New American Paintings West Issue #162

162

October/November

162 >

New American Paintings

Northeast CT, DE, MA, ME, NH, NJ, NY, PA, RI, VT

was founded

in 1993 as an experiment in art publishing. With over five thousand artists reviewed annually, it has become

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America’s largest and most important series of artist

AL, AR, DC, FL, GA, KY, LA, MD, MS, NC, SC, TN, VA, WV

competitions. Each competition is catalogued in a unique

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volume: Northeast, South, Midwest, West, Pacific Coast,

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and MFA Annual. Featured artists are selected on the

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162 October/November 2022 Volume 27, Issue 5 ISSN 1066-2235 $20

Recent Jurors: Bill Arning

Toby Kamps

Contemporary Arts Museum Houston

The Menil Collection

Nora Burnett Abrams

Miranda Lash

Museum of Contemporary Art Denver

New Orleans Museum of Art

Janet Bishop

Al Miner

San Francisco Museum of Modern Art

Museum of Fine Arts, Boston

Staci Boris

Dominic Molon

Elmhurst Art Museum

RISD Museum of Art

Nina Bozicnik

Sarah Montross

Henry Art Gallery

deCordova Sculpture Park and Museum

Dan Cameron

René Morales

Orange County Museum of Art

Pérez Art Museum Miami

Cassandra Coblentz

Barbara O’Brien

Independent curator

Kemper Museum of Contemporary Art

Eric Crosby

Raphaela Platow

Walker Art Center

Contemporary Arts Center, Cincinnati

Dina Deitsch

Monica Ramirez-Montagut

deCordova Sculpture Park and Museum

San Jose Museum of Art

Apsara Diquinzio

Lawrence Rinder

UC Berkeley Art Museum and Pacific

UC Berkeley Art Museum and Pacific

Film Archive

Film Archive

Lisa Dorin

Veronica Roberts

Williams College Museum of Art

Blanton Museum of Art

Anne Ellegood

Michael Rooks

Postmaster: Send address changes to

Hammer Museum

High Museum of Art

The Open Studios Press

Lisa D. Freiman

Alma Ruiz

Institute for Contemporary Art,

The Museum of Contemporary Art,

Virginia Commonwealth University

Los Angeles

Evan Garza

Kelly Shindler

Blanton Museum of Art

Contemporary Art Museum St. Louis

Michelle Grabner

Anna Stothart

2014 Whitney Biennial, Whitney Museum

Institute of Contemporary Art/Boston

of American Art

Catherine Taft

Randi Hopkins

LAXART

Copyright © 2022 The Open Studios Press. All rights reserved. No part of this publication

Independent curator

Julie Rodriguez Widholm

may be reproduced in any way without written permission from the publisher.

Laura Hoptman

Museum of Contemporary Art Chicago

Editor/Publisher: Steven Zevitas Designer/Production Manager: Alexandra Simpson Operations Manager: Alexandra Simpson Marketing Manager: Liz Morlock Copy Editor: Lucy Flint

Advertising Inquiries please contact Liz Morlock: 617.778.5265 New American Paintings is published bimonthly by: The Open Studios Press, 450 Harrison Avenue #47, Boston, MA 02118 617.778.5265 / www.newamericanpaintings.com Subscriptions: $89 per year. (Canada $329, Non-North American $449) Periodical Postage paid at Boston, MA and additional mailing offices.

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PRINTED IN KOREA All rights in each work of art reproduced herein are retained by the artist.

Front cover: Sanchez, p129

Back cover: Hoerlein, p163

Museum of Modern Art, New York

New Art Dealers Alliance (NADA) newartdealers.org

Frank p49

Contents 8 10 12

Editor’s Note Steven Zevitas

Noteworthy Juror’s and Editor’s Picks

Juror’s Comments Tyler Blackwell, Curator of Contemporary Art, Speed Art Museum, Louisville, KY

14 156 178

Winners: Juror’s Selections Western Competition 2022

Winners: Editor’s Selections Western Competition 2022

Pricing Asking prices for selected works

162 October/November 2022

Editor’s Note

The juror for this issue is Tyler Blackwell. When the project began,

represented on these pages. At New American Paintings, we see

Tyler was the Cynthia Woods Mitchell Associate Curator at the

more and more exceptional emerging talent coming out of the state

Blaffer Art Museum. As I write this, he has just transitioned to his

every year, and I expect this trend will accelerate. n

new role as Curator of Contemporary Art at the Speed Art Museum.

During his time at the Blaffer, Tyler curated a number of highly

Enjoy the issue.

lauded exhibitions and deeply immersed himself in Texas’s thriving art scene. I am thrilled with his selections for this edition of New

Steven Zevitas

American Paintings.

Editor & Publisher

A lot has changed in Texas since our first review of artists working in the West. If its contemporary art scene can now be said to be thriving, then Houston is that scene’s engine. Eighty years ago, oil tycoons and art patrons John and Dominique de Menil moved to Houston and, through their philanthropy, set the tone for the city’s now robust cultural landscape. While many might still consider the city to be well within “fly-over” territory, over the past twenty years, Houston has quietly become one of the world’s great art cities, boasting world-class institutions, galleries, and, increasingly, artists. Dallas, Austin, San Antonio, and pilgrimage-worthy Marfa are also hubs of creativity.

There are, of course, gifted artists working in Santa Fe, Denver, and throughout the West, but Texas looks after its own, and, especially in recent years, a number of strong voices have emerged from the Lone Star State and gone on to attract international attention.

Among them are Trenton Doyle Hancock, Deborah Roberts, Maja Ruznic, Jammie Holmes, Jamal Cyrus, and Vincent Valdez, who is

JORDAN SEABERRY

Opening September 2nd

Alex watercolor, graphite, and acrylic on canvas, 59 x 59 inches

But Mostly We Waited For Spring, When There Could Be Gardens

Noteworthy:

Jessica Simorte

Juror’s Pick p132

Jessica Simorte’s intimate paintings remind us to account for what surrounds us—whether it be the mundane patterns in a rug, the frame of a doorway, or the shapes and colors produced by a small field of flowers. Her abstract works poetically compress and very slowly elucidate a unique point of view that only sometimes offers a sense of clarity. Such is the state of the world, where the whirls of our daily lives can both overwhelm us and fulfill our joys and desires. n

Vincent Valdez

Editor’s Pick p140

I have been a fan of Valdez’s practice since first coming across his work at the now defunct Wester Project in Los Angeles in the late aughts. From a purely technical standpoint, he has always been an extraordinarily gifted painter, but it is his unflinching subject matter that has gained him wide acclaim in recent years. Given our fractured political landscape, this is, perhaps, not surprising.

Valdez draws from history in an attempt to reveal our current reality. His work is both a warning about the ease with which the sins of our past can revisit us and a proclamation that we have it within our power to do better. n

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Winners: Western Competition 2022 Juror: Tyler Blackwell, Curator of Contemporary Art, Speed Art Museum, Louisville, KY

Juror’s Selections: Aguirre

Adrián

|

Alvarez

RF.

|

Charis

Ammon

Bettina

|

|

Sean

Michael

Cairns

Cassandra Chalfant | Farima Fooladi | Andrew Fowler | Zoey Frank | Philip Gabriel Steverson Drew

Gaines

Erika

Jaeggli

|

Raul |

Rene

Tracy

Gonzalez

Kerdman

|

|

Joe

Dirk

Hedges

Kortz

|

|

Katy

Renee

Lai

Horan |

|

Yasuyo

Loc

Huynh

Maruyama

Michael McCaffrey | Annie Miller | Mihee Nahm | Jared Packard | Robert Peterson Joel Daniel PhIllips | Emily Blair Quinn | Diego Rodriguez-Warner | Gabriel Sanchez | Jessica Simorte Keer Tanchak | Vincent Valdez | Lillian Warren | Douglas Welsh | Caroline Zurmely

Editor’s Selections: Beronica

Gonzales

|

Aleya

Hoerlein

|

Eli

Kauffman

|

Alexis

Pye

|

Jason

Saager

Juror’s Comments

Tyler Blackwell Curator of Contemporary Art, Speed Art Museum, Louisville, KY

I write this in the immediate wake of the US Supreme Court’s

materials for different reasons that are always personal and

abominable decision to overturn Roe vs. Wade. As we all have

subjective. Interestingly, perhaps in the wake of the pandemic,

reluctantly learned to live with the gruesome, morphing, and

many submitters (and thus, many of the works reflected in

ongoing state of the COVID-19 pandemic and

these pages) make paintings that explore

the disheartening bluster of all our government

ideas of gathering, closeness, personhood, and

officials, thinking about, responding to, making,

community. Drew Gaines’s outdoor hangouts

and looking at art has been a way (for me at

and Zoey Frank’s pool party scenes riff on

least) to find some space to exhale. Last year, in

these themes literally, with Frank’s images

2021, I was fortunate to see the exhibition Wild

depicting tableaus that are densely packed

Life at Contemporary Arts Museum Houston in

with clamoring peoples pictorially placed on

person. The show featured a cross-generational

top of each other. Frank suggests that her

pairing of the historical wall painting works

large-scale paintings are akin to contemporary

of the late, all-time great Elizabeth Murray

history paintings, which may certainly be the

and the thirty-something virtuoso sculptor

case; these paintings seem to show us what we

/ material manipulator Jessi Reaves. This exhibition (organized

have missed over these last sickly years or what might be coming

by curator Rebecca Matalon) was sumptuous, perplexing, and

as social distancing measures are lifted. The works anticipate

reassuring—a reminder after pandemic-induced isolation and

how we desire to be around others. The same could be said for

separation that visual art can still transport and comfort us, as

paintings by Michael McCaffrey, Annie Miller, Adrián Aguirre, RF.

well as challenge and revolutionize how we might see the world.

