Angela Mooney D’Arcy, Founder & Executive Director, Sacred Places Institute for Indigenous Peoples. Angela is from the Acjachemen Nation, Juaneno Band of Mission Indians. Angela was born in her ancestral homelands whose traditional territories include the area now known as Orange County and raised in the ancestral homelands of the Osage, Kaw and Wichita Peoples. She has been working with Native Nations, Indigenous Peoples, grassroots and nonprofit organizations, artists, educators and institutions on environmental and cultural justice issues for nearly twenty years. She is the Executive Director and Founder of Sacred Places Institute for Indigenous Peoples, an Indigenous-led, grassroots environmental justice organization dedicated to building the capacity of Native Nations and Indigenous Peoples to protect sacred lands, waters, and cultures.  She co-founded the United Coalition to Protect Panhe, an alliance of Acjachemen people dedicated to the protection of the sacred site Panhe and served on the Board of the Blas Aguilar Adobe Museum & Acjachemen Cultural Center for nearly a decade. She received her B.A. from Brown University and her J.D. with a concentration in Critical Race Studies and focus on federal Indian law from University of California, Los Angeles School of Law. She currently lives and works in unceded Tongva homelands now known as Los Angeles, California and teaches Indigenous Environmental Law and Indigenous Environmental Justice courses at Pitzer College.
AnMarie Mendoza was born and raised in the San Gabriel Valley and identifies with both the original people (Gabrieleno-Tongva)  and the distinctive working-class communities of the area. AnMarie has a Bachelors degree in Political Science and a Masters in American Indian Studies from UCLA. Generations of her family have witnessed, endured and contributed to the molding of Los Angeles (Occupied Tongva territory) and it is for this reason she continues her  academic study in Urban Planning at UCLA. She has a passion for political organizing and is the Indgenous Waters Program Director for Sacred Places Institute. She is co-creator and director of the "Aqueduct Between Us" and hopes to create more multimedia platforms for radical oral histories.
Bill Anthes is a professor in the Art Field Group at Pitzer College in Claremont, California. He earned a BFA and MA in Art History from the University of Colorado, and a PhD in American Studies from the University of Minnesota. From an interdisciplinary background, he teaches and writes about the arts with a focus on multimedia practice and intercultural and interspecies relations. His scholarship has focused on Indigenous artists in the twentieth and twenty first centuries, and on social practice in contemporary art. He is author of the books Native Moderns: American Indian Painting, 1940-1960 (Duke University Press, 2006) and Edgar Heap of Birds (Duke University Press, 2015). He is contributing author to the textbook Reframing Photography: Theory and Practice, by Rebekah Modrak (Routledge, 2010). He has contributed essays to publications on the work of Venezuelan Pop artist Marisol Escobar, Chilean video and interactive artist Juan Downey, and the US-based interactive artist Sheryl Oring. With Kathleen Ash-Milby of the Portland Art Museum, he is a co-editor of and contributor to the catalog for a retrospective exhibition of Yanktonai Dakota painter Oscar Howe (1915-1983), which will open at the George Gustave Heye Center of the Smithsonian National Museum of the American Indian in New York in 2021. His essays and reviews have been published in American Indian Quarterly, Art Journal, Art Papers, caareviews, Great Plains Quarterly,Journal of the West, New Mexico Historical Review, Number: An Independent Journal of the Arts,Visual Anthropology Review, as well as other journals, edited collections, and exhibition catalogs. He has received fellowships and awards from the Georgia O’Keeffe Museum Research Center, the Center for the Arts in Society at Carnegie Mellon University, the Rockefeller Foundation/Smithsonian Center for Folklife and Cultural Heritage, and the Creative Capital/Warhol Foundation Arts Writers Grant Program. He is a member of the Editorial Board of American Indian Quarterly.

Dr. Charles Sepulveda (Tongva and Acjachemen) is an Assistant Professor at the University of Utah in the Department of Ethnic Studies. He earned his PhD in Ethnic Studies at the University of California, Riverside in 2016. He grew up in California in the San Jacinto Valley, attended community college and graduated with a B.A. in American Studies from UC Santa Cruz. His fields of research and teaching include California Indian History, Ethnic Studies, Indigenous Feminist Studies, and Californio History.
He is currently at work on his first book project tentatively titled, Indigenous Nations v. Junípero Serra: Resisting the Spanish Imaginary. His first book project analyzes the development of what he has named the Spanish Imaginary, as a play on Emma Perez’s “colonial imaginary” – the historiography produced through the traditional discipline of history silencing and ignoring people of color, women and sexuality. It is within the imaginary that the atrocities against California Indians continue to be viewed positively and celebrated as is the case with Junípero Serra’s canonization in 2015. His recent publication “Our Sacred Waters: Theorizing Kuuyam as a Decolonial Possibility” analyzes the desecration of the Santa Ana River in southern California and critically traces the logics of domestication that impact both Native peoples and our environments. In this article he also encourages the development of indigenous theorizations to disrupt settler colonialism and suggests that settlers can become Kuuyam (the Tongva word for guests) to the caretakers of the land.

