Shift Space Shift Space is a publication exploring new media landscapes and spotlighting
the inaugural Knight Arts + Tech Fellows:
Black Quantum Futurism is an interdisciplinary creative practice between Camae Ayewa and Rasheedah Phillips exploring the intersections of futurism, creative media, DIY aesthetics, and activism in marginalized communities through an alternative temporal lens. Their work focuses on the recovery, collection, and preservation of communal memories, histories, and futures. BQF has produced a number of experimental music projects, exhibitions, writing, films, performances, and community-based events, including the award-winning Community Futures Lab.
BQF is a 2018 Velocity Fund Grantee, 2018 Solitude x ZKM Web Resident, 2017 Center for Emerging Visual Artists Fellow, 2017 Pew Fellow, 2016 A Blade of Grass Fellow, and has presented, exhibited, and performed at Red Bull Arts, New York; Institute of Contemporary Arts, London; Manifesta 13, Marseille; Chicago Architecture Biennial; Serpentine Gallery, London; Philadelphia Museum of Art; Open Engagement, Chicago; and more.
Rashaad Newsome draws from diasporic traditions of improvisation, advertising and the internet, art history, and Black and queer culture to produce counter-hegemonic work that walks the tightrope between creative computing, social practice, abstraction, and intersectionality. Collage acts as a theoretical, conceptual, and technical method to construct a new cultural framework of power that celebrates Black contributions to the art canon and creates innovative and inclusive forms of culture and media.
Newsome was born in 1979 in New Orleans, Louisiana, where he received a BFA in Art History at Tulane University in 2001. In 2004, he received a certificate of study in Digital Post Production from Film/Video Arts Inc. and studied MAX/MSP Programming at Harvestworks Digital Media Art Center. He has exhibited and performed extensively in galleries, museums, institutions, and festivals, including the Studio Museum in Harlem, New York; the Whitney Museum of American Art, New York; Brooklyn Museum; MoMA PS1; SFMOMA; New Orleans Museum of Art; Centre Georges Pompidou, Paris; and The Garage Center for Contemporary Culture, Moscow.
Rodolfo Peraza is a Cuban-born multimedia artist whose work focuses on public spaces, both virtual and physical. In 2009, Peraza founded Fanguito Estudio in Havana, and in 2013, he launched the VRLab for the development of browser-based VR technology. In 2016, Peraza created MUD Foundation to advance the intersections between art and digital technologies by implementing artistic and educational programs.
Peraza holds an MFA from The University of Arts of Cuba (Instituto Superior de Arte). His work has been exhibited internationally at events such as SIGGRAPH, Los Angeles; the Pérez Art Museum, Miami; the Wifredo Lam Center for Contemporary Art, Havana; the XII and XIII Havana Biennial; Künstlerhaus, Vienna; and the Jumex Collection, Mexico City, among others. His work has also been included in the AGO Museum in Toronto, and the JUMEX permanent collections. Among other recognitions, his project Pilgram: Naked Link 2.0, received the Cannonball’s WaveMaker Grant.
Sondra Perry makes videos, performances, and installations that foreground digital tools as a way to critically reflect on new technologies of representation and remobilize their potential. Her works examine how images are produced in order to reveal the way photographic representations are captured and re-circulated. Perry was born in Perth Amboy, New Jersey, raised in New Jersey and North Texas, and has lived and worked in Newark, New Jersey since 2019. She received her MFA from Columbia University in 2015 and her BFA from Alfred University in 2012.
Perry’s solo exhibitions include Museum of Contemporary Art Cleveland; Luma Westbau, Zürich; Institute of Contemporary Art, Miami; Disjecta, Portland; Serpentine Sackler Gallery, London; Seattle Art Museum; Squeaky Wheel, Buffalo; The Kitchen, New York; and Institute for New Connotative Action, Seattle. Perry has participated in residencies at the Houston Museum of Fine Arts, RECESS, Skowhegan School of Painting and Sculpture, Ox-bow, Vermont Studio Center, and the Experimental Television Center.
Stephanie Dinkins is a transmedia artist who creates platforms for dialogue about race, gender, aging, and our future histories. Dinkins’s art practice employs emerging technologies, documentary practices, and social collaboration toward equity and community sovereignty. She is particularly driven to work with communities of color to co-create more equitable, values grounded social and technological ecosystems.
Dinkins exhibits and publicly advocates for equitable AI internationally. Her work has been generously supported by fellowships, grants, and residencies from Berggruen Institute, Onassis Foundation, Stanford Institute for Human-Centered AI, Creative Capital, Sundance New Frontiers Story Lab, Eyebeam, Data & Society, Pioneer Works, NEW INC, and The Laundromat Project. Dinkins is a professor at Stony Brook University where she holds the Kusama Endowed Chair in Art.
Rahel Aima is an art critic, writer, and editor based between Brooklyn and Dubai. She is currently an associate editor at Momus and was formerly the founding Editor-in-Chief of THE STATE, in addition to previous positions with Art Review Asia, The New Inquiry, Ibraaz, Brownbook, and Guernica. Her writing has appeared in 4Columns, Artforum, Art in America, ArtNews, Mousse, and The New Republic, among many others, and she has been profiled in Elle India and New York Magazine. Aima received a 2018 Andy Warhol Foundation Arts Writers Grant in Short-Form Writing.
