Jennifer Miller, MFA Program Coordinator
Jennifer Miller has been working with alternative circus forms, theater, and dance, and for over twenty years. She is the recipient of the 2008 Ethyl Eichelberger Award. Her work with Circus Amok was awarded a “Bessie” (a New York Dance and Performance Award) in 1995 and an OBIE in 2000. Circus Amok is the subject of a French documentary film, Un Cirque a New York (2002) and Brazilian documentary, Juggling Politics (2004). As a dancer she has performed with Cathy Weis, Jeff Weis, Jenny Monson, John Jasperse, Johanna Boyce, Doug Elkins, and They Won’t Shut-up among others. She had a seven year stint at Coney Island Sideshow by the Seashore. She toured her solo shows Morphadyke and Free Toasters Everyday here and abroad. She is the author of Cracked Ice or The Jewels of the Forbidden Skates and The Golden Racket.
Tracie Morris, Professor, is a poet who has worked as a page-based writer, sound poet, critic, vocalist, scholar, bandleader, actor, vocal coach, and multimedia performer. Her sound installations have been presented at numerous institutions, such as the Drawing Center, Ronald Feldman Gallery, Thomas Hirschhorn’s Gramsci Monument presented by Dia Art Foundation, Jamaica Center for Arts and Learning, The Philadelphia Museum of Art, The Kitchen Performance Space, The Museum of Modern Art, The Silent Barn, The Whitney Museum, and The Whitney Biennial.
Morris is the recipient of awards, fellowships, and grants for poetry and performance, including NYFA, Asian Cultural Council, Franklin Furnace, and Creative Capital fellowships as well as residencies at Millay, Yaddo, and MacDowell colonies. Tracie’s work has been extensively anthologized and recorded. Her books include: handholding: 5 kinds, (Kore Press 2016), the forthcoming Best American Experimental Writing (co-edited with Charles Bernstein, Wesleyan University Press, 2016), Rhyme Scheme (Zasterle Press, 2012), Intermission (Soft Skull Press, 1998). She holds an MFA in poetry from Hunter College and a PhD in Performance Studies from New York University, and has studied American acting technique at Michael Howard Studios and classical British acting techniques at the Royal Academy of Dramatic Art in London.
Richard Move (Artist in Residence) is Artistic Director of MoveOpolis! a TEDGlobal Oxford Fellow and Assistant Professor of Dance at Queens College, CUNY. MoveOpolis! has been presented by New York Live Arts, Dance Theater Workshop, The Kitchen, Sitelines/River to River Festival, Jacobs Pillow Dance Festival and on tour internationally. Commissions include productions for Mikhail Baryshnikov and the White Oak Dance Project, Martha Graham Dance Company, American Festival of Paris, Opera Ballet of Florence/Italy, European Cultural Capitol/France, Guggenheim Museum/New York, Parrish Art Museum, Deborah Harry and Blondie, Dame Shirley Bassey, designers Patricia Field and Isaac Mizrahi, and New York City Ballet Principal, Helene Alexopolous. Films include: Bardo, Jury Prize nominee at Lincoln Center Dance on Camera Festival, BloodWork-The Ana Mendieta Story, National Board of Review Award/Directors Guild of America, GhostLight, Tribeca Film Festival premiere and GIMP-The Documentary, Lincoln Center Dance on Camera Festival premiere. Martha@..., their critically acclaimed performances of 20th Century icon, Martha Graham, received two New York Dance and Performance Awards, aka Bessies, and tours globally. Recent scholarly publications include commissioned chapters for the Oxford Handbook of Dance and Reenactment, Ally: Janine Antoni, Anna Halprin and Stephen Petronio, and Rhythm Field: The Dance of Molissa Fenley.
Ethan Philbrick is a composer and scholar currently completing his PhD in Performance Studies at New York University. He has recently performed original work in New York at BRIC, NYU's Skirball Center for the Performing Arts, SculptureCenter, Abrons Arts Center, and the Grey Art Gallery. His writing has been published in TDR, PAJ, Women and Performance, Studies in Gender and Sexuality, and Movement Research Performance Journal.