Desiree Renee Martinez is Gabrieliño (Tongva) and an archaeologist and President of Cogstone Resource Management. Desiree received her BA in Anthropology from the University of Pennsylvania and her MA in Anthropology from Harvard University. Desiree is a co-Director of the Pimu Catalina Island Archaeological Project that melds archaeology with traditional knowledge in collaboration with Gabrieliño (Tongva) community members. Desiree’s life has been dedicated to obtaining the skills and knowledge necessary to combat the wanton destruction of Native American sacred and cultural sites. Desiree’s dream is to open up a Gabrieliño (Tongva) museum and cultural center to remind the southern California community of the Gabrieliño’s vibrant heritage and continuing contribution to the southern California region.

Elizabeth Kahn is the Founder and CEO of the nonprofit organization The ONWARD Project.  She holds an M.A. in Classical Art and Archaeology.  Following work in the Middle East and Greece, she had a 35-year career at the J. Paul Getty Museum managing major exhibition catalogues and scholarly books at both Getty Villa and Getty Center.  Concurrently Elizabeth worked with the extensive collections of the historic Rainbow Bridge-Monument Valley Expedition (RBMVE) for ten years at Fowler Museum—UCLA and with the Experiential Technologies Center-UCLA. Elizabeth founded the non-profit, The ONWARD Project, in 2015, to continue exploring and responding to the RBMVE core content with the intent to activate the intersection of multi-nodal storytelling, landscape, art, and experiential technology for the purpose of restoring complexity to the historic record. The ultimate goal is to create a new form of digitally-based narrative to include Native voices.  We intend to give these experiences back to the Native communities of the desert Southwest and to present them to the greater public.
A priority for The ONWARD Project is to share historic content, our current Virtual Reality experiences and video works back to these Native communities.  We have been invited multiple times to participate in the Navajo Nation Fair under the banner of the Navajo Nation Museum, and at Naatsis’Aan Chapter Eehaniih Day Celebration at Navajo Mountain. Through these events we have met thousands of people, many of whom have generously shared their stories with us.

Elizabeth is currently collaborating with Navajo Nation, Department of Natural Resources, Feral Horse Management Project, and has worked extensively with individual Native family members over many years. Max Littlesalt: A Graphic Biography, is being created through the Littlesalt Family oral narratives accompanied by illustrations made by our 2019 Navajo summer intern and animated by digital artist Ben Benjamin.  Elizabeth collaborated with land artist Hans Baumann and members of the LA Navajo community on 2018 ArtCenter College of Design, Media Arts Artist Residency, with a culminating exhibition, Indigenous Autonomy, featuring a Virtual Reality piece reimagining how this technology can create cross-cultural exchange in the present.  She is currently working with Pamela Peters, a Navajo filmmaker, on a video responding to Indigenous Autonomy.  In 2020 The ONWARD PROJECT is invited to be the pillar of a new media installation at the Mountainfilm Documentary Film Festival 2020 in Telluride, Colorado, and for the World Campus tech conference of 2020 in Detroit. It is of utmost importance that any public presentation is brought back to the Native communities we work with.  We are honored to have met the many families and individuals who collaborate with us, who have guided us, and added their voices to the narrative. Without them we would have no project.

Publications include: Navajo Times feature story, Restoring History:  Project strives to tell the story of the last great expedition, August 9, 2018; Navajo Times feature story, Age-old Connections:  Project to map 1930’s expedition reveals people, culture, August 22, 2019; Public Historian cover story, The ONWARD Project and Native Voices: Interventions in Biased 1930’s Archival Collections, March 2020.

Gerald Clarke is an enrolled member of the Cahuilla Band of Indians and lives on the Cahuilla Indian Reservation. When not creating artwork or serving as Assistant Professor of Ethnic Studies at the University of California, Riverside, Gerald oversees the Clarke family cattle ranch and remains heavily involved in Cahuilla culture. He is a frequent lecturer, speaking about Native art, culture and issues. He serves on the Cahuilla Tribal Council and works on issues affecting the tribe. When not working, Clarke participates in Bird Singing, a traditional form of singing that tells the cosmology of the Cahuilla people.

