Pilar Bonet Julve is a researcher and teacher. She has a degree in Medieval History and a PhD in Art History from the University of Barcelona, where she teaches contemporary art and design, art criticism and curating. She is interested in the overflowing and political spaces of art: art and public space, art and design, art and feminism, art and mediumship, artist’s editions. A specialist in the life and work of the Catalan medium and artist Josefa Tolrà, she follows the trail of visionary women as an experience of new humanity. She has recently presented exhibitions on visionary women: Josefa Tolrà and Julia Aguilar, Les Bernardes de Salt (Girona); ALMA. Mediums and Visionaries, Es Baluard Museum, Palma (Mallorca); The medium and the poet. An astral conversation between Josefa Tolrà and Joan Brossa, Fundació Brossa de Barcelona. Writing and editing pacifies his soul. She manages the research group Visionary Women Art.
@pilarbonetjulve (instagram) @josefatolra (instagram) https://josefatolra.org/
Sandra Martínez has a degree in Art History. She combines teaching in the humanistic and artistic branch in high school education, with the study, documentation and research of artists who are outside the traditional circuit of art. Researcher and documentarian of the work of Josefa Tolrà since 2012, she is part of the Josefa Tolrà Association and the Visionary Women Research Group, focusing her interest on the study of creative, fluidic and enigmatic women who are outside historiography traditional art, working to give visibility, both inside and outside the classroom, to female creativity.
Nekane Aramburu is a cultural manager, museologist and curator. She has a degree in Art History and a master’s degree in Museology with an extensive international career linked to contemporary creation. She specializes in the analysis of the management and construction of cultural policies and visual production. She develops thematic projects from the direction of cultural programs, management of art centers and museums (Espacio Ciudad 1999/2010, Museo Es Baluard 2013/2019 among others) or research focused on transmedia practices and cultural ecosystems, as well as a strong feminist commitment and with education: Collective Archives and Alternatives on independent management, Faces B of video art in Spain; Matériaux Inmateriel on the mechanisms of environmental responsibility in the collections and management of FRACs in France; Mujeres Santas, a large project in Latin America focused on popular santas, a study in progress on postcolonialism that delves into issues of gender and environmental and social responsibility. Advisor to several institutions, she also works as a teacher and has published a number of books. She is part of the research group Visionary Women Art.
Her interest moves between research in contemporary art and its relationship with their audiences, the design and coordination of mediation projects or curating and management exhibitions. She is art historian, specialist in contemporary art, she has a degree in Art History and a degree in History from the Universitat de València, is graduated from Máster Oficial de Estudis Avançats en Història de l’Art and del Máster en Arte Actual: Análisis y Gestión from Universitat de Barcelona. She is currently developing her PHD focus on the use of women’s memory in contemporary artistic practices. He has worked and designed mediation and public projects for institutions such as the IVAM, Bombas Gens Centre d’Art (València) o el MuVIM (València) and she has curated and coordinated exhibition projects and publications for museums and art centers such as Es Baluard Museum (Palma), the Drassanes del Grau de València or the Centre Cultural La Nau (València). She is a founding member of the Equip351 and nowadays works at the IVAM, as manager of education and public programs, where she coordinates, designs and carries out public and mediation projects in order to connect contemporary artistic creation with its audiences.
Victoria de Lorenzo
Victoria de Lorenzo is a PhD Candidate at the University of Glasgow (expected March 2022). Victoria’s doctoral research deals with the textile trade between Great Britain and the Spanish-speaking world in the nineteenth century from a transnational perspective. In general, Victoria is interested in the use of textile objects as historical sources. From this approach, referred as material culture, Victoria co-delivered a paper titled ‘In conversation: Embroidering the inner revolt. The textile works of the artists present at Alma’, given at the opening conference of the exhibition Alma. Mediums and Visionary Women (Es Baluard, Palma de Mallorca, 2019). Most recently Victoria has published an article at the indexed journal Fashion Theory titled ‘Supplying Woollens for Cristóbal Balenciaga: A Comparative Analysis of the Commercial Strategies of Garigue and Agnona (1947-1968)’, Fashion Theory, 25.4 (2021), 481-511.Victoria is an active member from the research group Visionary Women. Victoria is currently working on a book chapter on the textile works some of these ‘visionary women’ produced. The chapter will appear in the first edited volume of the Visionary Women Research Group.
