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Itatani p78

Contents 6

Editor’s Note

8

Noteworthy

10

Steven Zevitas

Juror’s and Editor’s Picks

Juror’s Comments Arnold Kemp, Artist, Dean of Graduate Studies, School of the Art Institute of Chicago, Chicago, IL

13 155 176

Winners: Juror’s Selections Midwestern Competition 2017

Winners: Editor’s Selections Midwestern Competition 2017

Pricing Asking prices for selected works

131 August/September 2017


Editor’s Note

Chicago is on fire. Not literally, of course, but the city that gave

at the group of artists featured herein. Before proceeding to the

us Chicago Imagism in the late 1960s has been been a hotbed

artist spreads, be sure to read Kemp’s essay, where he discusses

of artistic production during the past decade, with artists such

contemporary painting and its relationship to theatricality.

as Rashid Johnson and Theaster Gates garnering international attention. Couple that with the city’s world-class museums, robust

Earlier this week, I saw Chicago-based artist Kerry James Marshall’s

gallery scene, and a rejuvenated art fair in the form of Expo Chicago,

retrospective exhibition Mastry at LA MOCA. It is the best painting

and the Midwest’s undisputed art center has a lot to be excited

exhibition that I have seen in years. For close to four decades,

about. More than 50 percent of the artists featured in this issue of

Marshall has been on a crusade to insert blackness and African-

New American Paintings call Chicago home, and among them are

American culture into museums and, in a broader sense, into

some of the city’s most notable emerging painters.

art-historical discourse. He succeeds on every level. The exhibition presents one memorable painting after another—memorable for

The juror of the 2017 Midwest issue, Arnold Kemp, is a recent

their subjects, the technical virtuosity they display, and the quiet

transplant to Chicago, but by all accounts he has quickly insinuated

power of Marshall’s narrative voice. It is not an overstatement to

himself into the city’s thriving cultural community. Kemp has had

say that many of these works are masterpieces of late twentieth-

an interesting and peripatetic career. In the 1990s and early

and early twenty-first century art. By show’s end, I had more belief

2000s, he was a curator at the Yerba Buena Center for the Arts in

than ever in painting’s relevance and its ability to engender change

San Francisco. More recently, he was an educator at the Virginia

and alter consciousness. Q

Commonwealth University before taking his current position as Dean of Graduate Studies at the School of the Art Institute of

Enjoy the issue.

Chicago. This job places him at the nexus of the Midwest’s most important art school, from which many significant artists have

Steven Zevitas

emerged over the decades.

Editor/Publisher

Kemp also happens to be a practicing artist. This marks only the second time that an artist has served as juror for New American Paintings, and I am thrilled with the results. In my opinion, only an artist—someone vested in the making of things—could have arrived


Noteworthy:

Candida Alvarez

Juror’s Pick p22

Often site-responsive, Candida Alvarez’s complex paintings are perpetually open to discovery. Inspired by poetic observations and intimate relationships, movement between the artist’s different homes, or a misheard lyric in a popular song, these canvases, like the ideas behind them, do not stand still. In our looking, they remind us of their unique objecthood and their contribution to the idea of American painting. They benefit from being developed by Alvarez in the conceptual training ground of Yale University, a residency at the Studio Museum in Harlem, and in the tough resistance and persistence of Chicago, where Alvarez has been working since 1998.

Nick Fagan

Editor’s Pick p38

Making art that is at once personal and universally relevant has always been the trick. The ability to do so is rare, and, to a large extent, museums around the world are filled with objects that bear witness to their makers’ capacity to transcend time and place. In its facture, Nick Fagan’s work is resolutely contemporary . . . even of the moment. His subject matter is drawn from his own experiences, yet more broadly addresses the intersection of these experiences with society as a whole. In the body of work presented herein, Fagan confronts the subject of suicide. These are difficult paintings, but ultimately his knack for narrative construction allows for a variety of entry points that are both instructive and redemptive.


Winners: Midwestern Competition 2017 Juror: Arnold Kemp, Artist, Dean of Graduate Studies, School of the Art Institute of Chicago, Chicago, IL

Juror’s Selections: Solomon Adufah | A. Elizabeth Allen-Cannon | Candida Alvarez | Meghan Eilleen Borah James Collins | Greg Fadell | Nick Fagan | Andy Hall | Stevie Hanley | Christopher E. Harrison Sean Heiser | Mika Horibuchi | Jesse Howard | Lauren Anaïs Hussey | Chris Hyndman E.E. Ikeler | Michiko Itatani | Natalie Jacobson | Thaddeus Kellstadt | Matthew Kluber Nick Larsen | David Leggett | Xizi Liu | Clay Mahn | Ignacio María Manrique Nathan Margoni | Zoe Nelson | Josue Pellot | Kim Piotrowski | Rachel Reynolds Z Geoffrey Todd Smith | Michael Stillion | Orkideh Torabi | Shawn Michael Warren | Lauren Wy

Editor’s Selections: Ryan Doyle | Amadeo Morelos Favela | Heesu Jeon | Dana Nechmad | Lauren Taylor

>


Juror’s Comments

Arnold Kemp

Artist, Dean of Graduate Studies, School of the Art Institute of Chicago

more kinds of painting than dominant art history allows. Also, medium-specificity as well as age, race, gender preferences, and even regional separations have become untenable concepts. Nickas intentionally took his lecture to places outside of New York in order to speak to an audience who would understand that this gesture was meant to inspire and encourage making outside hyper-recognized regions of over-production. Nickas’s lecture also staged a sort of theatrical review of art history that one might find helpful in framing much recent work. All indications point to painters who are very aware of an international field and a particular history that pressures the freedoms they take in their work. In 2016–17, critic and independent curator Bob Nickas toured the

One can sense the fight for and claiming of cultural space in the

United States giving a lecture called “100 Years: 100 Paintings.” The

works of Candida Alvarez, Nick Fagan, Stevie Hanley, Jesse Howard,

itinerary passed through cities such as Los Angeles, Portland (Oregon),

David Leggett, Nathan Margoni, and Shawn Michael Warren. At the

Washington, and Chicago. The lecture, a flexing narrative that could

same time, they use the tools of humor, caricature, abstraction, heroic

be torqued to tell tales of art that make room for the secret, the

depiction, and scale in works that take no prisoners. Of particular note

overlooked, the unknown, and the extraordinary, reframed the master

are David Leggett and Stevie Hanley.

narrative that we all know. In Nickas’s extraordinarily informative and entertaining talk (at one stop he was introduced by a ventriloquist’s

Leggett’s provocative paintings register a fearlessly self-

dummy), he attempted to widen the playing field for painting and to

deprecating humor doubling as raw social commentary. He shows

give voice to artists who are often left outside the conversation. When

an irreverence toward materials—preferring felt, glitter, collage,

Nickas spoke in L.A., the first image he showed was by Alma Thomas,

airbrush, and Googly eyes to traditional paint applications—and

the only black female artist represented in the White House art

upends expectations in skillfully rendered paintings inflected with a

collection—her painting hangs in the Old Family Dining Room. While

comic sense of time and abstraction. Using similar devices, Hanley

Thomas’s work being hung in the seat of government is a crowning

makes site-responsive image-object compositions that describe

achievement, this didn’t happen during Thomas’s lifetime.

situations where characters with their backs up against the wall or trapped in a corner are fighting for their lives and for a chance to

More than most, painters are aware that they can’t choose

dream big and live well. There is a performative aspect to Hanley’s

the world in which their work lives. This affects their ideas about

work that is unapologetically histrionic, but timely, as so many who

production in a messy and complicated way that, hopefully, bears

live on the margins are fighting similarly unbelievable battles.

10


Borah p26

Hanley p46

Mahn p106

Manrique p110

Margoni p114

Pellot p122

“More than most, painters are aware that they can’t choose the world in which their work lives.” That there seems to be very little distinction between the theatrical and the real in contemporary life is of importance in relation

strange combination of Northern European painting and South American literature that wantonly gives in to fantasy.

to looking at much contemporary art. Popular culture embraces and sustains this crossover through endless variations in reality TV

What matters in this environment is the leveling of historical

programming, and the public consciousness of a constructed and

categories that separate the different styles and tropes of painting.

performed everyday extends to the perception of current social

Also, as artists consciously or unconsciously respond to the demand

and political events. From the staging of celebrity culture to the

for theatrical imagery and theatrical self-presentation, the boundaries

perception of global corporate domination and its impact on the major

between genres disappear. This begs the question: When anything is

developments of our time, the contemporary environment seems to

possible and anything goes, where does one take painting?

be an elaborate façade, one that we increasingly allow ourselves to be enthralled by.

Meghan Eilleen Borah, Josue Pellot, and Rachel Reynolds Z deliberately stage their paintings, often making them into backdrops

One of the master narratives of modern and contemporary art is

against which objects or models perform. The aesthetic lexicon

that theatricality is more or less a forbidden zone. The foundations of

that comes to mind is one of enchantment, exaggeration, absurdity,

modernism were built on a vocabulary of logic, rigor, and revelation

artificiality, and the suspension of disbelief. Borah, notably and

of process, as epitomized by Frank Stella’s statement “What you see

charmingly, seems to project herself into the images of female

is what you see.” Michael Fried, the champion of high-modernist

pop stars that she deconstructs. What appears to be her subtly

painting, notoriously declared in 1967 that theater was art’s outright

communicated anger is reminiscent of that of San Francisco painter

enemy. But painters, as makers of images and enactors of spectatorial

Joan Brown, who famously placed herself, larger than life, at the

productions, have embraced this theatricality. In such a formulation,

center of pictures about, among other things, “a man’s world.”

I would include the works of Michiko Itatani, Clay Mahn, and Ignacio Manrique.

Thinking again on “100 Years: 100 Paintings,” the question of what painting is now and why it matters remains, while the claim that

Itatani concocts dramatic large-scale images of architectural

history has a master narrative has been blasted away by logic such as

interiors in which the cosmic and astronomical are on stage, and

Nickas’s or the illogic presented by some painters. This enriches the

Mahn’s minimalist gestures perform an attention-grabbing reserve

conversation around painting’s possibilities to be political and to deal

that brings to mind the theatrical silence of works by artists such

with freedom of choice and expression. It is a conversation informed

as John Cage and Myron Stout. Manrique’s works seem to mix the

by history and critical looking that will inspire whatever comes next. Q

romantic fantasies of Odilon Redon with magical realism to rig a

11


Juror’s Selections

The following section is presented in alphabetical order. Biographical information has been edited. Prices for available work may be found on p176.

>


Solomon Adufah Anita | oil on canvas and silkscreen, 96 x 84 inches

14


Solomon Adufah Forbidden Knowledge | oil on canvas and silkscreen, 84 x 120 inches

15


Solomon Adufah Kinani | oil on canvas and Maasai shuka fabric, 92 x 84 inches

16


Solomon Adufah Chicago, IL sadufah@gmail.com / www.solomonadufah.com / @solomonadufah

Education 2017

BFA, Southern Illinois University, Carbondale, IL Solo Exhibitions

2017

This Image Is Not Available in Your Country, NYCH Gallery, Chicago, IL

2016

Homeland, William Hill Gallery, Chicago, IL Homeland Ghana, The Bishop Gallery, Brooklyn, NY

2015

Homeland Ghana, Crude Creatures Contemporary Gallery, Chicago, IL

2014

Homeland Africa, Norman Gallery, Chicago, IL Group Exhibitions

2017 2016

Farewell 44, NYCH Gallery, Chicago, IL Aesthetically Soulful, Southern Illinois Museum of African Art,

I was born and raised in Ghana, in West Africa, but currently reside in the United States. In my practice, I aim to create genuine and authentic portraits of people who make up the beautiful continent of Africa. The paintings expose viewers to a global perspective rather than a narrative meant to portray a single viewpoint. My work reects the diversity and richness lost in the deceptive mainstream representations of the African people and explores a self-referential perspective on the Black image. I develop this group of portraits through a vital practice that requires physical engagement with the community and the desire to travel. My work allows for dialogues between America and Africa to emerge, reaching beyond cultural orthodoxy and reversing the traditions of Western globalization. I weave mixed media into the fabricated aesthetics of the portrait. I use a layering technique to combine African motifs in silkscreen and fabric. These materials become an anchored pillar that transcends the work through the everyday African cultural narrative.

