Artist-In-Residence at Crosstown Arts, Memphis, Tenneessee
September 15th – December 15th, 2018
Artist Talk: September 25th, 6-8pm
1350 Concourse Avenue #280,
Memphis, TN 38104
Artist-In-Residence at Crosstown Arts, Memphis, Tenneessee
if you have two legs, borrow another pair and run,
HERE Arts Center,
145 6th Ave, New York, NY 10013
July 19– September 1, 2018
Tuesday – Saturday, 2 – 7 pm.
If you have two legs, borrow another pair and run, a loose translation of a Persian proverb, frames this group exhibition reconsidering singledom. Positing that being single is not a condition of lack or in need of remedy. Asking instead, what if singledom is such a scarily powerful state that we find ourselves undermining it? Challenging the cultural perspective that one’s life is complete only after finding a partner, the works in this exhibition forefront, instead, the empowerment found in true autonomy. Offering ways to address the paired world with surreal prosthetic or embracing the repudiation of a contemporary life ‘uncoupled’ and exploring notions of the missing partner or the insufficient, abandoned romance. Co-curated by Santina Amato and Sarah Skaggs, with artwork by Mohadeseh Rahimitabar, Katya Grokhovsky, Lauren Steinberg, Lindsay Hutchens, Katie Hammond, Santina Amato and Monica Rezman. A limited edition catalog with contributions by the artists and cover design by Angela Azmitia will be available at the reception.
Mohadeseh Rahimitabar is interested in creating a dialogue between language, in particular, language used within proverbs, and the role of materials in defining every-day objects. This show borrows as it’s title Rahimitabar’s contemplation on the Iranian proverb اگر دو پا داري ، دو تا ديگه هم قرض كن و فرار كن, loosely translated into English as “If you have two legs, borrow another pair and run”. Within the context of this exhibition, her beautifully crafted wooden sculptures titled The Blind Leading The Blind and If You Have Two Legs, Borrow Another confront the social narrative that singledom is a potential disability. The structural reinforcement of value in being coupled reflects in our everyday life: reduction of income tax, employer sponsored health insurance and benefits are extended to the partner, booking a hotel room for two is a given, paying rent is halved, and the list goes on. Singledom is costly. Rahimatabar offers the viewer a pair of prosthetics to borrow, so that the single person can run in a world that is made for pairing.
Within her practice, Katya Grokhovsky employs her body as a tool to weave together the personal and the political, creating a stage for the bodies of the historically oppressed, in relation to the social order. Bad Woman video sculpture reminds us of the old eccentric lady of our childhood: the one that sat on the peripheries of our family or community events, looked upon as too ‘out there’ for finding a partner. The bachelor is praised, the spinster, ostracized. Bad Woman pushes this trope to campy excess to subvert the gaze and confuse the viewer, her gestures reflect desire and the restraints that are imposed to contain it. She attempts to hold a position of desire but is easily distracted and at one point, rubs watered down red paint onto her legs in an attempt to recapture the fertility and sexual height of her long gone ‘desirable’ and youthful state. It reminds us of Jill Soloway’s TV series adaptation of Chris Kraus’ I Love Dick: “I was born into a world that presumes there is something grotesque, unspeakable about female desire. And now all I want is to be undignified, to trash myself. I want to be a female monster.”
Exhaustingly attempting to blow up an air mattress by placing the pump at her groin, Lauren Steinberg simulates masturbation and other sexual acts in Performance Anxiety, Go Love Yourself. Steinberg is interested in presenting objects altered through performance, acknowledging object associations with her body while expanding on what these objects can be. Her video work included in this exhibition confronts the viewer, presenting the act of masturbation and sex, without the ‘other’s’ participation. The ‘other’ in this instance is a plastic air mattress that receives the results of Steinberg’s hard work. The inanimate object almost arrives at its ideal state – to support a body in repose – yet Steinberg is left exhausted and without the satisfaction of ‘the little death’ that we all aim for in sexual relations, whether it be by ourselves or with others. Connections to the history of the vibrator and why it was invented come to mind. The vibrator ”was developed to perfect and automate a function that doctors had long performed for their female patients: the relief of physical, emotional and sexual tension through external pelvic massage, culminating in orgasm.” Natalie Angier, New York Times.
