New American Paintings Issue #161 Midwest

Page 1

161

August/September



161 >

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161 August/September 2022 Volume 27, Issue 4 ISSN 1066-2235 $20

Recent Jurors: Nora Burnett Abrams

Miranda Lash

Museum of Contemporary Art Denver

New Orleans Museum of Art

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Contemporary Arts Museum Houston

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Al Miner

Elmhurst Art Museum

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Dominic Molon

Henry Art Gallery

RISD Museum of Art

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Sarah Montross

Orange County Museum of Art

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Sorrells p133

Contents 8

Editor’s Note

10

Noteworthy

12

Steven Zevitas

Juror’s and Editor’s Picks

Juror’s Comments Nadiah Rivera Fellah, Associate Curator of Contemporary Art, The Cleveland Museum of Art, Cleveland, OH

14 156 178

Winners: Juror’s Selections Midwestern Competition 2022

Winners: Editor’s Selections Midwestern Competition 2022

Pricing Asking prices for selected works

161 August/September 2022


Editor’s Note

The juror for this issue is Nadiah Rivera Fellah, Associate Curator of

for artists over the past five to seven years. As of late, the amount of

Contemporary Art at the Cleveland Museum of Art. This is not the

work focused on domestic interiors and/or the still life has become

first time that we have had the pleasure of working with Nadiah. In

notable; a number of artists in this volume draw imagery from their

the early days of the New American Paintings blog, she was a frequent

immediate environment. Many New American Paintings alumni—

contributor whose incisive writing was greatly valued. Nadiah loves

Alec Egan, Sarah McEneaney, Hilary Pecis, Ann Toebbe, and Anna

painting and, as her selections demonstrate, she is open to myriad

Valdez, among them—who have focused on the interior for years are

aesthetic approaches when it comes to the medium.

now finding an eager audience for their work. Given how small our collective worlds became during COVID, it is, perhaps, not a surprise

There was a time, not too long ago, when our annual review of artists

that an increasing number of artists would look to conjure meaning

working in the Midwest would suggest that most of the region’s

within their four walls and that we would find great comfort in joining

artistic talent was based in, or near, Chicago. The Windy City is still,

them. n

without a doubt, the region’s cultural epicenter, but as is evidenced by these pages, more and more artists are establishing their practices

Enjoy the issue!

in other locations. Only twelve artists in this issue call Chicago their primary home, while many others hail from smaller urban centers

Steven Zevitas

such as Minneapolis, Cleveland, Detroit, Kansas City, and Milwaukee.

Publisher & Editor

This “migration” is not unique to the Midwest. As we progress further into our digital age, and with a good nudge from COVID-19, it has become clear that one can have a thriving career without residing in a major city. This trend is a boon for emerging artists, who can now focus on finding affordable studio space and living conditions as they build their careers. One of the perks of my job, and the volume of artwork that I am privileged to interact with on an annual basis, is being able to detect “trends” within the space of painting well before they wash over the art world. It is no secret that the figure has been the dominant subject


New Art Dealers Alliance (NADA) newartdealers.org


Noteworthy:

Lorena Cruz Santiago

Juror’s Pick p52

Cruz Santiago’s work centers on Indigenous knowledge and the lived experience of migrants. Earlier series by the artist layer imagery of farmworkers over sheets of social security cards and permanent resident cards, a poignant commentary on undocumented labor. In a later series, the artist depicts images from her parents’ garden to delve into Indigenous gardening traditions from her Mixtec ancestral heritage. For the latter series she uses gum bichromate, a printing process that requires exposure to sunlight, much like growing a garden. Both series privilege close looking and attention to layered meanings. n

Alexandria Couch

Editor’s Pick p48

Couch turns her paintings into construction sites, where figures are assembled from multiple references and body parts; the materiality of her work is equally fluid. Her subjects are both powerful and vulnerable, confrontational and reticent. Couch is interested how Black identity is formed, and the ways in which disruption, assimilation, and evolution can be used by marginalized and dislocated communities to inhabit spaces that were not built for them. For me, there is an extraordinary tension derived from the alignment of her formal choices and subject matter. n


>

Winners: Midwestern Competition 2022 Juror: Nadiah Rivera Fellah, Associate Curator of Contemporary Art, The Cleveland Museum of Art, Cleveland, OH

Juror’s Selections: Alyssa Ackerman | Herman Aguirre | Rubén Aguirre | Monsur Awotunde | Aaron Robert Baker Kaleigh Blevins | Nate Burbeck | Jordan Buschur | Alexandria Couch | Lorena Cruz Santiago Brian

DePauli

|

Shanique

Emelife

|

Tina

Engels

|

Scott

Espeseth

|

Thomas

Frontini

Elizabeth Gerdeman | Rachel Gregor | Elizabeth Ihekoronye | Ashley January | Caylin Jayde Jacqueline Kott-Wolle | Ayelet Lindenstrauss Larsen | Max Markwald | Cristina Núñez | Marcela Adeze Okeke Tim

Olson

|

Rachel

Pontious

|

Anisa

Rakaj

|

Mel

Rosas

|

Terron

Cooper

Sorrells

Ria Unson | Jillian Van Volkenburgh | Antwoine Washington | Sarah Williams | Gwendolyn Zabicki

Editor’s Selections: Phyllis

Bramson | Steven

Carrelli |

Kaylie

Kaitschuck |

Drew

Peterson | Olivier

Souffrant


Juror’s Comments

Nadiah Rivera Fellah

Associate Curator of Contemporary Art, The Cleveland Museum of Art, Cleveland, OH

submissions, I sought to get away: to backyard barbecues and family gatherings seemingly across oceans, to street corners in urban neighborhoods, and to the past via family archives remade in acrylic paint on canvas and seen through the lens of a generational divide. Even the abstract paintings I chose took me places, often by means of collaged bags, the device with which one might literally take belongings across oceans and borders. Monsur Awotunde’s Moving Entities series incorporates the sacks typically used to package and transport food in his native Nigeria. Referring to the movement of commodities across borders, the works inevitably evoke the migration of people. I am reminded of the informal cloth containers migrants use—and sometimes, heartbreakingly, lose—while making impossible journeys through deserts and rivers as they seek refuge and separated family members. Photograph by: Howard Agriesti

Where can you take me?

The abstract paintings by Cristina Núñez and Rubén Aguirre make reference to other locales through their choice of materials and

A native of Ohio, I am the child of immigrants from two sides of the

palette. Venezuelan-born Núñez employs overlapping biomorphic

globe. This biographical fact has made me acutely aware of how many

shapes in translucent jewel tones to explore the purity of color

threads of large contemporary issues and themes can find their ways

and form. Aguirre’s angular compositions too evoke elemental

into small Midwestern communities. When given the opportunity

exploration, but the exposed passages of wood panel in his paintings

to jury a pool of Midwestern artists for this issue of New American

ground them in their terrestrial origins.

Paintings, I found myself drawn to the images that conjure faraway places and global narratives, despite the artists’ location in the

Home and memory are key themes in Herman Aguirre’s work.

Midwestern United States. Admittedly, this predilection was partially

His thickly impastoed surfaces, almost sculptural, give material

driven by my experience two years into a pandemic: as the mother

permanence to the informal memorials to lives lost to gang violence

of under-vaccination-age children, being homebound has been an

in his home city of Chicago. Likewise, Shanique Emelife’s intimately

escapable reality for me, as for many. In reviewing the hundreds of

scaled paintings depict scenes of family time and daily life with a

12


Awotunde p28

Núñez p109

Unson p136

Pontious p120

Washington p144

Markwald p105

“A wide range of subject matter—both geographically and thematically expansive—is on display in this forum of talented painters.” chromatic brilliance that transports viewers into distant landscapes.

Ashley January’s paintings call attention to Black maternal mortality

Personal archives are reinvigorated in the paintings of Jacqueline

rates, which are disproportionately high in comparison with their

Kott-Wolle and Ria Unson, who both use family photographs as source

white counterparts, a devastating indication of the institutionalized

material. Kott-Wolle’s Growing Up Jewish series highlights the events

racism of the American healthcare system and its consequences

and celebrations that have shaped her Jewish identity, referencing a

for communities of color. Finally, the trans artist Max Markwald and

family history of migration and acculturation over several generations.

Albanian-born artist Anisa Rakaj engage issues of gender identity and

The complex narratives of migration also inform Unson’s work, in

sexuality. Markwald seeks to reclaim and trouble the term “queer,”

which she reproduces—in paint—photographs and letters from her

while Rakaj pushes performative identity to theatrical extremes.

Filipino family archives on the pages of American textbooks and

Using themselves as subject, both artists hide or turn away their

classic Western novels. These poignant artworks testify to toxic

faces to deny the viewer the ability to see them fully, subverting the

colonial legacies, showing, in Unson’s words, “how language was

would-be voyeuristic gaze and giving the artists full agency over their

deployed in the Philippines during the fifty-year American occupation.

own image.

I am a product of that system.” A wide range of subject matter—both geographically and thematically Paintings can also transport the viewer to psychological spaces.

expansive—is on display in this forum of talented painters. I hold

Rachel Pontious’s work combines visual fragments of gesture,

much space for the gratitude I feel for getting a window into their work

architecture, and objects, rendered in a muted palette, that invite

and practices, however brief and limited. n

viewers into a “labyrinth of allusions, ideas, and images”—a space of possibility and contemplation. The intimacy of space and the memory latent in objects pervade the paintings of Toledo-based artist Jordan Buschur. With the depiction of material culture she composes a mediated portrait of motherhood, self, and artistic identity. Artists are equally adept at moving their audience toward the space of social possibility and reform. Cleveland-based Antwoine Washington demands the proverbial seat at the table in work that comments on the oppression and racism confronted by many artists of color in America.

13



Juror’s Selections

The following section is presented in alphabetical order. Biographical information has been edited. Prices for available work may be found on p178.

>


Alyssa Ackerman Cry to Me | hand-embroidery on found doily, 9 x 9 inches

16


Alyssa Ackerman Embrace | hand-embroidery on found doily, 7.5 x 7.5 inches

17


Alyssa Ackerman Shelter | hand-embroidery, 22 x 36 inches

18


Alyssa Ackerman Milwaukee, WI alyssaackermanart@gmail.com / www.alyssaackerman.art / @alyssaackermanart

Education 2019

BS, University of Wisconsin–Madison, Madison, WI Solo Exhibition

2021

Shelter in Place Gallery, Boston, MA

2017

Growing Pains (with DarRen Morris), Overture Center for

I embrace distinctly “soft” aesthetics and subject matter, which have historically been dismissed as feminine and frivolous. Moments of intimacy and vulnerability are where my particular interests lie, as it is in these moments that we reveal ourselves. I illustrate these moments through embroidered images of skin, embraces between loved ones, portraits, and the like. My art often involves embellishments, lace, and lots of pink. In this way, my work is intentionally “girly,” to reclaim femininity as a source of strength and pride rather than a weakness.

Two-Person Exhibition the Arts, Madison, WI Group Exhibitions 2022

Excellence in Fibers, Schweinfurth Art Center,

2019

Within Interdependence, YoungArts, Miami, FL

Auburn, NY 2018

PULSE Miami Beach Contemporary Art Fair, w/ YoungArts, Miami, FL

My work straddles the arbitrary divide between “crafts” and “fine art” to highlight the beauty, complexity, and breadth of historically undervalued craft materials. I meticulously hand-stitch thousands of individual threads to create portraits that read as paintings. My art is a unique blend of the traditional and contemporary, using timehonored embroidery techniques in a novel way. In doing so, my goal is to pioneer new ways of using embroidery and bring a medium that has historically been dismissed as “women’s work” deeper into the fine-art world.

Forward 2018: A Survey of Wisconsin Art Now, Charles Allis Art Museum, Milwaukee, WI Education as the Practice of Freedom, YoungArts, Miami, FL 2017

Searching, PULSE Miami Beach Contemporary Art Fair, Miami, FL Awards

2022

Finalist, Mary L. Nohl Fellowship for Emerging Artists

2021

Excellence in Fibers VII, Fiber Art Now

2019

Invitational Award, Art Fair on the Square, Madison

Excellence in Fibers VI, Fiber Art Now Museum of Contemporary Art Publications 2021

Fiber Art Now, Winter/Fall Collections Private collection, Washington, DC Private collection, Miami, FL 19

Ackerman

b. 1996 Waukesha, WI


Herman Aguirre Aluminio | 4758 | oil and oil and acrylic skins on panel, 32 x 32 x 4 inches

20


Herman Aguirre Espina | 1421 | oil and oil and acrylic skins on panel, 26 x 13 x 3 inches

21


Herman Aguirre Carne | 4827:4829 | oil and acrylic skins on panel, 25 x 36 x 2.5 inches

22


Herman Aguirre Chicago, IL haguir@saic.edu / www.hermanaguirre.org / @herman.aguirre.35

Education 2017

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

2014

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

2021

University of Saint Francis, Fort Wayne, IN Professional Experience

2019-

My work encapsulates a rigorous investigation, in which I shed light on the immediacy of issues regarding violence, trauma, and loss. I honor those affected by mayhem and those who are no longer with us. By exploring various processes, I physically push the boundaries of paint, wrestling with the image, in order to capture the emotional and psychological toll these issues have on me, my family, and community. I am constantly trying to develop a language that adequately represents the world we inhabit. Through the spiritual process of painting, I can confront these realities and the issues that enclose us.