Carbondale, IL Soul Basel, Art Africa Miami, Miami, FL Bombay Sapphire Artisan Series, Gallery Guichard, Chicago, IL 2015

The Native Series, Creative Space Gallery, Chicago, IL C4, Surplus Gallery, Carbondale, IL Awards

2017

Rickert-Ziebold Trust Award, Surplus Gallery

2016

1st Place, Bombay Sapphire Artisan Series Chicago Regional 10 Annual Forum Juried Exhibition

17

Adufah

b. 1988 Kumasi, Ghana


A. Elizabeth Allen-Cannon It Doesn’t Hide What It Covers | oil and Flashe on panel, 42 x 36 inches

18


A. Elizabeth Allen-Cannon Romance in D major | oil on panel, 42 x 36 inches

19


A. Elizabeth Allen-Cannon A Leisurely, Playful Expression or Roman Ă clef | oil on panel, 22 x 31 inches

20


A. Elizabeth Allen-Cannon Chicago, IL eac@elizabethallencannon.com / www.elizabethallencannon.com / @aallenc

Education 2017

MFA, University of Chicago, Chicago, IL

2011

BFA, Rhode Island School of Design, Providence, RI Residency

2011-13 Urban Culture Project Studio Residency, Charlotte Street Foundation, Kansas City, MO Solo Exhibition 2012

Domestication, Blue Gallery, Kansas City, MO Group Exhibitions

2016

Studies, Nationale, Portland, OR

2015

Deconstruct, NOoSphere, New York, NY Wanting to Know But Not Wanting to Ask (two-person exhibition), Charlotte Street Foundation, Kansas City, MO

2014

Arena Showcase, Haw Contemporary, Kansas City, MO

For me, painting is a place to explore the amorphous and unstable qualities of feminine stereotypes, as well as constructions of feminine authorship and selfhood. What characterizes a feminine gesture? Is it hesitant? Sassy? Insecure? Demure? Anemic? How does one construct the self while both identifying with and being repulsed by traditional gender scripts? These questions produce a range of style and mark-making that subverts the singular authorial voice, resulting in a schizophrenic femininity across the work. Often the content feels dated, sentimental, and matronly. Floating paper envelops the picture plane, contrasting with ejaculatory cartoon lines. Smiling in self-deprecation, folded paper insists on being read as transparent even though the content feels opaque and substantial—especially when painted on wood panel. I am interested in painting as a site for the obsessive untangling of the past and for endless projects of self-reinvention as a means to achieve emotional autonomy. In the end, what emerges is a nebulous femininity engaging in caricatured acts of genius and failure—contained yet claustrophobic, inept yet dominant.

The Call is Coming From Inside the House, Roots and Culture Contemporary Art Center, Chicago, IL 2009

Me & We: The Collective and the Individual, Brown University, Providence, RI Awards

2014

Gallucci Creative Fund Grant ArtsKC Inspiration Grant

2012

Kansas City Collection Publication

2017

South as a State of Mind, documenta 14 Collection Museum of Modern Art Library

21

Allen-Cannon

b. 1988 Kansas City, MO


Candida Alvarez Howl, 2015 | enamel, oil, acrylic, and metal akes on canvas, 48 x 48 inches

22


Candida Alvarez Somewhere between a buttery and a bee, 2016 | acrylic, collage, and tape on canvas, 48 x 60 inches

23


Candida Alvarez Aura on the y, 2014 | acrylic and Flashe on canvas, 72 x 84 inches

24


Candida Alvarez Chicago, IL alvarezcandida1@gmail.com / www.candidaalvarez.com / @kimonorose2

Education 1997

MFA, Yale University, New Haven, CT

1981

Skowhegan School of Painting and Sculpture, New York, NY

Dancing to meaning is what interests me, tracking space and time with marks and paint. My works are like selfies revealing bits of me against the world. As an intuitive conceptual artist, I track polymorphic knowledge against the seams of collaged actions that can burst at any moment. Wrangling with a monster is the most engaging process to conceptualize.

Professional Experience 1998-

Professor, School of the Art Institute of Chicago, Chicago, IL Solo Exhibition

2017

Candida Alvarez: Here, Chicago Cultural Center, Chicago, IL Group Exhibitions

2017

Magnetic Fields: Expanding American Abstraction, 1960’s to Today, Kemper Museum of Contemporary Art, Kansas City, MO Awards

1994

Pollock Krasner Foundation Grant

1988

Mid-Atlantic/NEA Regional Fellowship

1986

New York Foundation for the Arts Artists’ Fellowship

2017

“Candida’s Coloring Book,” Chicago Magazine, May 2,

Publications pp. 43-44 “Comme des Garçons Spring 2017 Men’s Collection Features a Chicago Artist Print,” FashionFiles, February 1 “Works by Candida Alvarez make an appearance at Comme des Garçons and at the Cultural Center,” Chicago Reader, April 28 2016

“Art 50 2016, Chicago Artist’ Artists,” NewCity, September 15

2012

“Center Field, Art in the Middle/ Mashed up and Shredded into Space: An Interview with Candida Alvarez,” Art 21 Blog Collections Addison Gallery of American Art Whitney Museum of American Art Studio Museum in Harlem

25

Alvarez

b. 1955 Brooklyn, NY


Meghan Eilleen Borah Installation of Lookyloos looking at a painting of Diana Ross | painting: rabbit skin glue and dispersion on canvas; sculptures: plaster, glitter, linen, wood, rabbit skin glue, pigment, acrylic and foil, painting: 72 x 48 inches; sculptures: approx. 90 x 40 x 36 inches

26


Meghan Eilleen Borah History Has Turned the Page (Uh Huh) | monotype dye transfers and acrylic on muslin, 87 x 107 inches

27


Meghan Eilleen Borah Up the Ladder to the Roof | rabbit skin glue, pigment, oil, and glitter, 48 x 36 inches

28


Meghan Eilleen Borah Chicago, IL 847.682.5337 mborah@artic.edu / www.meghanborah.com / @meghanborah

Education 2017 2015

MFA, School of the Art Institute of Chicago, Chicago, IL Post-Baccalaureate, School of the Art Institute of Chicago, Chicago, IL

2012

BA, Boston College, Chestnut Hill, MA Solo Exhibition

2017

All That Glitters, Lillstreet Rooftop Gallery, Chicago, IL Group Exhibitions

2016

All Over the Place, The Stolbun Collection, Chicago, IL Spanx For Coming, Second Floor Rear, Chicago, IL

2015

Post-Baccalaureate Exhibition, School of the Art Institute of Chicago, Chicago, IL

2014

With subject matter inspired by urban fashionistas I see on the street, personal beauty regimens, time spent walking alone in high heels, 1960s girl groups, and disco culture, my work is a continued exploration of the female figure in context. At its core is an ongoing interest in the relationship between theater and everyday life: the feeling of constantly being on stage. My work celebrates the power that comes with crafting variable feminine facades, yet acknowledges the inherent vulnerability of seeking unattainable states of permanence and perfection.

Members Only, CultureFix, New York, NY ISO 2016, Con Artist Gallery, New York, NY

My current body of work juxtaposes traditional modes of painting with sculptural paintings to illustrate a dissonance between performer and spectator, specifically through the phenomenon of the musical diva. I focus on musical divas who achieved fame before the age of the Internet made celebrity status more widely attainable but far more ephemeral. The conflict between the dissolution of conviction in a diva’s performance and my desire to retain the icon’s divinity is a driving aspect of the work.

Under One Roof, Gallery Bar, New York, NY 2013

Art Basel With Select Gallery, Miami, FL Jack of All Trades, Con Artist Gallery, New York, NY Award

2017

Nominee, The Edes Fellowship, School of the Art Institute of Chicago Publication

2017

New American Paintings, #129

29

Borah

b. 1990 Evanston, IL


James Collins Untitled | oil on canvas, 48 x 36 inches

30


James Collins Untitled | oil and acrylic on canvas, 50 x 40 inches

31


James Collins Untitled | oil on canvas, 72 x 48 inches

32


James Collins Detroit, MI 262.719.3500 (Document) jamescollinsart@gmail.com / www.james-collins.info / @jamescollinz

Group Exhibitions 2017

Rogaland Kunstsenter, Stavanger, Norway 99 cents or Less, Museum of Contemporary Art Detroit,

Painting for me is as much about technique and process as it is about the ďŹ nal artwork. To illustrate this: each painting embodies an element of chance and some disregard for predetermined outcomes. My goal is not solely to create new imagery, but to coax the painting to life through the gestures of its making.

Detroit, MI 2016

Et Al, San Francisco, CA Document, Chicago, IL Elmhurst Art Museum, Elmhurst, IL

2015 2014

Circuit 12, Dallas, TX Tracy Williams Ltd., New York, NY FOG Design + Art, Jessica Silverman Gallery, San Francisco, CA

2013

Imago Mundi, Venice Biennale, Benetton Foundation, Fondazione Querini Stampalia, Venice, Italy Alley Culture, Detroit, MI Detroit Artists Market, Detroit, MI Whitdel Arts, Detroit, MI Library Street Collective, Detroit, MI Limit (less), Urban Institute for Contemporary Arts, Grand Rapids, MI

2012

Gallery Project, Ann Arbor, MI Award

2012

Midwest Area Show, Kalamazoo Institute of Arts Represented by Document, Chicago, IL

33

Collins

b. 1972 Superior, WI


Greg Fadell New | ink on acrylic-infused fabric, 24 x 18 inches

34


Greg Fadell New | ink on acrylic-infused fabric, 48 x 36 inches

35


Greg Fadell New | ink on acrylic-infused fabric, 53.5 x 72 inches

36


Greg Fadell Detroit, MI info@gregfadell.com / www.gregfadell.com / @gregfadell

Professional Experience 2015

“Art and Technology Since the Advent of Photography,”

The obsession with newness in the arts is never-ending. These “New Paintings” are a reaction to this conundrum. I wanted to paint the idea of perpetual newness—a state of permanent development.

lecture at Google Headquarters, Chelsea, New York, NY “Which Side Is Up,” Panel discussion, Detroit Institute of Arts, Detroit, MI Solo Exhibitions 2015

Museum of Contemporary Art Detroit, Detroit, MI By Appointment Only, Private Showing w/ Liz Koury, New York, NY Agalma, Barbara Davis Gallery, Houston, TX Nothing, Beverly Allan, Bellport, NY

2012

Nothingness, Re:View Contemporary, Detroit, MI Group Exhibitions

2017

Undercover Boss, Reyes Projects, Detroit, MI

2016

People, Places, Things, Tracy Williams Ltd., New York, NY New American Paintings: Midwest Edition, Elmhurst Art Museum, Elmhurst, IL

2015

Lille 3000, Gare Saint Sauveur, Lille, France

2013

CHROMA, Urban Institute of Contemporary Art, Grand Rapids, MI Publications

2016

Maake Magazine, #3

2014

Canvas Detroit, Wayne State University Press

37

Fadell

b. 1970 Detroit, MI


Nick Fagan Too Busy to 86 | polystyrene foam, acrylic paint, and oil paint, 96 x 96 inches

38


Nick Fagan Weight | polystyrene foam, acrylic paint, and oil paint, 96 x 96 inches

39


Nick Fagan MOONDOG | polystyrene foam, acrylic paint, and oil paint, 96 x 96 inches

40


Nick Fagan Columbus, OH 571.344.4135 nickfaganstudio@gmail.com / www.nick-fagan-studio.com / @nick.fagan

Education 2017

MFA, Ohio State University, Columbus, OH

2014

BFA, Virginia Commonwealth University, Richmond, VA Residencies

2016

Vermont Studio Center, Johnston, VT

2015

Skowhegan School of Painting and Sculpture, Madison, ME

2013

Anderson Ranch Arts Center, Snowmass Village, CO Group Exhibitions

2017

THESIS, Urban Art Space, Columbus, OH Fergus Award Show, Urban Art Space, Columbus, OH

My work has largely to do with events occurring in my life and their relationship to cultural issues that affect society. The work has a common narrative that many will understand, but at the same time it is personal. As I work, I look for an overarching experience that people can empathize with and relate to. The most recent body of work is about suicide. These paintings and sculptures consider the different roles that people play in these personal tragedies. Each work looks at a new facet of the experience, from personally dealing with my own attempted suicide to having friends who were successful at the task. At every turn, I try to express a different view using the various characters and collaged narratives that arise out of each suicide as it unfolds.