Presenting as a Vanitas with a photograph of decaying fruit hanging on the wall above the naked figure of a man, we are reminded that states of desire, erotica, youth, and pleasure will inevitably change, even die, leaving us alone again. Lindsay Hutchens takes to the photographic medium to look to the intersecting and contingent visual aspects of the clichéd American nuclear family structure, and how photography and video can be used to resist that structure’s legitimacy as opposed to uphold it. Her work titled Alex on the Last Day of Spring, inverts the patriarchal convention of the nude, inviting the viewer to gaze upon a male figure in repose. Hutchens’ work questions the structures of our intimate or familial relationships and the assumptions and ideologies we carry unknowingly. Notions of the perfect partner conflate sustained attraction and companionship. We are taught that to experience desire, erotica and pleasure, one must be in union with another, in a normative, sustainable, long term relationship. Is it possible to simply enjoy the moments of desire and erotica without developing a co-dependency on the other? And if it is possible, is society willing to let people who choose their singledom in desire, live without repercussions?
Katie Hammond has been plagued by disability for the past ten years and her work is a selfish salve for her chronic pain and its psychological ramifications. The paint is applied on velvet, a material that we associate with warmth, intimacy, and the pleasure of touch, yet the imagery is the sterile world of a body in pain where the fixing of the basic functions (or dysfunctions) of the human body occur. Hammond tackles the self portrait to reflect on her challenges: Self Portrait in Hot Tub, Self Portrait with Bird Skeletons and Wedding Ring Tan Line (Frida Kahlo paper doll book), Self Portrait with Incision and Chihuahua (Frida Kahlo paper doll book), Self Portrait with Cropped Hair (after Frida Kahlo). Using both humour and horror, her work In this exhibition reflects the challenges that lie within for a person plagued by disability and an artist without health insurance insurance.
“The camera makes everyone a tourist in other people’s reality, and eventually in one’s own.” Susan Sontag. Santina Amato, well known for her works using bread dough, presents a new work from her ongoing series that appropriates amatuer porn downloaded off the internet. Her practice results from conceptions that come from her personal experience in her female body, drawing on themes such as strangeness/foreignness, intimacy & vulnerability, self & Other, presence & absence, and horror/desire. In Violet Room, the woman’s sexual partner is removed from the scene, frame-by-frame, leaving us with a surreal voyeuristic lens into subjects pleasure. We are presented with a video of a woman in an erotic state but we are not able to locate or identify with the sexual partner who is providing the pleasure. We are left out. We are not invited. We are simply asked to watch, to be a ‘tourist’, as a woman enjoys her erotic state, by herself. This surreal world is one where it is possible to find pleasure without the labor of the act, but also removed from the necessity and awareness of the partner.
Unapologetic in offering a nuanced and complicated understanding of satisfaction that is divorced from its relation to a partner, these works aim to make space for the narrative that the uncoupled individual is not in a state of want or lack. These works make evident the norms we internalize and offer a sensual, erotic and surreal world that attempts to subvert them.
Katya Grokhovsky, Bad Woman, 2017, Video, 13 minutes
Mohadeseh Rahimitabar, The Blind Leading the Blind 2, 2017, Cherry wood, purpleheart wood, playdough, brass rod, 23”
Mohadeseh Rahimitabar, If you have two legs borrow another pair and run, 2016, Cherry wood, metal rod, 43”
Lauren Steinberg, “Performance Anxiety”: Go and Love Yourself, 2016, Video of a performance, 8 minutes on a loop
Santina Amato, Violet Room, 2018, Video, Edition of 5, 02:32
Lindsay Hutchens, Alex on the Last Day of Spring, 2017, Archival inkjet print, 30”x40”, Edition of 3, two AP
Mohadeseh Rahimitabar, Resistance practice, 2017, Video, 00:09:38
Katya Grokhovsky, Bodybeautiful, 2013, Fabric, toys, acrylic, ribbons
Katie Hammond, Self Portrait with Cropped Hair (after Frida Kahlo), 2016, Acrylic, paper, glitter, fabric, canvas, 60”x48”
Katie Hammond, Party Cactus, 2016, Wire, paper pulp, nails, glitter, acrylic, plastic pot, 30” tall
Katie Hammond, Self Portrait with Incision and Chihuahua (Frida Kahlo paper doll book), 2016, Acrylic on velvet, 36”x32”
Lindsay Hutchens, For Lindsay, 2017, Archival inkjet print, 40”x30”, Edition of 3, two AP
Monica Rezman, Spring Giddness 2, 2011, Charcoal drawing on archival inkjet print, 30”x40”
Monica Rezman, Love’s confusing joy, 2011, Archival inkjet print, 11”x17”
Monica Rezman, Unseen World, 2011, Archival inkjet print, 11”x17”
Katya Grokhovsky, Bodybeautiful, 2013, Fabric, toys, acrylic, ribbons