Isaiah Mendoza is a Tongva filmmaker born and raised the San Gabriel Valley. During his time studying film and photography at Pasadena City College, Isaiah developed a passion for documentary storytelling; as well as environmental and social justice. Through his work with his sister AnMarie and the Sacred Places Institute, Isaiah seeks to record and unearth Indigenous perspectives in the hopes of protecting and preserving native homelands. He is the cinematographer and editor of “The Aqueduct Between Us”.

Julia Bogany is a member of the Tongva tribe, is on their Tribal Council, and is their Cultural Consultant. Julia constantly, incessantly, voluntarily teaches, attends meetings, and sits on Boards to help her tribe; she usually does this without pay. Her calendar is full a year ahead of time.

She has worked for over thirty years for the American Indian community for her Tongva tribe. She has provided cultural, FASD, ICWA training and workshops in the Los Angeles, San Bernardino, and Riverside areas. She has also provided workshops in Sacramento for the California Rural Indian Health Board Woman's conferences.

Ms. Bogany teaches Tongva language and cultural classes. She attended many language workshops around the country to learn, strengthen, and enhance her tribe's language. She helped to reawaken and revive the Tongva language, as well as assemble a Tongva dictionary. She is Vice President of the Keepers of Indigenous Ways (KIW), a non-profit group of the Tongva. She teaches basket weaving and also uses it to teach math to youth. She is President of Residential Motivators, her own non-profit consulting firm.

Ms. Bogany attended a SAMHSA FASD Center for Excellence training in 2005 and has provided FASD classes since. She has years of training in Child Development, Indian Child Welfare (ICWA), and Native American Studies. She is a strong advocate for ICWA and Fetal Alcohol Spectrum Disorders. She is fluent in English and Spanish.

Ms. Bogany serves on several committees and organizations: Community Health Worker for Mental Health, California Indian Education Association, Children Court L.A. Round Table for ICWA, and runs co-ed and women's circles. She is President of Kuruvanga Springs, a Representative for California tribes on Route 66, a member of CNAC (California Native American College board), and Pitzer College Elder in Residence. She teaches native culture and history and women's issues at Scripps, Pomona, Harvey Mudd, and the Claremont School of Theology in addition to Pitzer. She works on thesis with students, and assists with the summer Native Youth to College program.

In September 2010 she received the Heritage Award from the Aquarium of the Pacific at their sixth annual Native American festival, Moompetam. She has also been nominated for Coastal Commission for the State of California and is a Stake Holder Consultant of 200 parks in Los Angeles County.

Ms. Bogany consults with and trains teachers and school boards on how to revise their curriculum to reflect the correct history of California and California tribes. She wants to change the future for her tribe, children, grandchildren, and great grandchildren; this is her way of doing it. She cares for her great grandchildren and teaches them arts, crafts, language, and culture. All the work she's done for the past twenty years is for their future and for the future of her Tongva tribe.

Kade L. Twist is an interdisciplinary artist working with video, sound, interactive media, text and installation environments. Twist's work combines re-imagined tribal stories with geopolitical narratives to examine the unresolved tensions between market-driven systems, consumerism and American Indian cultural self-determination. Mr. Twist is a co-founder of Postcommodity, an interdisciplinary artist collective. With his individual work and the collective Postcommodity, Twist has exhibited work nationally and internationally. In 2017 Postcommodity was included in both the 2017 Whitney Biennial and documenta 14. Mr. Twist is a US Artist Klein Fellow for Visual Arts, and Postcommodity have been the recipients of grants from the Harpo Foundation, Joan Mitchell Foundation, Art Matters, Creative Capital and the Native Arts and Cultures Foundation. Postcommodity are 2017/2018 Ford Foundation Art and Social Change Fellows.

Kathleen Stewart Howe joined Pomona College in 2004 as the Sarah Rempel and Herbert S. Rempel ’23 Director of the Pomona College Art Museum and Professor of Art History. She received her Ph.D. in Art History (history of photography) University of New Mexico.
Howe is the recipient of multiple grants from: Andrew W. Mellon Foundation (Planning grant to develop museum curricular collaborations); Getty Foundation (multiple grants under the Pacific Standard Time Initiatives); NEA and NEH; and the Kress Foundation. She was a Chester Dale Fellow, Center for Advanced Study in the Visual Arts, National Gallery of Art. She is a Peer reviewer for the American Alliance of Museums, with an emphasis on academic museums.

Trained as a curator, Dr. Howe is the curator of exhibitions and author of catalogues focused on the interplay of photography and culture. Her projects include most recently in that area, In Search of Biblical Lands: 19th century Photography in the Holy Land, a 2011 exhibition at the Getty Villa. And she has curated over 100 exhibitions. At Pomona College her focus has been on recent art and its complementarities to the arts of the past. This includes exhibitions featuring artists John Divola, Edgar Heap of Birds, David Michalek, James Turrell, Frederick Hammersley, Kara Walker, and Enrique Chagoya, and Francisco Goya.

