Maya Mackrandilal is a transdisciplinary artist, writer, and arts administrator based in Los Angeles. She is a mixed-race woman of color with roots in the Caribbean, South America, South Asia, East Asia, and West Africa. Her artwork currently strives to imagine radical futures for women of color solidarity and liberation. Her writing focuses on issues of race, gender, and labor within the art world. She holds an M.F.A. from the School of the Art Institute of Chicago, where she was a recipient of a Jacob K. Javits Fellowship. She received her B.A. in Studio Art with a minor in English from the University of Virginia, where she was awarded an Auspaugh post-baccalaureate fellowship.

Her work has been shown nationally, including at the Chicago Artists Coalition, THE MISSION, and the South Side Arts Incubator in Chicago, as well as the Abrons Art Center and Smack Mellon in New York. She is a founding member of FEMelanin, a woman of color identified theater collective based in Chicago. She also has an ongoing collaborative project titled #NewGlobalMatriarchy with the Chicago-based artist Stephanie Graham.

Her critical essays have appeared in 60 Inches from Center and MICE Magazine. She collaborates with the poet and researcher Eunsong Kim for essays that have appeared in The New Inquiry and contemptorary, among others. Her creative writing has appeared in Skin Deep, Drunken Boat, and is forthcoming in a currently untitled collection of women authors and artists from Guyana reflecting on migration.

She is the Fine Arts Coordinator for the city of Buena Park, where she facilitates a variety of arts and cultural programming to engage diverse local communities.

She tweets about art, politics, and culture @femme_couteau. Her internet art persona, the Goddess Lakshmi, is on Twitter, Instagram, and Facebook as @globalmatriarch http://mayamackrandilal.com

Maya Mackrandilal is a transdisciplinary artist, writer, and arts administrator based in Los Angeles. She is a mixed-race woman of color with roots in the Caribbean, South America, South Asia, East Asia, and West Africa. Her artwork currently strives to imagine radical futures for women of color solidarity and liberation. Her writing focuses on issues of race, gender, and labor within the art world. She holds an M.F.A. from the School of the Art Institute of Chicago, where she was a recipient of a Jacob K. Javits Fellowship. She received her B.A. in Studio Art with a minor in English from the University of Virginia, where she was awarded an Auspaugh post-baccalaureate fellowship.

Her work has been shown nationally, including at the Chicago Artists Coalition, THE MISSION, and the South Side Arts Incubator in Chicago, as well as the Abrons Art Center and Smack Mellon in New York. She is a founding member of FEMelanin, a woman of color identified theater collective based in Chicago. She also has an ongoing collaborative project titled #NewGlobalMatriarchy with the Chicago-based artist Stephanie Graham.

Her critical essays have appeared in 60 Inches from Center and MICE Magazine. She collaborates with the poet and researcher Eunsong Kim for essays that have appeared in The New Inquiry and contemptorary, among others. Her creative writing has appeared in Skin Deep, Drunken Boat, and is forthcoming in a currently untitled collection of women authors and artists from Guyana reflecting on migration.

She is the Fine Arts Coordinator for the city of Buena Park, where she facilitates a variety of arts and cultural programming to engage diverse local communities.

She tweets about art, politics, and culture @femme_couteau. Her internet art persona, the Goddess Lakshmi, is on Twitter, Instagram, and Facebook as @globalmatriarch http://mayamackrandilal.com

Gina Osterloh is a Los Angeles-based artist whose practice embodies photography, film, performance, and drawing as a site for questions of visibility, perception, and being. Osterloh cites her experience of growing up mixed-race in Ohio as a set of formative experiences that led her to photography and larger questions of how a viewer perceives difference.  Her 2012 exhibition Anonymous Front, at the Yerba Buena Center for the Arts in San Francisco, featured a documentary video essay on physical blindness, perception, and identity, created with the blind massage therapist cooperative in Manila, Philippines called New Vision. The foundations for this documentary project with New Vision was made possible by a Fulbright Research Grant in 2008. Other exhibitions include solo exhibitions Gina Osterloh at Higher Pictures; Slice, Strike, Make an X, Prick! at François Ghebaly Gallery; Nothing to See Here There Never Was at Silverlens Gallery; and group exhibitions Energy Charge: Connecting to Ana Mendieta at Arizona State University Museum, This is Not America: Resistance, Protest and Poetics at Arizona State University Museum, Demolition Women at the Guggenheim Gallery at Chapman University. Osterloh has exhibited internationally in places such as Hong Kong, Manila, Kuala Lumpur, Singapore, Indonesia, Los Angeles, San Francisco, and New York City. Her work has been reviewed in The New Yorker Magazine, Art in America, Art Forum Critic’s Pick, Hyphen Magazine, Art Asia Pacific, Asian Art News, Giant Robot, and KCET Artbound, among others.