Santina Amato, Untitled (Dough Project Self Portrait), 2015, Video, 00:08
Katie Hammond, Self Portrait with Bird Skeletons and Wedding Ring Tan Line (Frida Kahlo paper doll book), 2016, Acrylic on velvet, 36”x32”
Katie Hammond, Self Portrait in Hot Tub, 2016, Acrylic on velvet, 36”x32”
Lauren Steinberg (http://lauren-steinberg.com/) is an interdisciplinary artist based in Chicago who graduated with an MFA in Performance from the School of the Art Institute of Chicago. She creates queer uncanny spaces by borrowing from her vocabulary of: endurance performance, clowning, stunt work, muscle memory, drag-king routines, inflation and deflation to question our set environments and expectations. She has performed at multiple locations including HEREarts Center New York, Mimosa House London and the Museum of Contemporary Art, Chicago.
Katya Grokhovsky’s (https://www.katyagrokhovsky.net/) practice encompasses several mediums, including installation, performance, sculpture, video, painting and drawing, which she employs to explore ideas of gender and identity construction, alienation, labor and the self. She is an interdisciplinary artist, independent curator, educator and a founding director of Feminist Urgent. She holds an MFA from The School of the Art Institute of Chicago, a BFA form Victorian College of the Arts and a BA (Honors) in Fashion form Royal Melbourne Institute of Technology. She is a recipient of numerous awards, residencies and fellowships and has exhibited her work extensively nationally an internationally.
Lindsay Hutchens' (http://www.lindsayhutchens.com/) practice is as an artist, writer, researcher, and curator. Through these collaborative mediums, she theorizes a feedback loop of pleasure and obligation that exists in both the mechanical and biological forms of reproduction within family photographs, proposing in response a present-ness in photography that might disrupt hierarchies of ancestor and descendant.
Santina Amato (https://santinaamato.com/) is an interdisciplinary artist whose work addresses the notion of the intimate body, especially the female body. Her practice incorporates video, sculpture, installation, painting and photography and is deeply rooted in psychoanalytic thinking and feminist theory to translate the complexities of her own female sexuality, desire and erotica within a patriarchal system. Amato is known for her works using bread dough as a material focus but presents a new work from her ongoing porn series. Manipulating amateur porn downloaded from the internet and using it as a material to renegotiate the meaning of it’s original context, Amato’s porn works reflect on the psychosexual nature of intimate relationships. She is a current Smack Mellon Hot Pick Artist for 2018/2019.
Through the suggestive motif of hair, Monica Rezman (http://monicarezman.com/) explores conceptions of femininity, beauty, and the body. Hair, in her drawings and photographs, is always either severed from its human subject or fully engulfing her, producing a visceral response that verges on the uncanny—that aesthetic emotion whereby something deeply familiar is experienced as foreign and strange. Hair, a most intimate and familiar material, becomes alien and uncomfortable when seen in isolation or in unnaturally copious amounts.
Mohadeseh Rahimitabar (https://www.mohadesehrahimitabar.com/) is a multidisciplinary artist who was born in Iran. She gained her MFA from the School of the Art Institute of Chicago and currently lives and works between The Netherlands and United States. She is interested in questioning the role of norms, values and rules that shape the identities and human bodies in social and cultural contexts. Her practice investigates into the relationships between the language and social-cultural values. This show borrows as its title Rahimitabar’s contemplation on the Iranian proverb, نک†رارف†و†نک†ضرق مھ†رگید†یاپ†ود†یراد†اپ†ود†رگا†, which in English loosely translated to “If you have two legs, borrow another pair and run”. Within the context of this exhibition, her wooden sculptures titled The Blind Leading the Blind and If You Have Two Legs, Borrow Another confront the social narrative that singledom is a potential disability
Katie Hammond (http://www.katiehammondartist.com/) makes acrylic paintings on canvas and velvet, and sculptures from lo-fi materials such as cardboard and wire. Her work explores self-portraiture, symbolism, and iconography, with nods to art history, pop culture and kitsch. Hammond earned her MFA in Painting and Drawing from the School of the Art Institute of Chicago in 2016. Following graduation, her work was featured in EXPO Chicago and she had a solo show at Western Exhibitions, Chicago. In 2018, her work was included in group shows at LVL3, Heaven Gallery, Riverside Arts Center, and HERE Arts Center in New York. She has received fellowships to Ox-Bow and Vermont Studio Center residencies. Hammond was born in Ann Arbor, Michigan and currently lives and works in Chicago.