Alvarez, and Raul Rene Gonzalez, among others.

In this way, artists pave the road forward for collective healing and meaningful transformation in our society.

Themes (and celebrations!) of identity, cultural heritage, and familial history are also ever-present, as they should be in a nation

It is truly an honor and a privilege to review and jury submissions

where communities of color, women, and queer peoples have been

to this issue of New American Paintings, a publication that I have

historically marginalized and continue to be the subjects of state-

read for many years. The artists in this edition reflect a breadth

sanctioned violence and socioeconomic displacement. In these

of interests and emerge from wildly disparate backgrounds. With

pages, we are able to see that every single person has a unique,

this in mind, paint naturally serves as the connective media. While

complex story that is important to share and to understand. I

the works seen here may take many forms and oscillate between

am particularly struck by the works of Gabriel Sanchez, Keer

imagined scenes, figurative representation, and pure abstraction,

Tanchak, Vincent Valdez, Loc Huynh, Robert Peterson, and Philip

we are reminded of the ways in which makers harness the same

Gabriel Steverson as powerful and endlessly relevant examples

12

Frank p49

Aguirre p17

Valdez p140

Cairns p33

Fooladi p42

Jaeggli p76

“In considering these wide-ranging narratives, we are fortunate to look to contemporary artists as interlocuters and translators for the world where we live.” of storytelling, pride, resilience, and empowerment. Through

fortunate to look to contemporary artists as interlocuters and

their works, we are invited to consider our own place(s) in the

translators for the world where we live. In this way, I hope that this

world and to seek out new intersections of joy and culture that

issue points to many avenues of care and community for readers

may not be our own. I am also intrigued by works in this issue

who—like me—seek discovery, comfort, excitement, or respite. n

that examine our relationship with the natural world or with notions of place and/or history. Renee Lai, Mihee Nahm, Sean Cairns, Charis Ammon, Lillian Warren, and Cassandra Chalfant inspect the various junctions of natural barriers, public space, memory, and otherwise forgotten aspects and details that make up daily life. Meanwhile, artists such as Farima Fooladi and Erika Jaeggli actively interpret the vagaries of specific places in the global landscape as a means to analyze how our bodies connect to geography, culture, and lived experience. By encountering these varied ideas through these artists’ paintings, our understanding of how we inhabit and mold the places where we settle becomes fuller and more nuanced. Elsewhere, other artists interrogate thorny or abstract ideas of sexuality, psychology, technology, and lyrical eclecticism as ways to engage more fully with what it means to be a person or how to relate to others. While not a small or easily contained topic, artworks seen here deftly navigate these views with gusto and intellectual heft.

Broadly, painting in all forms encourages and rewards slow looking. The selected works purposefully reflect an expansive range of viewpoints that fold out and extend in many different directions. In considering these wide-ranging narratives, we are

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.

>

Adrián Aguirre Niños en El Barretal | oil on canvas, 48 x 34 inches

16

Adrián Aguirre Salida | oil on canvas, 54 x 72 inches

17

Adrián Aguirre José | oil on canvas, 28 x 22 inches

18

Adrián Aguirre Mesilla, NM 505.780.5403 (Strata Gallery) aj.aguirre@gmail.com / www.adrianaguirre.com / @adrianjaguirre / @adrian.aguirre.art

Education 2009

MFA, University of North Texas, Denton, TX

2003

BFA, New Mexico State University, Las Cruces, NM Professional Experience

2021-

Adjunct Professor, El Paso Community College, El Paso, TX Solo Exhibition

2009

There’s a political agenda in my work. It’s sometimes subtle and other times expressed more overtly. While I’m advocating for a more compassionate immigration system, fundamentally, the work is about connecting the viewer emotionally to the people in a painting or drawing. I take care to capture facial expressions, gestures, and personalities. I often rely on the additive and reductive process in painting and drawing to find the portrait and the figure. While I fully render some parts of the figure, I also like to use loose marks to emphasize movement, activate the space, but also as a vehicle for expressing myself and connecting to the person in the portrait.

Jornaleros, Fort Worth Arts Center, Fort Worth, TX Two-Person Exhibition

2009

Drawing Dialectics, with Zoe Spiliotis, Fort Worth Community College, Fort Worth, TX Group Exhibitions

2022

12 NM Artists to Know Now, Pie Projects, Santa Fe, NM La Frontera: Hopes and Fears, Doña Ana Arts Council Gallery, Las Cruces, NM Texas National, Cole Art Center, Stephen F. Austin University, Nacogdoches, TX

2015

Lone Star, Brick City Gallery, Missouri State University, Springfield, MO

2012

71st Annual Juried Exhibition, Woodmere Art Museum, Philadelphia, PA Awards

2022

12 New Mexico Artists to Know Now, Southwest Contemporary, Santa Fe, NM

2019

Social Justice Award, Department of Government, New Mexico State University, Las Cruces, NM Collections El Paso Museums and Cultural Affairs Department, El Paso, TX Mesalands Community College, Tucumcari, NM 19 Represented by Strata Gallery, Santa Fe, NM

Aguirre

b. 1980 Ciudad Juárez, Chihuahua, Mexico

Herman Aguirre | Salida (detail)

RF. Alvarez The Homesteaders | acrylic on canvas, 48 x 48 inches

20

RF. Alvarez Effigy of an Outlaw | acrylic on canvas, 84 x 42 inches

21

RF. Alvarez The Invitation | acrylic on canvas, 60 x 72 inches

22

RF. Alvarez Austin, TX www.rfalvarez.com / @rf_alvarez / @rf_alvarez

Solo Exhibitions 2021

Tender Is the Heart, Distribution Hall, Austin, TX (self-organized) I Was Only Here a Little While, Uprise Art, New York, NY

2020

The Bathers, Commodore Perry Estate, Austin, TX

My work deals with impermanence, indulgence, and belonging: three interconnected pillars of the queer experience. I am a gay man whose father immigrated from Mexico and whose mother comes from a family of cowboys. My work responds to these heritages by showcasing the fallacy of masculinity central to both.

I create images of a world where things are beautiful, temporary, unfurled, and tender.

(self-organized) Group Exhibition 2021

Plurality of Isolations, Ruiz-Healy Art, San Antonio, TX

2022

ArtMaze Mag, no. 26

Publication

I show men in love. I show groups of queer friends drinking and talking. I show flowers in full bloom, at the edge of wilting, fighting for their own beauty. And I show windswept landscapes of the place I am from: a place of deep thunderstorms and dried grass and conflict. I hope, by presenting these images in often monotone, shadowy compositions, to present a vision of queer resilience.

Collections Suzanne Deal Booth Soho House Austin, Austin, TX US Embassy, Stockholm, Sweden

23

Alvarez

b. 1988 San Antonio, TX

Charis Ammon The Three Shades | oil on canvas, 72 x 96 inches

24

Charis Ammon Impact | oil on canvas, 72 x 96 inches

25

Charis Ammon Erasure | oil on canvas, 48 x 60 inches

26

Charis Ammon Houston, TX 713.526.7800 (Inman Gallery) charistx@gmail.com / www.charisammon.com / @charisammon

Education 2018

MFA, University of Houston, Houston, TX Residency

2017

Fieldwork Marfa, Desert Unit of Speculative Territories, Marfa, TX

I paint the surfaces I travel past in daily life. My focus is on liminal spaces, like construction sites and scrapyards. As I move past these public spaces, I carry my inner world with me, finding moments of connection with my surroundings as I walk. The weathering surfaces of American cities whisper our shared stories of disrepair, resilience, and change. I see my story implicated in these spaces. These paintings are moments of empathy—when my environment gave me access to myself and a connection to my community.