Romaine has worked extensively as a stilt dancer, puppeteer, and performer with the Bread and Puppet Theater, Janie Geiser and Co., Ninth Street Theater, and Amy Trompetter. She is a founding member of GSW. Romaine is also the music director of the OBIE/Bessie Award winning free outdoor traveling circus, Circus Amok. Romaine recently conceived, directed, and performed The Memoirs of Glückel of Hamelin, a music theater adaptation with puppets of the only pre-modern text by a woman in Yiddish, A collaborative project with composer Frank London of the Klezmatics, and Yiddish song-diva Adrienne Cooper. Romaine was featured in the sound opera Do Chinese Postmen Ring Twice Too? with Hans-Peter Litcher and Christian Marclay (Sarah Mandlblutt composer), and choreographed / performed the musical numbers in Gregg Bordowitz’s film adaptation of The Suicide. Romaine has directed community based spectacles with Jews For Racial and Economic Justice, the Lesbian Avengers, Klezkanada (Montreal), Ashkenaz: A festival of New Yiddish Culture (Toronto), and has taught at Island Academy on Riker’s Island (youth prison). Her other recent visual theater projects include Democracy in Wonderland, a show created with poet Andrea Atsuko Dunham and a team of multi-racial youth performers about the growth of the prison industry in the United States. Romaine was awarded a New York Foundation for the Arts Artist Fellowship in Puppetry and Emergent Forms in 1997, and was a fellow at the MacDowell Colony. She has an MA in Performance Studies from the Tisch School of the Arts, NYU.
Karin Shankar received her PhD in Performance Studies from the University of California, Berkeley in 2016. As a researcher, writer, performer, and educator, her interests include performance studies in/from the Global South, political economies of culture, transnational feminist theory, critical race theory, South Asian visual culture and performance, urban studies and social practice. She is the co-editor (with Kirsten Larson) of P[art]icipatory Urbanisms, a two-part publication featuring a compilation of interviews with urban practitioners in Sao Paulo and New Delhi and a critical anthology of essays examining the triangulation of urban participation, aesthetics, and politics. She is currently working on a book manuscript based on her dissertation, "Molecular Aesthetics: Contemporary Art and Performance in New Delhi." Prior to joining the faculty in the Performance and Performance Studies program at Pratt, Karin was the Andrew W. Mellon Global Postdoctoral fellow at Creative Time. Karin holds a Master's degree in Public Administration from Cornell University and a Bachelor of Arts degree from Colby College.
Julia Steinmetz is a performance studies scholar, contemporary art writer, visual artist and performer. She is co-founder of the Los Angeles performance collective Toxic Titties, with whom she has performed and exhibited at LACE, REDCAT, USC Center for Feminist Research, the Hammer Museum, CoCA Seattle, Yerba Buena Center for the Arts, Art in General, Art Basel Miami Beach, Whitechapel, MUCA Roma (MexicoCity), Ex-Teresa Arte Actual (Mexico City), Schnitt Austellungsraum (Cologne), and MUMOK(). Her collaborative film and video work has appeared in international film festivals including Outfest: Los Angeles Gay and Lesbian Film Festival, Viennale International Film Festival, Centro de la Imagen (Mexico City), and on the DVD compilation First Person. Her work has been reviewed in Tema Celeste, the LA Times, LA Weekly, Rhizome, Wired, Black Book, MASKA, and she has been interviewed for National Public Radio, the Utne Reader, and the Journal of the National Women’s Studies Association, as well as in numerous academic publications.
David Thomson has worked as a collaborative and performing artist in the fields of music, dance, theater and performance with such artists as Mel Wong, Jane Comfort, Bebe Miller (’83-’86; ’03-’06), Remy Charlip, Marta Renzi, The Lavender Light Gospel Choir, Trisha Brown (‘87-‘93), David Roussève, Wendy Perron, Susan Rethorst, Michel Laub/Remote Control (NL), Ralph Lemon (’99-’10), Bo Madvig (DK), Sally Silvers, Tracie Morris, Sekou Sundiata, Reggie Wilson, Dean Moss/Layla Ali, Meg Stuart, Marina Abramović, Muna Tseng, Daria Faïn & Robert Kocik, Clarinda Mac Low, Alain Buffard (FR), Deborah Hay, Yanira Castro, Tere O’Connor, BethGill, Patricia Hoffbauer, Yvonne Rainer, David Bowie, Fiona Templeton and Kaneza Schaal among many others. He has performed downtown, Off-Broadway and in London with the Drama Desk nominated a capella performance group, Hot Mouth, founded by Grisha Coleman, Jonathan Stone, Viola Sheely and Thomson.
