FALL 2019 ART & LAW PROGRAM FELLOWS

Juliana Biondo: Biondo is an internationally-oriented arts practitioner, currently based in Washington DC as the assistant curator at the World Bank’s Art Program. She is responsible for the oversight and exhibition of the Banks global contemporary art collection of approximately 5,800 objects. Prior to her current role, Juliana worked in New York as an account executive at SUTTON, orchestrating domestic and international media strategies for gallery and museum clients.  Prior to New York, Juliana was based in Europe working on curatorial projects about 21st century British prints and the Raphaelites as well as educational engagements as the project manager for the Vatican Museums first ever app Patrum. She holds a BA in the History of Art from Yale University, and an MA in 20th Century Art from the Courtauld Institute in London.  

Biondo is also a freelance arts writer focusing on both the conceptual and formal questions facing the contemporary art world today. Her writings have appeared in Bmore Art, East City Art, The New Criterion, The Art Report, World Bank Voices, and The Yale Daily News. She is fluent in Italian, and a painter herself.  A previous volunteer for Culture for One, and painting teacher for Project Art, Juliana now sits on the junior board of the Phillips Collection.

Carlos Jiménez Cahua: Jiménez Cahua received an A.B. from Princeton University and an M.F.A. from Massachusetts College of Art and Design. He has exhibited his work in solo and group exhibitions nationally and internationally. His work has been reviewed in The Boston Globe, The Wall Street Journal, The New Yorker, and Artforum, among other publications. He has received institutional support in the form of grants, fellowships or residencies from the following: Socrates Sculpture Park, I-Park in Connecticut, the Lower Manhattan Cultural Council, New York University, Artis, The Bronx Museum of the Arts, and Brown University’s Arts Initiative.

Ivana Dizdar: Dizdar is an artist and writer whose work explores the intersection of art, politics, law, activism, and humor. Her work has appeared in exhibitions, festivals, publications, and symposia in Brazil, Canada, England, France, Germany, Greece, Ireland, Serbia, Sweden, and the United States. Her eponymous performance persona is the Founding Director & CEO of Ivana Dizdar Projects, a multi-million dollar commercial gallery franchise with locations in North America, East Asia, Western Europe, and Central Africa.

Claudia Fernandez: Fernandez’ professional practice is of a collaborative nature and thrives on investigating human development through artistic expression. Her current research is focused on ethical hedonism, surreal mathematics, and geographical mysticism. She was born in Monterrey, Mexico, where she attended the Faculty of Law at the University of Nuevo Leon. She earned a BA in law and is in the process of completing a BA in sculpture at Emily Carr University in Vancouver, Canada. Fernandez’ interest in theoretical physics awarded her the opportunity of becoming the first artist-in-residence at Triumf (Canada's national particle accelerator centre). Her research at Triumf centered on developing a series of encounters between physicists and artists. The goal of her residency was to highlight the emerging parallels and intersections the subjects experience through their mutual processes at attempting to communicate, and develop intangible ideas.

She holds an advanced music production degree from The London Music School, and an acoustic engineering degree from the Nimbus School of Recording Arts, where she studied under music producers Garth Richardson, and Bob Ezrin. During her time in Canada, Fernandez was engaged in the transformation of The Waldorf Hotel. Along with her partners, Fernandez reimagined the hotel as a social sculpture. As part of the curatorial team, she was involved in the production of cultural events with artists such as Stan Douglas, Rodney Graham, and Douglas Coupland. The Waldorf Hotel was also home to a recording studio and a music venue that hosted noted musicians, including Ian Svenonius, John Maus and Grimes. After the closing of the hotel in 2013, Fernandez followed through with her social sculpture work. Under the moniker Primitiva, she has collaborated with artists stemming from a variety of backgrounds. She has collected over a hundred hours of audio recordings from the “primitive” recording studios she builds around the world. Claudia is a grant recipient from The Goethe Institut and a current member of Mondmaschine, an ensemble curated by Khan of Finland and Gebrüder Teichmann consisting of German and Latin American musicians and producers. She has performed at The HKW Haus Der Kulturen Der Welt in Berlin, and music festivals such as Nrmal Fest in Mexico City. Claudia is currently based between Los Angeles, Berlin and Mexico City.