Albert Salvador is an independent researcher whose gaze traverses the realms of fashion, curatorial endeavours and beyond; bringing them together as a creative consultant on numerous projects. With years’ of personal and professional research experience, Albert Salvador’s interest in a trans-disciplinary approach that establishes links between image, fashion, identity politics and the body continues to fuel a personal desire for continuous visual exploration and discovery. Albert was part of the curatorial team of ALMA. Mediums and Visionaries, Es Baluard Museum, Palma (Mallorca) and is currently part of the Visionary Women Research Group.
@a__salvador (instagram) https://asalvador.cargo.site/
Doctora en Historia del arte, profesora e investigadora. Crítica de arte y curadora de exposiciones. Ha trabajado sobre la obra escrita y artística de Fina Miralles (artista que presentó recientemente el MACBA, 2021). Editora de ‘Paraules Fèrtils’, estudio de gran profundidad sobre los cuadernos y dietarios de vida de Fina Miralles. La experiencia visionaria de la creatividad de mujeres singulares, la presencia de lo sagrado y la perspectiva feminista definen sus territorios de investigación y relatos. Recibió el premio ACCA en 2019.
Maria José González Madrid
I have been a professor of Art History (modern and contemporary) at the Faculty of Fine Arts of the University of Barcelona and I have been a researcher at the Center de ‘Recerca de Dones Duoda’. She is currently part of the research group Visionary Women Art and the project Women, Religion and Culture in Spain and Spanish America (1900-2000) AHRC.
My latest research focuses on the study of the artist Remedios Varo, on which I presented my doctoral thesis in 2014. Together with Rosa Rius Gatell, I organized the two Remedios Varo International Seminars (UB, 2008 and 2009) and co-edited the book Remedios Varo. Paths of knowledge, creation and exile (Eutelequia, 2014). I am interested in the representations, in her work, of the transformations of the world and of her own through magic and everyday actions.
I have also investigated other artists who worked in the artistic context of the avant-garde and historical movements of the Second Republic and the Spanish civil war, as well as in exile in Mexico, and who link their work to their spiritual and transformation interests , including Maruja Mallo, Delhy Tejero and Kati Horna. She participated in numerous congresses and colloquia on these topics and lectured in Spain, Mexico, France and Ireland.
Assumpta Bassas Vila
Cuentan que nació con los ojos abiertos en la clínica Bellesguard (bella mirada). Quizás este azar la llevó a maravillarse siempre con lo que nos hace vibrar a instantes y al unísono con el qi de la vida. Aprendió de las aventuras y desventuras de la maternidad antes de escribir su tesis doctoral (2016) preguntándose, en ambos casos, sobre la libertad de las mujeres. Desde 1995 es profesora del Departamento de Historia del arte de la UB y nutre su investigación y docencia en círculos independientes de mujeres artistas e investigadoras como “Las beguinas”, “De fondus”, “Dones que cremen romaní”, “Desbordar la Universitat” y “V¬W Visionary Women Group Research”. Cuando tiene algo relevante que contar lo hace a través de la organización de exposiciones, talleres y textos. Sus recientes propuestas curatoriales han sido: En el nombre de la madre, en el nombre de la tierra, en AcVic, 2020 e Irreductibles. Performances feministas, CCCB, 2019. Practica y es monitora de qi gong (IQB, 2021).
@abassas (instagram) @BassasVila (Twitter) @Assumpta Bassas (Facebook)
Teacher and researcher at the University of Barcelona. She is an art historian and critic, she investigates the relationship between art and utopia, to which she dedicated her European doctoral thesis. Her recent work has focused on the intersection between art, social imagination, and activism.
On the aesthetics of activism, she is the author of the book Artistic Utopias of Revolt: Claremont Road, Reclaim the Streets, The City of Sol (New York and London: Palgrave, 2018). About the history of artist groups, she is the author of Friends, costumes and communes: the brotherhoods of artists of the 19th century (Cátedra) where she also addresses the connection of some of these groups with esotericism and questions of gender. Regarding marginal art, she made the introduction to the Spanish edition of the book Expresiones de la locura by Hans Prinzhorn (Madrid: Cátedra, 2012). She has also been a translator for Erwin Panofsky (The Gothic and Scholastic Architecture, Siruela).