Taja Cheek is a multi-instrumentalist, songwriter, vocalist, and curator from Brooklyn. She works as Curatorial Assistant at MoMA PS1, where she organizes the ongoing Warm Up series and Sunday Sessions, among other programming. Prior to MoMA PS1, she has worked closely with artists to realize projects at institutions including Creative Time, The High Line, and Weeksville Heritage Center. She has been profiled in The Creative Independent, Interview Magazine, Teen Vogue, and The Village Voice. In 2017, Cheek released her self-titled debut LP as L’Rain.
Nora Khan is a critic, an educator, and a curator. She is on the faculty of Rhode Island School of Design, in Digital + Media, and has two short books: Seeing, Naming, Knowing (The Brooklyn Rail, 2019), on machine vision, and with Steven Warwick, Fear Indexing the X-Files (Primary Information, 2017). Forthcoming this year is The Artificial and the Real, through Art Metropole. She is currently an editor of Forces of Art: Perspectives From a Changing World, alongside Serubiri Moses and Carin Kuoni.
Willa Köerner is a future-focused writer, editor, creative strategist, and space-maker. She directs The Strange Foundation, an internet-and-nature-infused space in New York’s Catskill Mountains, where she oversees their signature Decelerator residency program. Currently, she is a Cultural Futures Fellow with NEW INC and the New Museum, as well as a Contributing Tech Editor for the Pioneer Works Broadcast. In the past, she directed editorial initiatives at The Creative Independent and Kickstarter, and many years ago, she helped pioneer SFMOMA's award-winning digital engagement program. Recently, she's been working with organizations that are focused on reengineering the internet to better serve artists.
Tommy Martinez is a New York City-based technologist and arts worker exploring algorithmic approaches to music-making, simulation, and manifestations of identity and history in electronic culture. He is currently the Director of Technology at Pioneer Works in Brooklyn, where he facilitates support for artists producing experimental, socially engaged digital experiences. He has lectured on sound and electronic art at UC Berkeley, Stanford University, NYU, Parsons, Teachers College, Columbia University, Sarah Lawrence College, and Kunstakademie Düsseldorf. thomasjohnmartinez.com
Kameelah Janan Rasheed grapples with the poetics, politics, and pleasures of the unfinished and uncontained. She is invested in Black storytelling technologies that invite us to consider ways of [un]learning that are interdisciplinary, interspecies, and interstellar. Engaging primarily with text, Rasheed works across different substrates and compositional fields. She works on the page, on walls, and in public space to create associative arrangements of letters, words, and shapes that invite an embodied and iterative reading process. She is the author of two artist books, An Alphabetical Accumulation of Approximate Observations (Endless Editions, 2019) and No New Theories (Printed Matter, 2019).
Legacy Russell is a curator and writer. Born and raised in New York City, she is the Associate Curator of Exhibitions at The Studio Museum in Harlem. Russell holds an MRes with Distinction in Art History from Goldsmiths, University of London with a focus in Visual Culture. Her academic, curatorial, and creative work focuses on gender, performance, digital selfdom, internet idolatry, and new media ritual. Russell’s written work, interviews, and essays have been published internationally. She is the recipient of the Thoma Foundation 2019 Arts Writing Award in Digital Art, a 2020 Rauschenberg Residency Fellow, and a recipient of the 2021 Creative Capital Award. Her first book Glitch Feminism: A Manifesto (2020) is published by Verso Books. Her second book, BLACK MEME, is forthcoming via Verso Books.
Mindy Seu is a New York-based designer and researcher. She holds an M.Des from Harvard's Graduate School of Design and B.A. in Design Media Arts from University of California, Los Angeles. Formerly she was a fellow at Berkman Klein Center for Internet and Society and Internet Archive and a designer at 2×4 and the Museum of Modern Art. Seu has given talks at Barbican, Princeton, CalArts, Parsons, Pratt, and RISD, among others. Seu joined the faculty of Rutgers Mason Gross School of the Arts and the Yale School of Art in 2019.
Kathryn Yusoff is Professor of Inhuman Geography in the School of Geography at Queen Mary University of London. Her research examines how inhuman and nonorganic materialities have consequences for how we understand issues of environmental change, race, and subjectivity. Most recently, she is author of A Billion Black Anthropocenes or None (University of Minnesota Press, 2018); SI on “Geosocial Formations and the Anthropocene” (with Nigel Clark) in Theory Culture and Society; “Epochal Aesthetics” in e-flux; and “The Inhumanities” in The Annals of American Association of Geographers. Her forthcoming book, Geologic Life: Inhuman Intimacies and the Geophysics of Race, addresses the histories of geology and the gravities of race.
Salome Asega is an artist and researcher based in Brooklyn. Asega has participated in residencies and fellowships with Eyebeam, New Museum, The Laundromat Project, and Recess. She has exhibited at the Shanghai Biennale, MoMA, Carnegie Library, August Wilson Center, Knockdown Center, and more. She has also given presentations and lectures at Performa, eyeo, Brooklyn Museum, MIT Media Lab, NYU, and more. She is currently a Ford Foundation Technology Fellow landscaping new media artist and organization networks. She sits on the boards of National Performance Network and POWRPLNT, a youth digital art collaboratory. Asega received her MFA from Parsons at The New School in Design and Technology, where she teaches classes on speculative design and participatory design methodologies.