYU and throughout New York City.

Statement: “Eating Crow” (Choreographed by Jessica Lewis, Danced by Jessica Lewis and Neale Shutler) was choreographed during the Fall of 2009 in Kathryn Posin’s Gallatin Arts Workshop: “The Art of Choreography.” This dance was inspired by the emotional upheaval of Ms. Lewis during the earlier part of the semester. For the first time in her long carrier in the performing arts, she felt that she could bring the chaos of her life into order by dancing and choreographing the extremely emotional piece. The strict “call and response” form of Bela Fleck’s music was the perfect structure for this piece, about a lover’s quarrel, to take place within. The music gives order to the chaos of conflicted and extreme emotions that are in play throughout the piece.


Bio: Yul-san Liem is a social justice activist and artist. Over the past decade she has been a leader, staff member and consultant for several NYC people of color-led grassroots organizations. She is currently Nodutdol for Korean Community Development’s representative to the city-wide police accountability coalition, Peoples’ Justice, a participant in the Justice Committee's Cop Watch Program, and an artist and the Administrative Coordinator for the multimedia exhibit, Still Present Pasts: Korean Americans and the “Forgotten War.” Yul-san is also a graduate student at the Gallatin School of Individualized Study and a Reynolds Fellow in Social Entrepreneurship at NYU.

Statement: These paintings are a part of the result of a personal process aimed at mediating the social chaos of late capitalism, the interpersonal chaos of relationships, and the internal chaos that results from both.

Mentored by: Keith Miller

Bio: Sam Metcalfe was born on Long Island. From the age of 10 Sam has made drawings, paintings, sculpture, etchings and photography going to USDAN center for the arts. Sam studied philosophy of buddhist ethics, ontology and logic at Binghamton University. Sam also studied oil painting and printmaking in etching and woodblock printing while an undergraduate. Sam has shown his painted work in exhibition at the Roberson Museum and Science center and the Steven Rosefski gallery in Binghamton. Sam currently works out of his small NY apartment on his kitchen table. Sam is currently working to get his MA from the Gallatin school at NYU.

Statement: This piece to me is death as continuous transformation. As the viewer comes to it they have a choice to either take a piece of the image or leave it as it is. Depending on how you treat the piece (just like yourself) it will transform from its current form faster or slower. This will be simultaneous with the impermanence of the overall image as that too will come apart as viewers take from it. The piece has been backed with a collage of 3 years of my notebook drawings and sketches. This imbues it with my own impermanent memories and perceptions hidden in there structure as each viewer becomes aware of them only through the piece they take away. I want viewers to introspect on the transitory state of all things and their relationship to that process as they directly participate in it through art.

Mentored by: Kathryn Posin

Bio: Darrian O'Reilly grew up in Santa Cruz, California where she lived among farm animals, participated in spelling bees, and practiced karate. She started dancing at the age of four, and by the time she was twelve she had recorded her own aerobics video, aimed at sixth graders. Here in New York City she has choreographed Gallatin Theatre Troupe's Julius Caeser and a dance for Expo fashion show. Her concentration centers around the relationship between the body and mind with a minor in public health.

Statement: The piece serves to reflect a different light on the relationship between order and chaos. Chaotic monsters interrupt the expected order of lives and we prepare to vanquish them. But instead of actually defeating them we marry them, integrating them into a new and radically different order. Any catastrophic moment proceeds like this, we internalize the experience, and despite how much we want to forget it, it will haunt us and create unconscious changes and assimilation within our life. Chaos is internalized and creates new order.

Mentored by: Keith Miller

Bio: Drew Pham is a Gallatin Alumn who has completed a full length graphic novel and authors a series of illustrated vignettes entitled "Love in the Age of Modern Warfare." Molly Pearl is a Gallatin senior who studies and produces documentary based photography. The two are beginning their lives together in Southern Louisiana; Molly as a teacher, and Drew as a soldier.