Mira Friedlaender: Friedlaender is an artist living in New York City, and has exhibited her work locally and internationally. Her work has been featured in the New York Times and Bomb, and she has participated in residencies at the American Center in Bangladesh and Recess in New York City. She is the Director of the Bilge Friedlaender Estate and cocurated Bilge Friedlaender: Words, Numbers, Lines at Arter in Istanbul.

Kearra Amaya Gopee: Gopee is a multidisciplinary visual artist and photographer from Carapichaima, Trinidad and Tobago, based in Los Angeles, CA. Their research based practice focuses on the nature of violence and erasure, and the particularities of those that are inflicted on the Caribbean and its' diasporas by the global north. Using lived experiences as a point of departure, they address themes of migration, intergenerational trauma, queerness, difference and healing. While complicating the viewer's understanding of economic and social marginalization in the region, their practice also desires to test the mettle of these frameworks. Through their interventions, they aim to temper what we have known to be true with the potential of intuitive knowledges that have been historically cast aside in favour of Western assimilation. They hold a BFA in Photography and Imaging from New York University and are an alum of the Skowhegan School of Painting and Sculpture. Currently, they are a MFA candidate at University of California, Los Angeles.

Danny Greenberg: Greenberg is an artist, printmaker and writer based in New York City. His work is composed between the spoken word and the page. He received his BFA from Washington University in St Louis in Printmaking, MFA from Cranbrook Academy of Art in Print Media, and attended Skowhegan School of Painting and Sculpture in 2018. Recent solo exhibitions include if one thing matters, then everything matters two at Muted Horn Gallery in Cleveland, Ohio and Beauty is a Thing of Guilt Forever at Tuttle Gallery in Baltimore, Maryland. Danny recently gave a performative lecture titled He Will Not See Me Stopping Here at Cranbrook Academy of Art in 2019.

Shervone Neckles: Neckles manages the Joan Mitchell Foundation's New York City and national programs for both the Creating a Living Legacy (CALL) Program and Professional Development Program. Before joining the Foundation, Neckles worked as an Art Education consultant and Adjunct Professor for Pratt Institute and other leading NYC art institutions and organizations. For several years, Neckles has been designing and leading programs that connects artists to the resources and tools that are essential to cultivating a thriving artistic practice.

As an interdisciplinary artist Neckles has held residencies at the Youlou Arts Foundation, Wave Hill, Robert Rauschenberg Foundation, the Elizabeth Foundation SHIFT Program, the Center for Book Arts, and The Skowhegan School of Painting and Sculpture. Previous awards include grants from Queens Council on the Arts, Foundation for Contemporary Art, The Puffin Foundation, Joan Mitchell Foundation, as well as fellowships from Robert Blackburn Printmaking Workshop and Manhattan Graphic Center. Her award-winning work has been shown worldwide in both solo and group exhibitions and is currently featured in the 2019 Venice Biennale’s Grenada Pavilion and as an outdoor installation at the Lewis H. Latimer House Museum in Flushing, Queens. Her practice also has included curatorial projects with Pratt Center for Community Development and Bedford-­Stuyvesant Restoration Corporation, and at the Ice Box Gallery in Philadelphia. She’s earned an M.A. from Teacher’s College, Columbia University, MFA from Queens College and BFA from the College of New Rochelle. Neckles' currently lives with her partner, artist José M. Ortiz and six-year old son in Queens, New York. Her work can be seen at www.shervoneneckles.com.

Cassie Packard: Packard writes on art and culture on a freelance basis and works as a Researcher at Hauser & Wirth in New York. She holds a BA in Art History with Honors from Brown University (’13) and a MA in Art History with Merit from University College London (’14). She has bylines at publications including Hyperallergic, Vice, The New Inquiry, and Aesthetica and her writings have been cited in books by Routledge, Wiley, and Oxford University Press, among others. She is interested in the relationship between visual culture and the internet, sexuality, and labor.

Chris Rawson: Rawson is a founding partner of Rawson Projects, a contemporary art gallery located in Brooklyn and in the Lower East Side from 2010-2018. He is a member of New Art Dealers Alliance (NADA) and serves on the Brooklyn Academy of Music (BAM) annual Visual Art Auction Committee. Rawson received his BA in Fine Arts from New York University, where he studied with Robert Rosenblum. He currently works at David Zwirner where he oversees image copyright issues for the gallery's artists and Estates.

