George Fifield is the founding director of Boston Cyberarts Inc., a nonprofit arts organization, which programs numerous art and technology projects, including the Boston Cyberarts Gallery in Jamaica Plain and two large public LED screens in downtown Boston, Art on the Marquee, on the 80 foot video marquee in front of the Boston Convention Center and the Harbor Island Welcome Center screens in the Rose Kennedy Greenway Conservancy. Last year, Boston Cyberarts has curated The Augmented Landscape, large augmented reality sculptures at The Salem Maritime National Historic Site. He was executive co-producer for The Electronic Canvas, a documentary on the history of the media arts that aired on PBS in 2000. Fifield writes on a variety of media, technology and art topics for numerous publications. In 2006, the International Association of Art Critics (AICA) Boston Chapter honored Fifield with the First Annual Special Award for Distinguished Contribution to the Arts Community. In 2007 the Boston Cyberarts Festival was the recipient of the Commonwealth Award in the category of Creative Economy.
Ron Mallis is founder and executive director of BostonAPP/Lab, a 501(c)(3) nonprofit focused in incubating new collaborations that support and sustain a robust environment for art in Greater Boston’s public places. Through nearly three dozen (and counting) workshops, or “brainstorming hubs,” the Lab has worked with a variety of civic and arts organizations to explore opportunities for experimentation, for community-building, for making art. The Lab is currently prototyping, and continuing to develop, the #ArtsCommons project, repurposing steel shipping containers, via a “kit of parts,” to create temporary performance/display/community spaces.
He is a member of the Boston Arts Academy Foundation Board of Ambassadors, and a member of the Operator Consortium for the Cambridge Foundry Project.
Since starting the Lab, Ron has collaborated with or led forums by such groups as CultureNOW, Code for Boston, Boston Arts Academy, the Boston Sculptors Gallery, Artists for Humanity, Kennedy Greenway Conservancy, Mass Association of CDCs, Emerson’s Engagement Lab, and others. And always with this question hovering nearby: "What can we do together that we can't do separately?"
Trevor Smith is the Curator of the Present Tense at the Peabody Essex Museum in Salem, MA. He leads an initiative that embeds contemporary creativity across the breadth of the museum’s activities to explore how creativity and cultural change emerge at the intersections of cultures, disciplines, or technologies.
Since arriving at PEM Smith has commissioned works and curated exhibitions with Charles Sandison, Susan Philipsz, Peter Hutton, Michael Lin, Nick Cave, Céleste Boursier-Mougenot and Candice Breitz, and Theo Jansen’s Strandbeests. He was recently the curator of PlayTime, an exhibition and web platform exploring the changing role of play in contemporary culture.
Other exhibitions include the Singapore Biennial 2011, Wrestle and Martin Creed: Feelings for the Center for Curatorial Studies at Bard College; Andrea Zittel: Critical Space and Brian Jungen for the New Museum, and The Divine Comedy: Francisco Goya, Buster Keaton, and William Kentridge for the Art Gallery of Western Australia and the Perth International Arts Festival. He has produced over seventy exhibitions and has published widely in exhibition catalogues and journals in North America, Europe, Australia and Asia.
Maggie Cavallo is a curator and educator based in Boston, MA dedicated to providing dynamic learning experiences with, through and for the arts. Recent projects include Beyond the Lesson Plan: A Dialogue on Teaching and Learning in the Arts and Standard Practice an exhibition of recent work by Joanna Tam both at Montserrat College of Art, re: no subject featuring the photographs of Vela Oma, Genesis Baez, Todd Danforth and DEAD ART STAR at UMASS Amherst and The Highest Closet, featuring work by Sarah Hill, Hayley Morgenstern, Creighton Paecht Baxter and Jessica Borusky at the 301 Gallery. Cavallo is also the co-founder of Alter Projects, a social-hybrid company that provides arts programming and consultation to corporate clients, non-profit organizations and artists themselves. Clients include the AIDS Action Committee, the Arts & Business Council of Greater Boston and Illuminus. Cavallo was the Curator of Education at Montserrat College of Art from 2010-2015 and is currently acting as a researcher and Teaching Fellow at the Harvard Graduate School of Education where she is co-developing a course on Public Art and Learning. She received a BA in Media, Society and the Arts from SUNY Purchase and an Ed.M in Arts in Education from Harvard University.
Cedric Douglas is an artist and designer who integrates graffiti ideology into design and advertising. His work is inspired by every day life idioms and the subculture of guerilla, or street art. He uses this approach to express his social views on the world. He holds BFA in Graphic Design at Massachusetts College of Art and Design and is an active member of the Ad Club and AIGA of Boston chapters.
Director of the design department, Communications division, Federico Santa María University, Valparaíso; 1989- 1992.
Art Director at Matte and Méndez Advertising and Design Agency; 1993- 1995.
Art Director of Corporate Projects, publishing Codelco magazine; 1997-1998.
Founder and director of Izquierdo Diseño since 1998; Left Design
She has been awarded in the Chile Design contest for years 2009 and 2011 with first and second place in editorial design. He has twice won international awards from Beckets Paper Company, Hamilton, Ohio Prix Dxcellence 1993-1995; Latingraf, Theobaldo de Nigris 1998, First Annual Memory Corfo. Sappi Fine Paper. Printer of of Year Silver Medal for Almendral Annual Report, 2012, delivered Sao Pablo, Brazil.
Its main clients have been; Embotelladora Andina, ARQ editions, UC of Chile, Cmpc-paper and cellulose papers, Almendral SA, CCU, MIM, Corfo, Viña Casa Rivas, Cepal, Codelco; Merval.
This thread has also been behind my professional activity as a designer, in the search to provide each of my professional works with a meaningful concept that transcends its immediate and restricted purpose. I see, in consequence, a deep synchrony in my artistic and professional life that has contributed to a clear identity of my being and to make creative.
In relation to my academic activity, I highlight my teaching at the Finis Terrae University, which has allowed me to explore ideas and develop projects together with the students. The themes that I have worked with the students combine the visual arts and design. Thus, we have developed in the workshops of the race, books-object on the Cordillera de los Andes, typography as a plastic representation from the morphology and etiology of birds (from Chile), typographical sources as a result of recycling materials , interdiscursivity based on the work of the artists of the Sao Paulo Art Biennial 2010 and the Venice Art Biennial 2009, the geographical and cartographic signifier as the basis for art exhibitions. The color in the 20th century, from decade 1900 to decade 1990.
Daniel S. Deluca
Daniel S. DeLuca is an artist, curator, and the current director of Mobius, the seminal experimental artist group and artist-run center in Boston. DeLuca's work explores structures and concepts related to globalizing culture, art, technology, and language. He has shown nationally and internationally in private and public spaces, galleries, and live art festivals.
Cecelia Levin is an art historian specializing in the Art and Archaeology of South and Southeast Asia; she obtained her doctorate in this subject area from the Institute of Fine Arts, New York University. Her career has spanned the teaching of Asian art history at several colleges and universities as well the holding of curatorial and research positions in the Department of Asian Art of Metropolitan Museum of Art, The Asia Society, Inc., the Asian Art Museum of San Francisco, and the Museum of Fine Arts, Boston. Levin’s areas of specialization include the sculptural traditions of the Central Javanese period, Classical Javanese gold, and modes of visual narration of the Rāmāyaṇa in South and Southeast Asia. She has received fellowships and grants from the National Endowment for the Humanities, the Asian Cultural Council, the Association of Asian Studies, and the International Institute of Asian Studies, Leiden, The Netherlands, and has written on a broad array of topics related to Asian art and contemporary art.