Statement: "Line of Departure" is a doctrinal term the military uses to refer to the starting point of an operation, the transition between friendly and enemy lines. This group of photographs are taken by two lovers as they experience both union and solitude, illustrating their attempt to negotiate a place in the grand movements of policymakers and generals. As we examine the images we make the transition into hostile territory, discovering that the world their love is built around is an unforgiving and desolate one. Among the abandoned gas stations and mechanical beasts a basic human emotion finds itself at odds with the logic of the American dream, marching ever forward.

Mentored by: Ben Steinfeld

Bio: Carley Reiff is an artist working to collage various mediums and experiment with interactive spaces aspiring to construct pieces that encourage interaction with each other and a constant dialogue. She began acting, singing and dancing professionally as a child in theater, film and T.V., but she maintained an all pervasive passion for all forms of creativity from crafts to, even in recent years to her own astonishment, cooking. She has studied a variety of techniques at such places as The Larry Moss Studio, Joanne Baron Meisner Studio, Actor’s Therapy and Emotional work with Susan Giosa, The Chicago Academy of Performing, and Shakespeare classical training at the Royal Academy of Dramatic Arts. Though the training was beneficial, she has strayed from formal acting and now uses the information received through these experiences to generate new, integral art forms.

Statement: “Quiet Child” is a chaotic mixture of art forms and media performed and created by Carley Reiff revolving around a poem, a song, and some questions. Carley proposes at this point in modern industrial society, dominated by our own structures, an increasing number of people feel burdened and helpless in front of the very systems we imagined into existence. She believes that when one system fails or is corrupted we must look to the child within ourselves, to chaos, to recreate order.

Mentored by: Keith Miller

Bio: Sheiva Rezvani is a New York-based digital media artist, designer and photographer dedicated to promoting feminism and progressive causes using new media technologies. Ms. Rezvani has worked in digital media industries for ten years, starting with television broadcasting and ending in design and photography. She has a BA in sociology from the University of California, Santa Cruz, where she began her extensive work in politics with non-profits and formal campaigns. Her professional experience in both new media and politics led her to recognize a lack of integration between them. She is currently using her research to bridge that gap while pursuing an MA in Gender Studies and New Media at Gallatin. She is a feminist, a sociologist and a fan of satire who, by a remarkable chance, was named 'Sheiva' after a phrase in Farsi meaning eloquence and charm; a last minute change from being named 'Banafsh' meaning 'purple.'

Bio: Joi M. Sears is a Masters Candidate at New York University’s Gallatin School of Individualized Study where she is concentrating on Black Theatre and Social Change. She is the Producing Artistic Director and Founder of Theatre for the Free People (www.theatreforthefreepeople.com), an organization which is dedicated to using the arts as a vehicle for social change. Joi was blessed with the opportunity to study the Theatre of the Oppressed technique with Augusto Boal in Rio de Janeiro, Brazil before his untimely death in May of 2009, as well as with his son, Julian Boal and contemporaries at the Theatre of the Oppressed Laboratory in both New York and abroad. As a facilitator, she is currently working on a Theatre of the Oppressed based International Arts Exchange Program in Ghana, April of 2011.

Statement: I believe that art should educate, inform, organize, influence and incite to action. The artist should not only be a creative being, but a teacher of morality and a political advisor. Theatre of the Oppressed provides a voice to the voiceless, and encourages active participation in the transformation of one's life. Transformational Activism is the idea that we can tap into the power of mass collaboration and collective creativity to transform people into more loving, peaceful, and compassionate human beings. It is based on the idea that people need to transform on the inside as well as on the outside in order to create any meaningful change in the world. I have always believed in the power of art to transform lives and mobilize communities. Once we recognize and embrace our individual creative potential, we can then collectively explore how the Arts can be used as a vehicle for social change.

