ART SHAPE MAMMOTH
Board of Directors
Margaret Coleman finished her BFA from the University of MN in 2005 and her MFA from Pratt Institute in 2009. She is currently a PhD candidate in Philosophy and Aesthetics at Institute for Doctoral Studies in the Visual Arts, researching the conceptual structure of the Art World as an artistic medium. She collaborates on most projects and doesn't differentiate between curatorial work, artistic practice, and life. She curated for Thomas Hunter Projects at Hunter College from 2011-2012, and was Curator in Residence at Loft 594 in Bushwick in 2013-2014. She is Executive Director of ArtShape Mammoth, a nonprofit organization with a mission to connect artists with new communities and offer alternatives to traditional gallery structures. She co-directs the Visitor Center Artist Camp in the Upper Peninsula of Michigan where ASM hosts a Sustainable Art Symposium each summer. She has received several grants and awards for her work including from Jerome Foundation, NES Artist Fellowship, Awesome Without Borders, Pollination Project, and Michigan Department of Economic Development.
Jim Costanzo is an interdisciplinary artist who lives in Brooklyn and teaches at Pratt Institute. He was a founding member of REPOhistory, an artist collective that created site-specific public artworks based on issues of class, race, gender and sexuality.
In 2008 he launched the Aaron Burr Society which is dedicated to exposing the myths of Free Markets and Free Trade while challenging the integrity of Wall Street and their corporate cronies. In 2011 he participated in the Occupy of Wall Street and continues working with the groups that emerged after the eviction from Zuccotti Park. They include Strike Debt, Rolling Jubilee, Making Worlds based on the Commons and Occupy Museums. In 2015 he published an article on the Aaron Burr Society and Occupy Wall Street with the University of Amsterdam’s MoneyLab Reader and presented at their conference based on the publication. He also presented at conferences for the Public Banking Institute, Union for Radical Political Economists, the Observatory for Debt and Globalization in Barcelona, Spain and he represented Occupy Museums at a conference at the University of Cambridge, England titled Art • Money • Crisis.
Amy Joy Hosterman is a ceramic sculptor from Minnesota, now living and working in Colorado. She received her BFA in ceramics from the University of Minnesota, and studied at the Glasgow School of Art in Scotland. Fascinated by natural cycles and technical processes, she is a ceramics materials expert and experimental kiln-builder. She has been teaching ceramics workshops for over ten years and has received grants for her work on projects in Minnesota and Michigan, including Irrigate Arts, Awesome Without Borders, Pollination Project, and Michigan Department of Economic Development. Hosterman is currently the Program Director for Art Shape Mammoth, and co-director of the Visitor Center Artist Camp in Ewen, MI, where she has developed comprehensive clay programming for an annual two-week artist workshop, creating ceramic sculpture by hand-processing the local clay deposits and firing the clay on-site using locally available tools and materials.
Joshua Hosterman earned his BFA in sculpture at Minneapolis College of Art and Design and has additionally studied social sciences and economics. He comes from a family of technical types and has been making objects by hand and machine his whole life. Josh practices visual and relational art. He has managed a non-profit teaching wood shop, worked in the preservation bindery at a large public library, hosted custom sex toy crafting workshops, opened an anarchist community center, and received public art grants. Nowadays, he mostly enjoys drawing pictures, going for walks, and helping others create objects and situations. He is currently the Operations Director for Art Shape Mammoth, co-directs the Visitor Center Artist Camp, and is apprenticing to tattoo at NoCo Studio Tattoo in Loveland, CO. He is an enthusiast of the precision of the human hand, eye, and intuition.
Taya Jacobs is a musician in Portland, Oregon. She holds a Bachelor of Music Therapy degree from Marylhurst University, with an emphasis in Jazz Piano. Each week Taya travels the community mentoring young musicians from ages 5-15 to develop their skills in piano, voice, guitar, and songwriting/composition. Recently she collaborated in the writing of a musical with playwright Gordon McCormack. Outside of work Taya is a member of several bands as a singer, songwriter, keyboardist, and washboard player.
Jeanine Malec has worked in, on and around the Minneapolis/St.Paul Arts scene for over fifteen years. Educated at the recently shuttered College of Visual Arts, and with an MFA in Ecological Architecture through Vesper College, she has served on boards for Powderhorn Empty Bowls, Vesper Aitilier and currently with Art Shape Mammoth. Jeanine currently works at Gallery 360 and creates sculptural art jewelry and stenciled ceramics under the moniker Nest and Tessellate. She is interested in helping to develop artistic dialogue between states and nations on what’s happening here, there, and in the present. How can we help each other describe and define what’s real now?
Katie Urban is a video and installation artist based in Brooklyn, NY. Katie received her Bachelor of Arts in Visual Art and German from Bowdoin College in 1999. She has exhibited internationally, including shows at the Museo de Arte de Puerto Rico in San Juan, Puerto Rico, BioPol Laboratories in Skagaströnd, Iceland and Denise Bibro Fine Art in New York, NY. Video screenings include International Festival Signes de Nuit in Paris, France, Bideodromo International Experimental Film and Video Festival in Bilbao, Spain and Alice Austen House in Staten Island, NY. Katie has created public installations for Bienalsur International Contemporary Art Biennial of South America in Buenos Aires, Argentina, Infecting the City in Cape Town, South Africa and Art in Odd Places in New York, NY. Her work has been published in Sculpture and Public Art Review magazines