Joanna leads the operations for Eyebeam and has a background in high-level organization management. Over the course of the past 12 years she has worked in nonprofit organizations with a focus on creative practice, technology, and social justice.
She specializes in areas of strategic planning, operations, finance management, development, and human resources. Joanna began this work in Australia managing small nonprofits, and since moving to America in 2016 has taken on bigger roles focusing more on workplace compliance, strategy development, and budgeting.
During this time she has held such positions as Acting Director at Utopian Slumps, Grant and Tour Coordinator at Regional Arts Victoria, General Manager at Going Down Swinging and most recently Director of Operations at Eyebeam in Brooklyn, New York. She has also begun offering operations consulting to organizations around New York City.
Marisa is a New York-based writer who has covered culture and politics in cities that include Casablanca, Kabul, Port-au-Prince and Istanbul. Her work has been featured in several publications, such as the Wall Street Journal, Financial Times, Time, Vogue and the New York Times. In addition to her writing, she ran a U.S. State Department-sponsored program in Casablanca that taught journalism and blogging to youth who have been marginalized.
Marisa was the founding editor of Creative Time Reports, a website from the public art non-profit Creative Time, which co-published artists’ work with The Guardian, Al Jazeera America, Foreign Policy, The New Yorker, Slate, Salon, The Intercept, and many more. Most recently, Marisa was a Kickstarter Fellow.
Lola Martinez is a curator and researcher working at the intersection of art, technology, and tropicality. Their research focuses on perceptions of tropicality in relation to the history of technological development and implementation throughout sites within the Global South.
They are currently the Curatorial and Engagement Fellow at Eyebeam and REFRESH, and were previously a Curatorial Fellow at Rhizome at the New Museum and EMPAC, The Curtis R. Priem Experimental Media and Performing Arts Center.
They have curated exhibitions and programs such as los contenedores (no) son mejores vacíos, a series of radio broadcasts which explored phenomenas within Cuban digital networks, such as El Paquete Semanal, to infiltrate and speculate upon structural formations that have influenced emerging trends in accessibility, circulation, and connection (WXBC and The Hessel Museum of Art), as well as sound performances aCCeSsions (Knockdown Center), We are the Margins (P! and Beverly’s), amongst others.
Martinez holds an MA from the Center for Curatorial Studies, Bard College and a BFA from The New School.
After a brief career in the gallery world, Munira laid the foundation for her development profession working at one of New York’s oldest economic justice advocacy/social service organizations. From there, she went on to support cultural groups that work at the intersection of arts and community building, including MoreArt, A Blade of Grass, Creative Time, Queens Museum, and National Sawdust.
Munira approaches fundraising as a story-telling practice that engages the public around shared values and mission-centric programs. Her research and writing has focused on funding inequities for community-based arts organizations and proposes catalysts for increased accessibility to arts practice and education for under-resourced populations in New York. She holds a BA from Barnard College and an MA from New York University.
As a native New Yorker, she is married and lives in Manhattan. For fun, Munira makes playlists for her preschooler and daydreams of celebrating her retirement by being a space tourist.
Maddie Pinney works in communications at Eyebeam and POWRPLNT. Previously she worked with TRANSFER Gallery, Amos Eno, and SIGNAL and contributed to Refigural Magazine. She is the founder of Jettison, a publication focused on telling stories about radical politics, queerness and art in Appalachia.
She is passionate about how technology can be transformative – in potential and peril.
J. Soto is a queer transgender interdisciplinary artist, writer, and arts organizer.
He has curated and performed work for The National Queer Arts Festival (San Francisco), Links Hall (Chicago), as well as Vox Populi (Philadelphia) among others nationally. His collaborative writing project, “Ya Presente Ayer” can be found in Support Networks, Chicago Social Practice History Series (University of Chicago Press). His organizing projects include the Latinx Artists Retreat (LXAR), which he recently launched with a group of Latinx artists and administrators and the Latinx Artist Visibility Award (LAVA) for Ox-Bow School of Art in partnership with The School of the Art Institute of Chicago.