Solo Exhibitions 2021

Fieldwork Marfa, Desert Unit of Speculative Territories, Marfa, TX

2020

Inheritance, Old Jail Art Center, Albany, TX

2019

Maintenance, Art League of Houston, Houston, TX

2018

Still Hot in the Shade, Inman Gallery, Houston, TX

2021

Stratum 2021, Alta Arts, Houston, TX

Group Exhibitions Charis Ammon, Jamal Cyrus, Jana Vander Lee: From the Studio II, Inman Gallery, Houston, TX 2020

Unquiet: Not Cancelled, w/ Inman Gallery, Houston, TX (online) Everywhere. Now., Inman Gallery, Houston, TX Moving Still, San Jacinto College, Houston, TX

2018

Rendezvous, Goldmark Cultural Center, Dallas, TX 40th Master of Fine Arts Thesis Exhibition, Blaffer Art Museum, University of Houston, Houston, TX Collections The Old Jail Art Center, Albany, TX University of Houston, Houston, TX Represented by Inman Gallery, Houston, TX

27

Ammon

b. 1992 Farmers Branch, TX

Bettina A Portrait of Earth as Arizona | acrylic on canvas, 24 x 20 inches

28

Bettina Diamonds Are a Girl’s Best Friend | acrylic on canvas, 24 x 20 inches

29

Bettina Goodnight Moon, Goodbye Breonna | acrylic on canvas, 20 x 24 inches

30

Bettina Tucson, AZ bettinabjones@yahoo.com / www.bettinafineart.com / @bettinafineart

Education 1975

BFA, Syracuse University, Syracuse, NY Solo Exhibitions

1994

Kameha'o Manawa, Robert Lyn Nelson Gallery, Lahaina, HI

1987

Raw Fish & Steaming Wahine, Cafe Che Pasta, Honolulu, HI Two Person Exhibition

1987

Naked Ladies/Risquépes, with Ed Przelomski, Hawaii Artists Gallery, Honolulu, HI

I am a storyteller who paints with a whimsical view, as I have always loved cartoons and animation. My paintings are stories of people, relationships, nature, myths, dreams, and locales that are painted in the folk-art tradition, from the heart. My ideas come from nature, different cultures, and all forms of media. When I first saw the work of folk artists, I instantly connected with the spirit of their art. Like my own work, it is honest and unrestricted.

Most of my works make people smile, and humor has a place in the art world. I enjoy twisting and poking fun at us and the current state of affairs. Other paintings are meant to teach or give pause to reflect on our status as human beings and how we relate to others—our fellow man as well as the natural world.

Group Exhibitions 2020

Social Injustice, Herberger Theater Center, Phoenix, AZ

2019

Día de los Muertos, Tohono Chul Galleries, Tucson, AZ

2013

Art Maui, Schaefer International Gallery, Maui Arts Cultural Center, Kahului, HI

1999

Summer Solstice, Art School at Kapulua Gallery,

1997

Three Perspectives, Banyan Tree Gallery, Lahaina, HI

1988

Artists of Hawaii, Honolulu Museum of Art, Honolulu, HI

1985

Primal Instincts, Soho Too Gallery, Honolulu, HI

Kapulua, HI

Award 1994

Grand Prize Art Search, Lahaina, HI Publication

1995

Seafood Leader, vol. 15, no. 5 Collections Musée International d’Art Naïf de Magog, Magog, Canada William Ahmanson, The Ahmanson Foundation, Los Angeles, CA

31

Bettina

b. 1952 Washington, DC

Sean Cairns Living on a Caboose | oil on canvas, 45 x 41 inches

32

Sean Cairns Pink Flamingos | oil, collage, and sand on canvas, 51 x 47 inches

33

Sean Cairns The Ground Littered with Glittered Spiders | oil, enamel, and sand on canvas, 30 x 40 inches

34

Sean Cairns Dallas, TX 972.239.2441 (Valley House Gallery and Sculpture Garden) scairns.art@gmail.com / @seancairnsartist

Education 2014

MFA, Minneapolis College of Art and Design, Minneapolis, MN

2012

BFA, Milwaukee Institute of Art and Design, Milwaukee, WI Solo Exhibition

2021

I would like to bring a sense of magic to painting. Figurative vignettes play in a land as charming as it is foreboding. Intimate memories, often pulled from my rural upbringing, are enlivened with elements of color field painting, folk art, and symbolism.

Meditations on the strange innocence of life, love, longing, and romance within the turbulence of a mysterious world. Abstraction and landscape merge. My images are designed to morph in the mind of the viewer, to find connection and recognition in shapes that are not always as they appear.

Handler, Valley House Gallery and Sculpture Garden, Dallas, TX Group Exhibitions

2022

Key of Dreams: All Art+, Van Der Plas Gallery, New York, NY Dallas Art Fair, Valley House Gallery and Sculpture Garden, Dallas, TX

2021

The Mac Member’s Show, The MAC, Dallas, TX Go Figure, Amarillo Museum of Art, Amarillo, TX Dallas Art Fair, Valley House Gallery and Sculpture Garden, Dallas, TX

2020

A Posteriori, Liliana Bloch Gallery, Dallas, TX On Being Human, Valley House Gallery and Sculpture Garden, Dallas, TX Represented by Valley House Gallery and Sculpture Garden, Dallas, TX

35

Cairns

b. 1988 Sparta, IL

Cassandra Chalfant For Me | acrylic on panel, 15 x 15 inches

36

Cassandra Chalfant The Explorer | acrylic on panel, 11 x 14 inches

37

Cassandra Chalfant Dunlap Family Home | acrylic on panel, 24 x 32 inches

38

Cassandra Chalfant Aurora, CO cassie.chalfant@gmail.com / www.cassandrachalfant.com / @cassiechalfant

Education 2016

BFA, Tyler School of Art, Temple University, Philadelphia, PA Solo Exhibition

2016

BFA Thesis Exhibition, Tyler School of Art, Temple University, Philadelphia, PA Group Exhibitions

2022

Wide Open 12, Brooklyn Waterfront Artists Coalition, Brooklyn, NY Zoonotic Hex, Field Projects Gallery, New York, NY

2021

New Normal: Working Through Quarantine, Payne Gallery, Moravian University, Bethlehem, PA

2016

My work delves into the ways we experience our most personal images. How do we hold them, alter them, imagine or escape them? Why do we review them over and over again? Largely through photographs and imagined spaces, I explore my own memories, the collective memories of my family, and worlds I have created—immersing myself in places I’ve been, in times that never existed, and times that happened, but not for us.

Anointing Spire, Tyler School of Art, Temple University,

The photographic image is vital to much of my work, serving as both context and content. The collection of images used within my paintings spans decades, incorporating found photographs and photos taken by myself and family members. This timeline points to the change in the recent history of the photographic image and its increasing influence as both a reliable and deceptive form of perception, shaping how we remember and how we analyze.

Depicting familiar places and imagery, my paintings present an indistinct narrative, unclear if it is real or fiction.

Philadelphia, PA Tiny Biennale, Gallery of Art, Temple University Rome, Rome, Italy Publication 2021

White Columns Artist Registry (online)

39

Chalfant

b. 1994 Medina, OH

Cassandra Chalfant | Dunlap Family Home (detail)

Farima Fooladi Just Out of Reach | oil on canvas, 64 x 112 inches

40

Farima Fooladi Sunder | oil on canvas, 64 x 120 inches

41

Farima Fooladi Mirage | mixed media on canvas, 36 x 72 inches

42

Farima Fooladi Houston, TX farimafooladi@gmail.com / www.farimafooladi.com / @farimafooladi / @farimafooladi

Education 2015

MFA, Penn State University, University Park, PA Professional Experience

2020-22 Lecturer, Sam Houston State University, Huntsville, TX

The cities I inhabited growing up in Iran and the everyday urban environments I occupied as an adult provide the primary visual inspiration for my paintings. I address displacement, delving into emotional and historical layers of public space and memory. The way societal changes transform civic spaces interests me. The visual language in my landscape paintings grows intuitively out of my imagination and experience.

2014-16 Lecturer, Penn State University, University Park, PA Solo Exhibitions 2022

Smack Mellon, Brooklyn, NY

2021

Box13 ArtSpace, Houston, TX

2019

Heidi Vaughan Fine Art, Houston, TX

2013

Sanati Contemporary Arts Museum, Kerman, Iran

2012

Shirin Art Gallery, Tehran, Iran Group Exhibitions

2018 2017

Abstraction at Large, Site:Brooklyn, Brooklyn, NY Illogical Animus, sUgAR Gallery, University of Arkansas, Fayetteville, AR

2016

In Between, Penn State University, University Park, PA

2011

ArtBeat Istanbul, Casa Dell’Arte Gallery, Istanbul, Turkey

2022

Houston Chronicle

2016

Interview, Maake Magazine

My images compress architecture and landscape from my childhood in post-revolutionary Iran with those in the US. Examining historical appropriations for my work enables me to enhance the materiality, significance, and placement of my images in the present day.

I combine details from southern Iran’s dry environment with the luscious flora of my home in Houston, Texas. Water appears as a motif in the form of pools, waterfalls, and lakes. Water is a texture and a symbol, referencing specific yet undocumentable recollections and its shifting availability due to climate change.

The eighteenth-century Parisian water carriers’ call did not mention “water,” but “life.” They offered life for sale.

Publications

Collection Houston Airport System, Houston, TX

43

Fooladi

b. 1982 Tehran, Iran

Andrew Fowler Still Life 2 | oil on canvas, 30 x 20 inches

44

Andrew Fowler Still Life 1 | oil on canvas, 30 x 20 inches

45

Andrew Fowler Still Life 3 | oil on canvas, 30 x 20 inches

46

Andrew Fowler Houston, TX drewfow@gmail.com / www.andrew-fowler.com / @griipe

Education 2016

BFA, University of Houston, Houston, TX

I believe that there’s a lot to gain from an upfront and honest contemplation of one’s own mortality. My work is a celebration of life. A product of my own thinking about death. My overt take on the vanitas painting.