She is the author of Excursions Along the Nile: The Photographic Discovery of Ancient Egypt, winner of a Krazna Kraus Foundation Award; and Felix Teynard: Calotypes of Egypt (a New York Times Notable Book in Photography). She has contributed to or edited books on the role of photography in archaeology in the New World, the connections between photography and the graphic arts, contemporary photographs of the Great Plains, and contemporary Native American art, as well as numerous essays for monographs in photography.

Lauren Bon is an environmental artist from Los Angeles, CA. Her practice, Metabolic Studio, explores self-sustaining and self-diversifying systems of exchange that feed emergent properties that regenerate the life web. Some of her works include: Not A Cornfield, which transformed and revived an industrial brownfield in downtown Los Angeles into a thirty-two-acre cornfield for one agricultural cycle; 100 Mules Walking the Los Angeles Aqueduct, a 240-mile performative action that aimed to reconnect the city of Los Angeles with the source of its water for the centenary of the opening of the Los Angeles Aqueduct. Her studio’s current work, Bending the River Back into the City, aims to utilize Los Angeles’ first private water right to deliver 106-acre feet of water annually from the LA River to over 50 acres of land in the historic core of downtown LA. This model can be replicated to regenerate the 52-mile LA River, reconnect it to its floodplain and form a citizens’ utility.

Born and raised on the Navajo Nation, Manuelito Wheeler is currently the Director of the Navajo Nation Museum in Window Rock, AZ. Since taking this position in 2008 he has worked with staff to see the completion of numerous exhibits which are 100% Native built from concept, curation, and creation. Along with this he has lead his team (of 8) in creating innovative projects which influence and preserve Navajo culture.  

In the pursuit of native language preservation the Navajo Nation Museum partnered with major motion picture studios to dub popular movies into the Navajo language. Working with groups like Lucasfilm Ltd. and 20th Century Fox the Navajo Nation Museum dubbed Star Wars IV A New Hope in Navajo.  After this we worked with Walt Disney Pictures and Pixar Animation to dub Finding Nemo. Both of these projects were phenomenally successful for the Navajo people.

The Navajo Nation Museum has also worked with world renowned artist Ai Weiwei. We have partnered him and Navajo artist Bert Benally where upon they created a site specific installation piece in a remote canyon on the Navajo Nation.

In Wheeler’s words “These are some examples of how a tribal museum can help redefine what a museum can be for its community. I think it’s more than being just a community gathering place but a place you can still go in and gain some new sense of wonder.  That sense of wonder is important because it gives us hope that humans have a future in this universe.”

He attended Arizona State University from 88-03 where he earned BA in Art History. He is married to Jennifer Wheeler, PhD (Arizona State University) and they have two sons Waunekanez and Hataaliinez.

Pamela Peters is an Indigenous Multimedia Documentarian from the Navajo Reservation; her Diné first clan is Táchii'nii (Red Running Into the Water People). Pamela's multimedia photography and video work explore her vision of what she calls "Indigenous Realism," which examines the lives and complexities of contemporary American Indians. Her work pushes viewers to critically analyze the psychological and historical structures underlying the representation of Native Americans in mass media. As a Navajo living in the city, she has experienced firsthand the social impact of the negative, inaccurate, and insulting images of stereotyped American Indians still seen in film and television, and she is inspired by her mission to counteract those stereotypes. The portraits she takes are imbued with the Indigenous individuals living today, not inhabiting some clichéd, pre-modern past.  
Her photography has been featured at the Los Angeles Center of Photography, Arts District Los Angeles Photo Collective, These Days Gallery, Venice Arts Gallery, The Main Museum, and featured in the Los Angeles Times, Reuters News, Cowboys & Indians Magazine, Native Max Magazine, Los Angeles Magazine, Pasadena Magazine, Indian Country Today and American Indian Quarterly Journal. Her photography has been featured at the Triton Contemporary Museum, The Museum of Indian Art & Culture, Reflect Space Gallery, Main Museum and currently on display at the Indian Pueblo Cultural Center as part of the exhibition relocated: Urban Migration, Perseverance, and Adaption.

Terria Smith is an enrolled tribal member of the Torres Martinez Desert Cahuilla Indians and is the director of Heyday’s California Indian Publishing Program, known as the Berkeley Roundhouse.She is the editor of News from Native California, a quarterly magazine “devoted to the vibrant cultures, art, languages, histories, social justice movements, and stories of California’s diverse Indian peoples.”She is an undergraduate alumni of Humboldt State University and has a master’s degree from the University of California Berkeley Graduate School of Journalism. and