He is also a recent fellow of the National Association of Latino Arts and Cultures Advocacy Leadership Institute (ALI). His current writing can be found in Original Plumbing and Apogee Journal: Queer History, Queer Now Folio.
He has been an active practitioner in digital and sound art, living and working on three continents. He received an MFA from Mills College and completed the non-profit management program at Harvard University.
His essays have been published by MIT Press, and he writes regularly for online publications, such as Hyperallergic and Huffington Post. He has previously written for New Music Box, Fucking Good Art, and e/i Magazine. As a sound artist, Schrock has been commissioned by Meet the Composer, the American Music Center, The Netherlands America Foundation, and Ostrava New Music Days, among others.
He teaches in the Curatorial Practice MA Program at the School of Visual Arts and has taught at the Studio for Electro-Instrumental Music (STEIM) (Amsterdam), California College of the Arts and the NYU ITP program. He sits on the board of the Netherlands America Foundation Cultural Committee.
Sally Szwed joins Eyebeam following over six years at public arts nonprofit Creative Time where she served as director of the Creative Time Summit, an annual international convening on the intersection of art and politics. During her tenure she grew the Summit in both scale and ambition, traveling iterations of the program to Stockholm, Washington DC, Toronto, Athens, and Venice as part of the 56th Venice Biennale. Prior to her role at Creative Time, Szwed served as Program Manager of EFA Project Space, at the Elizabeth Foundation for the Arts, in New York City, where she produced exhibitions and public programs. She currently co-chairs the Board of Directors of Flux Factory, a non-profit artist in residence program and community space. She holds a BFA in Sculpture from Syracuse University, and an MA in Curatorial Practice from California College of the Arts.
Yidan Zeng is an intimacy investigator living and loving in New York. Though a graduate of the Brown-RISD Dual Degree program in Computer Science and Glass, she also uses fabric, movement, and touch to explore multi-sensual forms of connection. She’s been a Create Change Fellow with The Laundromat Project, a Digital Accessibility Fellow with Lincoln Center for the Performing Arts, and a visiting glass artist at The University of Hawai’i in Mānoa. She loves finding unexpected ways to fit things into small spaces.
Robert Ransick is an artist, designer and educator having shown work at Eyebeam, Exit Art, Storefront for Art and Architecture, The New Museum, the Palazzo delle Esposizioni in Rome, Italy, and in far-flung places such as the border of the United States and Mexico, old school classrooms and public plazas. He has received funding from Franklin Furnace, the Mellon Foundation, the Boomerang Fund for Artists and the National Performance Network/Visual Artists Network. He has collaborated with Creative Time, the Center for Artistic Activism, the Aperture Foundation, and Blind Spot. Alongside his work as an artist, he has held the position of director at both the computing and photography departments at The New School for Social Research in New York. He is currently the Director of the Art and Entrepreneurship program at Bennington College’s Elizabeth Coleman Center for the Advancement of Public Action (CAPA). He holds a BFA in Photography, with honors, from the School of Visual Arts, an MA in Media Studies from the New School for Social Research and an MBA in Sustainability from Bard College.
Kathleen O’Grady is a civic volunteer, philanthropist and art collector.
A long serving board member at Playwrights Horizons, Kathleen served as the Chair of the Board for the New York Foundation for the Arts and the Aldrich Contemporary Art Museum. At the Aldrich Museum, she chaired the capital campaign for the museum expansion and renovation. She is also a member of the Drawing Committee at the Whitney Museum of American Art.
From 1999 to 2001, she and her late husband, Tom O’Grady, served as Co-Chairs of the St. Martin’s University library campaign. Ms. O’Grady is also a member of the Board of Trustees.
Zicarelli’s primary work has been in the development of the Max visual programming environment used by musicians, artists, and inventors. In the late 1990s he founded Cycling ’74 to support the development and distribution of Max. The company now employs around 30 people in seven different countries, all of whom work remotely. For Zicarelli and his co-workers, Cycling ’74 is both a software company and a vehicle for exploring the interrelated challenges of distributed work, individual development, and cultural impact. Zicarelli has developed software at IRCAM, Gibson Guitar, and AT&T and has been a visiting faculty member at Bennington College and Northwestern University. BA, Bennington College; PhD, Stanford University. He returned to Bennington as a visiting faculty member for Fall 2019.