Review of Monster by Janet Cheung on Chicago Artist Writers
Smack Mellon Hot Pick Artist 2018/2019
Smack Mellon: Supporting emerging, under-recognized mid-career, and women artists since 1995.
Located at 92 Plymouth Street in DUMBO, Brooklyn.
Smack Mellon’s Hot Picks program was launched in 2007. The top artists, as selected from the Studio Program applicants by a panel of esteemed curators, arts professionals, and established artists, are featured on the Smack Mellon website and social media for one year.
Artist In Conversation With Jeremy Biles
May 18th – June 24th
Artist in Conversation
June 24th, 1.30pm
Please join us for a conversation between artist Santina Amato and scholar Jeremy Biles on Monster, Amato’s first solo exhibition in the US, currently on view at Heaven Gallery.
Amato and Biles will discuss ‘embarrassment’ as a creative force and motivation in transforming the awkwardness of one’s personal life and the unappeasable need to make the private public into works of art available for unrestricted consumption by the public.
The conversation will be followed by a Q&A.
Jeremy Biles, PhD, is the author of Ecce Monstrum: Georges Bataille and the Sacrifice of Form. He teaches at the School of the Art Institute of Chicago.
1550 North Milwaukee, Chicago, Illinois, 60622
Opening May 18th 7-11pm
Exhibition Dates: May 18th – June 24th
Gallery Hours: Friday and Saturday 1-6pm, Sunday 1-5pm.
Monster is the first solo exhibition in the US of Australian-born, US based artist, Santina Amato. In this exhibition, Amato contemplates the idea of performance in the everyday both within the public and private realm, presenting ceramic vessels designed to ‘perform’ using freshly made bread dough alongside a series of cryptic painted works on paper and an epistolary to an unknown reader.
The opening night of Monster sees Amato ‘activating’ one of the ceramic vessels on exhibit, making the fresh dough in situ. The rising of the dough physically transforms the sculpture during its live performance as it spews out onto its surface. Exhibited at once and all together but activated individually, the penultimate experience of the dough’s post-performance varying stages of decay, becomes an integral part of the work: the yeast ferments, consuming the gallery with the stench of the dough’s initial stage of ‘decay’, until it eventually dries out, becoming a brittle, yet essential, extension to the ceramic form. Referring to the work as Re-Performing Sculptures, Amato’s ceramic vessels require maintenance, care, and attention after each activated public or private performance: the ceramic vessel require its cavity to be cleaned out, post their prurient performance.
Assuming the role of supporting actor to both the ceramic vessels and the epistolary, the series of cryptic painted works on paper result in abstract reflections on the psychosexual nature of intimacy. They offer a pause among the exhibited works by acting as documents to a moment in an ongoing stage of metamorphosis.
An accompanying text, a rambling epistolary to an unknown reader where discussions on life, death, intimacy, desire, anxiety, the need for making art, and the thoughts leading up to the exhibition by the artist, provide a raw insight into questions of public performance, private expression, and the erotic tension that exists between these two modes of being. The writings reflect on public performance and private authenticity, ending in a space in which one finds a freedom from the loop.
Monster creates an environment that submerges the spectator into a constructed reality, a subjective experience where performing the grotesque aspects of female desire, manifests into a multidisciplinary stage for the Monster.
The works in this exhibition were created at ACRE Residency (Artists’ Cooperative Residency and Exhibitions), Wisconsin (2017) & Process Park Residency (Artslant & Chashama), Upstate New York (2018).
This program is partially supported by a grant from the Illinois Arts Council Agency.
Governors Island Art Fair
September 2nd – October 1st, 2017
11am – 6pm
Governors Island, New York, NY.