Lecturer/Teacher, School of the Art Institute of Chicago, Chicago, IL Solo Exhibitions

2021

Agua y Aceite, Zolla Lieberman Gallery, Chicago, IL 7:23, President’s Art Gala, University of Saint Francis, Fort Wayne, IN Ocultos, Abattoir Gallery, Cleveland, OH Group Exhibitions

2021

Nature Now, Lubeznik Center for the Arts, Michigan City, IN New Narratives, Abattoir Gallery, Cleveland, OH Publication

2021

Rafael Salas, “Reclaiming Memory,” Newcity Art Collections Akron Art Museum, Akron, OH University of Saint Francis, Fort Wayne, IN

23

Aguirre

b. 1992 Chicago, IL



Herman Aguirre | Alumino | 4758 (detail)


Rubén Aguirre Sunscape 3 | acrylic and spray paint on wood panel, 20 x 16 inches

24


Rubén Aguirre Sunscape 2 | acrylic and spray paint on wood panel, 20 x 16 inches

25


Rubén Aguirre Bodyscape 1 | acrylic and spray paint on wood panel, 30 x 40 inches

26


Rubén Aguirre Chicago, IL theshiftchange@gmail.com / www.theshiftchange.com / @likes_1

Education 2022

BA, Columbia College, Chicago, IL Professional Experience

2017

Empower Youth visual arts instructor, Lyric Opera Chicago, Chicago, IL Teaching Artist-in-Residence, Growing Young Artists, Saugatuck Center for the Arts, Saugatuck, MI

2015-16 Assistant Mural Instructor, After School Matters,

After moving his art practice into a warehouse studio in 2019, the inspiration and substrate of architecture and location for Rubén Aguirre’s public works shifted towards the natural land as inspiration for studio works. By building on the visual language of his murals, his current studio work has generated a new dialect, where reduced shapes and colors speak of terrestrial forms. Rendered as abstract topographies, his wood panel paintings invoke poetic contemplations on origin, self-awareness, one’s connection to the Earth, and our impermanence. These abstracted meditations reflect on the unforgiving tectonic forces of nature while remaining ambiguous and peripheral.

Chicago, IL Solo Exhibition 2022

Tectonic Reflections, National Museum of Mexican Art, Chicago, IL Two-Person Exhibitions

2017

Lucky Strike (with Howard Sherman), Mill Contemporary, Santa Fe, NM

2016

New Paintings (with Victor Lopez), Matthew Rachman

2012

Between the Overlap (with Won Kim), Aisle 1 Gallery,

Gallery, Chicago, IL St. Louis, MO Group Exhibitions 2021

Atomic 13, Vertical Gallery, Chicago, IL

2019

Sequences, Chicago Truborn, Chicago, IL

2016

Not Just Another Pretty Face, Hyde Park Art Center,

2015

Graffiti Imagery in Contemporary Art, Jack Olson Gallery,

Chicago, IL Northern Illinois University, DeKalb, IL 2014 2013

Practical Geometry, Galerie F, Chicago, IL Paint, Paste, Sticker: Chicago Street Art, Chicago Cultural Center, Chicago, IL Outside In: The Mexican-American Street Art Movement in Chicago, National Museum of Mexican Art, Chicago, IL Post Graffiti Abstracts, Primary Gallery, Indianapolis, IN 27

Aguirre

b. 1979 Chicago, IL


Monsur Awotunde Through Places 2 | polythene, plastic bag, fabric, and stretcher bar, 72 x 51 inches

28


Monsur Awotunde The one I can carry | polythene and plastic bag , 52 x 44 inches

29


Monsur Awotunde Street Meals | acrylic and paper collage on canvas, 24 x 18 inches

30


Monsur Awotunde Shepherd, MI mawotunde@yahoo.com / www.monsurawotunde.com / @monsurawotunde

Education 2021

MFA, University of Florida, Gainesville, FL

2016

BA, University of Bedfordshire, Luton, England Residency

2021

Barstow Artist-in-Residence, Central Michigan University (CMU), Mount Pleasant, MI Professional Experience

2021-

Moving Entities, University Art Gallery, CMU, Mount Pleasant, MI Absence and Presence, 4Most Gallery, Gainesville, FL

2017

The earliest works of the project are acrylic paintings characterized by paper collage and images of foods from Nigeria and the United States.

Visiting Artist/Lecturer, CMU, Mount Pleasant, MI Solo Exhibitions

2021

My work explores the themes of home, travel, desire, and memory. My current body of work, Moving Entities, explores the idea of relocation and dislocation through abstraction. The relocation from one continent to another, and from one country to another country, the dramatic cultural shift, the absence of one’s basic and essential foods, are felt deeply as one finds himself in the presence of starkly different substitutes.

Nihin Lohun (Here and There), Rele Gallery,

The most recent pieces are embedded with various detritus, such as paper, polythene, plastic, and jute bags—all of which are commonly used in the transportation of food products, especially in Nigeria and the US. The materiality of the work highlights the metaphorical notions of travel: the migration of people and the movement of foods as commodities for human consumption.

Lagos, Nigeria Group Exhibitions 2022 2021

Deflect, Cultivate Gallery, London, England

Working within the language of abstraction, the paintings present cultural and social elements of identity through traditional Nigerian foods and their American substitutes.

MFA Thesis Exhibition, University Gallery, University of Florida, Gainesville, FL

2020

Somatic Shifts, Gainesville Fine Arts Association Gallery, Gainesville, FL Cross-Section, Annual Exhibition of MFA Artwork, University of Montana, Bozeman, MT (online)

2019

Graduate Invitational, 4Most Gallery, Gainesville, FL

2018

Triad, Alexis Galleries, Lagos, Nigeria Awards

2020

Dennis and Colette Campay Studio Art Award, University of Florida, Gainesville, FL

2018

Samuel P. Harn Graduate Most Outstanding Piece Award, FACC Annual Students Juried Exhibition, University Gallery, University of Florida, Gainesville, FL Represented by Ferrumarthaouse, Lagos, Nigeria

31

Awotunde

b. 1980 Igbo-Ora, Nigeria


Aaron Robert Baker Head #4 | archival ballpoint-pen ink on paper, 13 x 11 inches

32


Aaron Robert Baker Head #1 | pencil on paper, 13 x 11 inches

33


Aaron Robert Baker Head #3 | pencil on paper, 13 x 11 inches

34


Aaron Robert Baker Chicago, IL aaron.robert.baker@gmail.com / www.aaronrobertbaker.com / @aaronrobertbaker

Education 1998

MFA, University of Nevada, Las Vegas, NE

1994

BFA, University of North Texas, Denton, TX Group Exhibitions

2022

Exploration, Popi Gallery (online)

2021

The Shape of Things, A. Hurd Gallery, Albuquerque, NM Krampus My Style, The Seventh Corner Gallery, Chicago, IL Grand Saloon, La Luz de Jesus Gallery, Los Angeles, CA

2021

Lucky Charm, Moosey Art, London, England Outwit the Monster, WOW x WOW (online)

My work explores the symmetry between beauty and awkwardness, happiness and despair, the natural and the synthetic. Transformation and anthropomorphism interest me, as does our ability to turn any combination of shapes into a visual language. I give all of my drawings the same title, Head, as a nod to the systematic process I use to make them. I work in a consistent format and with a limited vocabulary. Beginning with the same eggshaped outline for each one, I fill it with circles and lines until a figure emerges. I then layer in dots and marks and allow this markmaking, and how it looks as it accumulates, to determine whether a shape is on top, underneath, concave or convex. Though my approach is process-based, it is ultimately intuitive. Every artwork is an exploration and I am open to surprises.

#6 (MANA Exhibit), Fluffy Crimes, Chicago, IL Monochromagic 4, WOW x WOW (online) Onward 2.0, La Luz de Jesus Gallery, Los Angeles, CA

When I was in the second grade, my teacher told my parents that I had drawn an impressive cheeseburger and that they should enroll me in art classes. I have been an artist ever since.

Represented by La Luz de Jesus Gallery, Los Angeles, CA

35

Baker

b. 1972 Bradford, PA


Kaleigh Blevins Later That Night | oil on canvas, 36 x 48 inches

36


Kaleigh Blevins Youngblood | acrylic, oil, and oil pastel on canvas, 36 x 36 inches

37


Kaleigh Blevins Stasis | oil on canvas, 24 x 20 inches

38


Kaleigh Blevins Detroit, MI kaleighblevins@gmail.com / www.kaleighblevins.com / @kaybevv

Education 2022

BFA, Wayne State University, Detroit, MI Group Exhibitions

2022

Hatchback 16, Hatch Art, Hamtramck, MI Annual Scholarship Exhibition, Detroit Artists Market, Detroit, MI

2021

Body, As Defined, Collective Behaviors, Detroit, MI Emerge, Gutman Gallery, Ann Arbor, MI Resilience Illuminated: WSU Undergraduate Exhibition, Wayne State University (online)

2020

My work explores the uncertainty of life through a Black lens. I highlight how absurd the world can feel for Black Americans by taking what can feel familiar and safe, and distorting it. The familiarity stems from my use of imagery from popular culture, such as cartoons, films, famous artworks, and myths and folklore. For many people, these media have offered representation, escapism, or a way to understand the world and bond with others. In my work, I often emphasize uncomfortable aspects of these usually reassuring images, placing them in scarcely filled urban and domestic spaces to interrogate the role they play for the subjects of the paintings and for Black Americans as a whole. My goal is to create a sense of uncomfortable intimacy, as though viewers are unintentionally intruding upon private moments.

In the Making: WSU Undergraduate Exhibition, Wayne State University (online)

39

Blevins

b. 2000 Detroit, MI


Nate Burbeck Grapevine, Texas | oil on canvas, 24 x 40 inches

40


Nate Burbeck Mielke Park (Oracle) | oil on canvas, 18 x 30 inches

41


Nate Burbeck Apparition (School Bus) | oil on canvas, 12 x 12 inches

42


Nate Burbeck Minneapolis, MN 612.423.0758 nburbeck@gmail.com / www.nateburbeck.com / @nateburbeck

Education 2009

BA, St. John’s University, Collegeville, MN Residency

2010

Summer Residency Program, School of Visual Arts, New York, NY Solo Exhibitions

2017

grayDUCK Gallery, Austin, TX

2015

Altered States, St. John’s University, Collegeville, MN

2014

Places Unknown, Anna Zorina Gallery, New York, NY Two-Person Exhibitions

2020

My paintings depict psychologically infused narratives where the familiar is imbued with a sense of sublime mystery. Figures inhabit a world suspended between dreams and reality, transfixed by surreal aberrations, ethereal elements, and transported states of mind. Visual components are allusive reflections drawn in part from my past of growing up in an insular religious group, living in a milieu of end times prophecies, unsettling otherwise quiet perceptions of banal Midwestern normalcy. These mysterious undercurrents are reimagined on canvas and fused with other influences such as film, science fiction, magical realism, and sense of place to explore personal and universal feelings of isolation, longing, wonder, and loss in an attempt to find visual equivalents for inchoate feelings, atomized and diluted with the distance of time.