She has published in collectives and magazines such as Third Text, Arquitectura Viva, Quintana, Lars, Boletín de Arte, El Mundo, Abc Cultural and The Nation Journal. She regularly collaborates with the Museum of Contemporary Art of Barcelona (MACBA). She has lectured at Princeton University, Columbia University, the Reina Sofía National Art Museum, the Del Prado Museum, the Warburg Haus, or the Württemgbergischer Kunstverein in Stuttgatt. As a professor, she has been a guest at New York University or the American University in Paris. She has done research at Princeton University, New York University, LAUA de Nantes and Université Picardy-Jules Verne) and Rome (Royal Academy of Spain in Rome). She was a postdoctoral fellow at the Royal Academy of Spain in Rome and at the prestigious Residencia de Estudiantes (CSIC, Madrid).
Since 2018 she has belonged to the Committee of the Society for Utopian Studies, an international network dedicated to utopian studies.
Dolors Marín es doctora en Historia Contemporánea. Investiga desde hace años las prácticas asociativas de los anarquistas españoles y colabora con los grupos que trabajan por la recuperación de la memoria del movimiento libertario. Ha dado clases y conferencias en distintos ámbitos, desde el universitario al asociativo. De su obra escrita puede destacarse Clandestinos: El maquis contra el franquismo, Ministros anarquistas, y La Semana Trágica.
PhD in Fine Arts with the thesis “The Numinous Sense of Light. Approaches between Creation and Visionary Experience”, adapted and published by Herder Editorial. She completed the doctorate curse “Art and Thought” and has a degree in Fine Arts from the University of Barcelona. She obtained an Erasmus Grant in Saint Martins University of London. She is part of the Visionary Women Art Research Group.
From the beginning of her career, the mystical texts, shamanic and transpersonal references, have been her main source of inspiration. She uses drawing and poetic writing to sketch and document dreamlike and visionary inner states that she translates and elaborates through video and photography, afterwards. The recent incorporation of digital resources allows her to show and reveal what seems invisible to ordinary vision, but, above all, the photographic technique is at the service of what motivates her to create; an intimate, exalted and joyous perception of reality.
Is a visual artist who works between Edinburgh, London and Barcelona. Awarded a PhD in Fine Art from the University of Barcelona in 2016, her research focusses on the methodologies used by scientists, artists and visionaries to visualize the invisible.
This research has led to collaborations with programmers and scientists at CitiLab (Cornella), the VHIR, Barcelona and the Chemistry Department of the University of Barcelona and more recently at the Museu Moli de Paper in Capellades.
Her consideration of the visualisation of the invisible has led her to form part of the research groups IMARTE (UB), ARE (Art, Resilience and Economy (Independent) and the Visionary Women Research Group led by Dr Pilar Bonet. .
She teaches visual creation at EINA, Centre Universitari de Disseny i Art in Barcelona and has lectured at the University of Barcelona, Winchester School of Art, Duncan of Jordanstone, Europaïsche Kunstakademie Trier and MassArt (Boston). Her work has received awards from the Elizabeth Greenshields Foundation (Canada), the RSA, Arena Foundation, AENA and has undertaken residencies at the Museu d’art de Sabadell and the Irish Museum of Modern Art.
Andrea Graus Ferrer
Andrea Graus is a Beatriu de Pinós Fellow at the Milà i Fontanals Institution (CSIC) in Barcelona. Previously, she was a Marie Curie Fellow at the Centre Alexandre Koyré (CNRS) in Paris and did his postdoctorate at the University of Antwerp within an ERC project. She has published on the history of spiritism, hypnosis and mysticism in modern Spain and France. She is the author of Ciencia y espiritismo en España (Comares, 2019) and the co-author of a book on the mystical phenomenon of stigmatization in Europe (Brill, 2020). Her most recent research deals with the history of child prodigies and the scientific and cultural fascination with childhood talent.
Judit (without H for Holofernes) Vidiella Pagès is a researcher and artist. Graduated and PhD in Fine Arts from the University of Barcelona (UB). She has taught at several universities: Faculty of Fine Arts UB, Miguel Hernández University, University of Évora (Portugal), University of the Republic of Uruguay, and since 2015 she regularly teaches in the Degree in Performing Arts and in the Degree in Audiovisual Communication and Multimedia at ERAM (University of Girona). Interested in Performance Studies, Cultural Pedagogies, (educational) Research. Based in the Arts, Body Theories and Feminist Practices.Currently PI of the European research project Pleasurescapes. Port Cities’ Transnational Forces of Integration (PCI2019-103743), entity HERA Joint Research Programme: “Public Spaces: Culture and Integration in Europe”, in which he investigates the relationship of ‘mysterious’ communication infrastructures and port cities in the circulation of spiritualism. She is part of the research group Visionary Women Art.