Playful Judgements, Wild Goose Creative, Columbus, OH 2016

(RE) INVENTION, The Dedalus Foundation, New York, NY Nick Fagan and Ben Copolillo, Valet, Richmond, VA

2016

Untitled, Neon Heater, Findaly, OH

2015

Nick Fagan, ROY G BIV Gallery, Columbus, OH

Roll with the Punches, Skylab Gallery, Columbus, OH

Awards 2017

Fergus Scholarship

2016

VSA Kennedy Center Award Publication

2017

“Finding Worfs in Paint: How Artist’s See Dyslexia,” NPR.com

41

Fagan

b. 1992 Washington, DC


Andy Hall One Hundred Footer Tall | dye on silk, 80 x 45 inches

42


Andy Hall One Hundred Footer Wide | dye on silk, 80 x 45 inches

43


Andy Hall Two One Hundred Footers Talking | dye on silk, 120 x 168 inches

44


Andy Hall Chicago, IL 212.242.0185 (Geary Contemporary) www.andy-hall.info / @andyhallstudio

Solo Exhibitions 2016

in 1000 feet, Elephant, Los Angeles, CA Stack Up, Geary, New York, NY

2014

Outdoor Activity for George Kubler, American Craft Council, Minneapolis, MN Shapes of Time, Geary, New York, NY

2012

Form Special, Contemporary Art Museum, Raleigh, NC Group Exhibitions

2015

CHGO DSGN WHEREVER, LVL3, Chicago, IL

2014

Rocket Run, Elder Gallery, Lincoln, NE Cryptographics, ArtSlant Curators Open, EXPO Chicago, IL

2013

New Work, w/ Maria Gaspar, The Franklin, Chicago, IL

2012

Modern Model, Roots and Culture, Chicago, IL

2011

Lifestyle Appropriate, New Capital, Chicago, IL

2009

Dark Fair, Art Cologne, Cologne, Germany

2004

The End of the End of the Line, Soap Factory,

My work is a material daydream; a thing barely there. After I experience something in the world, the studio answers a simple question for me: What would that look like? This series emerged on drives along dark highways during which I questioned the knowing voice of GPS maps. If measurement is defined as marks we use to gauge something, what happens when the marks outsize our ability to feel? I understand a 50-foot extension cord, but tell me to turn right in 1,000 feet and my brain goes funny. I make stuff as a filter for these irrational encounters or moments of fuzzy logic. To define form, I align myself with existing or self-defined systems, set them into motion, and allow things to happen. The system here is the Dudeen Color Triangle from 1910, which proposes systematic tonal sequencing through the use of color chords. The works in this series bring together thirds, fourths, and fifths of color as dyed silk. Ideas of rhythmic repetition, spatial unfurling, and infinite reverie are explored on barely-there surfaces.

Minneapolis, MN Drunk vs. Stoned, Gavin Browns Enterprise, New York, NY 2003

12x12: New Artists/New Work, Museum of Contemporary Art, Chicago, IL Represented by Geary Contemporary, New York, NY

45

Hall

b. 1972 Salina, KS


Stevie Hanley The Visitation | mixed media on paper and Plexiglas, 20 x 33 inches

46


Stevie Hanley Grid’s Cemetery | mixed media on paper with raw oak frame, 34 x 48 inches

47


Stevie Hanley Condominium Graveyard | gouache and colored pencil on paper, 55 x 24 inches

48


Stevie Hanley Chicago, IL 773.664.6618 hanley.stevie@gmail.com / www.steviehanley.com / @pervertkitchen

Education 2014

MFA, School of the Art Institute Chicago, Chicago, IL

2006

BA, University of California, Berkeley, CA Solo Exhibitions

2016

Synaesthetica, International Museum of Surgical Science, Chicago, IL

2015

Earplugs to Aid Viewing, Julius Caesar, Chicago, IL

2014

Perverted Living, Flat Space, Chicago, IL

2012

Held Open, September Gallery, Berlin, Germany

2011

Stray dogs run wild […], The Center for Endless Progress, Berlin, Germany

2010

Rent Boy, Vico Disco, New York, NY Rain down the Harvest, Lucas Carrei Gallery, Berlin, Germany

2009

Pool of Birds, Rote Lotte, Berlin, Germany

2008

Split a Rock and You Will Find God, Galerie Studio St. St.,

My practice is centered on carrying out the Mormon mission I was never allowed to undertake due to a failed church-led “sexualreorientation” therapy in my youth. Engaging with intimacy, radical empathy, cosmic retribution, and the elevation of psychic baseness, I am, as Vaginal Davis describes me, a “dainty Satanist.” Harnessing the power of shame, my work delineates a space both sacred and profane, creating a sacrilege that feeds agency. The problems raised by religion, that ancient technology of the self, have served as creative provocation. I regard religion through psychoanalytic and ethical lenses—a set of practices that provides ways of relating oneself to oneself and thereby of relating that self to the world. It is impossible to speak of the Abrahamic religions without speaking of shame, and so my work does both, just as addressing the holy is itself always an act of blasphemy. I regard my studio as “The Pervert Kitchen,” taking permission and pleasure in a practice that reclaims sites previously associated with a sense of violation or misuse as new forms of veneration.

Berlin, Germany Group Exhibitions 2017

Dangerous Professors, Triumph Gallery, Chicago, IL Animal Farm, Dalton Warehouse, Los Angeles, CA Benefit Auction for LGBT Refugees, Schwules Museum, Berlin, Germany Split Eye Geometry, Google Headquarters, Chicago, IL

2016

Cosmos Pornography, Art Helix, New York, NY Award

2014

Dean’s Scholar and George and Ann Siegel Fellowship, School of the Art Institute Chicago

49

Hanley

b. 1983 Sacramento, CA


Christopher E. Harrison Sir Icarus 2014 | collage, tempera, and painted plaster on chicken wire, 16 x 13 inches

50


Christopher E. Harrison Hoop Dreams 2015 | tempera, painted plaster, glitter, and collage on chicken wire, 14 x 17 inches

51


Christopher E. Harrison Masquerade III American Apart-tide 2014 | collage, colored pencil, and painted plaster on chicken wire, 12.5 x 9 inches

52


Christopher E. Harrison Minnepolis, MN charrchr@gmail.com / www.harrisonartstudio.net / @charrchr

Education 2019

MFA candidate, Art Academy University, San Francisco, CA

1987

BFA, Columbus College of Art and Design, Columbus, OH Residency

2009

Jerome Foundation, Blacklock Residency, Moose Lake, MN Professional Experience

2018

Public Art, City of Minneapolis, MN

2016

Museum Educator, Walker Art Center, Minneapolis, MN Group Exhibitions

2017

Nemeth Art Center, Park Rapids, MN Visual Arts Minnesota, St. Cloud, MN

2016

This series of artworks uses appropriated and self-created images that address the mythic, and sometimes truthful, African-American cultural persona. By rendering the surface decay of images, textured materials, and language, the visual disintegration within the works informs the breakdown of the cultural psyche that has persisted over centuries of oppression, miseducation, and division of the Black race throughout history.

Minneapolis College of Art and Design Gallery,

I see my current approach as a form of political and civic engagement for myself. This view has grown out of my experiences trying to understand social issues within my culture and the development of my identity as an artist, as a Black man, and as an American, while mining those issues as inspiration. Using references ranging from comics to historical icons, I question and challenge the sometimes stereotypical tropes within the greater social zeitgeist that exists to inspire a more honest depiction of Black lives in our minds and hearts.

Minneapolis, MN 2015

Rosalux Gallery, Minneapolis, MN Instinct Gallery, Minneapolis, MN Smack Mellon, Brooklyn, NY

2014

SooVac Gallery, Minneapolis, MN Award

2006

Minnesota State Arts Board, Cultural Community Partnership Grant Collections Bandjoun Station Cultural Center Boston ScientiďŹ c Archie Givens, Sr. Collection of African American Literature, University of Minneapolis

53

Harrison

b. 1965 SpringďŹ eld, OH


Sean Heiser Untitled (After Economy T.V.) | Flashe and acrylic on canvas, 24 x 18 inches

54


Sean Heiser Untitled (For K.K.) | acrylic, Flashe, and enamel on linen, 14 x 10.5 inches

55


Sean Heiser The Privatist | acrylic on canvas, 24 x 18 inches

56


Sean Heiser Milwaukee, WI seanheiser@gmail.com / www.seanheiser.com

Education 2017

BFA, University of Wisconsin-Milwaukee, WI

I am interested in making abstract paintings that trafďŹ c in representation. I want to use recognizable imagery as a means to provide access for a viewer while the image as a whole engages more formal and abstract dialogues. The work is a process of translating art history, pop ephemera, and lived experience.

Solo Exhibitions 2018 2017

The Privatist, The Alice Wilds, Milwaukee, WI Nervous Energy, Thelma Sadoff Center for the Arts, Fond du Lac, WI The Waiting Room (w/Jenna Youngwood), Usable Space, Milwaukee, WI

2014

FLATTEN IMAGE, Turpentine Gallery, Oakland, CA Group Exhibitions

2017

BFA Exhibition, University of Wisconsin-Milwaukee, Milwaukee, WI

2016

Young and Erie, Portrait Society Gallery, Milwaukee, WI (curatorial) IN//OUT, Walkers Point Center for the Arts, Milwaukee, WI

2015

Osmosis, Usable Space, Milwaukee, WI

2014

Bloom, Usable Space, Milwaukee, WI Awards

2016

Mary E. Van Deven Memorial Scholarship, University of Wisconsin-Milwaukee Represented by The Alice Wilds, Milwaukee, WI

57

Heiser

b. 1990 Klang, Malaysia


Mika Horibuchi Description of a Weaving | oil paint, rubber, and walnut, 40 x 30 x 1 inches

58


Mika Horibuchi Screen/Screen | oil on linen and walnut, 37.5 x 25.75 x 5 inches

59


Mika Horibuchi 5 of Hearts | oil on linen, 12 x 9 x 1 inches

60


Mika Horibuchi Chicago, IL 312.846.1500 (PATRON) www.mikahoribuchi.com

Education 2013

BFA, School of the Art Institute of Chicago, Chicago, IL Solo Exhibition

2016

Draw the Curtain, PATRON, Chicago, IL Group Exhibitions

2017

Council, w/ David Leggett, Orkideh Torabi, Erin Washington,

The idea of a peach that we envision when we hear or read the word embodies the fundamental characteristics of the thing rather than the specific characteristics of the piece of fruit you last encountered. The perfect archetype comes to mind. Relying on a sense of familiarity, these works are painted from a mental idea of what a peach looks like, or what a leaf looks like. But that archetype is faulty. A slight betrayal of expectations is at play. Specific characteristics and peculiarities appear within the rendering of each leaf, and the peaches are all depicted as white or gray, drained of their color. These “roses” are not painted red.

and Caleb Yono, Andrew Rafacz Gallery, Chicago, IL 2016

Things, Soccer Club Club, Chicago, IL Sub Rosa, Loudhailer Gallery, Los Angeles, CA Miranda, Anat Ebgi Gallery, Los Angeles, CA No Secret, LVL3, Chicago, IL Theory of Forms, Patron Gallery, Chicago, IL Stardust Memories, Heaven Gallery, Chicago, IL

2015

Mika Horibuchi and Dan Rizzo-Orr: View with a Room, Heaven Gallery, Chicago, IL Complementary Width, The Franklin, Chicago, IL Represented by PATRON, Chicago, IL

61

Horibuchi

b. 1991 San Francisco, CA


Jesse Howard Democracy in Contradiction | acrylic paint and charcoal, 40 x 38 inches

62


Jesse Howard Entanglement | acrylic paint and charcoal, 50 x 38 inches

63


Jesse Howard Middle Age Activist | acrylic paint and charcoal, 40 x 30 inches

64


Jesse Howard Oak Park, IL howard.properties@yahoo.com / www.jessehowardstudio.com / @stormbeforethecrisis

Education 1973

Ball State University, Muncie, IN Professional Experience

2016

Guess Lecturer, Waubonsee Community College, Waubonsee, IL Solo Exhibition

2015

African Americans today are faced with centuries-old myths and misguided perceptions perpetuated by the dominant culture that have reached a fever pitch across the country. At times, the African-American male is a prisoner within himself and his neighborhood because of his race or circumstance. One could argue that he was dead before birth.