Armando Rosales Rivero: Rosales Rivero is a Venezuelan artist based in Mexico City since 2015. He received his degree in Graphic Design from the University of Zulia, Venezuela in 2010 finished the Soma program in 2016. Rosales is interested in exploring notions of form and synthesis in conjunction with analyzing institutional structures of politics and power. His work explores how space from a personal viewpoint can be used to manipulate behavior. Through his materials, sculptures, installations, sound interventions and performances, he highlights sometimes-imperceptible methods of surveillance and control in oblique manners. His works are part of various public and private collections. Rosales currently directs a mobile exhibition space-device called 10.000 in Mexico City. His practice extends to curatorial interests and musical projects that develops seamlessly across disciplines. 

Susan Rosenberg: Rosenberg, (Ph.D.) is Professor of History and Founding Director of the M.A. Program in Museum Administration at St. John’s University, New York. Previously a Curator of Modern and Contemporary Art (Philadelphia Museum, 1997-2003 and Seattle Art Museum, 2003-2006), she received her Ph.D. from New York University’s Institute of Fine Arts. She is the author of Trisha Brown: Choreography as Visual Art (Wesleyan University Press, 2017), for which she received the College Art Association’s 2015 Meiss/Mellon award. Other recent publications include: contributions to Transfer in the Performing Arts: Moving Between Media (London, 2019); to a A Different Way to Move: Minimalismes, New York, 1960s-1980s (Centre Pompidou, 2017, French/English); to J’aime penser sur mes pieds.” Danse et dessin depuis 1962/”I love thinking on my feet.” Dance and Drawing Since 1962 (Geneva, 2016, French/English); to Nancy Graves Project and Special Friends Retrospective, (Ludwig Forum für Internationale Kunst, 2013, German/English); and to a forthcoming catalogue published by the Museu de Arte de São Paulo Assis Chateaubriand (MASP), 2019, (Portuguese/English). She was a participant in the fall 2016 ART & LAW Program. In 2019 she received a Certificate of Completion from the Aspen Institute’s Seminar on Strategy for Artist-Endowed Foundation Leaders.

Elizabeth Smolarz: Immigrating from Poland to Germany, Elisabeth Smolarz grew up on the cusps of two different cultures affected by a communist and democratic system. Consequently, she became involved in the idea of how consciousness and perception is formed by one’s surroundings. Since then her work has been shown nationally and internationally - in venues such as The Bronx Museum, New York, Eyebeam Art + Technology Center, New York, Galeria Aleksander Bruno, Warsaw, Oberwelt e.V, Stuttgart, Baden Württembergischer Kunstverein, Photography Triennial Esslingen, Carnegie Mellon, Independent Museum of Contemporary Art (IMCA) Cyprus, Brooklyn Arts Council, Reykjavik Photography Museum, Espai d'art contemporani de Castelló, the Sculpture Center and the 3rd Moscow Biennale among others. Awards and residencies include the National Endowment for the Arts grant, LMCC Work Space Residency, New York, MASS MoCA artist residency, North Adams, AIM Artist Residency, Bronx Museum, Institut für Auslandsbeziehungen Travel Grant, Karin Abt-Straubinger Stiftung Grant, LMCC Swing Space Residency Sarai Artist Residency, New Delhi, India, Capacete Artist Residency, Rio de Janeiro, Brazil, Red Gate Gallery Artist Residency, Beijing, China and more. Elisabeth Smolarz received her BA and her MFA from the Staatliche Akademie der Bildenden Künste Stuttgart. She lives and works in Queens.

Aden Solway: Solway is an artist and writer based in Toronto, Ontario (CAN) and Chicago, Illinois (USD). In 2019, they earned a BFAVCS (Honors) degree at the School of the Art Institute of Chicago, made possible through the support of the SAIC Presidential Scholarship and the subsequent recipiency of the Vincent & Linda Buonanno Scholarship. Solway’s work has been displayed at exhibitions at Co-Prosperity Sphere, Sullivan Galleries, The School of the Art Institute of Chicago, The University Club of Chicago, the Scotiabank Contact Festival, Flash Forward Incubator and has been published to a myriad of journals and publications not limited to Trinity Review, UAAC, Bad At Sports, Princeton’s Undergraduate Journal of Art, and Photo Life Canada. They are currently in residence at the Museum of Contemporary Canadian Art (Toronto), where they are researching the intersections of economy, narrative and affect.