Guillermo Gómez-Peña was born in Mexico City and moved to the US in 1978, where he established himself as a performance artist, writer, activist, and educator. He has pioneered multiple media, including performance art, experimental radio, video, performance photography and installation art. His eight books include essays, experimental poetry and chronicles in both English, Spanish and Spanglish.
Most of his artistic and intellectual work concerns the interface between North and South (Mexico and the U.S.), border culture and the politics of the brown body. His original interdisciplinary arts projects and books explore borders, physical, cultural and otherwise, between his two countries and between the mainstream U.S. and the various Latino cultures: the U.S.-Mexico border itself, immigration, cross-cultural and hybrid identities, and the confrontation and misunderstandings between cultures, languages and races. His artwork and literature also explore the politics of language, the side effects of globalization, “extreme culture” and new technologies from a Latino perspective. He is a patron of the London-based Live Art Development Agency. Gómez-Peña received both his B.A. (1981) and M.A. (1983) from California Institute of the Arts. He studied Linguistics and Latin American Literature at the UNAM (1974–1978, Mexico City).
Ms. Deamer is principal of the firm, Peggy Deamer. Prior to this, from 1986 to 2002, she was a partner in the architectural firm of Deamer + Phillips. She is the Assistant Dean at Yale University’s School of Architecture where she teaches design and history/theory. She has also taught at the Cooper Union, University of Kentucky, Barnard College, Columbia University and Princeton University, among other institutions. She received her BA from Oberlin College, her BArch from the Cooper Union, and her Ph.D. from Princeton University. Her design work has been published in Progressive Architecture, House and Garden, The New York Times Magazine, among other journals and newspapers.
Her Ph.D. was on the English 20th century art and architecture critic Adrian Stokes, who was analyzed by Melanie Klein and saw his aesthetic work as an extension of her psychoanalytic theories. Deamer’s current work concentrates on how theories of form and architectural production – especially prefabrication and mass-customization – influence contemporary culture. Articles written by her have been published in Assemblage, Perspecta, Architecture and the Everyday and Drawing Building Text, among other publications. She is the editor of The Millenium House, based on a studio she taught at Yale. She has served on the board of the New York Foundation for the Arts, Journal of Architecture Education (where she was Design Editor) and currently serves on the board of Storefront for Art and Architecture and Yale’s student journal, Perspecta.
Douglas Kearney is a poet/performer/librettist. Cultural critic Greg Tate remarked that Kearney’s National Poetry Series selection, The Black Automaton (Fence Books, 2009), “flows from a consideration of urban speech, negro spontaneity and book learning.” Crescent City, a hyperopera composed by Anne LeBaron, premiered in Los Angeles in 2012. A Cave Canem fellow, he has received a Whiting Writers Award, a Coat Hanger award, MAP Fund grants and several fellowships. Kearney teaches in the School of Critical Studies at CalArts, but has also lectured in the Music and Theater schools. Red Hen Press will publish Patter in 2014.