I wish to communicate my personal experiences to others as directly as I can. That is where I feel the visual and musical arts are at their most potent. So I will leave it at that, and let the pictures do the talking.

47

Fowler

b. 1993 Houston, TX

Zoey Frank After the Pool | oil on linen, 72 x 132 inches

48

Zoey Frank Pool Party | oil on canvas, 114 x 96 inches

49

Zoey Frank Eggplant | oil on linen, 40 x 31 inches

50

Zoey Frank Fort Collins, CO zoey@zoeyfrank.com / www.zoeyfrank.com / @zoeyfrank

Education 2014

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

2011

Certificate, Gage Academy of Art, Seattle, WA

2021

Summer Paintings, Sugarlift, New York, NY

2019

Everyday, Galerie Mokum, Amsterdam, Netherlands

Solo Exhibitions

2017

At Home with Things, Galerie Mokum, Amsterdam, Netherlands

2016

Zoey Frank: Connections and Changes, Haynes Galleries, Thomaston, ME, and Nashville, TN Group Exhibitions

2019

I paint from motifs that change over time—a lemon tree as it grows and its fruit matures, a cluttered living room, or the things on a kitchen countertop that shift about during the day. As compositional problems present themselves in the paintings, I’ve started using arbitrary planes of color to resolve them. This has freed me to make intuitive, spontaneous adjustments while I’m painting. As I make these changes to balance the composition, the surface of the painting becomes crusty with the layers of changes I’ve made over time, and the space of the painting becomes fragmented.

Corpo a Corpo, Museo Pietro Annigoni, Florence, Italy Personal Spaces, Danese/Corey, New York, NY

I’ve been working on a larger scale in my multi-figure compositions, filling the canvas with closely packed, life-sized figures that reference historical paintings. I’m interested in how the figures relate to one another—how one body presses up against the other, how the gesture of one figure might be repeated by the one behind. I think the play of abstraction and figuration in these paintings is particularly compelling.

Awards 2018

First Place, International Painting Annual, Manifest Gallery, Cincinnati, OH

2016

Grant, The Elizabeth Greenshields Foundation Publications

2021

Clayton Schuster, “Zoey Frank,” Hi Fructose, vol. 60 Daniel Maidman, “Zoey Frank: Summer Paintings a Sugarlift,” Whitehot Magazine, July

2019

John Seed, Disrupted Realism: Paintings for a Distracted World (Schiffer Publishing)

2018

Timothy Standring, “Records of the Painting Process: Recent Work by Zoey Frank,” Fine Art Connoisseur, October

2016

Juliette Aristides, Lessons in Classical Painting (Watson- Guptill) Represented by Sugarlift, New York, NY Galerie Mokum, Amsterdam, Netherlands

51

Frank

b. 1987 Boulder, CO

Zoey Frank | Pool Party (detail)

Philip Gabriel Steverson Heat for 20 Minutes | acrylic, clothing, and oil pastels on canvas, 48 x 48 inches

52

Philip Gabriel Steverson To Be with You | acrylic, upcycled clothing, and oil pastel on canvas, 36 x 36 inches (canvas)

53

Philip Gabriel Steverson Never Thought I’d Wear a Memorial Tee (2022) | acrylic, upcycled clothing, and oil pastel on canvas, 48 x 30 inches (canvas)

54

Philip Gabriel Steverson Phoenix, AZ philipsteverson9@hotmail.com / www.philipgabriels.com / @philsweak / @philsweak

Education 2022

BA, Arizona State University, Tempe, AZ Professional Experience

2021

Assistant to muralist Noelle Martinez

2020-21 Business of Fashion Executive, Events Coordinator, Arizona State University, Tempe, AZ Solo Exhibitions 2021

Only Hope, Modified Arts, Phoenix, AZ Seen Not Heard, Well Worn Vintage Shop, Phoenix, AZ Group Exhibitions

2022

Inspired by the complex nature of life and the intricate mannerisms of people, I share my discoveries through multiple mediums in art. Through my journey of self-discovery, the lessons that I find significant not only serve my artwork but will also serve to inspire individuals with neglected creativity. Drawing inspiration from depictions in cinema to a concrete reality shared by all inhabitants of the world, I use what I see as a muse for my creativity. Proceeding after an excursion to the Netherlands, I began to unlock my own creativity. In the time since, my work has evolved into figurative images, continuing its evolution as I begin to add fabric onto my paintings.

Call us who we left behind, Modified Arts Gallery, Phoenix, AZ TAFF Grant Exhibition, Mood Room Gallery, Phoenix, AZ

As a painter, I portray the African American experience, sharing my story with compelling images that embody the beauty of Black life and the sorrows. As a poet, I use words to expose internal emotions with metaphors and similes, while sheltering an external image through rhythm and flow. Using fashion design as a tightly woven basket to carry my unique skills and traits.

Practical Arts 14th Anniversary Exhibition, Practical Arts, Phoenix, AZ Uncertainty, Arizona State Fashion Show, Scottsdale Fashion Square, Scottsdale, AZ 2021

Salon Forty-Eight, Mood Room Gallery, Phoenix, AZ Awards

2022 2021

TAFF Grant, Artlink, Phoenix, AZ Arts Career Advancement Grant, Phoenix Office of Arts and Culture, Phoenix, AZ Publications

2020

Elizabeth Bradley, “A Student Feature: Phil,” Style Line Mag Daniel Castillo, “Through Fabric,” aaaselective.com (online)

55

Gabriel Steverson

b. 2000 Philadelphia, PA

Drew Gaines The Neighborhood | oil on canvas, 30 x 24 inches

56

Drew Gaines Sunbathers before the Pleasure Pier | acrylic and oil on canvas, 40 x 30 inches

57

Drew Gaines Tom Taylor in Front of His Home | oil on canvas, 40 x 30 inches

58

Drew Gaines Denton, TX www.drewgaines.com / @drewgaines_thepainter

Solo Exhibition 2022

Embassy Suites, Hilton Denton Convention Center, Greater Denton Arts Council, Denton, TX Group Exhibitions

2021

Intersections, Texas Woman’s University, South Dallas

I am an oil painter who strives to be a chronicler of everyday life and everyday people. My work is an extension of my studies in journalism. which taught me the art of observation and to create an engaging scene from seemingly normal surroundings. I often capture scenes in plein air on location, which allows me to immerse myself in a subject. My paintings are a representation of the small slice of America I occupy. and I hope they speak truth to its diverse, ever-changing, conflicted, and beautiful nature.

Cultural Center, Denton, TX 2020

Inaugural exhibition, Void Gallery, Denton, TX Awards

2022

3rd Place, New Artist Contest, Mayfest and Art Tooth, Fort Worth, TX Judges’ Choice Award, Denton Makers Fest Juried Show, Greater Denton Arts Council, Denton, TX

59

Gaines

b. 1989 Denton, TX

Raul Rene Gonzalez Multitasking (Artist Julia Barbosa Landois in the Studio with Her Kids) | oil on canvas, 30 x 40 inches

60

Raul Rene Gonzalez Quality Time (Artist Robert Hodge and Daughter Xara on the Front Porch) | oil on canvas, 30 x 40 inches

61

Raul Rene Gonzalez Together (Photographer Anthony Francis and Family) | oil on canvas, 30 x 40 inches

62

Raul Rene Gonzalez San Antonio, TX 512.826.5334 (grayDUCK Gallery) raul@artistraulgonzalez.com / www.artistraulgonzalez.com / @artistraulrenegonzalez

Education 2014

MFA, The University of Texas at San Antonio,

Multidisciplinary artist Raul Rene Gonzalez uses versatile methods of painting, drawing, sculpture, collage, and performance to explore ideas of work, fatherhood, identity, gender roles, construction, labor, pop culture, movement, and abstraction.

San Antonio, TX 2010

BFA, University of Houston, Houston, TX Residencies

2021

Inaugural Artist-in-Residence, San Antonio Museum of Art, San Antonio, TX The Studios at MASS MoCA, North Adams, MA

“In this Artist-Parent Series body of work, I chose to spotlight working artists in Houston, San Antonio, and Austin who also have children. I felt it was important to showcase a different side of the working artist’s life. In this collaboration, I asked each artist to submit a photo or image that depicted how they see themselves balancing being a working artist while raising their children and then I recreated it as an oil painting.

Solo Exhibition 2021

Artist of the Year, San Antonio Art League & Museum, San Antonio, TX Awards

2020

Grant, Luminaria Artist Foundation, San Antonio, TX

2018

Grant, Sustainable Arts Foundation, San Francisco, CA

2016

San Antonio Artist Grant, NALAC Fund for the Arts,

I have been making artwork about parenthood since 2015, depicting how I balance my own art career and being the “stayat-home parent” in our household. Thanks to a 2020 Luminaria Artist Foundation grant, I was able to share the stories of other artists while exploring oil painting for the first time.”

