ICPP has a small group of core faculty members from Wesleyan University and other institutions including MoMA, Lower Manhattan Cultural Council, and Danspace Project. Additionally, there will be guest instructors and lecturers from other universities and arts institutions.


Katherine Brewer Ball teaches in the Theater Department at Wesleyan University, where she previously served as the Mellon Postdoctoral Fellow at Wesleyan's Center for the Humanities from 2013-2014. Brewer Ball earned her PhD in Performance Studies at New York University's Tisch School of the Arts. Her research and teaching interests include performance, visual culture, Black, Indigenous, and Latina/o/x aesthetics, feminist theory, queer studies, and psychoanalysis. Her current book project, The Only Way Out Is In: The Queer & Minoritarian Performance of Escape, traces contemporary literature, theater, and performance works by Glenn Ligon, Tony Kushner, Sharon Hayes, and Junot Diaz. Brewer Ball is currently conducting research on a second book project which focuses on contemporary Alaska Native performance and art. Brewer Ball is a member of the Sexual Politics Sexual Poetics queer theory collective and in 2015 she was named a finalist for the Andy Warhol Foundation Arts Writers Grant. Her work has been published, or is forthcoming, in Women & Performance, A Journal of Feminist Theory, WSQ: Women's Studies Quarterly, Criticism, RECAPS, Little Joe, Dirty Looks, Media-N: Journal of the New Media Caucus, Artforum.com and by ONE National Gay & Lesbian Archives. In addition to teaching, Brewer Ball curates performance and art events, including the monthly NYC performance salon, Adult Contemporary, and publishes non-fiction. 


Eric Charry is a Professor of Music at Wesleyan. His work includes the music of West African griots, the globalization of hip hop, the emergence of an avant garde in jazz in the 1950s and 60s, and the music cultures of downtown New York City in the same era. Charry has carried out extended research in India, Mali, Senegal, Guinea, The Gambia, and Trinidad. He has presented his work on African music, jazz, and improvisation widely and has published extensively, including dictionary and encyclopedia entries, journal articles, and books (Mande Music, 2000; Hip Hop Africa, 2012). In 2011, he directed a National Endowment for the Humanities Summer Institute, Ethnomusicology and Global Culture, at Wesleyan.


Elijah Huge is an architect and director of the design firm Periphery. Exploring the interactions between landscape, regulatory systems, and architecture, his work includes award-winning competition entries for the High Line (New York, NY), the Bourne Bridge|Park (Bourne, MA), and the Tangshan Earthquake Memorial (Tangshan, China). His writings and design work have been featured in Praxis, Thresholds, Perspecta, Architectural Record, Landscape Architecture, Dwell, Journal of Architectural Education, and Competitions. A graduate of the Yale School of Architecture, he received the AIA Henry Adams Medal and was editor of Perspecta 35: Building Codes. His current scholarly research examines the historical emergence of architectural emergency devices, from the automatic sprinkler head to the Vonduprin panic bar. At Wesleyan, Elijah Huge leads the architecture studio track and the atelier North Studio within the Department of Art & Art History. Focused on developing and producing research and conceptually driven projects with real-world clients, North Studio is both a locus for architectural design education within the context of Wesleyan University's liberal arts curriculum and a laboratory for design research and fabrication.


Judy Hussie-Taylor has twenty years of experience in non-profit arts programming and administration. She is the former Director of the Colorado Dance Festival (CDF), served as Artistic Director for Performance Programs at the Boulder Museum of Contemporary Art and was Deputy Director of the Museum of Contemporary Art/Denver. From 2000 - 2004 she taught in the Department of Art & Art History at the University of Colorado-Boulder and served as faculty, committee member and director of the Department's Visiting Artist Program. Since taking the helm at Danspace Project she has developed a critically acclaimed series entitled "PLATFORMS 2010" which features artist curators and new contexts for dance presenting in New York City. As part of this program she is editor of a new series of catalogues published by Danspace Project.