Mentored by: Renée Redding-Jones

Bio: This work has been choreographed through a shared process of improvisational investigations. Rohiatou Siby is a Brooklyn based choreographer, dancer and teacher who uses African dance forms as a foundation for movement vocabulary that speaks to immediate social phenomena. Rohiatou selected the music and inspired our exploration of Lamban as a healing dance. Rachael Sharp is a facilitator, artist, educator and MA candidate at NYU Gallatin who is committed to cultivating diverse alliances through the arts and dialogue, she holds gratitude for the teachers who have guided her way. Each of the dancers involved have also contributed to this work.

Statement: This piece combines Rohiatou’s vision of exploring the traditional Mande rhythm of Lamban as a healing dance with Rachael’s vision of exploring the arts as a modality for experiencing our shared humanity. Perhaps by bringing our selves into this context differences can be bridged, alliances can be built and collective healing can begin. The piece has unfolded through the process of bringing the visions together and incorporating each of the dancers’ voices. Dance has been critical in facilitating the survival of many cultures and individuals, and can contribute to our ability to endure the challenges of our current global society. Dancers: Rohiatou Siby, Kantara Souffrant, Dasha Chapman, and Sahasra Sambamoorthi.

Bio: Aurelia Shrenker and Eva Salina Primack have been performing together as Æ ("ash") since 2007. Based in Brooklyn, NY, they perform internationally and have just released their debut CD, the self-titled Æ. Playing to hugely diverse audiences in sold-out shows at venues ranging from Joe's Pub in New York City to Ashkenaz in Berkeley, CA, these two young women bring together their deep understanding of different vocal traditions to create something new and daring with each song. The name Æ represents something of a dual nature--not singular not plural, but exactly two. Accordion and Georgian panduri often add a further dimension to the naked and honest beauty of two unaccompanied voices, creating a rich tapestry with varied texture and ambiance in their live performance. Their repertoire includes songs from Appalachian, Balkan, Caucasus Georgian, and Corsican traditions. Æ's work is rooted in folk culture and never falls short of being visceral and provocative--in their music, youthful exuberance and reverence for ancient tradition seamlessly coincide.

www.aesings.com

♫ http://www.cdbaby.com/cd/aemusic

Mentored by: Johanna Unzuetta

Bio: Tali is a Brooklyn-based artist and activist. Her practice of making emerges from past work in human rights and fair trade advocacy, community organizing, and grassroots development, including time living in Bombay, India working with a sex-worker rights organization. Most recently, Tali was a founding staff member of Global Goods Partners, a social enterprise that supports Global South community-based organizations focused on providing market access for women artisans. Tali has a BA in Peace Studies and is completing an MA at NYU, exploring how labor rights, community, ecology, and meaning shape and are shaped by the craft of turning fibers into textiles.

Statement: In my practice of weaving and stitching, I explore how objects and values circulate, interact, and evolve, moving through spaces of homes, bodies, and art worlds; how cloth enables simultaneous engagement with the world and an inward focus/protection/comfort; and the web of production, circulation, meaning-making, consumption, and use that enables me to brings a piece into being. In quilting I find beauty and liberation in the ability to take something apart in order to create something new – life from the discarded – materiality as transformation – the knowledge that amidst constraint and chaos we have an abundance of choice in how we produce meaning, objects, and social lives.

Bio: Not since the bohemian heyday of the '60s could the Village claim a singer-songwriter both as ballsy and as fanciful as Natti Vogel. Hailed as an "indie rock fusion virtuoso," (New York Press) Vogel's music melds through-composed sonic delicacies with biting social commentary into what any member of both the Uptown classical elite and the Downtown rock-cabaret mob will tell you is simply a genre unto itself.

Statement:In accordance with the traditions of both the court troubadour and the bohemian village provocateur, I'm delighted to serve you all a tender and full-bodied song cycle fresh out of the oven - the final trimmings and garnishes are still under way - entitled "Have Your Love and Eat it Too." This steamy cycle includes four pithy yet piquant courses, all of which attentive diners will find are centered around themes of interpersonal possession, consumption and communion: "The Problem With People," "A Modest Proposal," "The Way to A Man's Heart," and "Mr. Subsister."