San Antonio, TX Publications 2021

“Collectivity & Collaboration,” Southwest Contemporary, vol. 5

2018

Create! Magazine, no. 12 Collections National Hispanic Cultural Center Art Museum, Albuquerque, NM Benson Latin American Collection, The University of Texas at Austin, Austin, TX McNay Art Museum, San Antonio, TX National Museum of Mexican Art, Chicago, IL City Hall, City of San Antonio, San Antonio, TX Capital One Financial, Plano and San Antonio, TX Represented by grayDUCK Gallery, Austin, TX Clamp Light Artist Studios & Gallery, San Antonio, TX

63

Gonzalez

b. 1981 Houston, TX

Raul Rene Gonzalez | Quality Time (Artist Robert Hodge and Daughter Xara on the Front Porch) (detail)

Joe Hedges Cloud Control | oil on canvas, monitors, video, mini-computer, guitar pedals, plexiglass, bubble wrap, and sound, 80 x 88 inches

64

Joe Hedges View with Imaginary River | oil on canvas, keyboard, found wood, guitar pedal, computer speaker, cables, and sound, 47 x 44 inches

65

Joe Hedges Linus | oil on canvas over Styrofoam, flatscreen monitor, media player, video, and emergency blanket, 30 x 40 inches

66

Joe Hedges Pullman, WA joe.hedges@gmail.com / www.joehedges.com / @joehedges

Education 2013

MFA, University of Cincinnati, Cincinnati, OH

2010

BFA, Northern Kentucky University, Highland Heights, KY

2022

Archeolatry, Spokane Falls Community College,

Solo Exhibitions Spokane, WA Cntrl + A, Bolivar Gallery, University of Kentucky, Lexington, KY 2020

Hypercombines, Chase Gallery, Spokane, WA

2019

Arcane Wilderness, Mantle Art Space, San Antonio, TX

The tension between a digitally networked, screen-based experience of the world and a physical, tactile experience has never been more acute. My works reflect this fragmented reality by combining painting on canvas with screens, tablets, and other electronics and consumer goods. The painted portions of my works function as images but also as symbols and archetypes of oil painting itself, pointing toward painting’s capacity for slowness, its fraught history, and its unique physical presence. By looking at painting as a form of media technology—and recent tech as creative material—I try and see contemporary forms of media more objectively and thus more critically. In doing so I channel my own discomfort with the slippery present into precarious, momentary wholes.

Pudicae Sacerdotes Naturæ, FrontierSpace Gallery, Missoula, MT 2017

Empirical Evidence, Kenneth J. Minnaert Center for the Arts Gallery, South Puget Sound Community College, Olympia, WA

2016

Tekhnē, Nan Boynton Memorial Gallery, 621 Gallery,

Tallahassee, FL Archive Memory, Alexander Brest Gallery, Jacksonville University, Jacksonville, FL 2015

A Curious Inventory, Childlaw Gallery, Art Academy of Cincinnati, Cincinnati, OH Group Exhibitions

2020

Making a Better Painting: Thinking Through Practice, Hoffman Gallery, Lewis & Clark, Portland, OR

2018

Unwalking the West, Pacific Northwest College of Art, Portland, OR Awards

2019

GAP Grant, Artist Trust, Seattle, WA Innovate Artists Grant, innovateartistgrants.org

67

Hedges

b. 1980 Pullman, WA

Katy Horan In the Nursery | watercolor, gouache, and ink on paper, 29 x 40 inches

68

Katy Horan In the Parlour | watercolor, gouache, and ink on paperl, 29 x 40 inches

69

Katy Horan Defend | watercolor and gouache on paper, 29 x 40 inches

70

Katy Horan Austin, TX kkhoran@gmail.com / www.katyart.com / @goodyhoran

Education 2023

BFA, Rhode Island School of Design, Providence, RI Professional Experience

2020

Illustrator of Taisia Kitaiskaia, Poetic Remedies for Troubled: From Ask Baba Yaga (Andrews McNeel)

2018

Illustrator of Clarkson Potter, The Literary Witches Oracle (deck and guidebook)

2017

My work is about storytelling, and my recent work uses my own life experiences and that of other women to tell stories about difficult things like violence, loss, mental illness, and trauma. I grew up in a culture that did not grant room for such conversations, and I needed to make work that allowed me to talk about “heavy” things while creating space for others to feel seen.

Illustrator of Taisia Kitaiskaia, Literary Witches: A Celebration of Magical Women Writers (Seal Press) Solo Exhibitions

2021

Rooms, grayDUCK Gallery, Austin, TX

2014

New Works, Flat Color Gallery, Seattle, WA

2012

Keep Your Arms from Going Astray, Domy Books,

I use ambiguous narratives and both directly personal and coded references to illustrate a range of experiences and emotions. I wanted to show women struggling with things out of their control as well as women surviving and caring for or defending each other. I used cinematic/archetypal imagery and melodrama to create a sense of distance from which the viewer can experience these narratives in a safe and hopefully cathartic way.

Houston, TX Two-Person Exhibition 2018

Residual, with Teruko Nimura, ICOSA Collective, Austin, TX Group Exhibitions

2021 2015

Crit Group Reunion, The Contemporary Austin, Austin, TX Folktales and Legends: An Exhibition without Borders, John Michael Kohler Arts Center, Sheboygan, WI

2014

Goodly, Wicked: The Contemporary Austin Crit Group, grayDUCK Gallery, Austin, TX

2013

MPath, Texas State Galleries, Texas State University, San Marcos, TX

71

Horan

b. 1980 Houston, TX

Loc Huynh Holy Mackerel! | acrylic and enamel on canvas, 48 x 36 inches

72

Loc Huynh Boba Sunset (Self-Portrait as a Cowboy) | acrylic and enamel on canvas, 24 x 18 inches

73

Loc Huynh It’s a Veggiesaur! | acrylic on canvas, 30 x 24 inches

74

Loc Huynh Houston, TX lochuynhstudio@gmail.com / www.lochuynhart.com / @locxhuynh

Education 2020

MFA, University of North Texas, Denton, TX

2016

BFA, Texas State University, San Marcos, TX Residencies

2021-22 Artist Studio Program, Lawndale, Houston, TX 2017

Through painting I use materiality to reaffirm the material world.

The vocabulary of images I use is idiosyncratic but also serves as evidence of my biography. My personal aesthetic evolved from sensibilities that hearken back to my youth. I’ve never outgrown the clarity of imagery endemic to cartoons. Because of this persistent interest, I have purposefully adopted palettes and compositions from cartoons and other graphic visual cultures to create narrative-driven paintings.

Vermont Studio Center, Johnson, VT Solo Exhibitions

2022

Bait n’ Tackle, Martha’s Contemporary, Austin, TX

2021

ăn ngon (Eat Delicious), New Release Gallery, New York, NY Group Exhibitions

2022

Harmonious Arrangement, Half Gallery, Los Angeles, CA Potluck, Hashimoto Contemporary, Los Angeles, CA Taking Care, Lawndale Art Center, Houston, TX

2021

Moving Inland, 100 State, Madison, WI The Sitter, Blue Star Contemporary, San Antonio, TX

2020

AXA Prize Finalist Exhibition, Wilkinson Gallery, New York Academy of Art, New York, NY

2019

All My Love, Baby Blue Gallery, Chicago, IL Publications

2021

“ăn ngon (Eat Delicious): A Conversation With Loc Huynh,” Juxtapoz “Loc Huynh draws charming scenes inspired by his family history,” It’s Nice That “Flights of Fancy,” Southwest Contemporary, vol. 2

75

Huynh

b. 1992 Austin, TX

Erika Jaeggli Caverns of Sonora | digital painting archival inkjet print, encaustic wax, silica, pastel, and oil on wood, 15 x 13 inches

76

Erika Jaeggli Longhorn Cavern | digital painting archival inkjet print, encaustic wax, silica, pastel, and oil on wood, 15 x 13 inches

77

Erika Jaeggli A Dog Named Robot | raw pigment, graphite, watercolor, acrylic, ink, paint pen, sand, dirt, grass, footprints, dog prints, dog hair, and spackle on unstretched canvas, dimensions variable

78

Erika Jaeggli Dallas, TX info@erikajaeggli.com / www.erikajaeggli.com / @erikajaeggli

Education 2022

MFA, University of North Texas, Denton, TX

2003

MPS, Tisch School of the Arts, New York University, New York, NY

1999

BA, Columbia University, New York, NY Solo Exhibitions

2022

Peep in the Deep, Arts Fort Worth, Fort Worth, TX A Dog Named Robot, Cora Stafford Gallery, Denton, TX

2021

19 Paintings, Union Gallery, Denton, TX Flesh & Bone, The Cedars Union, Dallas, TX

2015

FOMO, WAAS Gallery, Dallas, TX

My practice consists of painting, drawing, digital media, and sitespecific installation. I am interested in thinking beyond a humancentered understanding of the earth. My work is heavily influenced by field research, most recently into underground cave systems of Texas. Making connections between the body, land, and time, I am interested in alternative perspectives of landscape to engender a cognitive shift in how we think about the environment. Using raw pigment, digital drawing, rainwater, and wax in my process, my paintings are artifacts of their time and space. Though the outputs may vary, my practice is singular: I use the language of abstraction to make connections between the micro and macro.