Interdisciplinary artist, Santina Amato, is presenting an installation at the 2017 Governor’s Island Art Fair, including re-performative sculptures and paintings resulting from her recent residency at ACRE, along with a video work from her MFA thesis and writing by artist/art historian Ally Pockrass.
In the kitchen of the house at 405-A, Colonial Row at 4heads – Portal & Governors Island Art Fair, Amato shows five voluptuous ceramic sculptures, which will be activated throughout the length of the art fair. At various times on each of the four weekends of the fair, Pockrass will come into the installation to mix dough that she will load into the sculptures. Over the course of a day, the dough will rise and ebb out of the sculptures, a process which will be most visible during the hour directly after the sculptures are loaded.
In addition to the sculptures, Amato presents three abstract paintings that echo the shapes and textures of the sculptures, dough, and of the body. Three video works will also be present within the space. One video, which accompanies the ceramic works when purchased, is an instructional video, showing the process of making the dough and loading sculptures. The second video shows an edited 5 minute version of a dough sculpture in its process of being active. The last video work consists of two monitors, each with collage-like elements from found pornography. “A Love Letter to Dough,” a written response by Pockrass to Amato’s installation, is casually left behind on the refrigerator.
Both Amato and Pockrass recently graduated from the School of the Art Institute of Chicago; Amato with her Masters of Fine Arts. Amato’s work has recently been exhibited in New York, Chicago, and Melbourne.
De: Formal Gallery
Online Exhibition and Interview
August 17th – September 10th, 2017
9 X 5 NOW Exhibition: ART150
Margaret Lawrence Gallery
Victorian College of the Arts
40 Dodds Street Southbank VIC 3006
Opening June 15th. Artists Preview on Thursday 5.00 – 6.00pm followed by public opening from 6.00 – 8.00pm.
More than 300 contemporary visual artists have contributed original artworks for the upcoming 9 X 5 NOW exhibition at the Victorian College of the Arts.
The ‘9 X 5’ title references the original exhibition of Impressionist works held at the Buxton Galleries in 1889 which included the work of key Australian Impressionist artists – Tom Roberts, Arthur Streeton, Frederick McCubbin and Charles Condor, all graduates from the National Gallery of Victoria Art School, the founding institution of the Victorian College of the Arts. The artworks were painted on cigar box lids and the title of the exhibition is derived from the dimensions of those works (nine inches by five inches).
The exhibition program also includes artist talks, tours, and a one-day symposium.
9 X 5 NOW is one of the highlights of ART150, a year-long program of events, interviews and expert commentary to celebrate 150 years of art in Melbourne at the VCA and its predecessor institutions – a lineage that began with the establishment of the National Gallery of Victoria Art School in 1867
The pricing of works from the 9 X 5 collection begins at $500, with funds raised going towards the establishment of the ART150 scholarship. Eftpos and credit card facilities will be available on site, for the convenience of those wishing to make a purchase.
Curator: Dr Elizabeth Gower
Gallery Opening Hours: Tuesday – Saturday 12:00pm – 5:00pm
April 29 –May 17
Sullivan Galleries 33 S. State St., 7th floor
Free and open to the public Monday–Saturday 11:00 a.m.–6:00 p.m.
Friday, April 28, 7:00 p.m.–9:00 p.m.
The MFA Show is the culminating presentation of MFA candidates and an opportunity for new and ambitious work to be presented to the public. For more than six months, graduating MFA candidates work with a team of three distinguished Guest Curators and twelve Graduate Curatorial Fellows to envision the exhibition. This invested approach allows for dialogue, process, and collaborative decision-making to guide the curatorial teams as they work together with more than 100 participating artists to bring the MFA Show to fruition over time.
This year’s Guest Curators are Valerie Cassel Oliver, Senior Curator at the Contemporary Arts Museum Houston; Daniel Fuller, Curator at the Atlanta Contemporary Art Center; Julie Rodrigues Widholm, Director and Chief Curator of DePaul Art Museum. They have worked in collaboration with a team of Graduate Curatorial Fellows: Yana Andriesh (MA 2017), Kat Buckley (MA 2017), Baiqi Chen (MA 2017), Courtney Cintron (MA 2017), Christian Gion (MA 2017), Adela Goldbard (MFA 2017), Rachel Haber (Dual MA 2017), Jared Packard (MFA 2017), Jameson Paige (Dual MA 2018), Hannah Pivo (MA 2017), Elliot Reichert (Dual MA 2018), Pia Singh (MA 2017).