Bio: Born and raised in Brooklyn, Liam Veuve started playing the cello at the age of six. Classically trained, but interested in various genres, his musical interests are eclectic. Recent notable performances include the 35th Anniversary Graduation Chamber Music Recital for the School for Strings at Carnegie Hall. Liam has participated in many festivals including the Manchester Music Festival and the “Oberlin in Italy” summer festival through Oberlin Conservatory. He is currently a senior at New York University, where he plays with the NYU Symphony Orchestra, various chamber ensembles, and studies music and French. Most recently, Liam was invited to perform at the Gallatin graduation ceremony at Avery Fisher Hall on May 10th, 2010. Looking forward, he plans to apply to graduate school this fall for a Master’s of Music.

Statement: György Ligeti – Cello Sonata

I. Adagio, rubato, cantabile

“I did not choose the tumults of my life. Rather, they were imposed on me by two murderous dictatorships: first by Hitler and the Nazis, and then by Stalin and the Soviet system. Common to both of these totalitarian dictatorships was the banning of 'modern' art, which both systems considered to be hostile to the people” -György Ligeti 1948

The first movement of this beautiful piece was written in 1948, the same year that all “modern” music was banned in Hungary. This was a politically tumultuous time in Europe, and many of Ligeti’s immediate family members were killed or imprisoned in concentration camps following the takeover of Northern Transylvania by Hungary in 1943. This seems to epitomize art of survival, as Ligeti wrote as a direct response to the crises and tragedies around him. For him, music was his only means of conveyance and personal expression in a time of stifling oppression.

Mentored by: Kristin Horton

Bio: Karen Zasloff, an artist, puppeteer and educator, has created and performed shows for New York venues including PS1, Here Arts Center, PS122 and the Ontological Theater. Her drawings appear in the documentary Banished, which premiered at Sundance, 2007. Last summer, she was featured in Puppetry International as one of “40 under 40” puppeteers in America. Karen has worked in the US and abroad with the Bread and Puppet Theater, and has taught English, art and drama for many years in New York City public high schools and community centers. She studied English at the University of Chicago and set design in the Tisch MFA program. This summer, she is finishing a master’s degree in performance studies at Gallatin. Presently, Karen is developing a puppetry project that explores the reconciliation process in the wake of genocide in Rwanda, and which will be performed this June in the St. Ann’s Warehouse festival, Labapalooza.

Statement: Could the flap of a butterfly’s wings in Brazil set off a tornado in Texas?
(The butterfly effect, chaos theory)

GAF’s final performance, Paper Wings, inhabits the giant windows of the Gallatin Gallery for an audience on the sidewalk. Shadows cast by paper cutouts on an overhead projector trace a student’s shifting relationships with chaos and order, as she locates herself within moments in her day. Her subconscious path takes on shapes of Ovid’s cosmogony, as well as the unpredictable yet interdependent patterns of chaos theory, expressed through the technique of video feedback, which responds to tiny changes in movement. Watching shadows through a window, of both human and paper figures, places the real and the constructed on the same plane. This interplay of shadows unveils the constant presence and power of the subconscious in helping us make sense of the world.

Mentored by: Christopher Cartmill

Bio: Natalie Zutter is a junior studying the intersections of gender/sexuality, media influence, and demonstrative languages through dramatic writing. Her work examines these themes through larger-than-life lenses like gender-neutral pronouns, religious upheaval, illegal weddings, and Twittering fetuses. She especially enjoys taking a fresh look at archetypal characters and adjusting them to fit seemingly incongruous time periods, with the belief that these realities reveal fresh and surprising parallels to classic tales. She wrote and directed the one-act Twits as part of Gallatin Theatre Troupe’s second annual Brandspankin’ New Works Showcase in fall 2009. She is also a managing editor of Ology Media’s new Entertainment hub, a job that has her posting the latest on film and television ventures, a smidge of celebrity gossip, lifestyle trends, and politics.

