Editors

Kathleen Quillian received her MFA in New Genres from the San Francisco Art Institute in 2003. Her work has been shown most recently in "Space Available" at the Walter and McBean Galleries, San Francisco and in "Sympathetic Vibrations" at the Pacific Film Archives, Berkeley, CA. When she is not devoting her life to ATA as the Gallery Co-ordinator and Co-editor for the webzine, she is working with her collaborator (Gilbert) on "The International Transentient Cartographicacy Project", which has already taken them to Mexico City and will, in June, take them to Dublin, Ireland to present it at the James Joyce Festival. More about her life as an artist can be found at http://www.dprojx.org/about/kathleen/. She is a language enthusiast, a fair judge of character and possesses a rather cryptic sense of humor. [email protected]

Gilbert Guerrero has been a volunteer at ATA since 1998. He has been a webmaster, an HTML workshop instructor, and curated several important shows including Leather Tongue VS Lost Weekend video store face-off, Punk Made Movies co-sponsored by the Epicenter Zone and Mission Records, Adam Industry’s Scratch ‘n’ Sniff, and most recently Birdsongs of the Bauhauroque. He has written, edited and illustrated for several Berkeley publications including Rasputin’s Manifesto Music Magazine, UC Berkeley’s The Heuristic Squelch, and the Cloyne Court Hotel Crier. [email protected]

Contributors

Luke Matthew Hones has pursued a career highlighted by innovation in response to the many challenges facing media arts organizations. In ten years at the Bay Area Video Coalition (BAVC) in San Francisco, he developed a model video preservation program and closed-captioning center, attracting funding from the National Endowment for the Arts, Toshiba and NEC. His initiative to train dance performers to create their own documentation or include video in their work led to the creation of a consortium of arts groups funded by the National Initiative to Preserve American Dance. Other concrete achievements include overseeing the technical installation of BAVC into a new, accessible, state-of-the-art facility in 1996, developing a plan for BAVC to serve as Executive Producer on projects for noncommercial clients, and initiating Joblink, a city-funded program to train limited-income people for careers in the multimedia field. In 1999 he became the Executive Director of Artists' Television Access (ATA), a volunteer-run media arts center located in the heart of San Francisco's burgeoning Mission District. At ATA he has focused on fundraising, improving the organization's financial health and technical infrastructure and hiring staff. He has moderated panels at Media industry, Media arts and Arts Conservation conferences. He is a consultant with media art centers in the U.S. and writes frequently for DV Magazine. [email protected]

Kent Howie is on ATA's Board of Directors. He received his MFA from the San Francisco Art Institute. Kent's work is about common feelings and experiences and is not interested in finding his own signature style. Themes that run through Kent's work are things like death, childhood, sadness, suicide and the enigmatic. Kent likes the idea of being a different artist every day. He has most recently exhibited in the Jochen Gerz Anthology of Art (http://www.anthology-of-art.net). Kent has been very interested in working with all kinds of groups and individuals and collectives and has facilitated over 100 exhibitions, screenings and performances. Kent has spent the last three years exploring televisions' ubiquitiy within our culture and the media's vampiric introjection through ATA's weekly television show (ATV). Kent draws, writes and likes movies like "Dawn of the Dead" and "Satantango." He works for Project Open Hand's H.I.V department. Kent currently has five baby parakeets and the world's oldest living canary "Butterball Jones" living with him right now and he thinks it's funny. Kent likes words like snowflake, rat's ass, lovening, fuck dumb shit, fatass, bastardo, Finkelstein, pumpkin, zombie, pretentia and oyster. [email protected]

After studying and working as a classical musician, Charles Gute left music to pursue visual art. He received his MFA from the New Genre department of the San Francisco Art Institute in 1988. Since then he has participated in numerous solo and group exhibitions at venues including New Langton Arts, Yerba Buena Center for the Arts, Christopher Grimes Gallery, Mincher/Wilcox Gallery, the UCLA Hammer Museum in Los Angeles, San Francisco Arts Commission Gallery’s “Exploration: City Site,” the Berkeley Art Museum, and Gale Gates Gallery in New York. He has had several solo exhibitions at Patricia Sweetow Gallery in San Francisco, where he is represented. He has been a recipient of the Jack K. and Gertrude Murphy Fine Arts Fellowship given by the San Francisco Foundation, and was a MacDowell Colony Fellow in 2003. He recently presented a new large-scale work as part of the exhibition “The Lineaments of Gratified Desire“ at Catherine Clark Gallery in San Francisco, and will be included in “The Anthology of Art” opening in 2004 at Martin Gropius Bau in Berlin and traveling to ZKM in Karlsruhe. He is based in Brooklyn. [email protected]