Elmhurst College, Elmhurst, IL

I often return to my old neighborhood to record images of the people there. My figures are typically distorted to reflect the pressure and anxiety individuals feel and the perceptions and expectations imposed on them by society. These images illustrate the most pressing issues of contemporary life.

Group Exhibition 2016

Inspired by Social Issues, Bridgeport Art Center, Chicago, IL Award

2015

Wright Museum of Art purchase award Publication

2017

Recent street demonstrations in Ferguson, Missouri, and Baltimore, Maryland, following the deaths of Black individuals at the hands of law enforcement officers are depicted along with men who have cigarettes stuck in their noses to block inhalation of tear gas and figures entangled with their hands bound to illustrate the concept of Black men trapped within their conditions.

WYCC/PBS Art Chicago Collections Wright Museum of Art, Beloit College Diasporal Rhythms Artist Group

65

Howard

b. 1949 Chicago, IL


Lauren AnaĂŻs Hussey Lolo | oil on canvas, 70 x 68 inches

66


Lauren AnaĂŻs Hussey Framed Within | oil, foam, and Apoxie Sculpt on canvas, 70 x 80 inches

67


Lauren AnaĂŻs Hussey In the Salt Mine | oil, acrylic, resin, and Apoxie Sculpt on canvas, 60 x 50 inches

68


Lauren Anaïs Hussey Detroit, MI lahworks@gmail.com / www.lorenahussey.com / @laurenanais

Education 2017

MFA candidate, Cranbrook Academy of Art, Bloomfield Hills, MI Group Exhibitions

2017

Graduate Degree Exhibition, Cranbrook Art Museum, Bloomfield Hills, MI Walking with Serpants: Speculative Histories, Forum Gallery, Bloomfield Hills, MI Live? Laugh! Love…, Forum Gallery, Bloomfield Hills, MI

2016

Experiencing Perspectives, Mercedes Benz Financial

Through abstraction, my work explores binaries and symbols. They mimic the way I witness identity functioning within contemporary society: hybridized. I want to resist an absolute and have the work communicate this, as if to say, “I’m not what you think I am.” I am interested in finding new ways to communicate a lived experience through object conversion. I include variations in dimensionality, both illusionistic and formal, to have the works remain in flux. As a first-generation Cuban-American, I have had to adjust where I situate myself within society, and my cultural experience has been bifurcated by half-ness and appearance. Some other ideas that influence my work are taste, humor, absurdity, deflation, the grotesque, displacement, and play with artifice.

Services, Farmington Hills, MI Drive-Thru Painting Salon (pop-up exhibition), Forum Gallery, Bloomfield Hills, MI Welcome to the Thunderdome: Pt. 2 Wet Hot Cranbrook Summer, Forum Gallery, Bloomfield Hills, MI HAPPINESS, Forum Gallery, Bloomfield Hills, MI Awards 2016

Merit Scholarship, Cranbrook Academy of Art

2014

Radius Workshop Scholarship, Croatia

2013

Friends of Art and Design Rome Study Abroad Scholarship

69

Hussey

b. 1990 Jacksonville, FL


Chris Hyndman Curtain 7 | acrylic and tissue paper on canvas, 72 x 48 inches

70


Chris Hyndman Curtain 8 | acrylic and tissue paper on canvas, 72 x 48 inches

71


Chris Hyndman Curtain 6 | acrylic and tissue paper on canvas, 72 x 48 inches

72


Chris Hyndman Chicago, IL chrishyndmanstudio.wordpress.com

Education 2001

MFA, Ohio University, Athens, OH

1997

BA, University of Guelph, Guelph, Canada Residency

2001

Skowhegan School of Painting and Sculpture, Skowhegan, ME Professional Experience

2001-17 Professor, School of Art and Design, Eastern Michigan

My latest paintings are based on images of curtains. Their surfaces are perceptibly textured and readily divulge their construction from thousands of transparent painted circles. The format and size of the paintings are such that one can face them to look, or treat them as stagelike backdrops against which to pose or perform. I find myself in both positions while I work. In the former case, the works prioritize visual, spatial, and surface gymnastics familiar from many types of painting. In the latter, they accommodate the open and contingent volumes in front of their surfaces. In either case, I like to think of them as “fields” that can prompt an enlivened, active experience via surface and color.

University, Ypsilanti, MI Solo Exhibitions 2015

Chris Hyndman: Auditions and Curtains, Grace Albrecht Gallery, Bluffton University, Bluffton, OH

2014

In terms of fit with earlier work, the curtain paintings continue my interest in color and texture, structured surfaces, and the function of pattern and digital tools in the shaping and imaging of contemporary identities.

Chris Hyndman: No-Touching Zone, Institute for the Humanities Gallery, University of Michigan, Ann Arbor, MI

2013

Chris Hyndman, Susanne Hilberry Gallery, Detroit, MI Group Exhibitions

2015

Integrated Pattern: Structured Abstraction, Alden B. Dow Museum of Science & Art, Midland, MI

2011

Painting Coast to Coast, Elaine L. Jacob Gallery, Wayne State University, Detroit, MI

2008

Chris Hyndman, Gordon Newton and Barry Roth, Susanne Hilberry Gallery, Detroit, MI Evermore: Pattern & Process, Epsten Gallery, Kansas City, KS

73

Hyndman

b. 1973 London, Canada


E.E. Ikeler LET US LIVE | acrylic and latex enamel on ACM panel, 20 x 16 inches

74


E.E. Ikeler FINE | acrylic and latex enamel on canvas, 35 x 28 inches

75


E.E. Ikeler SOON | acrylic on paper mounted to aluminum, 15 x 18 inches

76


E.E. Ikeler Bloomington, IN eeikeler@gmail.com / www.eeikeler.com / @eeikeler

Education 2016

MFA, Yale University, New Haven, CT

2008

BFA, Cooper Union School of Art, New York, NY Solo Exhibitions

2017

Sign, Kent Place Gallery, Summit, NJ

2016

E.E. Ikeler, Jeff Bailey Gallery, Hudson, NY

Perhaps ironically, the motivation to make text work comes from my skepticism about language, naming, and legibility. I wonder what it might feel like to experience the world without language. Using a specialty sign-painting enamel, I draw the text or gridded background until the surface of the canvas is covered. Some paintings are then sanded or carved, giving the surface a quality not normally associated with painterliness. The purpose of these techniques is to embed the text within the ground of the painting— to emphasize the visual over the legible.

L.H.R, In Limbo, Brooklyn, NY Group Exhibitions 2017

SCRIPT^^forms, w/ Kerry Downey, Robert Blackburn Studio, EFA Project Space, New York, NY

2016

Less Is More More or Less, w/ Emmy Bright, Yve Yang Gallery, Boston, MA Practice Makes Practice, Mulherin, New York, NY

2015

hello, world!, Artspace, New Haven, CT

I am interested in how the works, as objects, project into the social space of a room as signs. The language I use includes idioms, four-letter words, and short utterances that allude to longing, innuendo, rejection, and refusal. I think of them as protest signs, since I do the lettering and layout by hand. But rather than prioritizing a speciďŹ c political message, in their relative illegibility they resist the didacticism of activist culture where we are often forced to organize ourselves according to simplistic categories of identity.

Awards 2016

Leroy Neiman Foundation Summer Fellowship, Ox-bow School of Art Helen Watson Winternitz Award, Yale University

2015

Yale FLAGS Award, Yale University Beinecke Rare Book & Manuscript Library Research Fellowship, Yale University

77

Ikeler

b. 1986 Ahwatukee, AZ


Michiko Itatani Cosmic Wanderlust, painting from Encounter 16-B-8 (2016) | oil on canvas, 78 x 96 inches

78


Michiko Itatani Tree House Encounter, painting from Cosmic Theater TH-1 (2014) | oil on canvas, 78 x 96 inches

79


Michiko Itatani Polaris, painting from Encounter 16-B-1 (2016) | sumi ink and oil on canvas, 96 x 78 inches

80


Michiko Itatani Chicago, IL 312.432.9500 (Linda Warren Projects) natalia@lindawarrenprojects.com / www.michikoitatani.com

2017

Celestial Vision, Illinois State Museum, Springfield, IL

2016

Hi-Point Contact, Zhou B Art Center, Chicago, IL

2015

Personal Codes II, Heuser Art Gallery, Bradley University, Peoria, IL

2014

Conversations: Michiko Itatani and Jake Webster,

“Starry night encounter” is my personal translation of the Japanese phrase ichi-go ichie. It is an idea found in Zen Buddhism: the concept of the transitory nature of things. The term is adopted in the Japanese tea ceremony: a 7-by-7-foot space, a guest, a simple serving of a cup of tea. Every meeting is the first and the last because it may not come again, or it may infinitely repeat.

South Bend Museum of Art, South Bend, IN 2011

Cosmic Theater, Kendall Gallery, Ferris University, Grand Rapids, MI

2010

Personal Codes, Handwerker Gallery, Ithaca College, Ithaca, NY

2007 2003

Close Binary, Eastern Kentucky University, Richmond, KY Daum Museum of Contemporary Art, Sedalia, MO Spartanburg Museum of Art, Spartanburg, SC

2002

University of Wyoming Art Museum, Laramie, WY

2000

Frauen Museum, Bonn, Germany

1998

Tokoha Museum, Shizuoka, Japan

1994

Ed Paschke/Michiko Itatani, Wright Museum of Art,

I return to this very basic concept. Using a fictional and symbolic space, I condense experienced and imagined multilayered encountering events. I appreciate every encounter with a person, a creature, a tree, a flower, a rock, a room, a book, a song, a painting, or a self. In my youth, I wanted to pursue fiction writing. I still strongly believe in fiction’s ability to express the deepest truths. My paintings are my fiction writings: incomplete, fragmented, and under inquiry. Through this working process I try to come to terms with the complex reality of the twenty-first century.

Beloit College, Beloit, WI 1991

McIntosh Gallery Museum, University of Western Ontario, London, Canada

1988

Musée du Québec, Quebec, Canada

1985

Alternative Museum, New York, NY Represented by Linda Warren Projects, Chicago, IL

81

Itatani

Solo Exhibitions


Natalie Jacobson Untitled | ink and spray paint on burlap, 18 x 16 inches

82


Natalie Jacobson Soft Kiss | gel medium, ink, and spray paint on scrim, 14 x 13 inches

83


Natalie Jacobson Untitled | acrylic, spray paint, and thread on scrim, 10 x 12 inches

84


Natalie Jacobson Oak Park, IL nataliemariejacobson@gmail.com / www.natalie-jacobson.squarespace.com

Education 1997

BFA, School of the Art Institute of Chicago, Chicago, IL

My work explores the states between inside and outside by focusing on the thingness of a painting. While hinting at pictorial space, I look for ways to erode the hierarchy of supports, surface, and picture plane by using all components to create an image.

Solo Exhibition 2017-18 (Upcoming) I can see you before you’re actually there, Riverside Arts Center, Riverside, IL Group Exhibitions 2017

A Certain Slant of Light, Riverside Arts Center, Riverside, IL

2015

In Bringing Forth, Hyde Park Art Center, Chicago, IL

2006

Rockford Midwestern Biennial, Rockford, IL

2005

Domestic Force, The Guest Room, Chicago, IL

1999

Made at Work, Dogmatic, Chicago, IL Award

2003

Illinois Arts Council Publications

2012

Studio Visit Magazine

1996

[Exchange], curated and published by Philip von Zweck

85

Jacobson

b. 1973 Newport Beach, CA


Thaddeus Kellstadt Full on Communication | acrylic on panel, 51 x 51 inches

86


Thaddeus Kellstadt Domes, Droppers and You | acrylic on panel, 52 x 40 inches

87


Thaddeus Kellstadt Deach Coach | acrylic on panel, 38 x 32 inches

88


Thaddeus Kellstadt Milwaukee, WI thadkellstadt@gmail.com / www.thadkellstadt.com / @thadkellstadt

Professional Experience 2017

Visiting Artist, ACRE Projects, Steuben, WI Solo Exhibitions

2017

Territories, The Ski Club, Milwaukee, WI

2015

Electric Beach, Times Club, Iowa City, IA

2014

Range Life, LUMP Gallery, Raleigh, NC In That Gold Land, Heaven Gallery, Chicago, IL

2013

On the Glass Surf, SPACE, Pittsburgh, PA Group Exhibitions

2017

Future Human, Plug Projects, Kansas City, MO

2016

The Nothing That Is, CAM Raleigh, Raleigh, NC

2015

Complementary Width, The Franklin, Chicago, IL

The structures I paint on are made primarily out of discarded wood. The building where my studio is located also houses carpenters who generously give me their scraps. I pick through this residue to pull out the interesting shapes and forms. There is a lot of collecting in my process. I visit thrift stores looking for wooden animals, bowls, and bric-a-brac to cut and fit into my structures. Collecting and reformation are vital parts of my work, and allow me to create wonderful problems for myself. Constructing the forms is a cross between playing with building blocks and fitting together a puzzle. The process is a negotiation between my aspirations and the stubborn nature of the forms. Each step of the construction informs the next, with color being my ultimate instrument and negotiator. The paintings are intended to act architecturally, figuratively, or topographically, either all at once or independently. They are houses, they are friends, and they are road maps. In dark times, these paintings offer escape routes to joy.