Statement: How does the mind tick back and forth between a military-clockwork, sterilized prison and a sprawling, lurid, chaotic world—especially when the latter is the reason you’re locked away now? Osawatomie, Kansas deconstructs two literary classics and studies the metaphorical upheaval of mystical childhood worlds, represented in the crumbling psyches and the restless bodies of their heroines during arts and crafts period. Their struggle to navigate the endless debate between fantasy and reality, and to trust one another, presents commentary on truth, therapy, and ruin.

Born in Las Vegas, Salome Asega moved to New York where is she is currently studying Visual Pedagogy through the Transnational Arts at the Gallatin School. Interested in the ways we can use the arts as a means building connectivity and collectivity cross-culturally, Salome believes very much in the power of collaboration. No coincidence her name means peace in Amharic.

Chelsey Pinke is a senior at Gallatin and is delighted to be curating the Gallatin Arts Festival 2010. She is an artist and has dabbled in a variety of media from watercolor to film and most recently paper cutouts. “The Social Impact of Images” is the title of her concentration, a study that combines art theory, media criticism, psychology and film. Upon graduation she hopes most of all to travel and experience a variety of cultures.

Sarah is an artist who makes websites, glitches, webscapes and morphologies. She is a senior in Gallatin studying Digital New Media and Imagery.

Visit her website.

Kate Erskine is the Marketing Coordinator for the 2010 Gallatin Arts Festival. From 2007 to 2008, she worked as a volunteer and intern for Hillary Clinton's Senate office and presidential campaign. Last summer, she spent two months interning as a campaign coordinator for a women's rights NGO in Cape Town, South Africa. She also really loves red velvet cupcakes.

Emily Rozanski is a Gallatin senior with a concentration in Performing Social Change. She has worked on- and off-stage in theatre all her life, including as a founding member of Fabrefaction Theatre Company in Atlanta, GA. She studied acting through Tisch School of the Arts, and has since found her calling in program management, events planning, and festival coordination. Enjoy!

Paloma Wake is in her third year at Gallatin studying theater production and a smattering of semi-related subjects. She has recently become keen on the arts at Gallatin and is thrilled to be a part of GAF. Her theatrical training is primarily in stage management, NYC credits include : Pataphysics Penyeach (Mabou Mines, NYTW); Beowulf : 1,000 Years of Baggage (Banana Bag & Bodice, Henry Street); We Carry On (self-produced at Manhattan Rep and TheaterLab); BRIDE (Lone Worlf Tribe, PS122). She is also the artistic director of the Gallatin Theatre Troupe, of which she is quite fond.

Kristin Horton is a freelance theater director as well as a member of the fulltime faculty at Gallatin. She has directed new plays and classics across the United States and beyond. Her primary interests include the development of new work that explores the intersections of narrative and community.

Ben Steinfeld is an actor, director, musician, and teacher. Acting credits include: The Public Theater, Center Theatre Group, Portland Center Stage, Bread Loaf, Williamstown Theatre Festival, and ten shows at Trinity Repertory Company. Ben has been seen on television on “Law & Order: Criminal Intent.” He is an adjunct professor at Gallatin where he teaches acting, musical theater, and theater history, and directs the MA Thesis Showcase. Ben is a co-founder/artistic director of Fiasco Theater, and has narrated three Young People’s concerts with the New Jersey Symphony Orchestra at NJPAC.

Keith Miller is the curator of the Gallatin Galleries, adjunct professor, artist and filmmaker. His work has been shown in New York, Atlanta, and Mexico.