The big question for me is understanding the interdependency of how we exist within our environment and how our environment exists in us.

Pantheon, Ward Center for the Arts, Baltimore, MD Two-Person Exhibitions 2013

The Artists’ Garden: New Works by Alison Jardine and Erika Jaeggli, Dallas Arboretum and Botanical Garden, Dallas, TX Remnant: New Paintings by Sonali Khatti & Erika Jaeggli, Janette Kennedy Gallery, Dallas, TX Group Exhibitions

2021

Readymade/Remade/Powerade, 1835 Corinth Street, Dallas, TX (pop-up) Reclamation: Artists Books on the Environment, San Francisco Center for the Book, San Francisco, CA

2020

Territorial, Union Art Gallery, University of North Texas, Denton, TX

79

Jaeggli

b. 1976 Baltimore, MD

Tracy Kerdman Cult of Personality | oil on canvas, 60 x 48 inches

80

Tracy Kerdman Linger | oil on canvas, 36 x 48 inches

81

Tracy Kerdman My Nosebleed II | oil on canvas, 16 x 12 inches

82

Tracy Kerdman Las Vegas, NV tkart@kerdman.com / www.tkerdman.com

Education 2009

BA, College of Charleston, Charleston, SC Solo Exhibitions

2019

Collective Memory, Saugerties Public Library, Saugerties, NY The Goldilocks Zone, Central Tattoo Studio, Philadelphia, PA

I love my images. I spend hours looking through pictures, finding the right one. If I am lucky, they love me back and translate into a painting. Examples of references for my work include vintage nudist magazines and missing person posters.

My execution is figurative work in a realistic style, constructing a trusted replica of reality. My subjects are typically on the edge of distress or discomfort. In my work, there is an underlying pressure to accommodate, to meet societal standards, and an anxious impulse to be happy.

Group Exhibitions 2019

IRL: Investigating Reality, The Untitled Space, New York, NY National Juried Exhibition, First Street Gallery, New York, NY National Juried Exhibition, The Delaplaine Arts Center, Frederick, MD

2018

National Prize Show, Cambridge Art Association, University Place Gallery, Cambridge, MA Art of the Northeast, Silvermine Arts Center, New Canaan, CT

2017

Sweet ’n Low, Bedford Gallery, Walnut Creek, CA

2016

Fathers, Brothers, Sons, Space Camp, Baltimore, MD

2015

Cultural Conversations, Korean Cultural Center, Los Angeles, CA Awards

2018

Spring Winner, The Hopper Prize Patricia Warfield Jinishian Award, Silvermine Arts Center, New Canaan, CT Publications

2019

ArtMazeMag, no. 11

2018

Create! Magazine, no. 9

83

Kerdman

b. 1987 Huntington, WV

Dirk Kortz God’s Country | oil on canvas, 34 x 38 inches

84

Dirk Kortz Almost Great Again | oil on canvas, 32 x 36 inches

85

Dirk Kortz Her Trophy | oil on canvas, 36 x 36 inches

86

Dirk Kortz Santa Fe, NM dak744@msn.com / www.dirkkortz.com

Solo Exhibitions 2020

POV, Keep Contemporary, Santa Fe, NM

2013

New Paintings, Tom Ross Gallery, Santa Fe, NM

2011

New Works, Harris & Ruble ART, Los Angeles, CA

2007

Portraits of the Blues, Hahn Ross Gallery, Santa Fe, NM

2005

Roadhouse Blues, Hahn Ross Gallery, Santa Fe, NM

2001

Normal People, Hahn Ross Gallery, Santa Fe, NM

My latest painting series, Some Americans, grew out of several (ongoing) road trips in the rural South. Though I’ve lived mostly in the North, my own Southern heritage goes back over 400 years, and I spent much of my early years in my grandmother’s house in Mobile, Alabama. I’ve tried to present these subjects as they are without comment or criticism, motivated only by my fascination with American culture and, in this case, a particular regional culture for which I have both some misgivings and much affection.

Two-Person Exhibitions 2021

Collateral Damage, with Dennis Larkins, Keep Contemporary, Santa Fe, NM

2003

Urban and Rural, Soho Gallery, Studio City, CA

2019

When Worlds Collide, Keep Contemporary, Santa Fe, NM

2016

New Mexi-Low-Down, Greg Moon Art, Taos, NM

2015

Representing, Wheelhouse Gallery, Santa Fe, NM

2014

¡Órale!, Harwood Museum of Art, Taos, NM

2010

Slant, GF Contemporary, Santa Fe, NM

Group Exhibitions

Untitled, Giacobbe-Fritz Fine Art, Santa Fe, NM 2004

Annual, Palm Springs Desert Museum, Palm Springs, CA

2003

Re-Presenting Representation, Arnot Art Museum, Elmira, NY

87

Kortz

b. 1944 Newark, NJ

Dirk Kortz | Her Trophy (detail)

Renee Lai Barrier XI | oil on canvas, 48 x 72 inches

88

Renee Lai Near and Far | oil on canvas, 48 x 60 inches

89

Renee Lai Swimmers, Installed | ink on paper, five parts, overall dimensions variable

90

Renee Lai Austin, TX 512.826.5334 (grayDUCK Gallery) www.reneelai.com / @reneelai14

Education 2019

MFA, University of Texas at Austin, Austin, TX

2014

BA, Dartmouth College, Hanover, NH

I work in painting and drawing, exploring the role barriers play in our ideas of belonging, security, and fear. Barriers are supposed to be sturdy and invincible, but they also evoke ideas of slipping through or in between, under and over. I play with the scale and permeability of the barriers, toying with where and how things can pass through.

Residencies 2021

Monson Arts, Monson, ME The LINE Residency, Big Medium, Austin, TX

2019

Vermont Studio Center, Johnson, VT Solo Exhibition

2021

A Study of Fences, grayDUCK Gallery, Austin, TX

An emphasis on line and repetition is present throughout my work—line as the delicate thing that connects while it divides, calligraphic line as the manifestation of my Chinese heritage, absorbed from growing up surrounded by cheap reproductions of Chinese paintings. My work moves between abstraction and representation to explore both the conceptual idea of barriers as well as the physical shape of the structures.

Group Exhibitions 2021

Alumni Exhibition, New York Studio School (online) Award

2019

Fellowship, Vermont Studio Center, Johnson, VT Represented by grayDUCK Gallery, Austin, TX

91

Lai

b. 1992 Los Angeles, CA

Yasuyo Maruyama Mickey 2 | oil on wood panel, 22 x 22 inches

92

Yasuyo Maruyama Catherine 2 | oil on wood panel, 24 x 24 inches

93

Yasuyo Maruyama George | oil on wood panel, 16 x 16 inches

94

Yasuyo Maruyama Wichita Falls, TX 214,803.9575 (Ro2 Art) maru.yasuyo@gmail.com / www.yasuyomaruyama.com / @yasuyo.maruyama

Education 2011

MFA, Tokyo Zokei University, Tokyo, Japan

2009

BFA, Tokyo Zokei University, Tokyo, Japan Solo Exhibitions

2020

Mind’s eye, Ro2 Art, Dallas, TX

2016

FORM, GALLERY MoMo Projects, Tokyo, Japan

2012

LOS., GALLERY MoMo Ryogoku, Tokyo, Japan

2010

Gallery Sakamaki, Tokyo, Japan

2009

moment, GALLERY MoMo Roppongi, Tokyo, Japan Group Exhibitions

2022

Portraits: Impressions of Our Times, Louise Hopkins Underwood Center for the Arts, Lubbock, TX

2021

The inspiration for my artwork reflects my interactions with people, of which I remember certain scenes, atmospheres, colors, and gestures. When I was a teenager, I suffered from severe atopic dermatitis and experienced recovery from skin keloid. Since then, I have become very curious about human faces, especially eyes.

As the proverb says, “Speech is silver; silence is golden.” Our eyes can express a great deal of insight about ourselves. Depicting the eyes is, in a sense, the same as depicting myself in the mirror. I try to embody an image of myself in each portrait that I paint. I create paintings that are often a reflection of my own issues and thoughts, which are then combined with the model’s personality and their stories. While I find similarities and differences in gender and race as delightful encounters, in my mind I create an “individual” or “new character” in my paintings that does not exist in real life.