Not Far From Here (with Kent Andreasen), The Olympia Project, Brooklyn, NY

2014

Located: Recent Work by Nate Burbeck and Aaron Dysart, Soo Visual Arts Center, Minneapolis, MN Group Exhibitions

2019

Untitled exhibition, The Olympia Project, Brooklyn, NY Booooooom x Thinkspace: “Seeing Red”, Thinkspace Projects, Culver City, CA Awards

2022

Creative Support for Individuals grant, Minnesota State Arts Board

2015

Artist Initiative grant, Minnesota State Arts Board

2022

Friend of the Artist 15

2021

Tomorrow’s Talent, Vol. 2 (Booooooom)

2020

VAST Magazine, no. 1

Publications

43

Burbeck

b. 1987 Minneapolis, MN



First Last Title | medium, X x X inches

184

Nate Burbecki | Grapevine, Texas (detail)


Jordan Buschur Natural Knick-Knacks | acrylic on panel, 36 x 24 inches

44


Jordan Buschur Only Souvenirs | acrylic on panel, 40 x 30 inches

45


Jordan Buschur E for Effort | acrylic on panel, 40 x 30 inches

46


Jordan Buschur Toledo, OH www.jordanbuschur.com / @jordanbuschur

Education 2008

MFA, Brooklyn College, City University of New York, Brooklyn, NY

2001

My paintings imply a human presence through the depiction of accumulated collections. The items in each collection—including the contents of desk drawers, stacks of books, packed boxes, and objects on display—are united by systems of value shaped by mystery, sentimentality, and the matriarchal connection.

BA, Goshen College, Goshen, IN Residencies

2022

Wassaic Project, Wassaic, NY

2013

Chashama North, Pine Plains, NY

Each painting focuses on the oscillation between personal resonance and public display, reality and invention, fixed meaning and open interpretation. I’m interested in the assignment of nonmonetary value to objects as an inherently interior and idiosyncratic act. In this way, the paintings are portraits.

Solo Exhibitions 2021

Fiction, Shelter in Place Gallery, Boston, MA

2018

More with More with Less, River House Arts, Toledo, OH

2015

Unsteady Stacks, Kimmel Harding Nelson Center for the Arts, Nebraska City, NE Two-Person Exhibitions

2019

No Rebound (with Gina Reichert), The Neon Heater Art

2018

Junk Envy (with Maria Cruz Palileo), Skylab Gallery,

The urge to keep materializes in many ways. What is useful? What is potentially useful at an unknown future date? What is sentimental and how do feelings transfer onto objects? What identity is projected into the world through a carefully arranged collection? What stories are withheld, hidden beneath the object’s surface?

Gallery, Findlay, OH Columbus, OH Group Exhibitions 2022

Coming Home, Urban Institute for Contemporary Arts, Grand Rapids, MI

2021

Build It: Artists Creating Community in Ohio, Ohio Arts Council Riffe Gallery, Columbus, OH Home Sweet Home, SFA Projects, New York, NY

2020

SPRING/BREAK Art Show, New York, NY

2019

Indoor Voices, The Yard, Brooklyn, NY

2017

En Masse: Books Orchestrated, Center for Book Arts, New York, NY Award

2019

Ohio Arts Council Individual Excellence Award

47

Buschur

b. 1979 Anchorage, AK


Alexandria Couch A Day in the Life of July | acrylic, colored pencil, spray paint, and collage on paper mounted on panel, 36 x 48 inches

48


Alexandria Couch Match Point: Last Attempt at Empathy | acrylic, graphite, spray paint, and collage on paper mounted on panel, 36 x 38 inches

49


Alexandria Couch Got Some Place to Be in My Mind | acrylic, graphite and collage on paper mounted on panel, 48 x 36 inches

50


Alexandria Couch New Haven, CT @cosmocouch

Education 2023

MFA candidate, Yale University, New Haven, CT

2020

BFA, University of Akron, Akron, OH Solo Exhibition

2020

Time and Temporality, Summit Artspace, Akron, OH Two-Person Exhibition

2021

The Black people in Alexandria Couch’s work are strictly familiar—composed of multiple references, broken down and pieced together to reconstruct being. The use of found mediums, like recycled thread, fabric, and paper scraps, fuse imagery and materiality to create objects that exist on both physical and temporal planes. The friction that arises from abstraction mimics the reformation of marginal identities adapting to dislocation.

Heaven (with Kwamé Gomez), New Image Art, Los Angeles, CA

Dissonance is facilitated between bodies and their surroundings. Flat and agitated areas of paint are used to disrupt the space or provide areas of brief respite. Body parts are created, cut down, and reassembled to generate whole figures. Layers are scraped, cut away, and reapplied.

Group Exhibitions 2021

Kindred Technology, SOLA Contemporary, Los Angeles, CA

2020

AXA Art Prize, San Francisco, Chicago/New York

2019

Live Creative Studio, Akron Art Museum, Akron, OH

The figures embody a certain power in vulnerability. They confront the viewer and question their gaze on their moments of intimacy. They are captured in moments of suspension—between familiarity and routine, assimilation and evolution. Between moments of collective happiness and learning to wield together forces of antagonism with the vast, strange magic that constructs the Black identity: how we inhabit a world not built for us.

51

Couch

b. 1998 Akron, OH



First Last Title | medium, X x X inches

186

Alexandria Couch | Match Point: Last Attempt at Empathy (detail)


Lorena Cruz Santiago Cebollas y ajo | gum bichromate on paper, 12.5 x 9 inches

52


Lorena Cruz Santiago El molino y ajo | gum bichromate on paper, 11.5 x 8 inches

53


Lorena Cruz Santiago Grapes | intaglio on paper, 11 x 8.5 inches

54


Lorena Cruz Santiago Detroit, MI lorenacruzart@gmail.com / www.lorenacruzsantiago.com / @lorenacruzz

Education 2019

MFA, Cranbrook Academy of Art, Bloomfield Hills, MI

2016

BFA, Sonoma State University, Rohnert Park, CA

2022

Ox-Bow School of Arts and Artist Residency,

Residencies Saugatuck, MI

Through an interdisciplinary art practice, I make work informed by experiences of migration, assimilation, and indigeneity. My recent works reflect my effort to learn about my parents’ Mixtec culture, most recently through their gardening practices. During calls with my parents where they walk me through their garden explaining their process and progress, I utilize FaceTime as a medium to take pictures which I then print using gum bichromate. These prints are exposed to sunlight, and I imagine them harnessing the power of the sun as plants do during photosynthesis.

Oak Spring Foundation Interdisciplinary Residency Program, Upperville, VA Chalk Hill Artist Residency, Healdsburg, CA 2021

Applebaum Artists-in-Residence at Darkroom Detroit, Detroit, MI

2020

Pocoapoco Residency, Oaxaca, Mexico

2019

ACRE Residency, Steuben, WI Solo Exhibitions

2021

Part of this work is my research into Indigenous visual sovereignty. During my parents’ early lives in a rural indigenous town, San Juan Mixtepec, Oaxaca, Mexico, access to photography was scarce. As a result, my parents and their families lack a photographic record of their early life. This new work allows them to become image-makers instead of the subjects of my work as they had been previously. My parents become collaborators—helping compose my source images, and creating a new family archive.

Entre el maiz, los chiles, y las flores, ACRE Projects at Drama Club, Chicago, IL Tejidos, Das Schaufenster, Seattle, WA Group Exhibitions

2022

Homebody, Cranbrook Art Museum, Bloomfield Hills, MI Diasporic Dysplasia, Bronx River Art Center, Bronx, NY

2020

Belief Systems, Project Art Distribution, New York, NY What’s Another Word for Survival?, Sin Cinta Previa + Chuquimarqa, Chicago, IL

2019

Graduate Degree Exhibition, Cranbrook Art Museum, Bloomfield Hills, MI

2018

Encounters/Encuentros, El Comalito Collective, Vallejo, CA

55

Cruz Santiago

b. 1993 Santa Rosa, CA


Brian DePauli Trash Ramp 3.0 | oil on panel, 17 x 40 inches

56


Brian DePauli Life’s a Beach | oil on salvaged plywood, 8.5 x 15 inches

57


Brian DePauli Untitled (from the series BBQ Party) | oil on matboard, 8 x 8 inches

58


Brian DePauli Saint Louis, MO 314.591.7528 bdepauli@gmail.com / www.briandepauli.com / @briandepauli

Education 2009

MA, Fontbonne University, St. Louis, MO Residencies

2018

Paul Art Space, St. Louis, MO

2010

The Luminary, St. Louis, MO Solo Exhibitions

2022 2018

Not Sorry We’re Closed, CUNST Gallery, St. Louis, MO

My work is inspired by and questions American society’s live-to-work mentality. I am concerned with the cultural and environmental impact of this obsession, as well as the physical and mental health ramifications. In 1931, the economist John Maynard Keynes published a short essay, “Economic Possibilities for Our Grandchildren.” There he states that “by 2030 the standard of living would be dramatically higher; people, liberated from want (and without the desire to consume for the sake of consumption), would work no more than fifteen hours a week, devoting the rest of their time to leisure and culture.” My work envisions a world where his prediction has come true.

The Proper Aim of Work Is to Provide Leisure, St. Louis Lambert International Airport, St. Louis, MO

2017

Giant Swing for All My Friends, Granite City Art and Design District, Granite City, IL

2014

Everyday Is a Beautiful Day, Fort Gondo Compound for the Arts, St. Louis, MO Two-Person Exhibition

2010

Crossing Paths (with Bevin Early), Snowflake Gallery, Saint Louis, MO Group Exhibitions

2020 2018

Summer Group Show, Houska Gallery, St. Louis, MO Paul Artspace Residency Exhibition, Bermuda Project, Ferguson, MO

2011

Something Happened, The Luminary, St. Louis, MO

2009

Joseph Frasca Memorial Works on Paper Competition, Around the Coyote, Chicago, IL

2008

Slinger 2, Boots Contemporary Art Space, St. Louis, MO FastX2, White Flag Projects, St. Louis, MO Publication

2019

Friend of the Artist 8

59

DePauli

b. 1982 Saint Louis, MO


Shanique Emelife Days Away | oil on wood panel, 6 x 8 inches

60


Shanique Emelife Hard to Contend with Life that’s not Fair | oil on wood panel, 16 x 20 inches

61


Shanique Emelife Hiding Spot | oil on wood panel, 8 x 5 inches

62


Shanique Emelife Minneapolis, MN enquiries@fortnight.institute (Fornight Institute) / @chy.nique

Solo Exhibition 2021

Shanique Emelife is a queer Nigerian-American self-taught painter. Their work often centers on a first-generation immigrant experience and explores family history and home.

The Village, Fortnight Institute, New York, NY Group Exhibition

2021

Nine Lives, Fortnight Institute, New York NY Represented by Fortnight Institute, New York, NY

63

Emelife

b. 1993 Nassau, Bahamas



First Last Title | medium, X x X inches

188

Shanique Jin Jeong Emelife | Breathing | Hiding Spot Out (detail)


Tina Engels Nested in Blue | oil on linen, 18 x 14 inches

64


Tina Engels YaNaGi | oil on linen, mounted on board, 22 x 16 inches

65


Tina Engels Minato-ku Shelf | oil on linen, mounted on board, 24 x 20 inches

66


Tina Engels Chicago, IL engelstina1@gmail.com / www.tinaengels.com / @villon312

Education 1992

MFA, University of North Carolina at Greensboro, Greensboro, NC

1988

BFA, Boston University, Boston, MA Residency

2016

33 Officina Creativa, Toffia, Italy Group Exhibitions

2021 2019

Zeus Gems: Small Still Lifes, There Gallery, New York, NY The Midwest Paint Group: Responses to Ripon College’s Van Dyck Paintings, Caestecker Art Gallery, Ripon College, Ripon, WI

2018

New Traditions in Figuration, College of William and Mary, Williamsburg, VA

2017

Self-Portrait Collaborative and New Traditions in

In the fall of 2019, I had the privilege of living and working in the heart of Tokyo. With time to explore and create new work, I made paintings based on encounters, interactions, and observations. This began a journey I hoped might capture the freshness of this endeavor in the form of responsive imagery or documentation for future development. Daily, I ran the hilly terrain of Minato-ku, sometimes finding my way back to the studio, often getting lost. Encountering the city in this manner led to unexpected visual discoveries. I looked forward to this perceptual investigation. Pictures appeared somewhere up in a high window, on a tiny street, or in a favorite grocery. Acting neither as voyeur nor literal translator, I saw my motif more clearly each day. Appreciation of the nuance and complexity of the Japanese sensibility was, and remains, gift received as treasure, sans expectations. When I returned to the US, COVID was a contagion cast upon the world. In my Hyde Park, Chicago, studio, I continue the work started in Japan.