Osterloh has taught courses and workshops in photography, video, and performance art at the University of California San Diego, CalArts, Otterbien University, California State University of Fullerton and Long Beach, and Santa Ana College to name a few.

Kenneth Tam is an artist who uses sculpture and video to explore his interests, which include Abercrombie and Fitch, public restrooms, and the films of Tsai Ming-Liang. He recently had a solo show at Night Gallery in 2013, and he was a recipient of an Art Matters Grant the same year.

Kenneth Tam is an artist who uses sculpture and video to explore his interests, which include Abercrombie and Fitch, public restrooms, and the films of Tsai Ming-Liang. He recently had a solo show at Night Gallery in 2013, and he was a recipient of an Art Matters Grant the same year.

Kenneth Tam is an artist who uses sculpture and video to explore his interests, which include Abercrombie and Fitch, public restrooms, and the films of Tsai Ming-Liang. He recently had a solo show at Night Gallery in 2013, and he was a recipient of an Art Matters Grant the same year.

Kenneth Tam is an artist who uses sculpture and video to explore his interests, which include Abercrombie and Fitch, public restrooms, and the films of Tsai Ming-Liang. He recently had a solo show at Night Gallery in 2013, and he was a recipient of an Art Matters Grant the same year.

Kenneth Tam is an artist who uses sculpture and video to explore his interests, which include Abercrombie and Fitch, public restrooms, and the films of Tsai Ming-Liang. He recently had a solo show at Night Gallery in 2013, and he was a recipient of an Art Matters Grant the same year.

Born in Iloilo City, Philippines, Angela Peñaredondo is a Pilipinx poet and artist (on other days, she identifies as a usual ghost, subdued comet, or part-time animal). Her first full-length book, All Things Lose Thousands of Times (Inlandia Institute, 2016) is the winner of the Hillary Gravendyk Poetry Prize. She is the author of a chapbook, Maroon (Jamii Publications, 2015). Her work has appeared or is forthcoming in AAWW’s The Margins, Four Way Review, Cream City Review, Southern Humanities Review, South Dakota Review, Dusie and elsewhere. She is a VONA/Voices of our Nations Art fellow as well as a recipient of a University of California Institute for Research in the Arts Grant, the Gluck Program of the Arts Fellowship, Naropa University’s Zora Neal Hurston Award, Squaw Valley Writers Fellowship, and Fishtrap Fellowship. She has received scholarships from Tin House, Split This Rock, Dzanc Books' International Literary Program, and others.

Born in Iloilo City, Philippines, Angela Peñaredondo is a Pilipinx poet and artist (on other days, she identifies as a usual ghost, subdued comet, or part-time animal). Her first full-length book, All Things Lose Thousands of Times (Inlandia Institute, 2016) is the winner of the Hillary Gravendyk Poetry Prize. She is the author of a chapbook, Maroon (Jamii Publications, 2015). Her work has appeared or is forthcoming in AAWW’s The Margins, Four Way Review, Cream City Review, Southern Humanities Review, South Dakota Review, Dusie and elsewhere. She is a VONA/Voices of our Nations Art fellow as well as a recipient of a University of California Institute for Research in the Arts Grant, the Gluck Program of the Arts Fellowship, Naropa University’s Zora Neal Hurston Award, Squaw Valley Writers Fellowship, and Fishtrap Fellowship. She has received scholarships from Tin House, Split This Rock, Dzanc Books' International Literary Program, and others.