Kaizar Campwala, the Entrepreneur-in-Residence at Al Jazeera Digital, has helped launch and build several digital media ventures. Prior to launching Jetty, a new audio brand for Al Jazeera, he co-founded CALmatters, a statehouse reporting organization in Sacramento, and led the business development and partnerships teams at Stitcher, the leading independent mobile podcast app. Kaizar is currently a board member at the San Francisco Public Press, and a mentor at the media accelerator Matter. He has an A.B. from Brown University, and an MBA from UCLA.
Jordan Harris is an experienced operating executive and entrepreneur. He is the COO of Glitch, the friendly community where millions of creators collaborate on making and discovering apps, bots, art, and anything else they can imagine. Harris is an advisor to startups and enterprise companies and a life coach at the Inspirica Women and Family Shelter. As a founder and operating executive, Harris has been recognized by many industry leading publications, such as Bloomberg, Wired, Fortune, Ad Age and Fast Companies’ list of Innovators. Harris is a graduate of The George Washington University and attended The Leadership and Change Management Program at the Harvard Business School.
Powell MacDougall founded p|m Gallery in 2004 to support bringing work by emerging and mid-career artists to the international arena through solid programming, exhibition exchanges, an annual curatorial residency programme and participation in international art fairs. In its first year, the gallery was invited to participate in New Territories at ARCO Madrid – a curated selection of galleries from Canada organized by David Liss, Director of the Museum of Contemporary Canadian Art. Prior to establishing p|m Gallery, Powell gained extensive experience in museums and the commercial art world, where she honed her ability to develop Canadian artists within the international scene, and vice versa.
Kamal Sinclair, is making the world more beautiful as the Executive Director of the Guild of Future Architects, supporting independent artists as a Senior Consultant for Sundance Institute’s Future of Culture Initiative, and makes art through a family creative practice at Sinclair Futures. Previously, she served as the Director of Sundance Institute’s New Frontier Labs Program, which supports artists working at the convergence of film, art, media and technology; and as an artist and producer on Question Bridge: Black Males.
Laura Raicovich is dedicated to art and artistic production that relies on complexity, poetics, and care to create a more engaged and equitable civic realm. She is currently working on a book about museums, cultural institutions, and the myth of neutrality (Verso, 2020), and is the recipient of both the Rockefeller Foundation Bellagio Fellowship and the inaugural Emily H. Tremaine Journalism Fellowship for Curators at Hyperallergic.
Until early 2018, she served as President and Executive Director of the Queens Museum where she oversaw an inviting and vital commons for art, ideas, and engagement. That same year, she co-curated Mel Chin: All Over the Place (with Manon Slome and No Longer Empty), the first major presentation in New York City of artist Mel Chin in more than 20 years, which occupied the entire Queens Museum and multiple public sites in the city.
Ramsey Nasser is a computer scientist, game designer, and educator based in Brooklyn. He researches programming languages by building tools that make computation more expressive and projects that question the basic assumptions we make about code itself. His games playfully push people out of their comfort zones, and are often built using experimental tools of his design. Ramsey is a former Eyebeam fellow and a professor at schools around New York.
John Dimatos is the Senior Director of Design and Technology Communities at Kickstarter. He is also a co-founder and senior advisor to Water Canary, a social venture developing a fast, networked, water‐testing device that radically reduces the amount of time, expense, and skill required to test water for pathogens. He is also adjunct faculty at the Interactive Telecommunications Program of NYU, a “laboratory for the recently possible” and home to one of the most amazing communities of makers and thinkers in NYC.
Matt is a writer, technologist and communications leader working in Brooklyn, with roots in the technology, art and electronic music communities in the Pacific Northwest. He spent 15 years in various engineering and communications roles at Microsoft, most recently on the company’s strategic prototyping team.