Figuration, Westbeth Gallery, New York, NY A Winter’s Work: Midwest Paint Group, Kishwaukee College, Malta, IL 2015

Dialoghi dell Arte, Motif Studio Arts College International Gallery, Florence, Italy (traveling) Of Color and Rhythm, Jacoby Arts Center, Alton, IL

2013

Twelve Ways of Looking at a Painting: An Homage to Jean Hélion and “Le Grand Luxembourg”, Lovejoy Library, Southern Illinois University, Edwardsville, IL Publications

2017

Tina Engels, “Willed Ambition: On Dan Gustin,” Painting Perceptions (online)

2014

Tina Engels, “Impossible Realities,” Painting Perceptions (online)

67

Engels

b. 1958 Allentown, PA


Scott Espeseth Lamps. Logs | watercolor on paper, 25 x 28 inches

68


Scott Espeseth Outpost | watercolor on paper, 35 x 26 inches

69


Scott Espeseth Tunnel | watercolor on paper, 24 x 32 inches

70


Scott Espeseth Madison, WI scottespeseth@gmail.com / www.scottespeseth.com / @scottespeseth

Education 2000

MFA, University of Wisconsin–Madison, Madison, WI

1997

BFA, West Virginia University, Morgantown, WV Professional Experience

2002-22 Professor of Art, Beloit College, Beloit, WI Solo Exhibitions 2021

The Life Hermetic, Len G. Everett Gallery, Monmouth

2019

Stillness and Grey, Marian Gallery, Mount Mary University,

College, Monmouth, IL Milwaukee, WI 2017

Signal Bleed, James Watrous Gallery, Wisconsin Academy of Sciences, Arts and Letters, Overture Center,

These works are drawings, made with ivory black watercolor on paper. For me, drawing is about transparency, the most direct route from an idea to the paper. Watercolor pushes back on my obsessive tendencies, requiring me to make compromises and not lose the forest for the trees. The drawings are inspired by chance encounters with objects, spaces, or events that trigger moments of clarity, where they suddenly appear to be intensely strange, or intensely beautiful. I attempt to stage these moments, either on site or in the studio, but inevitably I end up making changes. Through the process of careful setup and sustained looking, measuring, and drawing, I find a new clarity in the act of making. The images are animated by a consciousness lurking in the atmosphere, as though the membrane between two worlds has worn thin. My subconscious seems to be trying to tell me something through the choices I make in the studio, and I watch themes emerge—memory, loss, change, and the fantastic.

Madison, WI Two-Person Exhibition 2022

Seers, Craftsmen (with Colin Matthes), Hawthorn Contemporary, Milwaukee, WI Group Exhibitions

2022

Drawing Discourse, S. Tucker Cooke Gallery, University of North Carolina–Asheville, Asheville, NC

2021

41st Annual SECURA Fine Arts Exhibition, Trout Museum of Art, Appleton, WI

2020

Wisconsin Artists Biennial, Museum of Wisconsin Art,

2019

Start Anywhere, Wright Gallery, Northport, MI

West Bend, WI Your Plus-One, Mount Airy Contemporary, Philadelphia, PA 2018

Irregular Symmetry of Pattern, Wright Gallery, Northport, MI Hinternational Paper: The Birth of the Wisconsin Flat File Project, Real Tinsel, Milwaukee, WI Collections Pennsylvania Academy of Fine Art, Philadelphia, PA DePaul University Art Museum, Chicago, IL

71

Espeseth

b. 1975 Bowie, MD


Thomas Frontini The Jam | oil on panel, 20 x 16 inches

72


Thomas Frontini Someone Has Been Here Before, “To Boldly Go...” | oil on linen, 10 x 8 inches

73


Thomas Frontini Painter and Child | oil on linen, 10 x 8 inches

74


Thomas Frontini Cleveland, OH thomas@thomasfrontini.com / www.thomasfrontini.com / @thomasfrontini

Education 1992

MFA, Ohio State University, Columbus, OH

1990

BFA, Cleveland Institute of Fine Art, Cleveland, OH

1989

Istituto per l’Arte e il Restauro, Florence, Italy Solo Exhibitions

2020

Gibson Contemporary Gallery, New York, NY

2019

Bruno, Venice, Italy

2016

Richard Levy Gallery, Albuquerque, NM Fischer Galleries, Jackson, MI Group Exhibitions

2022

Perspectives, Institute for Contemporary Art Museum, Gyeonggi-do, South Korea

2021

Annual National Juried Competition, Center for

2020

Crocker Kingsley, Blue Line Gallery, Roseville, CA

2019

Confluence, GX Gallery, London, England

Contemporary Arts, Abilene, TX

Thomas Frontini combines surrealist techniques of painting detailed foreground images with atmospheric backgrounds. The dreamlike imagery balances contemporary objects with historical scenes. His paintings explore magic in the mundane and draw from the transformative power of the subconscious. Frontini’s palette and technique are directly influenced by his Italian heritage and interest in Italian art history. With his incorporation of historical research into the modern day, he creates a dialogue across time—from the past, present, and future. His reference material is sourced from current topical issues that humans face, using metaphors to portray an intangible potential of the future. Immense landscapes stretch out around intricately painted flora and fauna. Thickly painted cliff faces and clouds are dotted with tiny details of futuristic habitats. Expressive abstract orbs are enwrapped in a volume of light and distance. In a carefully measured vagueness, Frontini’s paintings address not only the seen world, but a world of puzzling fantasies. .

Publication 2019

Cornelia Lauf, ed., Thomas Frontini (AsaMER) Collections Cleveland Clinic Main Campus, Cleveland, OH Collection of Agnes Gund, New York, NY

75

Frontini

b. 1967 Kingston, Canada



First Last Title | medium, X x X inches

190

Thomas Frontini | Someone Has Been Here, Ian Lotto Before | The “ToHole Boldly Diggers Go...” (detail)


Elizabeth Gerdeman Give Way (installation) | acrylic paint on fleece, approx. 48 x 39 inches

76


Elizabeth Gerdeman Room with a View (installation detail) | oil on wood, dimensions variable

77


Elizabeth Gerdeman Course | oil on paper, dimensions variable

78


Elizabeth Gerdeman Columbus, OH 614.238.3000 (Hammond Harkins Galleries) egerdeman@gmail.com / www.elizabethgerdeman.com / @elizabethgerdeman

Education 2008

MFA, Ohio State University, Columbus, OH

2004

BFA, Columbus College of Art & Design, Columbus, OH Residencies

2022

Painting Symposium, Kunst & Kulturverein Artpark, Richterswil, Switzerland, and Kultur-Förderverein Schloss Gleina, Gleina, Germany

2021

Land- and Time-Based Art Symposium, Offspace Kaisitz, Kaisitz, Germany

2019

Z(orten), Graubünden, Switzerland

I examine the often conflicting ways we conceive of the natural world. My approach is multidisciplinary—I work with a wide range of materials and images to create mixed-media paintings and collages, experimental videos, and installative interventions and situations. My understanding of landscape and art is entwined in broader social makings. The cultural construction of landscape as practiced by contemporary industries is frequently interrogated in my work. An example of this is interior house paint colors with names such as Iceberg Blue or Glacier Lake. What is at stake when paint products use aspects of landscape to evoke emotional responses in consumers, stimulating us to bring romanticized notions of the natural environment into our dwellings?

Solo Exhibitions 2021

Color of the Wind, Galerie Gänge, Leipzig, Germany Casting Light, Throwing Shade, Galerie Jochen Hempel, Leipzig, Germany

2017

Scratching the Surface, Modern Art Museum, Yerevan, Armenia Group Exhibitions

2021

My recent projects address the confines through which images are constructed and the interface between built and natural environments. My line of questioning considers how images of landscape and architecture influence the contemporary value of nature, home, and desire for control amongst perceived chaos. I ultimately ask, in what new ways are humans tied to their environment?

Zeit.Raum.Land, Bund Bildender Künstler Leipzig and Kunstverein Meißen, Germany

2020

We Are Nature Defending Itself, Artrooms, Moravany nad Váhom, Slovakia I Am an Artist, Hammond Harkins Galleries, Columbus, OH

2019

Zartes Texas, Z(orten), Graubünden, Switzerland

2018

On Limits, Borders, Edges and Boundaries, Else Foundation Symposium, Mexico City, Mexico Awards

2022

Project Anywhere: A Global Exhibition Program

2020

Grant, Kulturstiftung des Freistaates Sachsen, Dresden, Germany

2017

Grant, European Cultural Foundation Represented by Hammond Harkins Galleries

79

Gerdeman

b. 1980 Columbus, OH


Rachel Gregor Pond Scum | gouache and walnut ink on toned paper, 36 x 30 inches

80


Rachel Gregor Fourth of July | gouache on toned paper, 32 x 27 inches

81


Rachel Gregor Mudtrout (Ophelia II) | gouache on toned paper, 48 x 70 inches

82


Rachel Gregor Kansas City, MO 212.477.4759 (Hashimoto Contemporary) rachel.d.gregor@gmail.com / www.rachelgregor.com / @rachelgregor

Education 2012

BFA, City Art Institute, Kansas City, MO

2011

Studio Art College International, Florence, Italy Residency

2012-13 Charlotte Street Urban Culture Project Studio Resident,

Working primarily in oil paint and gouache, Gregor creates psychological portraits of young girls caught within the awkward tension between girlhood and womanhood, innocence and sexuality. Her compositions are often warm and inviting, yet loom with a sense of existential dread. The surroundings that the figures are confined to hint at rural Midwestern landscapes and outdated interiors. There is a sense of frustration and boredom behind the girl’s often heavy eyes.

Kansas City, MO Group Exhibitions 2022

Joy, and Other Feats of Strength, Charlotte Street

2021

Run, Run Quiet, PLUG Projects, Kansas City, MO

Foundation, Kansas City, MO Lush, Hashimoto Contemporary, New York, NY Moleskine Project X, Spoke Art, San Francisco, CA The Grand Salon, La Luz de Jesus Gallery, Los Angeles, CA Publications 2021

ArtMaze Magazine, no. 25 Christina Nafziger, “The Color of Nostalgia: Interview with Rachel Gregor,” Create! Magazine (online)

2020

Featured artist, Flow Magazine, no. 5 Represented by Hashimoto Contemporary, New York, NY

83

Gregor

b. 1990 Medina, MN


Elizabeth Ihekoronye In Warm Winds of Amity | pastel on chipboard, 12 x 12 inches

84


Elizabeth Ihekoronye When Solace Overwhelmed Us | pastel on chipboard, 12 x 12 inches

85


Elizabeth Ihekoronye Of Fruit and Flesh: Patience | acrylic on canvas, 12 x 12 inches

86


Elizabeth Ihekoronye Saint Paul, MN shearozestudios@gmail.com / www.eipaints.com / @ei.paints

Education 2019

BA, Augsberg University, Minneapolis, MN Professional Experience

2021

Arts Administrator, East Side Arts Council, Saint Paul, MN

2022

RESILIENCE, Augsburg University, Minneapolis, MN

Group Exhibition

I have always been infatuated with the complexity of the intrapersonal. A space where emotions, time, memory, and knowledge live amongst each other. The way that these elements work together and war together in a single hidden space provides a theatrical glimpse into what it’s like to be human. My work explores this hidden space and its ability to visualize and have selfdialogue resulting in conflict, innovation, and transformations that propel us forward and sometimes hold us back. I like to believe that my paintings are all the elements spilling out of me and taking a human form. Almost like a personification of the intrapersonal.

Publication 2022

All SHE makes, no. 5 (online)

I use figures and landscapes to symbolize emotions and material objects, plants, and food to symbolize situations. In each painting there is a small square with gold abstract drawings. These squares or emblems represent specific stories, conflicts, and ideas.

87

Ihekoronye

b. 1997 Saint Paul, MN


Ashley January Intrauterine Growth Restriction (IUGR) | oil on linen, 24 x 18 inches

88


Ashley January Black Mothers in the United States Die at Three to Four Times the Rate of White Mothers | oil on linen, 20 x 16 inches

89


Ashley January A Saving Grace | oil on linen (unstretched), 85 x 63 inches

90


Ashley January Chicago, IL art@ashleyjan.com / www.ashleyjan.com / @ashleyjanart

Education 2017

MFA, Laguna College of Art and Design, Laguna Beach, CA

2015

Vitruvian Fine Art Studio, Chicago, IL

2009

BS, Bradley University, Peoria, IL

2008

Istituto Lorenzo de’ Medici, Florence, Italy Professional Experience

2022

Juror, ArtComp45, Beverly Arts Center, Chicago, IL

I address the Black maternal mortality and morbidity crisis in America through painting and multimedia. Black women are three to four times more likely to die from pregnancy-related complications than white women. Influenced by my own traumatic pregnancy and survival, the imagery centers the experiences of Black mothers and children who have suffered loss but challenge the institutional modes in finding solutions. Motifs are structured around ideas dictated by new rituals of care. The images serve as a call to action for more awareness, research, and eradication of unnecessary maternal and infant death in the United States of America.

