Nicholas Heskes

Ana Rivera

Columbia MFA Open Studios, 2017 Performance, skate ramp, engraved skateboard wheels, ink Variable dimensions Untitled, 2017 Etching print on Japanese mulberry paper, glazed ceramic 30 x 30 x 6 cms

Untitled, 2017 Hand engraved tinted ceramic, steel 30 x 30 x 12 cms

Tim Roseborough

Tim Roseborough has performed and shown artwork at the San Francisco Museum of Modern Art, the ZERO1 San Jose New Media Biennials, Pro Arts, Oakland and SOMArts and Root Division in San Francisco. His interventions can be seen in publications including Artforum, Art In America, Hyperallergic.com, the San Francisco Chronicle, SF Arts Monthly, SF Examiner, and San Francisco Bay Guardian. He was the inaugural artist in the Emerging Artists Program at the Museum of the African Diaspora, San Francisco and has been awarded residencies at Kala Art Institute, Berkeley; and the Gray Area Foundation for the Arts, San Francisco. “Exceptionally grand prizes, both in terms of money and status, can be won in the arts. These prizes are larger than in comparable professions. It is also true that the average artist earns less than other professionals. Many artists earn low incomes. Despite the high stakes, the average chances are low. In this respect, the arts are like a lottery.”

Abbing, Hans. WHY ARE ARTISTS POOR?: THE EXCEPTIONAL ECONOMY OF THE ARTS. Amsterdam: Amsterdam University Press, 2008, p. 122.

Tim Roseborough

Untitled (Gold Bricks) (from the #artlifelottery series), 2018 Prospective Artwork: Adobe Illustrator format, updated February 19, 2018 1.5:1 dimension ratio Untitled (Pot of Gold) (from the #artlifelottery series), 2018 Prospective Artwork: Adobe Illustrator format, updated February 19, 2018 1.5:1 dimension ratio

Harry Schleiff

Harry Schleiff (b.1988 / New York, NY) has previously exhibited in group exhibitions at Federico Vavasorri, Milan and David Zwirner, New York. He is co-founder of Rear Window, a project space in Harlem. My work is concerned with visible and invisible power structures that determine our experience of the everyday and how, as artists, we might be able to counter these influences through a rigorous commitment to depicting reality. An investment in reality is urgently needed in an era where our subjectivity is increasingly compromised by the technological advances of biased algorithms, psychometric data science, predictive analytics, fake news, falsified social media accounts and a presidential administration that denies the existence of global warming. A new video, shot at a facility outside Atlanta, Georgia, focuses on the production of fiber optic cable. These cables are the raw, corporeal, seminal fluid that provide the transfer of information through the internet. In revealing the physicality of the infrastructure, our understanding of the immaterial and infinite nature of the internet is challenged. My painting practice is one of observation and understanding my body in relation to my immediate surroundings. Painting from life enacts a refusal of mediated experience, allowing the expression of unique subjective positions within an increasingly manipulated and alien physical and psychological landscape. In her essay “The Reality Based Community,” Erica Bolsom writes: “Already in 1988, Donna Haraway recognized that though the critique of objectivity had been necessary, there were dangers in proceeding too far down the path of social constructivism. She warned that to do so is to relinquish a needed claim on real, shared existence. Our planet is heating up. In the realm of documentary, too, there is a visible world ‘out there,’ the traces of which persist in and through the codes of representation. It is a world that demands our attention in all its complexity and frailty.”