Thomas J. Lax is Associate Curator in the Department of Media and Performance Art at the Museum of Modern Art. Since his appointment, he has organized Steffani Jemison: Promise Machine (2015); Greater New York (2015, with Douglas Crimp, Peter Eleey, and Mia Locks); Maria Hassabi: PLASTIC (2016); Neïl Beloufa (2016); and the publication Ralph Lemon (2016). Previously he served as Assistant Curator at The Studio Museum in Harlem. While at the Studio Museum, he organized over a dozen exhibitions including When the Stars Begin to Fall: Imagination and the American South (2014) and the Studio Museum’s presentation of Radical Presence: Black Performance in Contemporary Art (2013). In 2008, he developed and launched the Museum’s VideoStudio program, an ongoing series of exhibitions of time-based art; in 2011, he initiated Studio Lab, a think tank and short-term residency program for ideas in formation. At the Studio Museum, he also organized Ayé A. Aton: Space-Time Continuum (2013); the New York presentation of David Hartt: Stray Light (2013); Fore (2012, with Lauren Haynes and Naima J. Keith); Ralph Lemon: 1856 Cessna Road (2012); Lyle Ashton Harris: Self/Portrait (2011); a collaboration with the Goethe-Institut, New York, OFF/SITE (2010); Mark Bradford: Alphabet (2010); Kalup Linzy: If it Don’t Fit (2009); among others. He has contributed to artist monographs locally and internationally for venues including Artists Space, New York; Haus der Kunst, Munich; Jeu de Paume, Paris; Kunstnernes Hus, Oslo; MoMA PS1, New York; and the Whitney Museum of American Art, New York. He is a contributor to ArtforumArt in AmericaArt Journal, and Mousse. He has lectured widely at institutions including the Louisiana Museum, Copenhagen (2015); the Kunsternes Hus, Oslo (2015); the Walker Art Center (2015); Hirshhorn Museum and Sculpture Garden, Washington D.C. (2014); the Hammer Museum, Los Angeles (2013); Columbia University, New York (2013); the Jeu de Paume, Paris, (2013); the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art (2013); New York Live Arts (2012); and Danspace Project, New York (2012 and 2014).  He is also on the Advisory Committee of the Vera List Center for Arts and Politics; on the Arts Advisory Committee of the Lower Manhattan Cultural Council; a member of the Catalyst Circle at The Laundromat Project; and on the Advisory Board of Recess.  He received his AB from Brown University and his MA in Modern Art from Columbia University.



Noémie Solomon works as a writer, teacher, dramaturge, and curator in the field of contemporary choreography. She has been teaching dance and performance theory at Brown, McGill, and Hollins Universities and holds a Ph.D. in performance studies from New York University. She edited DANSE: An Anthology and DANSE: A Catalogue, which gather key texts on contemporary choreography across French and English languages (Les Presses du réel, 2014; 2015). Her writing and translations have been published in various journals and anthologies, such as Dance Research Journal, TDR, Movement Research, Planes of Composition, and Perform Repeat Record. She worked as a choreographer and performer on the redoing of Allan Kaprow's 18 Happenings in 6 parts, directed by André Lepecki (Haus der Kunst, 2006; PERFORMA 2007) which was awarded best performance in 2007 by the Association Internationale des Critiques d'Art. She collaborated on a series of dramaturgical and curatorial initiatives in the dance field internationally, including: Dance on Time with Gurur Ertem (iDANS, Istanbul, 2009); Self-Methodologies with Sandra Noeth (Tanzquartier, Vienna, 2011); the Photomusée de la danse with Tim Etchells (Festival d'Avignon, 2011); Solos and Solitudes with Jenn Joy (Danspace Project, NYC, 2012-13); and Dancing is talking / Talking is dancing with Jenny Schlenzka (MoMA PS1, NYC, 2014). Car c'est par la fragilité que la révolution œuvre, a dance work co-created with Adam Kinner, premiered in Montréal in May 2016. Noémie is program director at the Institute for Curatorial Practice in Performance at Wesleyan University.