Television series (Kings of Napa) artwork placement 2019

LCAD Representative, Graduate National Portfolio Day, School of the Art Institute of Chicago, Chicago, IL Group Exhibitions

2022 2021

In Good Company, Mana Contemporary, Chicago, IL The Balm: Art for Black Women’s Wellness, South Side Community Art Center, Chicago, IL

2020

Women by Women 2020: Depictions and Interpretations by Greater Los Angeles Women Artists, SoLA Contemporary, Los Angeles, CA

2019

Viridian’s 30th International Juried Exhibition: Part 2,

2018

Black Creativity Art Exhibition, Museum of Science and

Viridian Artists, New York, NY Industry, Chicago, IL Awards 2022

Finalist, 2022 Chicago Award, Artadia, Brooklyn, NY Emerging Artist Award–National, Women’s Caucus for Art Publication

2021

New American Paintings, no. 155

91

January

b. 1987 Rantoul, IL


Caylin Jayde Self-Portrait as an Invasive Species | gouache on paper, 15.5 x 9.5 inches

92


Caylin Jayde Wood Turtle (Glyptemys insculpta) | oil on linen, 30 x 24 inches

93


Caylin Jayde Self-Portrait in Spring | acrylic on panel, 12 x 9 inches

94


Caylin Jayde Cedar Falls, IA grahacac@gmail.com / www.caylinjayde.com / @caylin_jayde

Education 2017

BFA, University of Northern Iowa, Cedar Falls, IA Residency

2019

My work examines environmental concerns, human/nature relationships, and the balance of my local ecosystem. By working with naturalists, biologists, and wildlife enthusiasts, I seek to gain a better understanding of native, invasive, and endangered species in my area. I use painting as a tool to preserve, elevate, and marvel at the intricate details of living things

Hartman Reserve Visiting Artist, Cedar Falls, IA Solo Exhibitions

2019

Extirpations in the Anthropocene, Hearst Center for the Arts, Cedar Falls, IA

2017

Invasions in the Anthropocene, Gallery of Art, University of Northern Iowa, Cedar Falls, IA Group Exhibititons

2021

Octagonal: The All-Media Show, Octagon Center for the Arts, Ames, IA Aquachrome, Manifest Gallery, Cincinnati, OH Publication

2018

Katy Swalwell, Amazing Iowa Women (Raygun)

95

Jayde

b. 1995 Ames, IA


Jacqueline Kott-Wolle The Pines Resort in the Catskills | oil on canvas, 24 x 24 inches

96


Jacqueline Kott-Wolle My Parent’s Chuppah (Wedding Canopy) | oil on canvas, 16 x 20 inches

97


Jacqueline Kott-Wolle Kot Textiles | oil on canvas, 24 x 36 inches

98


Jacqueline Kott-Wolle Highland Park, IL jkwpaintings@gmail.com / www.paintingsbyjacquelinekottwolle.com / @jkwpaintings

Professional Experience 2022

Artist Lecture, International Holocaust Remembrance Day, Columbia University School of International and Public Af fairs, New York, NY Conney Conference on Jewish Arts, University of Wisconsin–Madison, Madison, WI

2021

Artist Talk, Jewish Museum of Maryland, Baltimore, MD Artist Talk, Museum of Jewish Heritage, New York, NY Artist Talk, The Forward (online) Artist Talk, Cape Town Holocaust and Genocide Centre, Cape Town, South Africa Artist Talk, Ontario Jewish Archives, Toronto, Canada Solo Exhibitions

2020

Rissman Kol Ami Collection Gallery, Highland Park, IL

2019

Madron Gallery, Chicago, IL

2022

Niv, no. 12 (online)

Growing Up Jewish–Art & Storytelling is a series of contemporary artworks and short narratives about Jewish identity as it evolved through five generations of my family. Inspired by vintage photos, I created this series to look at the people, experiences, and community that shaped my Jewish identity, to tell my family’s Jewish story, and perhaps shine a fresh new light on what North American Judaic art could look like. Some pieces in the series depict joyful accounts of the Judaism of my youth, including memories of Jewish summer camp, Purim carnivals, or singing around Passover tables; other pieces speak to my family’s history, including the acculturation process experienced by my parents and grandparents who arrived in Canada after the devastation of the Holocaust and rebuilt their lives with complicated feelings of anguish and optimism. I examine my personal Jewish observances—the traditions I’ve kept, the ones I’ve “adjusted” to better suit my family’s current needs, and the ones I wrestle with. Every seemingly simple Jewish moment I painted had a story.

Publications CANVAS Compendium, January (online) ARTDEX (online) Art Canada Institute Newsletter, January, February (online)

99

Kott-Wolle

b. 1969 Toronto, Canada


Ayelet Lindenstrauss Larsen Jacob’s Ladder | silk, cotton, and wool on cotton canvas, 11 x 8 inches

100


Ayelet Lindenstrauss Larsen Indoor Soccer | cotton, silk, and wool on cotton canvas, 11 x 11 inches

101


Ayelet Lindenstrauss Larsen Sandra’s Zumba on Zoom, with My Daughter | silk, cotton, and wool on cotton canvas, 7 x 9 inches

102


Ayelet Lindenstrauss Larsen Bloomington, IN alindens@indiana.edu

Education 1992

PhD, Princeton University, Princeton, NJ

1987

BS, The Hebrew University, Jerusalem, Israel Solo Exhibition

2020

Mathematical Views, Five Points Gallery, Torrington, CT Two-Person Exhibition

2013

Balls of Light and Columns of Smoke (with Gabriele Meyer),

My original inspiration for making fiber art came from studying ethnic embroidery traditions. I aim to make modern pieces that are as faithful to their materials as traditional handmade textiles. I often work in smaller formats, which allow the fibers and the individual threads to have a more dominant visual role in the final image. After the pandemic began, my work became more representational and focused on my family and our daily life. I was embroidering us, but because of the medium, the fabrics around us came through very vividly. What started as a record of the period of stay-at-home orders and social distancing became, at least in part, a series about people and their textiles.

Wisconsin Union Galleries, Madison, WI Group Exhibitions 2021

7th International Triennial for Minitextiles, Szombathely, Hungary Small Expressions, Pacific Northwest Quilt & Fiber Arts Museum, La Conner, WA

2017 2015

Borderline, Miniartextil, Como, Italy National Fiber Directions 2015, The Wichita Center for the Arts, Wichita, KS Intelligent Objects: Empathetic and Smart Art, Creative Arts Workshop, New Haven, CT 9th International Biennial of Textile Miniatures, Gallery Arka, Vilnius, Lithuania

2013

Fiber Art VI, Sebastopol Center for the Arts, Sebastopol, CA

2012

10th Triennale internationale des mini-textiles,

2011

Green: The Color and the Cause, The Textile Museum,

Angers, France Washington, DC 2010

Fiberart International 2010, Pittsburgh, PA Publications

2022

Jim Cohen, Modern Judaica: Today’s Makers, Today’s Sacred Objects (Schiffer Craft) Collection Kamm Teapot Foundation

103

Lindenstrauss Larsen

b. 1967 Jerusalem, Israel



First Last Title | medium, X x X inches

192

Ayelet Lindenstrauss Larsen | Sandra’s Zumba on Zoom, with My Daughter (detail)


Max Markwald Jason as Rosie | oil paint on canvas, 34 x 17 inches

104


Max Markwald September | oil on panel, 72 x 36 inches

105


Max Markwald July | oil on panel, 72 x 36 inches

106


Max Markwald Cleveland, OH 216.820.1260 (Abattoir Gallery) markwaldstudio@gmail.com / www.markwaldstudio.com / @markwaldstudio

Education 2016

BFA, Myers School of Art, University of Akron, Akron, OH Residencies

2017

Summer Undergraduate Residency Program, New York Academy of Art, New York, NY

2016

Wilson Studio Intensive for Emerging Artists, North Park University, Chicago, IL Solo Exhibitions

2021

Avoiding the label Queer Artist for twenty-seven years afforded me plenty of time to figure out who I was before coming out professionally as a trans man. But that’s not why I ran from the label for so long. Maybe it’s because queer still has that bitter taste of a word I was taught not to say. Maybe it’s because queer feels like a declaration of arrival, a one-way ticket destination. Or maybe my hesitation came from being denied healthcare and insurance, being harassed in public, and having my job threatened. I take on the label, Queer Artist, not as a stopping point but rather as a way of looking at a system that does not recognize my existence, and saying: You don’t get to tell me what that word means anymore.

Skin, McDonough Museum of Art, Youngstown, OH Drag Portraits, Akron Soul Train Gallery, Akron, OH

2020

Skin, Sullivan Family Gallery, Bay Arts, Cleveland, OH Dissociation, Transition Gallery, Summit Art Space, Akron, OH

2019

Wavering Conversations, Curated Storefront, Polsky

2018

Unnamed, Hive Mind, Akron, OH

2017

Rosie, Box Gallery, Akron, OH

Building, Akron, OH

New Chapters, Malone Art Gallery, Canton, OH 2016

Identities, Massillon Museum, Studio M, Massillon, OH Pink and Blue, 22 High Street Gallery, Akron, OH Awards

2021

Juror’s Award, Biennial Juried Exhibition, Ohio Arts Council, Riffe Gallery, Columbus, OH Best in Show, Choose to Challenge, Up Front Art Space, Cuyahoga Falls, OH Represented by Abattoir Gallery, Cleveland, OH

107

Markwald

b. 1993 Akron, OH


Cristina Núñez Nuances: Calvin Drive | acrylic on canvas, 24 x 29 inches

108


Cristina Núñez Nuances: Rojo I | acrylic on canvas, 24 x 29 inches

109


Cristina Núñez Nuances: San Bernardino 34 | acrylic on canvas, 34 x 29 inches

110


Cristina Núñez Columbia, MO cristilup77@gmail.com / www.cristinanunezartstudio.com / @cristicristi77

Education 2018

MFA, Kookmin University, Seoul, South Korea

2008

BFA, Universidad Central de Venezuela, Caracas,

Although I have been painting for many years, Nuances is my first abstract series. I have worked on many different themes and materials, but with Nuances I have stripped myself of excuses and excesses, decanting from painting what I find essential: color and composition.

Venezuela Residencies 2011

Youngeun Museum of Contemporary Art, Gwangju, South Korea

2010

Musung Art, Shanghai, China

2008

Imagine Gallery, Beijing, China

2007

Instituto Rural de Arte Hoz del Júcar, Alcalá del Jucar, Spain

Regions of color that generate new tones and transparencies as they overlap. There are no lines or stories, only color and composition. With Nuances I experience the peace and joy of seeing colors be themselves. The manifestation of art as a pure expression with neither purpose nor bounds. To look at life in the eye and find nothing but the creative pulse. See the human essence in art as a cultural product that does not need to hide the arbitrariness of its origin.

Solo Exhibitions 2021

Nectareo II, International Café, Columbia, MO

2018

마음의 빛을 색으로, Whitewave Gallery, Seoul, South Korea

2017

There is nothing behind, Banditrazos Gallery, Seoul,

Instead of trying to say something through the painting, Nuances gives me the silence and serenity to listen to what the painting itself has to say.

South Korea

2012 2011

꽃, Baiksong Gallery, Seoul, South Korea

Hola Asia, Yongeun Museum of Contemporary Art, Gwangju, South Korea Group Exhibitions

2014

ArtPalmBeach Art Fair, w/ Maria Elena Kravetz Gallery, Palm Beach, FL

2012

KIAF 2012, Art Fair, Seoul, South Korea

2011

SOFA NY 2011, w/ Maria Elena Kravetz Gallery, New York, NY

2007

SOFA CHICAGO 2007, w/ Maria Elena Kravetz Gallery, Chicago, IL Award

2021

First Place Professional Painting, 62nd Annual Boone County Art Show, Central Bank, Columbia, MO

111

Núñez

b. 1977 Caracas, Venezuela


Marcela Adeze Okeke Nina’s Lilac Wine | oil and acrylic on canvas, 18 x 24 inches

112


Marcela Adeze Okeke Who Am I, or the Suffering Angel | oil and acrylic on canvas, 22 x 28 inches

113


Marcela Adeze Okeke Union | oil and acrylic on gessoed wood panel, 20 x 16 inches

114


Marcela Adeze Okeke Chicago, IL 773.573.3362 marcelaadezeokeke@gmail.com / @maoke._

Professional Experience 2017

Mural commission, Gigi’s Playhouse, Chicago, IL

2022

Deeply Rooted, Woman Made Gallery, Chicago, IL

Group Exhibitions Black Creativity, The Museum of Science and Industry,

I strive to dissolve the association of Black bodies with brutality by highlighting Black individuality and interconnectedness. I explore the intimacy of understanding oneself and others through painting several nude figures that are connected, intertwined, or physical reflections of each other. I do the same when depicting human beings’ relationship with the environment, creating subjects that appear to be at the intersection of human beings and flowers or trees.