Diana Padrón Alonso
Diana Padrón is a professor, a researcher, and an independent curator. B.A. in Art History at University of La Laguna, M.A. Advanced Studies of Art History at University of Barcelona and Ph.D. in Society and Culture: History, Anthropology, Arts, Heritage and Cultural Management at the same university. Since 2012, she has been collaborating with the Art Globalization Interculturality research group (UB). She has been coordinator of On Mediation. Platform on Research and Curatorship and co-editor of REG|AC journal (Journal of Global Studies and Contemporary Art) at University of Barcelona. She is also associated with the R&D Art and Technosphere research group at Complutense University of Madrid. Her line of work focuses on the analysis of urban concerns from radical geography, cultural criticism, and art theory approaches. She collaborates with various publications on contemporary art, political thought, and social sciences.
Ester G. Mecías
Artist and independent researcher. Co-founder of the undisciplinary artistic collective Les Salonnières, Barcelona 2006-2018. There is a life drive that takes her to unknown territories as a learning imperative, where she reverses what she has learned from the liminal. She explores ancestral knowledge, heterodox and healing spiritualities with the latent question of what is spiritual, imperishable and true in art. Currently his work explores sound or vibration as the genesis of creation. She has generated artistic projects in Europe, Japan, USA, Colombia, Ecuador and Switzerland. He has received support from MACBA, Akademie der Künste of Berlin, Fundació Tàpies, Arts Santa Mònica, MUSAC, Hangar, Museo de la Tertulia, etc. He studied theosophy at the Goetheanum in Dornach (Switzerland), reflecting on the convergences between art, mathematics and spirituality in the work of Emma Kunz and Hilma af Klint. She is a member of the research group Visionay Women Art.
Marta Miró Garcia
Passionate about creation from alternative perspectives, for expressions from the soul, her career begins in rock art and reaches art brut: both exude human emotion. She worked for more than 15 years in the world of museums, understanding them as a service to the community. She therefore immersed herself in the field of accessibility and opened the doors of museums to mental health, an innovative project that has inspired many others. She co-founded in 2009 the Susoespai Association. Creation and Mental Health, a permanent space for artistic creation for people with severe mental disorders. From 2015-2020 she created and promoted a creative writing workshop also in mental health. In November 2017, she and Dr. Graciela García, the best partner and teacher on this trip, curated the exhibition “Neus Sala. The intimate museum”. Both the two houses intervened by this artist and the exhibition can be visited virtually on the web: espaineussala.com. Currently she puts order in the personal documentation of Rafael Bolet Vía. Inspired in his youth by divine illumination, he spread vegetarianism, theosophy and love for humanity, and created in his home a temple of synthesis for Peace, spreading with kindness and generosity the spiritual ideals of the Great Universal Brotherhood.
Begoña Méndez (Palma, 1976) es licenciada en Lingüística General y en Filología Hispánica por la Universidad de Barcelona. También en la UB, se remasterizó en Literatura en la Era Digital y más tarde fue Premio Extraordinario en el máster de Humanidades de la UOC, con un trabajo centrado en Diario de juventud de la escritora uruguaya Idea Vilariño. Es profesora de lengua y literatura en una escuela de adultos y colaboradora en las revistas culturales Pliego Suelto, El Cultural y Mercurio. Ha publicado Una flor sin pupila y la mujer de nieve (Sloper, 2019), artefacto literario hecho de versos, escritura automática y collages.
Crítica de arte, comisaria de exposiciones y dibujante. Obtuvo el Premio Espais de la Crítica de Arte gracias al cual publicó su primer ensayo sobre el cine experimental español en la España de los 70. Es una firma habitual desde 2002 en el Cultura/s de La Vanguardia. Como comisaria ha realizado una veintena de exposiciones en torno a la cultura popular, el outsider art, y los mecanismos de funcionamiento del arte contemporáneo, entre ellas Quinquis de los 80: Cine, prensa y calle (CCCB, La Casa Encendida, Alhóndiga Bilbao), La mano izquierda de Cervantes (Instituto Cervantes de Estambul), Humor Absurdo (Artium) o Bálsamo y fuga: la creación artística en prisión (Caixaforum Barcelona), comisaria del Pabellón Catalán en Bienal de Venecia 2017. En el ámbito del cómic, ha publicado tres álbumes y dibuja crítica cultural en cómic para diversos medios. Su último ensayo-cómic es La Rue del Percebe de la cultura (Editorial Consonni). Actualmente gestiona el proyecto ‘Sintonia Radiante’ en Matadero, Madrid.