VISIBLE: Asian and AAPI Artists in America, Ro2 Art, Dallas, TX

2019

Crosscurrent International Exchange Show US–Japan, Tokyo Metropolitan Art Museum, Tokyo, Japan

2018 2013

Trio: Z.O.G., Gallery NAO, Tokyo, Japan FACE Exhibition 2013, Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, Japan Awards

2012

Moto Hideyasu Jury Prize, Liquitex Artprize 2012 Competition, Japan

2011

Tamayo Iemura Jury Prize, Shell Art Award 2011 Competition, Japan Collections HOKUBU Memorial Picture Museum, Hokkaido, Japan JAPigozzi Collection, Italy Represented by Ro2 Art, Dallas, TX Gallery NAO, Tokyo, Japan GALLERY MoMo, Tokyo, Japan 95

Maruyama

b. 1985 Sagamihara, Japan

Michael McCaffrey Colorado (Tough Guys) | cut paper and glue, 30 x 22 inches

96

Michael McCaffrey Michael Squirting Daddy | cut paper and glue, 19 x 25 inches

97

Michael McCaffrey Expedition Planning | cut paper and glue, 51 x 58 inches

98

Michael McCaffrey Lawrence, KS paintermick@gmail.com / www.michaelmccaffreystudio.com / @lucentbuffalo

Education 2008

MFA, Indiana University, Bloomington, IN Residencies

2021

Teaching Residency, Mount Gretna School of Art, Mount Gretna, PA

2016

Kimmel Harding Nelson Center for the Arts, Nebraska City, NE

Several years ago, I returned to the house where I grew up. Since then, I have been creating paintings, drawings, and, recently, collages of my 81-year-old father. In my painting as well as collaging process, I strive to balance perceived form with painterly invention. I oscillate between accurate visual representation and invented abstract forms. Shapes come together, forms materialize . . . then fall apart. I desire to create a layered accumulation of paint/paper and memories, a woven tapestry that reflects a holistic view of my subject. Often, I feel I fall short of my goal. However, I believe the record of my effort reverberates with its own psychological strength.

Professional Experience 2021

Assistant Teaching Professor, University of Kansas, Lawrence, KS

I hope to capture the truth of my father as he is now, because, as my father is fond of saying, “The truth is the truth changes.”

Solo Exhibition 2021

Family Album, Manifest Gallery, Cincinnati, OH

2022

Drawing Discourse, University of North Carolina Asheville,

Group Exhibitions Asheville, NC 2021 2020

Thinking Things Through, Southside Gallery, Oxford, MS Annual Works on Paper National Juried Exhibition, Long Beach Island Foundation of the Arts & Sciences, Long Beach Island, NJ

2019

National Juried Painting Exhibition, University of Southern Mississippi, Hattiesburg, MS Materialist, Leedy-Voulkos Arts Center, Kansas City, MO Award

2015

Grant, The Elizabeth Greenshields Foundation Collections School of Business, The University of Kansas, Lawrence, KS Emprise Bank Collection, Wichita, KS

99

McCaffrey

b. 1979 Lawrence, KS

Annie Miller See (section) | oil on canvas, 60 x 48 inches

100

Annie Miller Suck | oil on canvas, 48 x 36 inches

101

Annie Miller Rash | oil on canvas, 72 x 48 inches

102

Annie Miller Austin, TX annie@anniebmiller.com / www.anniebmiller.com / @annienanniebooboo

Education 2016

MFA, The University of Texas at Austin, Austin, TX

2011

BFA, California State University, Fullerton, Fullerton, CA Residency

2014

Ox-Bow School of Art, Saugatuck, MI Solo Exhibitions

2019

smells like marcelle, Courtyard Gallery, The University of Texas at Austin, Austin, TX

2018

In my paintings, I ruminate on the same handful of shapes and ideas. Bodies are reduced to a series of repeated curves and lumps that I layer, flip, and conflate in a seemingly endless chain.

In the work I ask: Can repetition, at some point, result in an escape from the same inevitable results? Does a certain amount of failure open up a portal to something different? I grapple with the perpetual absurdity, hope, and frustration that accompanies occupying a body that holds “endless potential” and endless cultural baggage. Rather than the work describing the climactic fulfillment of desire and touch, it points to the inability to fully realize these desires and a reckoning with cultural expectations of femininity, fecundity, and aging.

I see london, I see france, Cage Match Project, Museum of Human Achievement, Austin, TX Group Exhibitions

2021

staycation iv: (un)promised potential, MASS Gallery,

2015

Elaine!, Wanusay Gallery, Montreal, Canada

Austin, TX 2014

Your Pleasure, Visual Arts Center, The University of Texas at Austin, Austin, TX Publications

2019

Jessi DiTillio, “The eye, she said, was pear-shaped,” Annie Miller: smells like marcelle, exh. brochure (Courtyard Gallery, The University of Texas at Austin)

2014

Scott F. Parker, “Stories of Self,” The Believer, vol. 3 Collections VCUarts Qatar, Doha, Qatar Zayed University, Dubai, United Arab Emirates Minia University, Minia, Egypt Northern Illinois University, DeKalb, IL University of New Mexico, Albuquerque, NM

103

Miller

b. 1986 Phoenix, AZ

Annie Miller | Rash (detail)

Mihee Nahm Garden #1 | oil on linen, 32 x 22 inches

104

Mihee Nahm Night Walk #3 | oil on canvas, 60 x 40 inches

105

Mihee Nahm Day Walk (Small) | oil on linen, 12 x 16 inches

106

Mihee Nahm Grapevine, TX miheenahm@gmail.com / www.miheenahm.com / @miheenahm

Education 2012

MFA, University of Texas at Austin, Austin, TX

2008

BFA, Art Academy of Cincinnati, Cincinnati, OH Residencies

2022

Soaring Gardens Artists Retreat, Laceyville, PA

2017

North Mountain Residency, Shanghai, WV

2014

Brush Creek Foundation for the Arts, Saratoga, WY Kimmel Harding Nelson Center for the Arts, Nebraska City, NE Solo Exhibitions

2022

Healing, Artspace111, Fort Worth, TX

2021

Soaked, Upper Gallery, University of Dallas, Irving, TX

2020

Soaked, Women & Their Work, Austin, TX

2019

1:1, Arts Fort Worth, Fort Worth, TX

I create oil paintings that depict everyday flora encountered on my daily walks. I began paying more attention to my surroundings around the time I started walking my dogs. The repetitive paths I walked forced me to look at what I had once neglected. I noticed the subtle differences among previously indistinguishable plants and I gradually focused more on what made them unique. I began photographing what captured my attention. These images are cropped, color-corrected, and/or composited to an altered image that communicates my attraction.

I enjoy the labor-intensive nature of the indirect painting method.

With mimesis as the primary goal, I begin each painting with varied approaches, but what is consistent is that all of them are done in multiple layers. Layering allows a second chance. Rather than needing it to be perfect the first time, I approach the subject matter slowly and organically until my initial attraction appears on the canvas.

Fragments, Manifest Gallery, Cincinnati, OH Group Exhibitions 2020

Third Coast Biennial, K Space Contemporary,

2019

Painted, Manifest Gallery, Cincinnati, OH

Corpus Christi, TX Perceptive Sentiment, Art Room, Fort Worth, TX 2018

Painting in the 21st Century, Site:Brooklyn, Brooklyn, NY Uprooted, IA&A at Hillyer, Washington, DC

107

Nahm

b. 1985 Seoul, South Korea

Jared Packard blue jeans | oil, acrylic, spray paint, and grommets on raw canvas and denim, 38 x 30 inches

108

Jared Packard stitched together | oil, acrylic, spray paint, and grommets on raw canvas, 46 x 36 inches

109

Jared Packard analyze | oil, acrylic, spray paint, stitching, and grommets on raw canvas and denim, 44 x 34 inches

110

Jared Packard Omaha, NE jaredpackardstudio@gmail.com / www.jaredpackardstudio.com / @j_pack_ard

Education 2017

MFA, The School of the Art Institute of Chicago, Chicago, IL BA, Clark University, Worcester, MA Solo Exhibitions

2022

Performative skin, Project Project, Omaha, NE

2018

Bandage for a Bruise, ADDS DONNA, Chicago, IL

2012

Summer of Abstraction, Schiltkamp Gallery, Clark University, Worcester, MA Group Exhibitions

2022 2020

Salina Biennial, Salina Art Center, Salina, KS Auction Benefit, Bemis Center for Contemporary Arts,

Packard’s paintings understand the canvas as an archive for actions and attitudes that examine how formal and material relationships can reflect on the construction of identity. These works began their life as a drop canvas on the floor of the artist’s studio, where they collected daily accidents and drippings, cleaned brushes, and excess paint. These drop canvases are fragmented, then reassembled into a community of works with a shared history and culture, yet each piece operates as an individual. For Packard, these ripped-apart and haphazardly repaired paintings on raw, unprotected canvas represent a queer, HIV-positive world that falls short of norms, expectations, and ideals. Packard shoehorns together disparate gestures—uninhibited, gratuitous expression and controlled, analytical forms. The inherent values in these contradictory gestures generate a shared visual lexicon by quoting and reinterpreting one another to explore and complicate the ways we perform identity.