The exhibition is overseen by Kate Zeller, Director of Exhibitions, with Gabe Wilson, Curatorial Assistant, and lead staff: Michael Hall, Senior Exhibitions Manager and Serena B. Washington, Exhibitions Coordinator with Exhibitions Managers Curt Miller and Josh Fairbanks, in collaboration with Site Managers and student crew.
The exhibition is on view from Saturday, April 29 through Wednesday, May 17.
Opening 3rd March, 2017 at 17:00–19:00
Compassion Show seeks to contemplate its titular theme, pushing the envelope of conventional definitions and reconsidering pre-existing associations.
When we talk about compassion today, what is truly at stake? How can we pause, observe, listen, and pay attention? How does compassion weave between diversity, race, gender, sexuality, dis/ability, class, mental health, and other conversations? How can we navigate this intersectionality to foster mutual understanding amongst our community?
The artists here have shed light on these questions through different lenses, bridging the gap between our complex, disparate identities and our need for community.
Jae Hwan Lim
Ting Yan Khor
School of the Art Institute of Chicago, Wellness Centre,
116 S Michigan Ave, Chicago, IL 60603-6010, United States
Somatic Markings: Video Art by Current School of the Art Institute of Chicago MFA students curated by Santina Amato & Michelle Marie Murphy
Current Photography Graduate students, Santina Amato & Michelle Murphy, programmed these video works together as the result of a common theme that eventuated through a graduate open call at SAIC. The body, a source of inspiration for artists throughout history, continues to inspire this generation of cultural producers. These artists in Somatic Markings go beyond the historical representation of body, to include feelings associated with emotions and physical responses, defined by neuroscientist Antonio Demasio as “somatic markers”.
Participating artists are:
Maire Witt O’Neill and Mia Ardito
Sarah H. Reynolds
Tenten Yitian Yan
Date: Friday February 17th 6:30 – 8:30
40 minute screening block | 15 min intermission | 30 min screening block
1821 West Hubbard Street, Suite 207
Chicago, IL 60622
773.888.2241 | email@example.com
Please click on the link below to check out more details on our FB events page where we will be highlighting all the artists involved in the exhibition, everyday!
Bearing: object, body, and space
Opens Wednesday, March 1, 2017
Leroy Neiman Gallery
37 S Wabash Ave. Chicago, IL 60603 United States
Bearing: object, body, and space is a group exhibition exploring ideas of corporeal imposition within the works and research of three artists, Santina Amato (MFA 2017), Lindsay Hutchens (MFA 2017/MA 2018), and Michelle Marie Murphy (MFA 2017). This exhibition incorporates performative video, site-specific objects, photography, painting, and text to reflect on the issues that surround them as women and how they deal with the imposed and internalized threshold of their own bodies within their practices.
Midnight Dinner, 2016 will feature as part of the School of the Art Institute’s ExFest, a Film/Video Festival showcasing works of current students, on October 14th, at 5pm – 7.30pm, 2016.
30 April, 2016. Brooklyn, NY, U.S.A
CPR-Center for Performance Research
361 Manhattan Ave, Brooklyn, New York 11211
BEAVER an exhibition, performance, and discussion event
How do cultural representations of female sexuality in advertising, mass media, and mainstream pornography affect how female sexuality is expressed both individually and collectively? How does slut-shaming and the threat of sexual violence influence female sexual self-expression? What are the ways that racial and sexual identity are culturally inscribed on the female body? How can the female body be used to contradict systemic patriarchal objectification without perpetuating it?
Beaver is an exhibition that brings together artists whose work delves into these questions in order to facilitate discussion of contemporary feminist perspectives on pornography, gender performance, and female sexual self-expression. Curated by artist Naomi Elena Ramirez and Kristen Sollee of Slutist.com, the exhibition includes film screenings, readings, performances, and roundtable discussion events. Through open calls for artists, each iteration of the Beaver exhibition brings together a different group of artists and individuals.
6:30 pm Gallery Open
7:30 pm Performance and Discussion
Announcing BEAVER 2016 artists:
Linda King Sackrider Ferguson
Michelle Marie Charles
Naomi Elena Ramirez
Tickets: $5 – $10 sliding scale (helps support direct costs)