Investigadora y comisaria especializada en Art Brut/Arte Outsider. Trabaja como representante para la Galerie Christian Berst y la Fundación Art Brut Project realizando labores de investigación, comisariado y coordinación de publicaciones.
Desde que se doctoró en 2010 con la tesis “Procesos Creativos en Artistas Outsider” (UCM) ha publicado el libro “Art Brut. La pulsión creativa al desnudo” (2015, reeditado en 2018) así como artículos en diversos medios especializados como Raw Vision, Osservatorio Outsider Art, Arteterapia – Papeles de arteterapia y educación artística para la inclusión social, Sans Soleil- Estudios de la imagen o Seminter. Ha impartido conferencias en foros como la UCM, la UAM, la Universidad Carlos III, el IVAM, las Jornadas de Salud Mental y Cultura de Sant Boi o Art Madrid (Fundación FIART).
Ha escrito e interpretado sobre las obras de la catalana Neus Sala y la croata Dunya Hirschter, ejemplo de procesos creativos fuera de norma y en contextos vitales difíciles. En la actualidad compagina sus investigaciones en torno al art brut con su trabajo creativo. Es artista y directora de Arte en el estudio de diseño “Se ha ido ya mamá”, del que es socia fundadora.
Journalist and writer. She investigates the relationships between spiritism and the fantasy genre, especially in the work of Juana Manuela Gorriti and Ángeles Vicente, Hispanic-American pioneers not only in literature but also in feminism. After studying Modern Literature in Córdoba, Argentina, she studied a master’s degree in Literary Theory at the UAB with a final work on mysticism and eroticism in the work of the Uruguayan writer Marosa di Giorgio.
Despite having to put aside research to dedicate himself to the publishing world, throughout these years, his work as a cultural critic allows him to continue researching independently on feminisms and new mythologies in different media such as El País, Letras Libre, A * Desk and other means. It also offers the course Feminisms and New Mythologies in Contemporary Fiction (Escola de Literatura Bloom) where some reading hypotheses around this topic are shared.
She has published This is the exact moment when time begins to run (I Antonio Colinas Young Poetry Prize, 2015) and his first novel, La puerta del cielo, (2018), and Constelaciones Familiares (2020). In addition, she has participated with stories and essays in various anthologies.
Núria Navarro Teixidó
Dramaturga, directora y actriz. Durante la última década ha puesto en escena gran variedad de historias teniendo como hilo conductor a las mujeres invisibilizadas, la literatura y la recuperación de la memoria histórica. La creación de diferentes compañías como Rizoma Teatre, La Immortal o RudaTeatre, han sido el vehículo para hacerlo posible.
Así pués, “Els quartos de la Virginia” y “Tres guinees de xocolata o Virginia i la pau” són monólogos basados en los ensayos de Virginia Woolf. “L’Abanderat. El bibliobús del front” una obra teatral sobre el primer bibliobús durante la Guerra Civil Española. “NEUS” narra la vida de la centenaria Neus Català, superviviente de la deportación nazi. “Una llibertat deliciosa” se dramatiza a partir de la obra de la escritora Clarice Lispector y “La casa del darrere” a partir del Diario de Ana Frank. Todas ellas han girado por teatros, bibliotecas y otros espacios escénicos para dar a conocer sus necesarias y aún vigentes palabras y hechos.
En 2019, con motivo de la presentación de la exposición ALMA. Médium y visionarias, estrena una dramaturgia de canalización de los textos y vivencias de tres autoras singulares y visionarias: Josefa Tolrà, Julia Aguilar y Aloïse Corbaz. Amplía su creación literaria y escénica a través de dibujos fruto del automatismo mediúmnico.
Curator and archivist at the College of Psychic Studies (Est. 1884) in London, where she cares for their large collection of art, photographs and artefacts dating from the beginning of modern spiritualism to the present day. This wealth of material and the College’s specialist library has afforded wonderful opportunities to research mediumistic and visionary art.