Nicole Stanton is currently an Associate Professor of Dance and Fellow in the College of the Environment at Wesleyan University. She received her MFA in choreography from the Ohio State University (OSU) and her BA in Dance and Foreign Civilizations and Languages from Antioch College. She studied West African dance with the Maimuna Keita African Dance Company in Senegal, West Africa and Contemporary Dance Technique at the Center for New Dance Development in Arnhem, Holland. She was a faculty member with the OSU Department of Dance for ten years, serving as Chair of Undergraduate Studies for four years. In addition to her academic appointments, she is a choreographer, performer, community activist, costumer and arts administrator. 


Steven Taylor was Allen Ginsberg's principal musical collaborator for twenty years. Since 1984, he has been a member of the poetry/rock group the Fugs. In the 1990s, he and Barbara Dilley (formerly of the Merce Cunningham Dance Company and Grand Union) collaborated on interdisciplinary courses for Naropa University's Interarts program. He holds a Ph.D. in ethnomusicology from Brown University and is the author of False Prophet: Field Notes from the Punk Underground (Wesleyan University Press, 2003). His most recent musical work is the score for “Aubade,” in collaboration with Douglas Dunn, Charles Atlas, and Anne Waldman, which was presented at the Kasser Theater at Montclair State University in January of 2014.



Paul Bonin-Rodriguez’s research operates at the intersection of arts administration, access and opportunity creation. He is the author of Performing Policy: How Politics and Cultural Programs Redefined U.S. Artists for the Twenty-first Century (2015), which assesses how arts policy research and development initiatives since the 1990s have radically reshaped artistic practices nationwide. His articles and chapters appear in Artivate: a Journal of Arts Entrepreneurship, Theatre Topics, Art Journal, Liminalities:  A Journal of Performance Studies, Applied Theatre: Economics, An Unimagined Space Beyond New WORLD Theater, and Theatre, Performance and Theories of Change. At UT, he is the founding director of the undergraduate Minor in Arts Management and Administration, which provides students with leadership training in the nonprofit and commercial sectors, as well as international production work, jobs in arts journalism, and arts entrepreneurship, to name a few. Prior to coming to UT, Dr. Bonin-Rodriguez toured the U.S. as a producing playwright, performer, dancer and worked as an arts administrator for more than two decades. His plays have been published in The Color of Theater: Race, Culture, and Contemporary Performance (Continuum, 2002), Jump-Start Playworks (Wings Press, 2004), and Text and Performance Quarterly. Nationally, he has served on a number of initiatives focused on the nation’s arts infrastructure. These include Leveraging Investments in Creativity, ArtPlace America, the Center for Arts and Social Engagement at the University of Houston, and the Institute for Curatorial Practice in Performance at Wesleyan University. For the National Performance Network/Visual Arts Network, he leads the “Knowledge Building Initiative,” which is funded by the National Endowment for the Arts’ “Our Town” program.



Joshua Lubin-Levy is a writer, dramaturg and curator based in New York City. He previously served as Curator-In-Residence and Interim Director of Visual Arts at Abrons Arts Center, and is currently completing his PhD in the department of Performance Studies at New York University. His dissertation explores queer aesthetics and the use of performance as a critical practice in the life and work of Jack Smith. His writing has been published in Women & Performance: A Journal of Feminist Theory, Anagram, Dirty Looks, Performance Blog, Bomb, as well as independently published essays through the co-founded imprint “Lumpen.” He was a 2016 - 2017 Helena Rubinstein Critical Studies Fellow in Whitney Independent Study Program and currently a Joan Tisch Teaching Fellow at the Whitney Museum of American Art, where he regularly lectures and teaches classes.


Image above: Audience for Eiko & Koma, from 2009 Retrospective Project in the Ezra and Cecile Zilkha Gallery, Center for the Arts, Wesleyan University (photo by George Ruhe)