89

Kellstadt

b. 1977 Circleville, OH


Matthew Kluber Field/Terrace (Cerulean) | gouache on watercolor paper, 14 x 20 inches

90


Matthew Kluber Field/Terrace (Light Green) | gouache on watercolor paper, 14 x 20 inches

91


Matthew Kluber Field/Terrace (Blue) | gouache on watercolor paper, 14 x 20 inches

92


Matthew Kluber Cedar Rapids, IA 505.983.9555 (David Richard Gallery) mkluber22@gmail.com / www.matthewkluber.com / @matthewkluber

Education 1991

MFA, University of Iowa, Iowa City, IA

1987

BFA, Rhode Island School of Design, Providence, RI Group Exhibitions

2017

Life After Media, Orange Door/Thoma Art Foundation, Chicago, IL

My sense of place, as an artist and as a human being, is in a continual state of in between. The two poles of this state are the physical and digital worlds. It is a constant mediation between the actual and the ephemeral: a moment-to-moment negotiation of being, thinking, and communicating. My work as an artist addresses this mediation. New, interesting questions arise when the two poles are brought together in the form of traditional painting (physical world) and digital media (virtual world). I am grounded in this discourse.

Art on Paper, Weatherspoon Art Museum, Greensboro, NC Summer Exhibition, Haw Contemporary, Kansas City, MO Matthew Kluber & Colin C. Smith, Modern Arts Midtown, Omaha, NE Matthew Kluber, Kathy McTavish & James Woodfill, Joseph Nease Gallery, Duluth, MN 2016

Dallas Art Fair, David Richard Gallery, Dallas, TX Plugged In, David Richard Gallery, Santa Fe, NM Studio Faculty Exhibition, Faulconer Gallery, Grinnell College, Grinnell, IA

2015

Re-Op: ‘The Responsive Eye’ Fifty Years After, Visual Perception Today, David Richard Gallery, Santa Fe, NM You People, Haw Contemporary, Kansas City, MO Matthew Kluber: Electr-O-Pura, David Richard Gallery, Santa Fe, NM Collections Carl & Marilynn Thoma Art Foundation Estée Lauder International, Inc. Des Moines Art Center Represented by David Richard Gallery, Santa Fe, NM Haw Contemporary, Kansas City, MO

93

Kluber

b. 1959 Cedar Rapids, IA


Nick Larsen Deserter (173 Patches) | fabric (sunbleached, dyed, and digitally printed), thread, wood, tarp, tarp tape, and colored pencil, 61.5 x 57 inches

94


Nick Larsen Deserter (Shade) | fabric (sunbleached, dyed, and digitally printed), thread, wood, T-shirt, rope, tarp, tarp tape, and 1-inch buttons, 126 x 50 inches

95


Nick Larsen Deserter (Drug Rug) | fabric (sunbleached, dyed, and digitally printed), thread, wood, rope, tarp, tarp tape, 1-inch button, found patch, and colored pencil, 56 x 34 inches

96


Nick Larsen Columbus, OH nickolaus.larsen@gmail.com / @nick.larsen

Education 2019

MFA candidate, Ohio State University, Columbus, OH

2007

BFA, University of Nevada, Reno, NV Solo Exhibitions

2015

I Wonder If I Care as Much, w/ Tim Conder and Omar Pierce, Oats Park Art Center, Fallon, NV Haunts or Whatever, Tahoe Gallery, Sierra Nevada College, Incline Village, NV

2012

Heavy Forever (w/ Omar Pierce), Holland Project, Reno, NV Use Your Illusion III, McKinley Arts Center, Reno, NV

2011

Happier with Dreams than Wives, McNamara Gallery, University of Nevada, Reno, NV Thick Dreams, OXS Gallery, Carson City, NV

2010

Low Water Mark, Bibo Three Gallery, Reno, NV

Working with textiles led my work naturally to the queer space between sculpture and image, material form and printed surface. This no man’s land continues to be rich territory to mine; it feels related to living in the desert and to the hybrid image-objects I first became aware of while working in the archaeology field there. When resources are limited, an object that attends to multiple needs makes a kind of sense (for example, a lean-to shade structure that’s also a timeline or a poncho that’s also a map and a ghost of past mistakes). Some of this has to do with language, as in, When is that circle of canvas a badge, a patch, or both? This question and others driving the work at the moment are grounded in a handful of ongoing preoccupations: punk merch, the aesthetics of the American West, naming conventions, hanky code and other material signals, vestiges and artifacts, antimilestones, parallel histories, mapping as a natural response to feeling lost, and the meaningful human activity that transforms a place into a site.

Group Exhibitions 2016-17 Tilting the Basin: Contemporary Art of Nevada, Nevada Museum of Art, Reno and Las Vegas, NV 2015 2014

All In, Holland Project, Reno, NV Dada Local: The Legacy of Dada Culture in Reno, Galleries South, University of Nevada, Reno, NV Bathed in Sunshine, Covered in Dust, Holland Project, Reno, NV

2013

Trespasses as Whispers, Sierra Arts Gallery, Reno, NV Awards

2015

Nevada Arts Council Artist Fellowship Honorable Mention

2010

Nevada Arts Council Artist Fellowship

97

Larsen

b. 1982 Reno, NV


David Leggett Boy’s don’t cry. | acrylic, felt, and ink on canvas, 60 x 60 inches

98


David Leggett Invited to the cookout | acrylic, collage, ink, oil stick, and airbrush on canvas, 84 x 84 inches

99


David Leggett Western beauty standards. (I once was kind of Abstract.) | acrylic, felt, and collage on canvas, 20 x 20 inches

100


David Leggett Chicago, IL 312.226.2223 (Shane Campbell Gallery) www.davidleggettart.com / @cocofunhouse

Education 2010

Skowhegan School of Painting and Sculpture, Skowhegan, ME

2007

MFA, School of the Art Institute of Chicago, Chicago, IL

2003

BFA, Savannah College of Art and Design, Savannah, GA Solo Exhibitions

2017

Kimmerich Gallery, Berlin, Germany Their funeral, our dance floor, Shane Campbell Gallery, Chicago, IL

2016

Black Drawls, Gallery 400, UIC, Chicago, IL

2015

Sugar foot rain dance, Arts Incubator in Washington Park,

My work tackles many themes head-on: hip-hop, art history, popular culture, sexuality, the racial divide, and self are recurring subjects. I take many of my cues from standup comedians, whose routines I listen to while in my studio. Humor and color are two tools that I employ to bring the viewer in for closer examination. My utilization of craft materials offers familiarity, but it also creates the problematic of figuring out how each material should work within each piece. This is important due to my distrust of painting and wanting to problem-solve when I create something. I do not want to repeat the same formula, so the craft materials behave differently in every artwork. This makes each piece a fresh start.

Chicago, IL 2014

Going to bed angry, 65 Grand Gallery, Chicago, IL

2012

Coco River Fudge Street, Hyde Park Art Center, Chicago, IL It’s getting to the point where nobody respects the dead, Fresh to death, Western Exhibitions, Chicago, IL David Leggett New Paintings, Hinge Gallery, Chicago, IL

2010

Up for the Down Stroke, 65 Grand Gallery, Chicago, IL Group Exhibitions

2017

Council, Andrew Rafacz Gallery, Chicago, IL

2016

Death: A Summer Show, Trestle Projects, Brooklyn, NY Chicago and Vicinity, Shane Campbell Gallery, Chicago, IL

2015

Three the hard way, Reva and David Logan Center for the Arts, University of Chicago, Chicago, IL Represented by Shane Campbell Gallery, Chicago, IL

101

Leggett

b. 1980 Springfield, MA


Xizi Liu Chicago | oil on canvas, 62 x 78 inches

102


Xizi Liu Vegas | acrylic on canvas, 62 x 78 inches

103


Xizi Liu Boeing Factory | acrylic on canvas, 62 x 62 inches

104


Xizi Liu St. Louis, MO 314.250.3468 xiziliu1204@gmail.com / www.xiziliu.com / @xizixizixizixizixizi

Education 2017

MFA, Washington University in St. Louis, St. Louis, MO

2015

BFA, China Central Academy of Fine Arts in Beijing,

My paintings focus on sites of consumption and production in the contemporary environment, and explore capitalist consumerism. The subjects I choose are deeply rooted in my experience growing up amidst frenzied transformations in China, with its subsequent unbearable urban density.

Beijing, China Solo Exhibitions 2017

Indoors landscape, Bruno David Gallery, St. Louis, MO

2016

Live in the moment, University City Public Library Gallery, St. Louis, MO

2015

Space Game, Time Space Gallery, Beijing, China

In my works, I use stylized painting methods to represent the architectures of consumption, flattening reality both literally and metaphorically. Through a mechanical vision, the paintings explore, critique, and contemplate attitudes concerning consumerism and mass production. They examine the mechanization of the architecture of consumption—how it reinforces habits.

Group Exhibitions 2017

MFA Thesis Exhibition, Midland Kemper Art Museum, St. Louis, MO

2016

Calling for Freedom, The Boyle Family Gallery, St. Louis, MO

2015 2015

Parabola 2015, Des Lee Gallery, St. Louis, MO

These paintings also portray the power of information transmission through an unrevealed language and the painterly gesture, which replaces the alphabet in non-places—a place, not a social or physical space, that lacks the traditional attributes of space.

BFA Exhibition, Central Academic of Fine Art, Beijing Art Museum, Beijing, China

105

Liu

b. 1992 Jinan, China


Clay Mahn Autoportrait | acrylic and powdered marble on muslin, 22 x 16 inches

106


Clay Mahn Autoportrait | acrylic and powdered marble on muslin, 25 x 19 inches

107


Clay Mahn Bad Habits | acrylic and powdered marble on canvas, 78 x 47 inches

108


Clay Mahn Chicago, IL www.claymahn.com

Education 2017

MFA, School of the Art Institute of Chicago, Chicago, IL

2012

BFA, University of Montana, Missoula, MT

I think of my paintings as misfits—blemished characters that are either coming into being or left comically incomplete. I try to present the viewer with specific situations and relationships that playfully question the abstract world we live in. I am engrossed in the peculiar and the imperfect.

Solo Exhibitions 2016

Autoportrait, Paris London Hong Kong, Chicago, IL Left-Right-Left, TW Fine Art, Brisbane, Australia Group Exhibitions

2017

MFA Thesis Exhibition, School of the Art Institute of Chicago, Chicago, IL Micro Salon #7, Galerie l’Inlassable, Paris, France Chicago Expanded, MANA Contemporary, Chicago, IL

109

Mahn

b. 1988 Missoula, MT


Ignacio María Manrique Felix in the office of his mother, Leticia Martinez Santamaría, looking at postcards of the Hermaphrodite of Paris, a fresco of Fra Angelico, a photograph of Jacques Derrida, and a poster of Michael Jordan in the 1988 Slam Dunk competition | casein over acrylic on linen, 60 x 43 inches

110


Ignacio María Manrique Felix dreams himself inside of Fra Angelico’s “Christ Mocked,” looking at the Hermaphrodite of Paris (The Temple of the Holy Ghost) | casein over acrylic on hemp, 84 x 71 inches

111


Ignacio MarĂ­a Manrique Felix dreaming a spiderweb, an elephant named Chrysostom and Baby Jesus | casein over acrylic on canvas, 71 x 84 inches

112


Ignacio María Manrique Chicago, IL imanrique@saic.edu / www.ignaciomanrique.com / @ignacioeuqirnam

Education 2017

MFA, School of the Art Institute of Chicago, Chicago, IL

2014

BFA, School of the Art Institute of Chicago, Chicago, IL

These are three paintings from a cycle representing scenes from the life of Felix Antonio Santamaría. Felix is eleven and a half years old and lives with his mother, Leticia, and his grandmother, Lucrecia. His father left his mother for a man when Felix was five. His grandmother is a poet and a zealous Catholic with a small cocaine habit whose mission is the salvation of Felix’s soul, and his mother is a tenured professor in the Gender Studies department of a prestigious university in Chicago. Felix likes: Michael Jordan, looking at the pictures in his mother’s office, and the forbidden pleasure of listening to his grandmother reading Cortázar and the Book of Revelation out loud (both of which his mother, an avowed atheist, has outlawed). He loves killing ants and going to the frutería with his grandmother and her gang of Mexican viejitas from the local Eucharistic Society, El Sagrado Corazón de Jesús.

