David Diao was born in China in 1943. He left with his grandparents for Hongkong in October 1949 at the moment of the Communist takeover. At age 12 he joined his father in New York where he has lived and worked ever since. He began showing his work in 1969 at Paula Cooper and Leo Castelli. He participated in several Whitney Biennials in the 70s. Forty years later he was included in the most recent 2014 version. He joined Postmasters Gallery upon its establishment in 1985 and his work has had much visibility in New York since then.
Jonathan Berger's work encompasses the fields of sculpture, installation, performance, archival and curatorial projects, conceptual art, design, relational aesthetics, and education. His projects often engage in an experimental and cross-disciplinary approach to the creation and presentation of exhibitions-- ranging from work that he physically produces or ask others to produce for him, to materials that he collects, seeks out, and re-contextualizes, or that are the product of conversations and exchanges with others. These exhibition projects often combine new and old, traditional and non-traditional, popular and obscure, static display and events, that which is widely acknowledged as art and that which is not. Recent exhibition projects include “On Creating Reality, by Andy Kaufman” (2013) presented at Maccarone, Inc. in conjunction with "Andy Kaufman's 99cent Tour," the first comprehensive screening series surveying Kaufman's performance work, presented at Participant Inc. In 2009 he organized the exhibition “Stuart Sherman: Nothing Up My Sleeve” at Participant, Inc., which was included in the 2009 PERFORMA Biennial. Past solo, collaborative, and curatorial projects have been presented at the Busan Biennial, Fleisher-Ollman Gallery, Vox Populi Gallery, Karma Gallery, Andreas Grimm Gallery, MOCA Los Angeles, The Hebel Theater, and Performance Space 122, amongst other venues. He is presently organizing the first solo museum exhibition of Bread and Puppet Theater founding director Peter Schumann, which will open the new wing of the Queens Museum of Art in October 2013. Berger is a recent recipient of a Pollock-Krasner Foundation Grant and has completed residencies at Yaddo and the MacDowell Colony among others. Jonathan Berger received his MFA from New York University in 2006 and his BFA from California Institute of the Arts in 2002.
Lizzie Fitch (born 1981, Bloomington, Indiana) and Ryan Trecartin (born 1981, Webster, Texas) have been making art together since they met at Rhode Island School of Design in 2000. Since then, their collaborative work has shown at major institutions and exhibitions including the Whitney Biennial, New York (2006), MoMA P.S. 1, Long Island City (2011), the Musée d’Art Moderne de la Ville de Paris (2011–12), the Venice Biennale, Venice (2013), and Kunst-Werke Institute for Contemporary Art, Berlin (2014-15).
Hilton Als became a staff writer at The New Yorker in October, 1994, and a theatre critic in 2002. He began contributing to the magazine in 1989, writing pieces for The Talk of the Town.
Before coming to The New Yorker, Als was a staff writer for the Village Voice and an editor-at-large at Vibe. He has also written articles for The Nation and collaborated on film scripts for “Swoon” and “Looking for Langston.”
Als edited the catalogue for the Whitney Museum of American Art exhibition entitled “Black Male: Representations of Masculinity in Contemporary American Art,” which ran from November, 1994, to March, 1995. His first book, “The Women,” a meditation on gender, race, and personal identity, was published in 1996.
In 1997, the New York Association of Black Journalists awarded Als first prize in both Magazine Critique/Review and Magazine Arts and Entertainment. He was awarded a Guggenheim for Creative Writing in 2000 and the George Jean Nathan Award for Dramatic Criticism for 2002-03. In 2009, Als worked with the performer Justin Bond on “Cold Water,” an exhibition of paintings, drawings, and videos by performers, at La MaMa Gallery. In 2010, he co-curated “Self-Consciousness,” at the Veneklasen Werner Gallery in Berlin, and published “Justin Bond/Jackie Curtis,” his second book.
Als has taught at Yale University, Wesleyan, and Smith College. He lives in New York City.
Regina Josè Galindo was born in 1974 in Guatemala, lives and works in Guatemala. Regina José Galindo’s artistic practice situates her own body in a public dimension in a way that can be identified by anybody who has witnessed the violence and sadism of certain political events and personal disgrace. Since she was invited by Harald Szeemann to the 49th Venice Biennale with the work El dolor en un panuelo and made on the occasion the performance Piel, Regina José Galindo has presented her work in numerous international exhibitions. Awarded the Golden Lion for best under 35 artist two editions later for Himenoplastia, in the 51st Venice Biennale where she also presented Golpes and ¿Quién puede borrar las huellas?, Galindo has also participated in the Istambul, Prague and Tirane biennials, as well as in major international institutions such as Pac in Milan, Tate, Guggenheim, PS1 in New York and Le Plateau in Paris. Her work is also present in important private and public collections, such as the Pompidou, Guggenheim, Rivoli Museum in Torino, or the Miami Art Museum and Cisneros Fontanals Collection in Miami.
Julie Ault is an artist, curator, writer, and editor who works both independently and collaboratively. She often assumes curatorial and editorial roles as forms of artistic practice. Her work emphasizes interrelationships between cultural production and politics and frequently engages historical inquiry. Ault's recent exhibitions include Afterlife: a constellation, for the 2014 Whitney Biennial; the collaboration Macho Man Tell It To My Heart: Collected by Julie Ault, Artists Space, New York, 2013–14, (and Museum für Gegenwarts-kunst Basel; Culturgest, Lisbon, 2013); and “Ever Ephemeral, Remembering and Forgetting in the Archive,” Signal and Inter Arts Center, Malmö, 2011. Ault’s edited and authored publications include: Tell It To My Heart: Collected by Julie Ault, (2013);(FC) Two Cabins by James Benning (2011); Show and Tell: A Chronicle of Group Material (2010); Felix Gonzalez-Torres, (2006); Come Alive! The Spirited Art of Sister Corita (2006); and Alternative Art New York 1965–1985 (2002). In 1979 Ault cofounded Group Material, whose practice explored the relationship between art, activism, and politics until disbanding in 1996. Ault teaches on a visiting basis, including in the Social Practice MFA program at Portland State University, OR.