It has led to the recent College exhibitions: Encounters with the Spirit World 2016 and Visions of Wonder: Art & Spirit 2019, with a new exhibition: Strange Things Among Us, planned for 2021. Other areas of research are the history of British mediumistic art, with particular focus on Georgiana Houghton and Madge Gill, as well as rediscovering and identifying artists from around the world that have fallen into obscurity, such as Alice Pery, Ethel Annie Weir and Alice Essington Nelson. Publications include: Alice Pery: Royal Blood and Spirit Voices (Raw Vision Magazine), Georgiana Houghton: Pioneering Spirit (Psychic News), The Art and Spirit of Madge Gill (Light Magazine Est. 1881) and Madge & the Spiritualists in the exhibition catalogue for the retrospective exhibition Madge Gill: Medium & Visionary, curated by Roger Cardinal, Henry Boxer and Vivienne Roberts. The latest contribution is for the upcoming exhibition catalogue of Elles font l’abstraction in 2021 at the Pompidou, Paris and Guggenheim, Bilbao.
Member of AWITA (Association of Women in the Arts) and the Visionary Women Research Group.
Previously curated a series of small visionary and art brut exhibitions at the Julian Hartnoll Gallery in London, including Female Outsiders: Pearl Alcock & Madge Gill, Pictures by Linda Persson, Drawing Splinters, Knitting Bones: The Art of Kate Bradbury, Shinya Fuji: Outsider Art from Japan, Nigel Loves by Nigel Kingsbury, Tony Turner: Illusion Laid Bare, The Magic of Madge Gill and Ben Wilson: Chewing Gum Man.
Irene López Arnaiz
Irene López Arnaiz is a postdoctoral research fellow Juan de la Cierva at the Art History and Heritage Department of the Spanish National Research Council (CSIC). She received a Ph.D. in Art History from Complutense University of Madrid (2018, Outstanding Ph.D. Award). She specializes in the relationship between dance and visual arts, focusing on the presence of South and Southeast Asian dances in Western modernism. She also examines the construction process of the “Orientalist” imaginary in this same context. In this field, she studies the relations between art, dance and esotericism, focusing on the reception of Asian religions in the European art. Her research pays special attention to the oeuvre of women in the field of dance and the visual arts of this period.
Mariona Vilaseca es una artista que trabaja con diferentes formatos como la pintura, la fotografia, el dibujo, la instalación o la performance. Su obra aprofundiza en el dialogo entre materia, acción y reflexión.
Visual artist, independent curator and cultural producer. Her work is defined as representations of desires, constructions, contradictions and expectations built with special interest in the limits of dissent. Often in the form of a question, a pointing finger or a small rebellion. It involves throwing questions into the air that asks the viewer to respond, forcing them to position themselves inevitably. The experience as a subversive act. She uses to work in a multidisciplinary way- video, photography, sound, action, installation, performance or curatoring – with special interest in experimentation and in the (non) limits of languages and disciplines. Postanarchism, transfeminism, popular culture, identity, the body as a tool or the occult are some of her recurring themes.
M. J. Balsach es profesora del Departamento de Historia del Arte de la Universitat de Girona.
Es miembro del comité ejecutivo de la cátedra Miró del Grupo Internacional de Investigación Joan Miró. La Cátedra Miró es una iniciativa conjunta de la Fundación Joan Miró y de la Universidad Abierta de Cataluña (UOC) el objetivo es profundizar en el estudio y la difusión de Joan Miró. La cátedra se enmarca dos actividades centrales: grupo Internacional de Investigación Joan Miró y curso de posgrado de Estudios mironianos Fundación Joan Miró – UOC.
Es la autora de “Joan Miró: cosmogonías de un mundo originario 1918-1939” (2007).
Alexa Jade Frankelis
Alexa Jade Frankelis is a researcher and visual artist based in New York City. She has recently received her BA in Art History and Criticism (Hons.) from Stony Brook University, and previously attended the BFA Photography and Video program at the School of Visual Arts. To further her passion for research, she is currently pursuing a MS degree in Library and Information Science at The Pratt Institute’s School of Information. As a researcher, Alexa has presented and published her papers and images about witchcraft, spirit photography, and other occult subjects in Blurden Zine, Crisis and Catharsis, and Stephen Romano Gallery’s exhibition, Apparitions. Her main focuses are mysticism and the occult within nineteenth to mid-twentieth century visual culture and theory. She is part of the research group Visionary Women Art.