113

Manrique

b. 1987 Bogotá, Colombia


Nathan Margoni Selective Hero | acrylic on canvas, 48 x 60 inches

114


Nathan Margoni Camouage | acrylic, metal chain, and mixed media on canvas, 48 x 60 inches

115


Nathan Margoni Buried and Abandoned | acrylic on canvas, 60 x 80 inches

116


Nathan Margoni Benton Harbor, MI nathansmargoni@gmail.com / www.nathanmargoni.com

Education 2009

MFA, SUNY Purchase College, Purchase, NY

2007

BFA, Cleveland Institute of Art, Cleveland, OH Residencies

2016

Wassaic Project, Wassaic, NY

2014

Zygote Press, Cleveland, OH

2013-

Manager of Education, Krasl Art Center, St. Joseph, MI

Professional Experience

At age thirteen, I began to look at things differently. The small town I grew up in was suddenly provincial, the authority figures I had always looked up to were absurd, and God was made up, like Santa Claus. I became angry at the world and acted out by carving obscenities into trees and lighting things on fire. Fortunately, I also developed a sense of humor. This turned out to be a more effective and long-term way of dealing with my anxiety. In my paintings, I still use humor to deal with the more difficult things in life. With exaggeration, juxtaposition, and a few grotesque details, I am able to make fun of the folly I see embedded in my culture.

Solo Exhibitions 2015

Box Factory for the Arts, St. Joseph, MI ARS Gallery and Culture Center, Benton Harbor, MI

2013

Proximity Gallery, Cleveland, OH Krasl Art Center, St. Joseph, MI

2011

Carl Berg Projects, West Hollywood, CA Group Exhibitions

2017

Urban Institute of Contemporary Art, Grand Rapids, MI South Bend Museum of Art, South Bend, IN

2016

Wassaic Project Haunted Mill, Wassaic, NY Ann Arbor Art Center, Ann Arbor, MI Limner Gallery, Hudson, NY Kalamazoo Institute of Arts, Kalamazoo, MI

117

Margoni

b.1984 St. Joseph, MI


Zoe Nelson She Screams, in Revolution Red | oil on canvas, 34 x 30 inches

118


Zoe Nelson Pink Seas, She Looks | oil on canvas, 34 x 30 inches

119


Zoe Nelson My Pussy | oil on canvas, 48 x 44 inches

120


Zoe Nelson Chicago, IL zoe.e.nelson@gmail.com / www.zoenelson.com / @zoe_e_nelson

Education 2009

MFA, Columbia University, New York, NY

2006

BA, Barnard College, Columbia University, New York, NY Residencies

2015

ACRE, Steuben, WI

2014

OxBow, Saugatuck, MI

2013

The Lighthouse Works, Fishers Island, NY Solo Exhibitions

2017

I make abstract paintings that are rooted in embodied experience and psychological states. The color is a vehicle for moving between emotive states, and is often vibrant, juicy, and intuitive. Illusionistic holes reveal lower layers of shallow space and sometimes depict contemporary technological processes such as cropping, layering, and arranging. At other times, a hole becomes an eye, or begins to reference bodily or mystical forms of openness and blockage. What is interior and exterior often shifts within a single painting. Together, the paintings reference a way of looking that is as much about the experience of scrolling through Instagram as it is about the sensory experience of being in a body.

Zoe Nelson + Judy Ledgerwood (two-person exhibition), Practise Gallery, Oak Park, IL

2015

Recto/Verso, Cleve Carney Art Gallery, College of DuPage, Glen Ellyn, IL

2014

Zoe Nelson, Western Exhibitions, Chicago, IL

2012

Deep Cuts, Lloyd Dobler Gallery, Chicago, IL Dear Resonance and the Memory Hole (two-person exhibition), Roots and Culture Gallery, Chicago, IL Group Exhibitions

2017

In Between Two Bodies, South of the Tracks Gallery,

2016

Never Far Away, LVL3 Gallery, Chicago, IL

Chicago, IL A World Where Flowers Mean Something, ACRE Gallery, Chicago, IL XYZ, Greenpoint Terminal Gallery, Brooklyn, NY Publications 2016

“Interview,” INSIDEWITHIN, January 5

2015

“Critic’s Pick: Zoe Nelson,” Artforum (online), November 5

121

Nelson

b. 1983 Rhinebeck, NY


Josue Pellot Lady on Horse | acrylic, fans, AstroTurf, and model on horse, dimensions variable

122


Josue Pellot Nothing Is True (after Arce-Espasas) | acrylic on wall, 420 x 180 inches

123


Josue Pellot Beneath the Surface | wood, lacquer, and resin, dimensions variable

124


Josue Pellot Chicago, IL +44 (0).191.261.8281 (Vane) josue@josuepellot.com / www.josuepellot.com / @josuepellot

Education 2006

MA, Northwestern University, Evanston, IL

2003

BFA, University of Illinois at Chicago, Chicago, IL Solo Exhibitions

2016

UIU, Bing-Davis Memorial Gallery, Fayette, IA No Credit, No Problem, The University of North Carolina at Chapel Hill, Chapel Hill, NC

2012 2011

Much of my creative scholarship is informed by the dual current cultural climates in Chicago and Puerto Rico. The content of my works, whether they are recontextualized existing products or original constructions, reflects a similar duality. Through an aesthetic of minimalism, social practice, vernacular imagery, and consumer goods, I mine the roots of cultural and sociopolitical structures. By focusing on a reduced palette, a single form, a pose, or an object, my formal choices emphasize both overt and clandestine meaning.

Sweetness and Power, Waubonsee College, Sugar Grove, IL A Caballo, Universidad Católica de Puerto Rico, Ponce, Puerto Rico

Everyday things are made up of evolving histories, associations, and relationships. I isolate, reduce, and abstract these things to define moments of clarity within the complexity of identity.

Group Exhibitions 2017

Ponce es ley, Ponce, Puerto Rico

2016

Displacement, Cornell Fine Arts Museum, Rollins College, Winter Park, FL

2015

Ten, Vane, Newcastle upon Tyne, England

Working with these themes, my practice continues to respond to changing cultural environments, resulting in a framework in which any number of social, geographical, or ideological signifiers can be seen.

James and Audrey Foster Prize, The Institute of Contemporary Art/Boston, Boston, MA 2012

Concrete Illusions, Villa Victoria Center for the Arts, Boston, MA Publication

2013

Art Cities of the Future: 21st-Century Avant-Gardes Collections Museo de Arte de Ponce Universidad Católica de Puerto Rico Museo de Arte de Ponce Represented by Vane, Newcastle upon Tyne, England

125

Pellot

b. 1979 Aguadilla, PR


Kim Piotrowski Shield, 2016 | acrylic ink, acrylic, and Flashe on canvas, 72 x 54 inches

126


Kim Piotrowski The Good Got In, 2016 | acrylic ink and Flashe on panel, 30 x 24 inches

127


Kim Piotrowski Shook Again, 2015 | acrylic ink on panel, 16 x 20 inches

128


Kim Piotrowski Riverside, IL kimpiotrowski@me.com / www.kimpiotrowski.net / @kimpiotrowskiart

Education 1987

BFA, School of the Art Institute of Chicago, Chicago, IL Residencies

2017

Hambidge Residency, Rabun Gap, GA

2012

Yaddo Residency, Saratoga Springs, NY

2010

Ragdale Residency, Lake Forest, IL Solo Exhibitions

2016

Pushing Corners, Linda Warren Projects, Chicago, IL Field and Territory, Marcia Wood Gallery, Atlanta, GA

2014

Catch and Release, Linda Warren Projects, Chicago, IL River Rest, Grölle pass:projects, Wuppertal, Germany

In my paintings I create a level playing field for abstraction and reference, a territory where they can harmonize and spar. Abstraction as marks made with decisiveness and emotion plays willingly with references to landscape, nature, figure, and memory. Layers of thin ink washes, scrubbed and manipulated by time and touch, these passages push against the opacity of forms and gestural lines to create a new dynamic within the picture plane. It is the culmination and gathering of the different parts that excite the process of painting for me. Fantastic new forms and ambiguous scale created by even the smallest marks can make a composition that shifts the direction of motion, space, or feeling. These paintings are woven with line and color, wiped, puddled, and blown. They grind and wrestle and rest. Then they stay. They become a record of the dynamic process of painting meant to be read wide open.

Group Exhibitions 2017

7-UP, Grölle pass:projects, Wuppertal, Germany

2016

20/21–Visionary Artists of the 21st Century, Forum Gallery, New York, NY Form & Fruition, Ellsworth Gallery, Santa Fe, NM Abstraction Show, Atlanta Contemporary Arts Center, Atlanta, GA Awards

2016

Sustainable Arts Foundation Grant

2014

Illinois Arts Council Project Grant

2008

Artadia Grant Chicago Publication

2016

“Art Feature Kim Piotrowski,” Harpers Magazine, April Represented by Linda Warren Projects, Chicago, IL Marcia Wood Gallery, Atlanta, GA Grölle pass:projects, Wuppertal, Germany

129

Piotrowski

b. 1965 Buffalo, NY


Rachel Reynolds Z Some of us are Working Really Hard | oil on canvas 80 x 49 inches; sculpture: Robert Zahorsky; ďŹ ber: Corrie Baldauf; photo by PD Rearick

130


Rachel Reynolds Z View of Northeast Corner From Inside Center Galleries, Detroit, MI | oil on linen, 44 x 31 inches; photo by PD Rearick

131


Rachel Reynolds Z Bringing the Background into the Foreground, Center Galleries, Detroit, MI | acrylic paint on Dura-Lar, 29 x 60 inches; photo by PD Rearick

132


Rachel Reynolds Z Hamtramck, MI lookseewonder@yahoo.com / www.rachelreynoldslookseewonder.com

Education 2007

MFA, Vermont College of Fine Arts, Montpelier, VT

2000

BFA, College for Creative Studies, Detroit, MI

I value art that seeks to inspire and provoke. It is with these intentions that I paint, collaborate, and create. The series titled Initiate Your Gaze functions as an installation by mirroring the visual details found in the surrounding exhibition space. Engaging with architectural elements of the room and with art by other artists, the paintings encourage the act of looking.

Professional Experience 2006-16 Juror for Metro-Highlights, Lawrence Street Gallery, Ferndale, MI Visiting artist lecture, Madonna University, Livonia, MI Visiting artist lecture, Oakland University, Rochester, MI Visiting artistlLecture, Detroit Institute of Arts, Detroit, MI Guest Artist for critiques, Cuyahoga Community College, Cleveland, OH, and College for Creative Studies, Detroit, MI Solo Exhibitions 2016

Collaborative Exhibition: If you haven’t heard, now you know: RaRoCo, Simone DeSousa Gallery, Detroit, MI

2013

Collaborative Exhibition: Phases of an Image, Center Galleries, Detroit, MI Group Exhibitions

2016

The process of making the paintings requires staging and photographing the installation months before the exhibition opens, then hanging the work where it will echo what the viewer sees. The site-specific paintings cause the audience to contemplate their perceptual experience of the immediate environment. The work is complete when perceived and activated by an audience. The series of paintings reflects formal perspectives of an interior space while raising perceptual and conceptual questions about time.

PRINT, Simone DeSousa Gallery, Detroit, MI

Looking often leads to curiosity and contemplation. Actively perceiving one’s environment is the first step toward changing it or one’s expectations of it. Great thanks to my artist collaborators Robert Zahorsky and Corrie Baldauf.

