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.