Click links below to see artists by month.
For more information about the artists, please click on the images below.
In more than a decade at The Wall Street Journal, Bonds columnist Elizabeth Bernstein has covered education, philanthropy, psychology and religion – all areas in which personal relationships loom large. In her work, she has ranged far and wide, from exposing the backlash against excessive emailing of baby photos to a detailed narrative reconstruction of a matricide. She has received awards from organizations including the New York Chapter of the Society of Professional Journalists’ Deadline Club, the Education Writers Association and the American Psychoanalytic Association. Now, Elizabeth is using her acquired insights and expertise to explore the manifold aspects of human interactions, whether at home, at work or among friends.
Previous to her current position, Elizabeth was a reporter for the Journal’s Weekend Journal section, where she wrote about religion and higher education and focused on national trends. She also launched a weekly philanthropy column at the Journal and served as the Journal’s philanthropy reporter.
Before joining the Journal in 2000, Elizabeth wrote for various publications, including New York Magazine, Forbes, the Chicago Tribune, the Village Voice and Publisher’s Weekly.
Elizabeth received a bachelor’s degree in journalism and English from Indiana University and a master’s degree in journalism with honors from Columbia University. In June, 2008, she completed a Knight Science Journalism Fellowship at MIT, which focused on brain science. She lives in Miami, where she is an avid sailor and scuba diver.
Joseph Cassara was born and raised in New Jersey. He holds degrees from Columbia University and the Iowa Writers’ Workshop. He is the author of THE HOUSE OF IMPOSSIBLE BEAUTIES (Ecco, 2018) which is a finalist for the Lambda Literary Award in Gay Fiction, the Edmund White Award for Best Debut Novel, and was the winner of the National Arts & Entertainment Journalism Award for Best Fiction Book of 2018. He has been the recipient of fellowships from the MacDowell Colony and the Fine Arts Work Center in Provincetown. He is currently an assistant professor of creative writing at the California State University, Fresno.
Sandra Williams is a visual artist that works across a broad range of mediums including cut paper, Community Art, murals and painting. Her work has been exhibited at SOFA New York, Ann Nathan Gallery in Chicago, the Museum of Contemporary Art in St. Louis, Missouri and National Amazon University in Puerto Maldonado, Peru. Her work is included in the Howard Tullman Collection, The Museum of Contemporary Craft in Portland Oregon and several private collections. She has been an artist in residence at BigCi (Bilpin International Ground for Creative Investigation, Australia) Arquetopia, Puebla, Mexico, Wayfarers, New York, New York, The Contemporary Crafts Museum in Portland, Oregon and with the Amazon Conservation Association in Madre de Dios, Peru. Recognition for her work in Community Arts includes a Mayor’s Art Award, ten Parents Association Awards for Contributions to Students, and two Hixson-Lied Awards for Outreach, Engagement and Service. Her most recent work contains variations on the theme of ecotone, the area where two communities meet and integrate. Traditionally, the term refers to ecological communities, such as the zone where the plains and desert meet the rainforest and the biodiversity that occurs there. Yet it can also refer the zone where “nature” and “culture” intersect—where city meets the preexisting natural environment and the tension resulting from this intersection. It may also refer to a metaphorical overlapping of narrative and place. The cut paper works tell an urgent, timely store that words alone cannot hold. The arts have long communicated issues, influenced and educated people, and challenged dominant paradigms by providing a throughway to share subtle narratives, hidden stories. Where words fail, visual arts provide a conducive atmosphere for receiving information, encouraging people to reflect on unpalatable topics through the lens of aesthetics. The work in Ecotone brings somber but vital content—remote, endangered landscapes and disappearing species—to new audiences.
Additional work includes social practice projects that range from working with incarcerated populations on the improvement and development of soft goals to large scale events engaging 800-1500 community members on activities that mainstream marginalized populations.