Chicago, IL Young Blood II, The Holy Art Gallery, London, England (online) 2021

Together We Rise, Visionary Art Collective, Brooklyn, NY (online) Visionary Art Gallery, Hairpins Arts Center, Chicago, IL

As my work is a reclamation of the intersectional Black body, it is fundamentally about acceptance. I mix the abstract and realistic in a single piece to push the boundary of what we categorize as completion and perfection. By concealing parts of figures behind thick layers of color, I reflect the known and the unknown parts of the self and the constant development of self-discovery.

Publications 2020

Onyekaorise Chigbogwu, “Big on Imagination,” North by Northwestern (Evanston, IL)

2019

This is how I know Black bodies to be: not defined by harm and death, but by beauty and growth.

Camille Williams, “New Black Aesthetic,” Blackboard Magazine (Evanston, IL)

115

Okeke

b. 2000 Chicago, IL


Tim Olson Four Win at State Fair | oil on panel with painted frame, 40 x 60 inches

116


Tim Olson Triptych of the Adoration at the Terrace Heights Mobile Home Park | oil on panel with painted frame, 58 x 82 inches

117


Tim Olson Hospitality of the Abrams Amusement Company | oil on panel with painted frame, 36 x 70 inches

118


Tim Olson Dubuque, IA tim@timolsonstudio.com / www.timolsonstudio.com

Education 2003

BA, Loras College, Dubuque, IA

2021

Olson’s Art through the Ages, Dubuque Museum of Art,

These paintings are from a series that combine regional subject matter (crime stories, landscapes, portraits) with paintings from the past. My focus is on the settings, people, and architecture I grew up around.

Solo Exhibitions Dubuque, IA 2017

The Iowa State Fair Panorama (installation), Cultural Center, Iowa State Fair, Des Moines, IA Group Exhibitions

2022

42st Annual Rock Island Art Guild Fine Arts Exhibition, Figge Art Museum, Davenport, IA

2017

DuMA Biennial, Dubuque Museum of Art, Dubuque, IA

2015

2015 Biennial Quad-State Exhibition, Quincy Art Center, Quincy, IL

2012

The Mississippi River: A Juried Exhibit of 27 Area Artists, Outside the Lines Gallery, Dubuque, IA

2008

A Sense of Place, Gertrude Herbert Institute of Art, Augusta, GA

119

Olson

b. 1962 Storm Lake, IA



First Last Title | medium, X x X inches

194

Tim Olson | Triptych of the Adoration of the Terrace Heights Mobile Home Park (detail)


Rachel Pontious 7 of Wands | oil on canvas, 96 x 60 inches

120


Rachel Pontious 7 of Cups | oil on canvas, 96 x 60 inches

121


Rachel Pontious Strange Chalices of Vision | oil and encaustic on panel, 24 x 18 inches

122


Rachel Pontious Detroit, MI studio@rachelpontious.com / www.rachrach.com / @rachelpontious_studio

Education 2017

MFA, Cranbrook Academy of Art, Bloomfield Hills, MI

2011

BFA, School of Visual Arts, New York, NY Residencies

2021

ACRE, Steuben, WI

2019

Vermont Studio Center, Johnson, VT Solo Exhibition

2021

Mise en Abyme, PLAYGROUND DETROIT, Detroit, MI

2022

Homebody, Cranbrook Art Museum, Bloomfield Hills, MI

The selected works are an invitation into a psychological space, an expression of the embodiment of the Sevens of the Tarot using a labyrinth of allusions, ideas, and images. The pieces touch on grand yet subtle ways of communicating—gesture, body language, and theatricality; intimacy and alienation in bars; and finding the queer erotic in the quotidian. The connotations of the Sevens, the mise-en-abyme device, and transitional architectural spaces are motifs whose overlap speaks to the theme of duration, transformation, passage, allowing the possibility of various perspectives on the same idea, of holding multiple, even sometimes contradictory, vantage points simultaneously.

Group Exhibitions Salon Redux, David Klein Gallery, Detroit, MI 2021

Speculative Histories, Saarinen House,

2019

Look Again, White Brick Gallery, Ferndale, MI

Bloomfield Hills, MI 2017

Emergence, Ford Gallery, Eastern Michigan University, Ypsilanti, MI

2015

SPRING/BREAK Art Fair, New York, NY

2014

Hrönir: Un-Lost Things, Brooklyn Fire Proof,

2013

A Little More to the Left, Associated Gallery, New York, NY

New York, NY The Pond, the Mirror, and the Kaleidoscope, Visual Arts Gallery, New York, NY Award 2020

20/20 Emerging Artist Fellowship, PLAYGROUND DETROIT, Detroit, MI

123

Pontious

b. 1987 Baltimore, MD


Anisa Rakaj Unexpected Visit | oil on canvas, 26 x 20 inches

124


Anisa Rakaj Seduta in Profilo | oil on canvas , 38 x 30 inches

125


Anisa Rakaj Still Life | oil on canvas, 24 x 20 inches

126


Anisa Rakaj Commerce Township, MI rakajanisa@gmail.com / www.anisarakaj.com / @anisarakaj

Education 2020

BFA, The Cooper Union for the Advancement of Science and Art (Cooper Union), New York, NY Professional Experience

2018-20 Art Handler, Solomon R. Guggenheim Museum, New York, NY Solo Exhibition 2021

Choreographies, Cooper Union, New York, NY

Influenced by Baroque art, photographs, film stills, and her father’s work with mosaics, Anisa Rakaj creates intimate portraits that adulate the female form and embrace embellishment. Rakaj methodically arranges her compositions, intentionally suspending her figures in an alluring stillness. Utilizing theatrical lighting, body positioning, and ornamentation, Rakaj imbues her work with a sense of drama. Each subject, conscious of the viewer, hangs upon the precipice of action, reveling in the chance of voyeurism. There is raw power exhibited as her subjects preside ownership over their sensuality, gaining fulfillment through their premeditated presentation. Confronting superficial eroticism, Rakaj’s works explore issues of agency, ownership, and censorship in the representation of female sexuality.

Group Exhibition 2021

They’re On to You, Thierry Goldberg, New York, NY Awards

2015

Walter B. Ford Award of Excellence Scholarship, College for Creative Studies, Detroit, MI Scholastics Art & Writing Awards, New York, NY

127

Rakaj

b. 1997 Shkodër, Albania


Mel Rosas El gordito | oil on panel, 12 x 18 inches

128


Mel Rosas El negocios | oil on panel, 12 x 14.5 inches

129


Mel Rosas Protegida | oil on panel, 12 x 18 inches

130


Mel Rosas Royal Oak, MI 248.808.9054 rosasmel313@gmail.com / www.melrosas.com

Education 1975

MFA, Tyler School of Art, Temple University, Philadelphia, PA Professional Experience

2014-22 The Elaine L Jacob Chair of the James Pearson Duffy Department of Art and Art History, Wayne State University, Detroit, MI

My work is an ongoing investigation of Latin America and Latin American culture. Half-Panamanian and half–North American, my identity wrestles with two cultures and two languages. As a young man, I spoke English and often dreamed in Spanish. Travels to Latin America provide the basis for my art by informing dreams and exploring subject matter that is both foreign and familiar. Subsequently, my paintings are not documentation of specific places or events, but rather landscapes of memory, exploring a line between dream and wake time, and striving for a balance between the sublime and the melancholy.

1976–22 Assistant Professor; Associate Professor; Full Professor, Wayne State University, Detroit, MI Solo Exhibitions 2020

Detalles: An Exhibition of Small-Scale Work, N’Namdi Center for Contemporary Art, Detroit, MI

2017

La patria/Foreign Intimacies, Davidson Gallery,

2013

Un verso sencillo/A Simple Verse, Davidson Gallery,

2011

Perdido en el tiempo/Lost in Time, Davidson Gallery,

2009

La calle desconocida/The Unknown Street, Davidson

2007

The Enigma of Return, Davidson Gallery, New York, NY

2005

After the Rain, Davidson Gallery, New York, NY

2003

Water and Other Stories, Davidson Gallery, New York, NY

1995

Portals, Davidson Gallery, New York, NY

2020

FACE to FACE, Zolla Lieberman Gallery, Chicago, IL

New York, NY

Throughout my childhood, I was privy to my Latino father’s personal stories, music, and language. In addition, Latin American literature, both Magic Realism (Jorge Luis Borges) and Realism (Roberto Bolaño), have been sources of inspiration. My paintings reveal polarities such as the modern vs. ancient, the secular vs. religious, and text vs. imagery. The results of my observations are reflected by the language and imagery of my work and, in turn, broach the inseparability of crossed cultures.

New York, NY New York, NY Gallery, New York, NY

Group Exhibition

Awards 2018

Pollock-Krasner Foundation Grant, New York, NY

2009

Pollock-Krasner Foundation Grant, New York, NY

2004

The Elizabeth Foundation for the Arts, New York, NY

1994

Grant, National Endowment for the Arts Visual Artists Fellowship, Washington, DC 131 Collection Smithsonian Museum of American Art, Washington, DC

Rosas

b. 1950 Des Moines, IA


Terron Cooper Sorrells No Country for Black Men | oil on canvas, 72 x 96 inches

132


Terron Cooper Sorrells Muses | oil on canvas, 72 x 96 inches

133


Terron Cooper Sorrells 500 lbs | oil on canvass, 72 x 96 inches

134


Terron Cooper Sorrells Chicago, IL ronronarts@gmail.com / www.terronsorrells.com / @ronronart

Education 2016

BFA, Maryland Institute College of Art, Baltimore, MD Solo Exhibitions

2022

The 7 Virtues, Nieman Marcus, Chicago, IL No Country for Black Men, 21 Grams Gallery, Chicago, IL

2019

Sorrells has been surrounded by Western culture and ideologies for most of his life. He makes work that is meant to establish spaces for Black narratives in fine art institutions. Using oil paint and drawing in his extensive studies of American history, he creates work with a loving touch that is enriching and intricate. Sorrells is absorbed by the idea of spreading African American culture through his art, focusing on dramatic yet intimate and vulnerable scenes.

The Railroad, The Mansion at Strathmore, North Bethesda, MD Group Exhibitions

2022

Chicago Expo, w/ Steve Turner Gallery, Chicago, IL

2021

9th Annual Art Competition, Bridgeport Art Center,

Because of the large scale of Sorrells’s work, the engaged viewer can easily become immersed in it. He believes that this ability to pull people in offers them a chance to escape and interact intently with the characters within the work.

Chicago, IL Generation Next, 21 Grams Gallery, Chicago, IL 2020

Monuments: Creative Forces, The Mansion at Strathmore, North Bethesda, MD

2018

Black Creativity Exhibition, Museum of Science and

2017

The Last Ten Years: In Focus, David C. Driskell Center,

Industry, Chicago, IL College Park, MD Awards 2021

Best of Show, 9th Annual Art Competition, Bridgeport Art Center. Chicago, IL

2018

3rd Place, Black Creativity Exhibition, Museum of Science and Industry, Chicago, IL

2016

Y.L. Hoi Memorial Award Grant, Greater Baltimore Cultural Alliance, Baltimore, MD

2015

A. Claire Gaskins Harper ’41 Scholarship, Maryland Institute College of Art, MD Represented by 21 Grams Gallery, Chicago, IL

135

Sorrells

b. 1994 Portsmouth, VA



First Last Title | medium, X x X inches

196

Terron Cooper Sorrells | 500lbs (detail)


Ria Unson Tatlong Musketeer | altered book: oil, acrylic, ink, and graphite on paper, 9.5 x 14.5 inches (open)

136


Ria Unson Meet the Native Americans | altered book: gouache and acrylic on paper, 8 x 13 inches (open)

137


Ria Unson Wizard op Oz | altered book: oil, ink, graphite, image transfer, and collage on paper, 9.5 x 14.5 inches (open)

138


Ria Unson St. Louis, MO www.riaunson.com / @riaunson

Education 1993

BA, Northwestern University, Evanston, IL

I take books from Western classic literature and American textbooks and use them as a framework for portraits inspired by family photographs. The resulting palimpsests become new narratives that invite viewers to reexamine the stories they might already know well—now through a different lens.