Flint Institute of Arts Art School Faculty Exhibition, Bishop Gallery, Flint, MI 2015

Actual Size Biennial, Atrium Gallery, Detroit, MI Whisper Well, Butter Projects, Royal Oak, MI Full Credit, Whitdel Arts, Detroit, MI Shared Tendencies, Collaborative Midwest Invitational, Marygrove College, Detroit, MI

2013

Drawing Explored, Detroit Artist Market, Detroit, MI Collection Oakland University

133

Reynolds Z

b. 1978 Sterling Heights, MI


Geoffrey Todd Smith Flat Atlas | acrylic, gouache, and ink on paper, 17.25 x 14.75 inches

134


Geoffrey Todd Smith Naughty Pony | acrylic, gouache, and ink on paper, 17.25 x 14.75 inches

135


Geoffrey Todd Smith Bonfire of Butterflies | gouache and ink on paper, 17.25 x 15 inches

136


Geoffrey Todd Smith Chicago, IL 312.480.8390 (Western Exhibitions) www.geoffreytoddsmith.com / @geoffreytoddsmith

Education 1997

MFA, Northern Illinois University, DeKalb, IL Solo Exhibitions

2015

Western Exhibitions, Chicago, IL

2013

Forcefields, Union League Club of Chicago, Chicago, IL Secret Lives of Rainbows, Luis De Jesus Los Angeles, Los Angeles, CA

2012 2008

Doodling within self-imposed limitations has long been my way of inducing introspection and conjuring new images. In these recent works on paper, wavy bands of color and curvaceous lines overlap repeatedly to create dense, fluttering spaces. A cursory Rorschach-like inspection provides the viewer an array of elusive possibilities: cartoon eyes throwing shade, biting mouths adorned with sharklike teeth and clownish smirks, butterfly wings, and veils of alternating microscopic and celestial forms. In the end, I play the role of a hard-working spider, entombing shapes in a handmade, resonating web of spikes and squiggles.

FEEL HARDER, Nudashank, Baltimore, MD Here’s Looking at You Looking at Me Kid, Hyde Park Art Center, Chicago, IL Group Exhibitions

2016 2015

Chicago and Vicinity, Shane Campbell Gallery, Chicago, IL Cut from the Same Cloth, Charlie James Gallery, Los Angeles, CA PRTY PPL, Circuit12 Contemporary, Dallas, TX

2014

The Hughes Gallery, Sydney, Australia Greenpoint Terminal Gallery, Brooklyn, NY

2013

Acid Summer, DCKT, New York, NY

2012

DePaul Museum of Art, Chicago, IL Painted, The Green Gallery, Milwaukee, WI Publications

2017

“Geoffrey Todd Smith’s Visually Confounding And Colorfully

2015

“Fall’s 10 Most Anticipated Art Exhibitions,”

Explosive Compositions,” Juxtapoz, April 3 Chicago Magazine, September 15 Represented by Western Exhibitions, Chicago, IL

137

Smith

b. 1973 Cleveland, OH


Michael Stillion Over Frog Legs | mixed media on canvas, 72 x 54 inches

138


Michael Stillion Perfect Fool | mixed media on canvas, 77 x 52 inches

139


Michael Stillion Reclining | mixed media on canvas, 72 x 96 inches

140


Michael Stillion Cincinnati, OH 312.432.9500 (Linda Warren Projects) michaelstillion@gmail.com / @michaelstillion

Stillion

b. 1980 Pleasant City, OH

I feed off my heroes and the invention of reality.

Education 2007

MFA, Indiana University, Bloomington, IN

2002

Columbus College of Art and Design, Columbus, OH Residencies

2008-09 Roswell Artist-In-Resedence, Roswell, NM 2008

Joan Mitchell Full Fellowship, Vermont Studio Center, Johnson, VT Solo Exhibitions

2016

In the Belly of the Whale, Linda Warren Projects,

2015

Blood, Milk, Sky and Gold (mural), Contemporary Arts Center,

Chicago, IL Cincinnati, OH 2014

Ghost in the Machine, Phyllis Weston Gallery, Cincinnati, OH

2013

BZ&C; bent, zigzag and crooked, Linda Warren Projects, Chicago, IL Squall, 1305 Gallery, Cincinnati, OH Group Exhibitions

2015

Cincinnati 5: Artists Impacting the Community, Wave Pool Gallery, Cincinnati, OH Now Here: Theoretical Landscapes, Carnegie Gallery, Covington, KY We Got Spirit, Yes We Do, Unity Gallery, Maharishi University, FairďŹ eld, IA

2014

Shall I tell you the secret of the whole world? Painting, Parody & Disguise, Contemporary Arts Center, Cincinnati, OH I Can’t Spell Group without a You, Lovey Town, Madison, WI Award

2015

Ohio Arts Council Grant, Individual Exellence Award Represented by Linda Warren Projects, Chicago, IL 141


Orkideh Torabi You Will Start It First | fabric dye on stretched cotton, 43 x 37 inches

142


Orkideh Torabi It’s Worth It | fabric dye on stretched cotton, 43 x 37 inches

143


Orkideh Torabi The Greater Wall | fabric dye on stretched cotton, 48 x 59 inches

144


Orkideh Torabi Chicago, IL 312.480.8390 (Western Exhibitions) www.orkidehtorabi.com / @orkidto

Education 2016

MFA, School of the Art Institute of Chicago, Chicago, IL Residencies

2017

Bemis Center for Contemporary Arts, Omaha, NE Wassaic Residency Program, Wassaic, NY Solo Exhibitions

2017

I make paintings that lampoon men as absurd clownlike figures, drawing attention to the personal, political, and social issues facing women in patriarchal societies. My process is to paint on a silkscreen with fabric dye, then transfer the image onto canvas using a squeegee, like a monoprint, relying on chance and imperfections. By portraying the figures with cartoonish whimsy, I try to strip the male oppressors of their power, undermining the culture of machismo that pervades many societies. In demasculinizing them, and through repetition and displacement, I allow myself, as a female, to possess their power.

Orkideh Torabi: New Paintings, Yes, Please & Thank You, Los Angeles, CA

2016

Western Exhibitions, Chicago, IL Group Exhibitions

2017

Christopher Davison and Orkideh Torabi, Horton Gallery, New York, NY Council, Andrew Rafacz Gallery, Chicago, IL

2016 2013

Ground Floor, Hyde Park Art Center, Chicago, IL Salzburger Kunstverein, Salzburg, Austria Shirin Art Gallery, Tehran, Iran Publications

2017

“Yes, Please, and Thank You Projects: New Paintings by OrkidehTorab,” Art and Cake Magazine, January 26 “Orkideh Torabi,” Artillery, March “Subverting Masculinity: Orkideh Torabi’s ‘New Paintings.’” Amadeus Magazine, January 6

2016

“Colorful, Cartoonish Constructions of Masculinity: A Review of Orkideh Torabi at Western Exhibitions,” New City, July 27 “Some Standouts among the Hodgepodge at SAIC’s MFA Show,” Chicago Reader, April 29 Represented by Western Exhibitions, Chicago, IL

145

Torabi

b. 1979 Tehran, Iran


Shawn Michael Warren In a Promised Land | oil on canvas, 74 x 180 inches

146


Shawn Michael Warren The Siege of Granada | oil on canvas, 74 x 168 inches

147


Shawn Michael Warren Center of Attention | oil on canvas, 48 x 64 inches

148


Shawn Michael Warren Chicago, IL swarrenmedia@gmail.com / www.shawnmichaelwarren.com / @warrenart

Education 2009

BFA, American Academy of Art, Chicago, IL Residency

2008

Florence Academy of Art, Florence, Italy Group Exhibitions

2017

Black Art Matters Exhibition, Carnegie Center for Art and History, New Albany, IN

2016

Shawn Michael Warren’s work brings attention and awareness to events and individuals (past and present) that have affected and shaped cultures and civilizations throughout the world.

Dual Perspectives, University of Indiana, South Bend, IN

His most notable creation, In a Promised Land . . . , received critical acclaim for bringing life to the tragic history of the Greenwood Community in early 1920s Tulsa, Oklahoma, home to the wealthiest black community in America: “The sublime beauty of Warren’s painting style combined with the absence of blood and gore makes the subject matter accessible, so that people linger and look closely at the scene of destruction and emotional upheaval” (Kate Lewis, in the Rapidian).

Emerging Masters, Laguna Art Museum, Laguna Beach, CA 2015

SCOPE Art Show, Miami Beach, FL Awards

2015

2nd place, Bombay Sapphire Artisan Series Finale

Through narrative painting, Warren depicts these subjects in a way that captures the attention of the viewer and triggers empathy as well as the need to learn and fully understand the story behind its imagery.

Paul Collins Diversity in Art Award, ArtPrize 7 Publications 2016 2015

“IUSB Exhibits Large-form Paintings” “17 Brilliant Black Artists Featured at Art Basel, Miami,” Root “Illuminating Moments,” Rapidian “African American Artists Shine at World’s Largest Art Competition,” Black Art in America

149

Warren

b. 1987 Chicago, IL


Lauren Wy Prisoner Select | oil wax crayon on paper, 12 x 16 inches

150


Lauren Wy Watch Pool | oil wax crayon on paper, 11.5 x 16 inches

151


Lauren Wy Fenced | oil wax crayon and razor blade on paper, 12 x 16 inches

152


Lauren Wy Chicago, IL www.laurenwy.com

Education 2012

BFA, University of South Florida, Tampa, FL Solo Exhibition

2016

FLOOD, Pink Swear, Chicago, IL Group Exhibitions

2017

Art for Life, DIFFA-sponsored juried exhibition and auction

2012

23rd Annual Student Exhibition, Atlantic Center for the Arts,

to support AIDS, Chicago, IL

My recent body of work is an exploration of a partially imagined pseudo-narrative netherworld haunted by some unidentiďŹ ed collective trauma. A series of lush scenes bathed in personal secrets. The drawings are constructed with a limited, chemical palette and the strange viscosity of oil-wax pastels on paper. Each piece plays out the intention that my viewers become voyeurs of a decorative necropolis where they are simultaneously indulged and denied, invited and disinvited, ignored and addressed. I am interested in identity and self-presentation as they relate to power relationships, cult and tribal grouping, femme presentation, ritual, and the solipsistic need to touch each other.

New Smyrna Beach, FL BFA Thesis Exhibition, University of South Florida, National Exchange Bank, Tampa FL 36th Annual Juried Student Competition, University of South Florida, Tampa, FL 2011

The Length of a Cigarette, Oliver Gallery, University of South Florida, Tampa, FL Child Support, The Bricks, Ybor City, FL

2010

Reel Fest: Art and Music Festival, Tampa, FL Under the Springs Film Festival, Springs Theater, Tampa, FL Awards

2012

Excellence in Undergraduate Research for Experimental Painting-based Animated Film TENT//HOLE

2010-12 University of South Florida Talent Grant

153

Wy

b. 1987 Long Beach, CA


Editor’s Selections

The following section is presented in alphabetical order. Biographical information has been edited. Prices for available work may be found on p176.

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Ryan Doyle Spooky Saucer | oil on canvas, 48 x 42 inches

156


Ryan Doyle Supernaut | oil on canvas, 102 x 48 inches

157


Ryan Doyle Bob N Weave | oil on canvas, 84 x 72 inches

158


Ryan Doyle St. Louis, MO www.ryan-doyle.com / @ryandoyle0

Education 2017

MFA, Washington University in St. Louis, St. Louis, MO

2015

BFA, Maryland Institute College of Art, Baltimore, MD

2013

AFA, St. Louis Community College-Florissant Valley, Ferguson, MO

I make associations freely, and at times, recklessly. Pulling clumsy metaphors from horror films, science fiction, and sports, I apply them to a loose personal mythology and symbolic language. I often begin a painting by first making a dimensional paper model. The symbolically coded scenes take place in shallow staged spaces. While creating these spaces, I am thinking about a reconstruction or collapsing of personal narrative, history, and myth.