Samantha Shapses serves as the Assistant Director of Student Life at the Gallatin School of Individualized Study. Samantha holds a Bachelors Degree in Comparative Arts and Women's Studies from Washington University in St. Louis, a Masters Degree in Higher Education Administration from New York University and will begin her Doctorate in the fall of 2010. Samantha has worked with the Gallatin Arts Festival Leadership Team for the past 3 years, and is thrilled to advise the students as well as put her fine arts degree to good use!

Melissa Daniel, Gallatin's Assistant Director of Global Programs & Faculty Affairs, is an amateur world traveler who is passionate about helping students to realize their artistic visions. She received a degree in Broadcast Journalism from Webster University, and spent 5 years directing a community health program after graduation. Melissa resides in Brooklyn, and enjoys discovering good music, Urban Rebounding and reading Stephen King novels.

Sheiva Rezvani is a New York-based digital media artist, designer and photographer dedicated to promoting feminism and progressive causes using new media technologies. Ms. Rezvani has worked in digital media industries for ten years, starting with television broadcasting and ending in design and photography. She has a BA in sociology from the University of California, Santa Cruz, where she began her extensive work in politics with non-profits and formal campaigns. Her professional experience in both new media and politics led her to recognize a lack of integration between them. She is currently using her research to bridge that gap while pursuing an MA in Gender Studies and New Media at Gallatin. She is a feminist, a sociologist and a fan of satire who, by a remarkable chance, was named 'Sheiva' after a phrase in Farsi meaning eloquence and charm; a last minute change from being named 'Banafsh' meaning 'purple.'

Christopher Cartmill is an award-winning playwright and actor. He is an adjunct professor at Gallatin, teaching theatrical literature and history. His memoir, THE NEBRASKA DISPATCHES, will be released nationally in November.

Kristin Horton is a freelance theater director as well as a member of the fulltime faculty at Gallatin. She has directed new plays and classics across the United States and beyond. Her primary interests include the development of new work that explores the intersections of narrative and community.

William Lamson is a Brooklyn based artist who works in video, photography, performance and sculpture. His work addresses issues of masculinity, amateurism, science, play and the quixotic quest for personal heroism that accompanies these subjects.

Keith Miller is the curator of the Gallatin Galleries, adjunct professor, artist and filmmaker. His work has been shown in New York, Atlanta, and Mexico.

Kathryn Posin has choreographed works for Ballet West, Netherlands Dans Theater I and II, The Alvin Ailey American Dance Theater, The Eliot Feld Ballet, Extemporary Dance Company of London, Cloudgate Dance Theater of Taiwan in addition to numerous city ballet companies across the country. For her own company, The Kathryn Posin Dance Company, she received support from the Guggenheim Foundation, NYSCA, the NEA and the Jerome Robbins Foundation. In 1999 Ms. Posin conceived and designed the Joffrey/New School B.F.A. in Dance and was named Founding Chair. She holds a Master's degree in Interdisciplinary Multicultural Dance from Gallatin and a B.A. in dance from Bennington College and has taught full time at UCLA, U. of Wisconsin/Milwaukee, and CALARTS.

Renée Redding-Jones is a Certified Movement Analyst with an M.F.A. from Sarah Lawrence College and a B.S. from Morgan State University. From 1997-2001, Renee was designated Master Teaching Artist/Artistic Advisor for New Jersey Performing Arts Center (NJPAC). As a dancer, Renee was a featured performer in the companies of Ronald K. Brown and David Rousseve. In 1995 she received a New York Dance and Performance Award (“Bessie”). Renee served as Associate Artistic Director for Brown's company from 1997-2007. In addition to performing internationally, Renee has toured the country teaching, as well as setting and creating work at various colleges, universities, and dance festivals. More than fifteen years ago Redding-Jones began choreographing and teaching movement for actors at NYU/Undergraduate Drama in The Classical Studio with Louie Scheeder.

Artist Johanna Unzueta was born 1974 Santiago de Chile, Chili. Lives and works in New York, USA.