Residency 2021

Cel de Nord, Oristà, Spain (online) Professional Experience

2021

Guest Lecturer, American Culture Studies, Washington University in St. Louis, St. Louis, MO

2020

Panelist, “Good Words and Broken Promises,” American Legacies of Manifest Destiny, Missouri Historical Society,

I am interested in memory. How we perceive and recover the past; how we translate our past into the present; how our present stories create our future. Language is a conveyor for memory, shaping what is remembered and brought forward. With American English established as the de facto national language in the Philippines, what was effectively erased? What futures were eradicated?

St. Louis, MO Solo Exhibition 2022

Stories We Are Told, Angad Arts Hotel, St. Louis, MO Group Exhibitions

2022

The Art of Technology Virtual Exhibition, St. Louis Artists’ Guild, St. Louis, MO (online)

2021

This is how language was deployed in the Philippines during the fifty-year American occupation. I am a product of that system.

Ann Metzger Memorial National Biennial Exhibition, St.

My conflation of personal memories with the stories we are told is one way I grapple with my postcolonial experience. In these works, I envision a simultaneity of place and time. My art is an attempt to cultivate meaning out of the fracture and invisible violence of cultural assimilation.

Louis Artists’ Guild, St. Louis, MO 2019

American Conversations, Art St. Louis, St. Louis, MO Award

2021

Ann & Edgar Metzger Memorial Award, St. Louis Artists’ Guild, St. Louis, MO Publication

2022

Santa Clara Review 109, no. 2 Collection Missouri History Museum, St. Louis, MO

139

Unson

b. 1971 Manila, Philippines


Authorized by the Chairman Fred Hampton Estate

Jillian Van Volkenburgh I Never Saw Chairman Fred Again | screenprint, grave rubbing, charcoal, and acrylic on canvas, 16 x 20 inches

140


Authorized by the Chairman Fred Hampton Estate

Jillian Van Volkenburgh Dec. 4, 1969 | screenprint, grave rubbing, charcoal, and acrylic on canvas, 16 x 20 inches

141


Jillian Van Volkenburgh Imari Charger on Gold | screenprint, acrylic, and liquid gold leaf on panel, 20 x 16 inches

142


Jillian Van Volkenburgh Gary, IN www.vivajvv.com / @vivajvv

Professional Experience 2021

Designer and installer, Chairman Fred Hampton Gravesite Memorial, Haynesville, LA Group Exhibitions

2022

This Tender, Fragile Thing, Jack Shainman: The School,

Jillian Van Volkenburgh is a multidisciplinary artist. Moving from painting to photography to sculpture, the subject matter dictates the medium. Her work is rooted in her experiences in the industrial corridor southeast of Chicago. She is currently focused on work based on personal transition, with themes of home, work, legacy, and death. These themes are translated into variations of both symbolic and literal imagery, ultimately creating a broad self-portrait.

Kinderhook, NY 2020

Uniforms for the End of Time, Proto Gomez, New York, NY AUDIT, Proto Gomez, New York, NY Publications

2022

Creative Quarterly 67, Brooklyn, NY

2021

Creative Quarterly 66, Brooklyn, NY

In 2021, she designed and installed the Chairman Fred Hampton Gravesite Memorial in Louisiana with the permission and oversight of the Chairman Fred Hampton Estate. Work based on the memorial was included in the 2022 exhibition This Fragile, Tender Thing at Jack Shainman: The School in Kinderhook, New York.

143

Van Volkenburgh

b. 1977 Hammond, IN


Antwoine Washington Black Father: The Protector | oil on canvas, 60 x 48 inches

144


Antwoine Washington Pillars | oil, latex, and pigment on canvas, 60 x 48 inches

145


Antwoine Washington A Seat and a Table | mixed media, 60 x 48 inches

146


Antwoine Washington Cleveland, OH antwoinewashingtonart@gmail.com / www.antwoinewashington.com / @antwoinewashington

Education 2007

BFA, Southern University, Baton Rouge, LA

2004

AA, San Diego Mesa Community College, San Diego, CA

2021

New Histories, New Futures, Cleveland Museum of Art,

Group Exhibitions Cleveland, OH Imagine Otherwise, Museum of Contemporary Art Cleveland, Cleveland, OH 2019

SeenUNseen, Artists Archives of the Western Reserve,

Working predominantly as a painter, I tell short stories of justice and social improvement. Using portraiture and protest paintings that represent the African American experience, I examine the ways in which past issues affect the present. I experiment with various formalist approaches; family relationships are the framework that connects disparate bodies of work and show how joy and trauma are intrinsically connected. Through my work, I invite viewers to see the world through my eyes, fostering an intimate experience between audience member and subject. By encouraging this shift in perspective, I hope to counteract the stereotypes of the absent Black father, using my practice to push back against racist narratives.

Cleveland, OH 2018

New Now, Artists Archives of the Western Reserve, Cleveland, OH Publications

2021

“Akron Art Museum’s ‘Continuum’ pairs older works with contemporary artists,” Akron Beacon Journal “Antwoine Washington Celebrates Black Family Life at Transformer Station,” Ideastream Public Media Award

2020

Ohio City Incorporated Arts & Culture Award, The Satellite Fund, SPACES, Cleveland, OH

2019

Verge Fellowship, Art Prize, Cleveland Art Association, Cleveland, OH

2018

Honorable Mention, 47th Annual Juried Art Exhibit, Valley Art Center, Chagrin Falls, OH Honorable Mention, People’s Choice Award, New Now, Artists Archives of the Western Reserve, Cleveland, OH Best in Show, Southern University and A&M College Student Exhibition, Baton Rouge, LA Collections Cincinnati Art Museum, Cincinnati, OH Columbus Metropolitan Library–Karl Road Branch, Columbus, OH 147

Washington

b. 1980 Pontiac, MI


Sarah Williams YY P Intersection | oil on panel, 9 x 12 inches

148


Sarah Williams Rhodes Carwash | oil on panel, 18 x 24 inches

149


Sarah Williams Hainsworth Building | oil on panel, 24 x 36 inches

150


Sarah Williams Springfield, MO 214.521.9898 (Talley Dunn Gallery) www.sarahwilliams-paintings.com / @__swilliams__

Education 2009

MFA, University of North Texas, Denton, TX

2006

BFA, William Woods University, Fulton, MO Residencies

2020

The Studios of Key West, Key West, FL

2016

Millay Colony for the Arts, Austerlitz, NY

2015

Willapa Bay Artist in Residence Program, Oysterville, WA Professional Experience

2018-

My current body of oil paintings explores the environments existing on the periphery that most people ignore. Strong emotions can be prompted by a place. Over time, ways of life shape and define people and the spaces in which they live. I am drawn to areas and structures that show character acquired from the history and memory of the people that formed that environment. Living in one place for an extended period of time provided me with a sense of local perspective that no outsider possesses. The pervasive feeling of loyalty and local identity present in this region contributes to the specialness of my home in the Midwest. My relationship to this community and the process between people and places has been an important aspect of my art.

Associate Professor, Missouri State University, Springfield, MO Solo Exhibitions

2022

NOMO, Moody Gallery, Houston, TX

2021

Southeast of Home, George Billis Gallery, Los Angeles, CA

2020

Twilight Town, Andrea Schwartz Gallery, San Francisco, CA Rural Routes, Talley Dunn Gallery, Dallas, TX Group Exhibitions

2021

The Grace Collects Women Artists, The Grace Museum, Abilene, TX

2019

Passing Through, Tyler Museum of Art, Tyler, TX Represented by Talley Dunn Gallery, Dallas, TX Moody Gallery, Houston, TX Andrea Schwartz Gallery, San Francisco, CA

151

Williams

b. 1984 Kansas City, MO


Gwendolyn Zabicki Pushing a Stroller in the Street | oil on canvas, 27 x 18 inches

152


Gwendolyn Zabicki Self-Portrait with Theodora | oil on canvas, 28 x 21 inches

153


Gwendolyn Zabicki Gray Lady | oil on canvas, 18 x 22 inches

154


Gwendolyn Zabicki Chicago, IL gwensmail@gmail.com / www.gwendolynzabicki.com / @gwendolynz

Education 2012

MFA, University of Illinois at Chicago, Chicago, IL

2005

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

2017

Vermont Studio Center, Johnson, VT Professional Experience

2015-20 Painting and Drawing Instructor, Hyde Park Art Center, Chicago, IL Solo Exhibitions 2020

In a Room with Many Windows, Heaven Gallery,

2018

Windows, Doors, and Mirrors, Roman Susan Gallery,

Chicago, IL

After becoming a mother, my relationship to time changed. I am awake more hours than I used to be and am busier than before. Yet, there is also a lot of downtime when I am alone with my thoughts. Those brief, flickering thoughts that come and go between so many other things have become the subject of my new work. Sam Anderson wrote, “A vast majority of our waking hours are filled not with witty jokes or brilliant thoughts or epic feelings but with tiny, private mind-motions—thoughts that are hardly even thoughts at all, that don’t rise to the level of sharing with another human being. That millisecond when—again and again—a rusty pipe looks like an owl, or a newscaster’s voice reminds you of a long-gone uncle, or a daily routine sets off a small chain of involuntary associations. These things are almost nothing, and yet they are who we are.” Painting these thoughts is an attempt to capture a nearly invisible but very large part of being alive.

Chicago, IL Two-Person Exhibition 2018

At Home (with Ann Toebbe), Carthage College, Kenosha, WI Group Exhibitions

2021

Vision 20/20, White Columns, New York, NY Unconquerable Women, Martha’s Contemporary, Austin, TX

2018

What Have You Got to Lose?, Slow Gallery, Chicago, IL Publications

2020

Kerry Cardoza, “Breakout Artists 2020: Chicago’s Next Generation of Image Makers,” NewCity Art S. Nicole Lane, “Motherhood changes you—and your art,” Chicago Reader

2018

Kate Sierzputowski, “Is the work in Gwendolyn Zabicki’s new exhibition a painting or a mirror? Only scuffs and scratches will tell,” Chicago Reader KT Hawbaker, “Crushing the Patriarchy with One Look,” Chicago Tribune

155

Zabicki

b. 1982 Chicago, IL



Editor’s Selections

The following section is presented in alphabetical order. Biographical information has been edited. Prices for available work may be found on p178.

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Phyllis Bramson Escorting a Heartsick Lover | mixed-media collage on canvas, 54 x 54 inches

158


Phyllis Bramson Painting Partners (Painting as a Pastime) | mixed-media collage on paper, 48 x 48 inches

159


Phyllis Bramson Peek-a-Boo (Remorse Must Wait) | mixed-media collage on canvas, 60 x 50 inches

160


Phyllis Bramson Chicago, IL 312.944.1990 (Zolla/Lieberman Gallery) bramson@uic.edu / www.phyllisbramson.com / @phyllisbramson

Education 1973

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

2020

Zolla/Lieberman Gallery, Chicago, IL

2017

Love and Affection in a Hostile World, Herron Galleries, Herron School of Art and Design, Indianapolis, IN

2016

In Praise of Folly: A Retrospective, 1985–2015, Chicago Cultural Center, Chicago, IL

2013

Small Personal Dilemmas, Littlejohn Contemporary,

2008

Kerfuffles, Claire Oliver Gallery, New York, NY

2001

Fort Wayne Museum of Art, Fort Wayne, IN

1988

Victorian College of the Arts, Melbourne, Australia

1986

The Renaissance Society, University of Chicago,

New York, NY

Chicago, IL 1979

The New Museum of Contemporary Art, New York, NY Group Exhibitions

1995

Phyllis Bramson, Carole Caroompas, Margaret Curtis,

My paintings often feature strong female images, blending fantastical elements of seduction and eroticism with the apparent innocence of fairy tales and kitsch (think Disneyland meets Bollywood). Within these fabricated worlds, fairy tale–like paintings unfold but are unresolved and are not as wholesome as one might believe. My work does not imitate proper behavior, nor does it function like a monogamous relationship. The basic theme of my work has always been love and affection in a hostile world. Like the Rococo, accused of containing “illicit fanciful joining and promiscuity.” Using the embodiment of everything excessive, contaminated and unnatural . . . in other words, uncontrolled imagination. The Rococo and Chinoiserie style of my paintings is colored by my childhood—my parents were avid collectors of alternative and erotic art, much of it Asian and within a kitsch decor. Painting, like life, is riddled with paradoxical opposition in terms of fact and fiction, both conceptually and visually—as these are dramatic times of diversity and complexity. That’s how the world is—it functions and doesn’t function. Likewise, my paintings function and don’t function.