He is a 2012 USA Ford Fellow, 2013 NYFA Fellow in Choreography, 2014 MacDowell Fellow and 2016 Yaddo Fellow. Thomson has served on the faculties of NYU/Experimental Theater Wing, Sarah Lawrence College, The New School University and Movement Research as well as teaching internationally. He has worked as an Arts Administrator and/or Database Consultant for several organizations including New York Foundation for the Arts, Merce Cunningham Foundation, Dieu Donné Papermill, National Performance Network, Movement Research and Trisha Brown Company. An ongoing advocate for dance and the empowerment of artists, he was one of the founding members of Dancer’s Forum and has served on the boards of Bebe Miller/Gotham Dance, Dance Theater Workshop and presently New York Live Arts. He holds a BA in Interdisciplinary Studies from SUNY Purchase.
Jayna Brown's areas of knowledge and interest include black expressive cultures, film, queer of color critique, anarchism, materialism and science fiction. Her first book, Babylon Girls: Black Women Performers and the Shaping of the Modern (Duke University Press, 2008) won Best Book awards from both the American Society for Theatre Research and the Theater Library Association. She has also published on African American race film and popular performance in various journals including The Journal of Popular Music Studies, GLQ, Social Text and Women and Performance. Her new book, Black Utopias: Speculative Life and the Music of Other Worlds (Duke University Press, forthcoming) traces black radical utopian practice and performance, from the psychic travels of Sojourner Truth to the cosmic transmissions of Alice Coltrane and Sun Ra.
Awards include grants from the NEA, NYFA, UNIMA, and the Guggenheim, Fulbright, and Rockefeller Foundations, among others; twice, The New York Times has named her plays among the 10 best of the year; her production Iphigenia won two New York Innovative Theater Awards; has created performances in Vietnam, Cambodia, and Korea, and travels frequently to India to develop new projects; has taught workshops to diverse populations with Hospital Audiences, Inc. and has developed classes and performances at Rikers Island prison; projects include teaching performance workshops in India as a Fulbright Scholar and developing a site-specific permanent installation at Gibb Mansion, a housing facility for homeless and chronically ill community residents, managed by Pratt Area Community Council.
Ira Livingston is Professor of HMS and director of Poetics Lab at Pratt. He is known for his exploration of past and potential future co-evolutions of cultural and scientific theory, especially via the study of emergence, complexity, and systems. His inclination to situate this exploration under the heading of an expansive conception of poetics is declared in the title of his current book-in-progress, Poetics as a Theory of Everything. Excerpts from Ira’s current and recent work (scholarship and visual art) can be found at PoeticsLab.com.
Ira is the author of three books—Where God Comes From: Reflections on Science, Systems and the Sublime (Zer0 Books, 2012), Between Science and Literature: An Introduction to Autopoetics (U. of Illinois Press, 2005), and Arrow of Chaos: Romanticism and Postmodernity (U. of Minnesota Press, 1997)—and co-editor of two collected volumes, Poetry and Cultural Studies: A Reader (with Maria Damon; U. of Illinois Press; 2007) and Posthuman Bodies (with Judith Halberstam; Indiana U. Press, 1995). His former institutional incarnations include Chair of HMS at Pratt (2007–13), and founder and director of Stony Brook University’s Cultural Studies graduate program (2010– 2013). His Ph.D. is in English from Stanford University.
Martha Wilson is a pioneering feminist artist and gallery director, who over the past four decades created innovative photographic and video works that explore her female subjectivity through role-playing, costume transformations, and “invasions” of other people’s personae. She began making these videos and photo/text works in the early 1970s while in Halifax in Nova Scotia, and further developed her performative and videobased practice after moving in 1974 to New York City, embarking on a long career that would see her gain attention across the U.S. for her provocative appearances and works. In 1976 she also founded and continues to direct Franklin Furnace, an artist-run space that champions the exploration, promotion and preservation of artists’ books, installation art, video, online and performance art, further challenging institutional norms, the roles artists play within society, and expectations about what constitutes acceptable art mediums.
Wilson, a native of Newtown, Pennsylvania, who has lived in New York since 1974, is esteemed for both her solo artistic production and her maverick efforts to champion creative forms that are “vulnerable due to institutional neglect, their ephemeral nature, or politically unpopular content.” Described by New York Times critic Holland Cotter as one of “the half-dozen most important people for art in downtown Manhattan in the 1970s,” Wilson remains what curator Peter Dykhuis calls a “creative presence as an arts administrator and cultural operative.”