Solo Exhibitions 2017

Whistle While You Hum, Ferguson Sculpture Works, Ferguson, MO

2016

These Eyes, PLAQUE, Granite City, IL Boo, The Millitzer Studio & Gallery, St. Louis, MO Group Exhibitions

2016

The Transveral Project Presents: Adaptations, O Cinema Wynwood, Miami, FL Supper Club, Tech Artista, St. Louis, MO

2015

Bingo!, Platform Gallery, Baltimore, MD Fresh Meat, Gallery 1301, Baltimore, MD

2014

Tether, Florissant Valley Contemporary Gallery, Ferguson, MO

159

Doyle

b. 1990 St. Louis, MO


Amadeo Morelos Favela Artist Portrait as Dionysus | acrylic and oil on canvas, 34 x 28 inches

160


Amadeo Morelos Favela Artist Portrait as Apollo | acrylic and oil on canvas, 34 x 28 inches

161


Amadeo Morelos Favela Untitled (“Crowd”) | acrylic on canvas, 70 x 100 inches

162


Amadeo Morelos Favela Chicago, IL 312.610.9050 amorel1@amadeomorelos.com / www.amadeomorelos.com / @amadeo_mf

Education 2016

BFA, School of the Art institute of Chicago, Chicago, IL

2017-

Artist’s assistant, Tyson Reeders studio, Chicago, IL

Professional Experience Co-founder of GreenDoor, studio and cooperative space, Chicago, IL 2016

My work is an attempt to understand my relationship to others. I am concerned with the connection between the reward of admiration and the pursuit of empathy. I wish to display the craving for core human sensations in a culture moving at an overwhelmingly fast pace. My work is my own search for belonging on the verge of a grotesque world. Using humor and absurdity, I like to navigate social contradictions. I am interested in superficiality as a basis for understanding more intrinsic human qualities: a search for the spiritual through the material.

Artist’s assistant, Kori Newkirk studio, Los Angeles, CA Artist’s assistant, Jose Lerma studio, Chicago, IL Awards

2013-16 Creative Honors scholarship recipient, and selected student for the Advanced painting program, School of the Art Institute of Chicago

163

Favela

b. 1992 Morelia, MI


Heesu Jeon Hand-in-Hand | acrylic on canvas banner, 72 x 72 inches

164


Heesu Jeon The Band | acrylic on canvas banner, 72 x 72 inches

165


Heesu Jeon Candlelight Vigil | acrylic on canvas banner, 90 x 160 inches

166


Heesu Jeon Chicago, IL jeonhs861118@gmail.com / www.jeonheesu.com / @jeon_hee_su

Education 2017

MFA, School of the Art Institute of Chicago, Chicago, IL

2014

MFA, Chung-Ang University, Seoul, South Korea

2012

BFA, Chung-Ang University, Seoul, South Korea Professional Experience

2016

Teaching Assistant, School of the Art Institute of Chicago, Chicago, IL Artist talk, School of the Art Institute of Chicago, Chicago, IL Solo Exhibition

2014

DRAW A RECORD, KAIST Research & Art Gallery, Seoul, South Korea

I am a human recorder of my personal history, using animated images, emotional abstraction, cubist composition, and natural signs. I mix the exterior appearance of my daily life—whose order and hierarchy have lost their meaning—with the internal nature, or essence, that resides within it. The internal nature, or essence, here refers to “the inscape” that is redefined through the combination of the mundane reality and the psychic realm of the mind. Through the patterns and symbolic signs of American comics and Japanese anime, I depict the experience of my everyday life as well as the Korean social identity. In order to make visible the existence of the everyday, I give form to the emotional exchanges, circumstantial dynamics, and relationships among the people who reside in the world. It is my long-term goal that my chronological records will show not only my personal history but also form a part of contemporary history, and this will emerge if I keep recording my story throughout my life.

Group Exhibitions 2017

The Mind’s I, Ed Paschke Art Center, Chicago, IL

2016

UCC Student Art Exhibition, University Club of Chicago, Chicago, IL KAIST Collection: Relational lines, KAIST Research & Art Gallery, Seoul, South Korea

2014 2013

A1 Young Artists, Gana Insa Art Center, Seoul, South Korea JANG-JEON, (two-person exhibition) Chung-Ang University Art Center, Seoul, South Korea Wild Han–River Project, Kunst-Doc project space Nan-Ji, Seoul, South Korea Pre-Drawing Biennale, Heyri Art Factory, Gyeonggi-do, South Korea Awards

2011

In-Young Art Scholarship, Chung-Ang University BFA Merit Award and Academic Scholarship, Chung-Ang University Publication

2013

“Reinterpreted in-depth diary of the mundane daily life,” PAPER, vol. 217 167

Jeon

b. 1986 Seoul, South Korea


Dana Nechmad Trojan Vibes | gouache and ink on mounted paper, 30 x 20 inches

168


Dana Nechmad Pay Attention | gouache on mounted paper, 25 x 33 inches

169


Dana Nechmad Don’t Touch Me | gouache on mounted paper, 20 x 30 inches

170


Dana Nechmad Chicago, IL dana.nechmad@gmail.com / www.dananechmad.com / @dnechmad

My paintings focus on the power of the body and its sexuality, a subject that dominates both the personal and the social spheres.

Education 2016

MFA candidate, School of the Art Institute of Chicago, Chicago, IL

2015

Post-Baccalaureate, School of the Art Institute of Chicago, Chicago, IL

2012 2007

MA, Tel Aviv University, Tel Aviv, Israel BFA, Libera Accademia di Belle Arti, Florence, Italy Angel Academy of Arts, Florence, Italy Solo Exhibitions

2011

I use imagery from my own seductive/repulsive fears and fantasies, and work with vivid colors and gestural marks. However, my fascination is not with the beauty of the esh but with the emotion it arouses.

Stealth units, as part of International Women’s Day, Villa Dallal, Neve Zedek, Tel Aviv, Israel

The materiality of the mark-making emphasizes the corporeal aspect of my work; the images appear to be dripping down a slippery surface that moves them from the metaphoric realm to reality. My images allude to a nightmare that creeps into the conscious surface for a brief moment, like a sickening display of sweetness.

Group Exhibitions 2017

Declarations of Contemporary, Hairpin Arts Center, Chicago, IL Who Is She?, DFBRL8R Gallery, Chicago, IL

2016

One in Herself, Woman Made Gallery, Chicago, IL

2013

Face Off, Braverman Gallery, Tel Aviv, Israel

2012

Art of the Heart, Sheba Medical Center at Tel Hashomer,

Inside the Whale, The Container, Jaffa, Israel Ramat Gan, Israel Columbia University School of the Arts Summer Advanced Painting Program, Reid Hall, Paris, France 2011

Pintzeta, Tel Aviv, Israel NATAL organization, Tel Aviv, Israel Awards

2016-18 New Artist Society Merit Scholarship, School of the Art Institute of Chicago

171

Nechmad

b. 1985 Israel


Lauren Taylor No title (GG’s shoulder) | oil on linen, 12 x 10 inches

172


Lauren Taylor Tail between my legs and down on all fours | acrylic and ink on paper, 12 x 9 inches

173


Lauren Taylor Crash!! Bang! Ahhhh!! Clip-clop clip-clop, Naaayyy! Woooosh, thud | gesso, acrylic, ink, and oil pastel on paper, 18 x 14 inches

174


Lauren Taylor Chicago, IL 262.441.9257 (Bahamas Biennale) heylaurentaylor@gmail.com / www.laurentaylor.info / @nooolauren

Education 2014

1. In a four-term analogy, the word “face” alludes to a corresponding feature of a rock—something already in existence to which the figure can be compared.

BFA, School of the Art Institute in Chicago, Chicago, IL Solo Exhibitions

2017

Bahamas Biennale, Detroit, MI

2016

Standing on my knees, Andrew Rafacz Gallery, Chicago, IL

2015

Baby’s on Fire, Paris London Hong Kong, Chicago, IL

2014

Faber & Faber present Lauren Taylor, Faber & Faber Projects, Chicago, IL Johnny B. Bad, The John Riepenhoff Experience,

Baby’s on fire, and all the laughing boys are bitching. Waiting for paintings, ooohhh oh ohh the plot is so bewitching. ♪ 2. The word “face” cannot perform the act of metaphorical resemblance, because no original term exists as a stand-in for it. The catachrestic effect of a rock’s “face” turns the perspective metaphor into an identity. (“Let me at ’em, let me at ’em!!” Crash! Bang!! Craashhhh! Whooosh “Ahhhhh!”)

Jazz Gallery, Milwaukee, WI Group Exhibitions 2017

LtdWear2, in collaboration with LVL3 and TUSK, Chicago, IL BRIDGE STRIKE!, Syndicate at Snehta Residency, Athens, Greece

2016

Bones snip snap! Take your time, she’s only burning. This kind of experience is necessary for her learning. ♪

Touch Me I’m Sick, Beautiful Gallery, Chicago, IL How High?, Left Field Gallery, San Luis Obispo, CA Lionel Messi, Bahamas Biennale, Detroit, MI

2015

Late November, cornerstore, Chicago, IL

2014

Espresso Self, Espresso Self, Brooklyn, NY

Hard in Ms Paint, Bahamas Biennale, Detroit, MI

4. The figure now performs the function of a “proper” term, even though it is “improper” in context. When we speak of faces on rocks, sad puppy eyes, or speaking daggers, we do not create nice things based on reality so much as bootleg forms that distort logical apprehension. All my feelings feel like bootleg feelings.

Publication 2016

“Artist of the Week, Lauren Taylor,” LVL3 Media “Baby’s on Fire,” iW Magazine, #109 Represented by Bahamas Biennale, Detroit, MI

175

Taylor

b. 1992 Nashville, TN


Pricing Prices published here, for the most part, represent the current price for a work established by the artist or his/her gallery. If a work has been sold prior to publication and a price is shown here, it represents the price the work would command if it were available at the time this book is produced (August - September 2017).

Solomon Adufah p14 NFS p15 NFS p16 NFS

Chris Hyndman range of prices: $3,500 - $7,000

Kim Piotrowski p126 $16,000 p127 $5,700 p128 $3,600

A. Elizabeth Allen-Cannon p18 $2,000 p19 $2,000 p20 $1,200

E.E. Ikeler p74 $2,400 p75 $4,200 p76 $2,000

Rachel Reynolds Z p130 $3,000 /$2,500 /panel p131 $2,000 p132 $1,500

Candida Alvarez p22 POR p23 POR p24 POR

Michiko Itatani p78 $30,000 p79 NFS p80 $30,000

Geoffrey Todd Smith p134 $1,600 p135 $1,600 p136 $1,600

Meghan Eilleen Borah p26 $3,000each p27 $6,000 p28 $2,000

Natalie Jacobson p82 $575 p83 $500 p84 $450

Michael Stillion p138 $9,000 p139 $9,000 p140 $13,000

James Collins p30 POR p31 POR p32 POR

Thaddeus Kellstadt p86 $3,000 p87 $3,000 p88 $2,500

Orkideh Torabi p142 $3,500 p143 $3,500 p144 $5,000

Greg Fadell range of prices: $2,500 - $10,000

Matthew Kluber p90 $1,200 p91 $1,200 p92 $1,200

Shawn Michael Warren p146 $25,000 p147 $22,000 p148 NFS

Nick Fagan p38 $2,000 p39 $2,000 p40 $2,000

Nick Larsen p94 NFS p95 NFS p96 NFS

Lauren Wy p150 $700 p151 $650 p152 NFS

Andy Hall p42 $5,000 p43 $5,000 p44 $8,000

David Leggett range of prices: $400 - $15,000

Stevie Hanley p46 $2,000 p47 $2,900 p48 $2,000

Xizi Liu p102 $4,000 p103 $4,000 p104 $4,000

Christopher E. Harrison p50 $1,100 p51 $1,100 p52 $800

Clay Mahn p106 POR p107 POR p108 POR

Sean Heiser p54 $800 p55 NFS p56 $800

Ignacio María Manrique p110 $5,000 p111 $8,000 p112 $8,000

Mika Horibuchi p58 NFS p59 $6,000 p60 NFS

Nathan Margoni p114 $2,000 p115 $2,000 p116 $2,500

Jesse Howard p62 $3,000 p63 $3,000 p64 $2,500

Zoe Nelson p118 $3,600 p119 $3,600 p120 $6,000

Lauren Anaïs Hussey p66 NFS p67 $3,000 p68 NFS

Josue Pellot p122 NFS p123 NFS p124 $3,000

176

Ryan Doyle p156 $2,500 p157 $3,500 p158 $4,000 Amadeo Morelos Favela p160 POR p161 POR p162 POR Heesu Jeon p164 POR p165 POR p166 POR Dana Nechmad range of prices: $1,000 - $5,500 Lauren Taylor p172 NFS p173 $400 p174 $900


$20

New American Paintings August September 2017  
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