Stephen Derrickson, P·P·O·W Gallery, New York, NY 1979

Color in Sticks, Museum of Contemporary Art, Chicago, IL In a Pictorial Framework, New Museum of Contemporary Art, New York, NY Awards

2009 1993

Grant, Anonymous Was A Woman Fellowship, John Simon Guggenheim Memorial Foundation, New York, NY

1979

Biennial Competition Award, The Louis Comfort Tiffany Foundation, New York, NY Represented by Zolla/Lieberman Gallery, Chicago, IL

161

Bramson

b. 1941 Madison, WI



First Last Title | medium, X x X inches

198

Phyllis Bramson | Escorting a Hearsick Lover (detail)


Steven Carrelli Profane Mimesis I | oil on linen, 72 x 72 inches

162


Steven Carrelli Profane Mimesis VI | egg tempera on wooden panel, 36 x 36 inches

163


Steven Carrelli Profane Mimesis III | oil on linen, 60 x 60 inches

164


Steven Carrelli Chicago, IL s@stevencarrelli.com / www.stevencarrelli.com / @stevencarrellipittore

Education 1995

In my work, I employ a variety of strategies to suggest the uncertain nature of perception and to explore the complex language of representation.

MFA, Northwestern University, Evanston, IL Solo Exhibitions

2021

Time and Its Opposite, Water Street Studios, Batavia, IL

2017

Known by Sight, Addington Gallery, Chicago, IL

2016

Rise and Fall, University Club of Chicago, Chicago, IL

2013

Collapse, Packer Schopf Gallery, Chicago, IL

2021

Field Studies (with Adam Fung), Hofheimer Gallery,

2016

A Bowl Full of Sky (collaborative drawings with Louise

Two-Person Exhibitions Chicago, IL LeBourgeois), Addington Gallery, Chicago, IL Group Exhibitions 2021

It’s a Small Show After All, Hofheimer Gallery, Chicago, IL

2018

Stillness, Illinois State Museum, Springfield, IL

2016

Chicago Paints, Ohio University Art Gallery, Athens, OH

Many of my works simultaneously use and subvert the practices of trompe-l’oeil by suggesting the illusion of space and then thwarting that illusion within the same composition. The works presented here are from a recent series titled Profane Mimesis, which takes Hans Holbein’s 1533 painting The Ambassadors as a model through which to approach these concerns. In each painting, imagery referencing Holbein’s painting is isolated, obscured, flattened, or blurred until barely recognizable. Through this combination of selective imitation and alteration, these paintings reinterpret Holbein’s dedication to the representation of the observable world. This practice of representing and altering historical images reflects a debt to the history of Western painting while also suggesting doubt about the ability of such works to serve as guides in the present. These out-of-focus images might be read as suggesting both sight and memory, both of which are slippery and inexact, powerful but not entirely trustworthy.

Awards 2019

Individual Artist Program Grant, City of Chicago, Department of Cultural Affairs and Special Events

1995

Fulbright Grant Collections City of Chicago, Department of Cultural Affairs and Special Events, Public Art Collection DePaul Art Museum, DePaul University, Chicago, IL Elmhurst College Art Collection, Elmhurst, IL Illinois State Museum, Springfield, IL

165

Carrelli

b. 1967 Canton, OH


Kaylie Kaitschuck All Dogs Go to Heaven | yarn on felt, 36 x 36 inches

166


Kaylie Kaitschuck Turtle Crossing | yarn on felt, 36 x 36 inches

167


Kaylie Kaitschuck Secret Admirer | yarn on felt, 40 x 30 inches

168


Kaylie Kaitschuck Detroit, MI www.kayliekaitschuck.com / @kayliekaitschuck

Education 2021

MFA, Cranbrook Academy of Art, Bloomfield Hills, MI

2018

BFA, College for Creative Studies, Detroit, MI Solo Exhibitions

2022

Kaylie Kaitschuck uses machine embroidery to draw with yarn and create fantastical yet overwhelming landscapes. She sources her narratives from her family, symbolism, and dreams. These embroideries serve as her own chaotic maps that hold no real navigational route or exit. Drifting through the real and the fake, they are an archive of memory that may or may not have ever existed.

In School Suspension, Gaa Gallery, Cologne, Germany Snakes and Ladders, Hiromart Gallery, Tokyo, Japan Two-Person Exhibitions

2021

Sun Spill (with Madeline Jane Lounsberry), Baby Blue Gallery, Chicago, IL Nobody’s Home (with Qualeasha Wood), Gaa Gallery, Provincetown, MA Group Exhibitions

2022

Lichtung, Gaa Gallery, Provincetown, MA

2021

Cranbrook Degree Show, Cranbrook Art Museum, Bloomfield, MI How to Kill Your House Plants, KO Gallery, Hamtramck, MI

2020

Uncommon Threads, Scarab Club, Detroit, MI Awards

2021 2020

Microgrant, Red Bull House of Arts, Detroit, MI Robert C. Larson Art, Design, and Architecture Venture Award, Cranbrook Academy of Art, Bloomfield Hills, MI

2019

Finalist, Dorothy Waxman International Textile Design Prize, Talking Textiles, New York, NY

169

Kaitschuck

b. 1995 Dearborn, MI



First Last Title | medium, X x X inches

200

Kaylie Kaitschuck | All Dogs Go to Heaven (detail)


Drew Peterson In Stride | screenprinted acrylic on Belgium linen on panel, 24 x 18 inches

170


Drew Peterson Calder Fog | screenprinted acrylic on Belgium Linen on panel, 24 x 18 inches

171


Drew Peterson Element Game | screenprinted acrylic on Belgium linen on panel, 24 x 36 inches, overall

172


Drew Peterson Minneapolis, MN drewpetersonart@gmail.com / www.cargocollective.com/drewpetersonart / @drewpetersonart

Education 2013

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

2009

BFA, University of Minnesota, Minneapolis, MN

2008

Yale Norfolk School of Art, Norfolk, CT Residency

2009

Anderson Ranch, Snowmass, CO Professional Experience

2017

Founder and Senior Printmaker, Entity Editions

2018

As if Formed by Water and Wind, Kiehle Gallery, St. Cloud

Solo Exhibitions State University, St. Cloud, MN 2017

Hurry Up and Wait, Public Functionary, Minneapolis, MN

2014

Waterworks, Burnet Gallery, Minneapolis, MN

2011

A Moment Stays, Burnet Gallery, Minneapolis, MN Group Exhibitions

2020 2018

I make paintings that read like a single sentence. Solitary. Distilled. I’m interested in an image that is mutually assertive and poetic—that has been pared down to an essence, without ever becoming austere or, worse, inaccessible. Within the work, abstract forms and organic imagery are depicted with an illusionistic playfulness that allows the painting a degree of complexity while remaining relatively minimal. I am seeking a gentleness. While creating these works, I find myself mentally drifting to imagined landscapes where my senses fixate upon a place where quiet, natural gestures are carried out unencumbered. These paintings are composed of screenprinted acrylic on Belgium linen. By printing an image rather than painting it, I find solace in the gradual and mediated process of applying thin layers of ink that can either be absorbed into the linen or build on top of itself, creating a variance across the surface of the painting. This effect is inviting to the viewer and positions them to reconcile the relationship between image and the physical minutiae of the works’ materiality.

Future Future, Hair and Nails Gallery, Minneapolis, MN Outstanding Affiliates, Wyoming Gallery, University of Wyoming, Laramie, WY

2017

The Dangerous Professors, Triumph Gallery, Chicago, IL Ocotillo, Stella Atkins Tyler Gallery, Tyler School of Art, Philadelphia, PA Awards

2020

McKnight Printmaking Fellowship, Highpoint Center for Printmaking, Minneapolis, MN Visual Artist Fund Grant, Midway Contemporary Art, Minneapolis, MN

2014

Jerome Fellowship, Highpoint Center for Printmaking, Minneapolis, MN

173

Peterson

b. 1983 Minneapolis, MN


Olivier Souffrant Le Plaza Hotel | acrylic, oil, and archival CMYK ink on canvas, 64 x 52 inches

174


Olivier Souffrant Lucid Dreamin’ | acrylic, oil, and archival CMYK ink on canvas, 68 x 58 inches

175


Olivier Souffrant Le Petit Prince | acrylic, oil, and archival CMYK ink on canvas, 64 x 48 inches

176


Olivier Souffrant Chicago, IL 212.352.2238 (Kravets|Wehby Gallery) @0livier_

Solo Exhibition 2021

Tim Tim? Bwa Sèch, Kravets|Wehby Gallery, New York, NY Group Exhibition

2021

DM me, Kravets|Wehby Gallery, New York, NY Represented by Kravets|Wehby Gallery, New York, NY

Having survived the 2010 earthquake that displaced him to Chicago from his native Haiti, Olivier Souffrant reshapes experiences of duress and endurance by channeling them into beauty through disruption. The foundation of his practice lies within challenging the illusions and allures of life that we as a society have attached ourselves to. By mixing digital collage, painting, and appropriation, his unconventional methods raise questions about accessibility and creativity within the contemporary art world. He uses the digital process as a double-edged sword to elevate digital media while simultaneously critiquing consumer culture and the digital world. Souffrant’s visual discourse draws from a deep well of art history, pop culture, and philosophy. Through an intentional selection of metaphors and language, each painting acts as a societal dissection, allowing Souffrant to reflect on the imperfections of self, hubris, despair, and desire.

177

Souffrant

b. 1994 Port-au-Prince, Haiti



First Last Title | medium, X x X inches

202

Olivier Souffrant | Lucid Dreamin’ (detail)


Pricing

Prices published here, for the most part, represent the current price for a work established by the artist or their 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.

Alyssa Ackerman p16 NFS p17 $1,130 p18 $6,570

Thomas Frontini p72 $5,000 p73 $2,000 p74 $2,000

Mel Rosas p128 $6,500 p129 $6,000 p130 $6,500

Herman Aguirre p20 POR p21 POR p22 POR

Elizabeth Gerdeman p76 $5,800 p77 NFS p78 $14,600

Terron Cooper Sorrells p132 NFS p133 NFS p134 NFS

Rubén Aguirre p24 NFS p25 NFS p26 NFS

Rachel Gregor p80 $7,000 p81 $5,600 p82 $20,000

Ria Unson p136 $425 p137 $425 p138 $425

Monsur Awotunde p28 NFS p29 NFS p30 NFS

Elizabeth Ihekoronye p84 NFS p85 NFS p86 NFS

Jillian Van Volkenburgh p140 NFS p141 NFS p142 NFS

Aaron Robert Baker p32 NFS p33 NFS p34 NFS

Ashley January p88 $3,500 p89 POR p90 $8,000

Antwoine Washington p144 $7,000 p145 NFS p146 NFS

Kaleigh Blevins p36 $800 p37 NFS p38 NFS

Caylin Jayde p92 NFS p93 NFS p94 NFS

Sarah Williams p148 $2,200 p149 $3,600 p150 $5,400

Nate Burbeck p40 $6,000 p41 $5,100 p42 $2,000

Jacqueline Kott-Wolle p96 NFS p97 NFS p98 NFS

Gwendolyn Zabicki p152 $2,000 p153 $2,000 p154 $2,000

Jordan Buschur p44 $2,400 p45 NFS p46 NFS

Ayelet Lindenstrauss Larsen p100 $3,000 p101 $2,800 p102 NFS

Alexandria Couch p48 NFS p49 NFS p50 NFS

Max Markwald p104 NFS p105 NFS p106 NFS

Lorena Cruz Santiago p52 NFS p53 NFS p54 NFS

Cristina Núñez p108 $1,500 p109 $1,500 p110 $1,500

Brian DePauli p56 $3,725 p57 NFS p58 NFS

Marcela Adeze Okeke p112 $900 p113 $1,200 p114 $650

Shanique Emelife p60 NFS p61 NFS p62 NFS

Tim Olson p116 $6,000 p117 $10,000 p118 $6,000

Tina Engels p64 $1,500 p65 NFS p66 $1,500

Rachel Pontious p120 $7,000 p121 $7,000 p122 NFS

Scott Espeseth p68 $1,800 p69 $1,800 p70 $1,800

Anisa Rakaj p124 NFS p125 NFS p126 NFS

178

Phyllis Bramson p158 $15,000 p159 $6,000 p160 $15,000 Steven Carrelli p162 NFS p163 $5,500 p164 $9,000 Kaylie Kaitschuck p166 NFS p167 NFS p168 NFS Drew Peterson p170 $3,200 p171 $1,800 p172 $3,200 Olivier Souffrant p174 NFS p175 NFS p176 NFS



$20


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