Omaha, NE 2019

All My Friends at Once, Spilt Gallery, Omaha, NE Siblings, Siblings Collective, Chicago, IL

2018

Good Looks, Superdutchess, New York, NY

2017

(+), Baltimore Gallery, Detroit, MI MFA Show, Sullivan Galleries, School of the Art Institute of Chicago, Chicago, IL

111

Packard

b. 1989 Washington, DC

Robert Peterson Head in the clouds | oil on canvas, 48 x 72 inches

112

Robert Peterson Somewhere between heaven and earth | oil on canvas, 72 x 48 inches

113

Robert Peterson Watch over us | oil on canvas, 60 x 110 inches

114

Robert Peterson Lawton, OK 212.929.5949 (Claire Oliver Gallery) www.caleblee81.com / @caleblee81 / @caleblee81

Solo Exhibitions 2022

Challenging the Black Narrative, Claire Oliver Gallery, New York, NY Group Exhibitions

2022 2021

Expo Chicago, Chicago, IL SCOPE Miami Beach, Miami Beach, FL Mescaline, Band of Vices, Los Angeles, CA 21 Piece Salute, Black Wall Street Gallery, New York, NY Award

2017

Artist of the Year, Lawton Fort Sill Art Council

I believe that all visual artists go through stages in their career where they explore not only different mediums and subjects but also themselves. It has always been important to my development as an artist to go through these stages of exploring myself and different ways of creating, because they have pushed me to come out on the other side a better artist and person than I was. Initially, the paintings that I created were based solely off of stock images of celebrities that I found on the internet. As I grew as an artist, so did my desire to become more creative, and so I began photographing men, women, and children that I know.

Over the past two years, my paintings have focused on the Black experience as I have known it through my life. It reflects a softer side of Black people, yet still shows our strength and resilience, something that I want to see more of in galleries and museums.

Collections Philbrook Museum of Art, Tulsa, OK Weisman Art Museum, Minneapolis, MN Museum of Fine Arts, Saint Petersburg, FL Beth Rudin DeWoody Susan and Michael Hort Elliot Perry Gardy St. Fleur Hill Harper Represented by Claire Oliver Gallery, New York, NY

115

Peterson

b. 1981 Denver, CO

Joel Daniel Phillips Killed Negative #13 / After Arthur Rothstein | charcoal, graphite, and ink on paper, 56.5 x 42 inches

116

Joel Daniel Phillips Killed Negative #14 / After Arthur Rothstein | charcoal, graphite, and ink on paper, 56.5 x 42 inches

117

Joel Daniel Phillips Killed Negative #54 / After Theodore Jung | oil on panel, 60 x 40 inches

118

Joel Daniel Phillips Tulsa, OK 310.730.6164 (Hashimoto Contemporary) joel@joeldanielphillips.com / www.joeldanielphillips.com / @joeldanielphillips

Solo Exhibitions 2021

Killing the Negative (pt. 2), Hashimoto Contemporary,

2020

Killing the Negative, Hashimoto Contemporary,

2019

Charcoal Testament: Drawings by Joel Daniel Phillips,

Los Angeles, CA Los Angeles, CA Fort Wayne Museum of Art, Fort Wayne, IN It Felt Like the Future Was Now, Philbrook Museum of Art, Tulsa, OK 2018

Hazards May Be Present, Hashimoto Contemporary, San Francisco, CA Awards

2022

Honorable Mention, 2022 Outwin Boochever Portrait

My creative process is inherently about labor. Against the modern backdrop of instant, image-driven gratification, I have found the physical process involved in the painstaking rendering of a subject or a moment to be ever more important. The focus of this work centers on questions of truth, historical amnesia, and the veracity of the stories we tell ourselves about our collective pasts. The drawings are recontextualizations of archival historical material, and walk the line between describing a shared, forgotten history and prophesying a terrifying, Orwellian future. I am fascinated by the way our societal amnesia is such that we have entirely lost touch with events that should have been indelibly burned into our collective cultural psyche. While the works come directly from actual recorded moments, they create a dizzying sense of dreamlike dislocation—are the images real? A dream? It is this tension between imagination and reality, actual past and possible future, that I wish to explore.

Competition, National Portrait Gallery, Smithsonian Washington, DC 2016

3rd Prize, Outwin Boochever Portrait Competition, National Portrait Gallery, Smithsonian, Washington, DC Collections Denver Art Museum, Denver, CO Fort Wayne Museum of Art, Fort Wayne, IN Gilcrease Museum, Tulsa, OK Philbrook Museum of Art, Tulsa, OK Beth Rudin DeWoody Represented by Hashimoto Contemporary, New York, Los Angeles, San Francisco

119

Phillips

b. 1989 Seattle, WA

Emily Blair Quinn A Little Girl’s Room | oil on canvas, 39 x 36 inches

120

Emily Blair Quinn Breathe | oil on canvas, 38 x 30 inches

121

Emily Blair Quinn “I’m Fine” China | oil on canvas, 36 x 38 inches

122

Emily Blair Quinn Prairie Village, KS 631.803.2511 (Marquee Projects) emilyblairquinn@gmail.com / www.emilyblairquinn.com / @emilyblairquinn

Education 2016

MFA, University of Colorado Boulder, Boulder, CO

2013

BFA, Auburn University, Auburn, AL Residencies

2022

ChaNorth Artist Residency, Pine Plains, NY

2018

Vermont Studio Center, Johnson, VT Joshua Tree Highlands, Joshua Tree, CA Solo Exhibition

2021

Silent Opera for the Unsound Mind, Marquee Projects, Bellport, NY Group Exhibitions

2022

Through Mossy Ways, I Like Your Work Podcast (online)

2020

Strangers in Stranger Lands, Marquee Projects,

2019

30 Under 30, Viridian Artists, New York, NY

2017

IT’S A SIGN: Exhibition I, Marquee Projects, Bellport, NY

My realistic oil paintings examine the duality of the female condition—a dynamic balance between vulnerability and resilience. I hold space for paradoxical emotions and give people permission to express pain, sadness, and frustration without judgment. Female figures inhabit surreal psychological domestic spaces. They are melting, translucent, fractured, and possibly on the edge of a mental breakdown—their emotional states are manifested through various stages of physical collapse. My process begins with a treasure hunt for figurines that seem strangely haunted, sad, sexual, or otherwise easy to anthropomorphize. Utilizing a variety of methods involving paint, wax, and resin, I transform dollhouses, figurines, and miniatures into theatrical dioramas that serve as still life subjects for my paintings. I use dark humor and bright colors to engage viewers, making my work a catalyst for conversations that acknowledge and normalize feelings of isolation, loneliness, and loss.

Bellport, NY

Tran-’zi-sh(ә)n & ‘Chānj, Dairy Arts Center, Boulder, CO Publications 2022

Create! Magazine, no. 30

2021

VoyageKC Magazine, October

2019

Studio Visit Magazine, vol. 43 Represented by Marquee Projects, Bellport, NY

123

Quinn

b. 1990 Decatur, AL

Emily Blair Quinn | Breathe (detail)

Diego Rodriguez-Warner Western Painting | acrylic, latex, and spray paint, with hand-carved relief on wood panel, 96 x 96 inches

124

Diego Rodriguez-Warner Sirens | acrylic, latex, and spray paint, with hand-carved relief on wood panel, 96 x 96 inches

125

Diego Rodriguez-Warner White Painting | latex, and spray paint on panel, 96 x 192 inches

126

Diego Rodriguez-Warner Denver, CO 303.832.1599 (Leon Gallery) www.diegorodriguezwarner.com / @boombangarang

Education 2013

MFA, Rhode Island School of Design, Providence, RI

2009

BA, Hampshire College, Amherst, MA Solo Exhibitions

2020

Horror Vacui, Leon Gallery, Denver, CO Then Again, Rule Gallery, Marfa, TX

My paintings are an attempt to reflect American culture; loud, boisterous, violent, a complicated overlapping cultural milieu, a beautiful, chaotically exuberant spectacle, a construct held together by tenuous belief. The language of art history is turned back on itself to investigate contemporary anxieties: isolation, the overabundance of contradictory information, mediation, cultural exchange, representation, and ownership. Through the abrupt rupturing of tired tropes, accepted narratives are subverted and expanded into multifaceted images that reject easy reduction.

Farther from the Truth, The Washington Pavilion, Sioux Falls, SD 2019

Espacio Liminal/Liminal Space, Museo de las Americas, Denver, CO

2018

Honestly, Lying, Museum of Contemporary Art,

2014

Controlled Folly, Das Giftraum, Berlin, Germany

2013

Perilism, Leon Gallery, Denver, CO

Denver, CO

My Name Is Too Long to Be Marketable: New Paintings by Diego Rodriguez-Warner, Von Tornow Gallery, Denver, CO

By placing layer upon layer of images of different styles and periods, using juxtaposed and often contrary techniques, I intend to invigorate the works with a certain deliberate, vibrating contention. Loud colors splash pop cultural garishness, a candy aisle beauty that on closer inspection belies a complex internal logic at a cinematic scale. The seductive sensory overload in the resulting paintings entangles viewers into uncomfortable involvement with, analysis of, and reflection on a society of competing narratives tearing at the seams, simultaneously coming together and at risk of falling apart.

Two-Person Exhibition 2015

Left Ajar: Plastic Old and our Bright Shiny Future Together, with Matthew J. Mahoney, Leon Gallery, Denver, CO Group Exhibitions

2020

State of the Art 2020, Crystal Bridges Museum of

2015

GIRL BOY GIRL BOY, TFNF, Brooklyn, NY

2014

SCOPE New York, New York, NY

American Art, Bentonville, AR

Represented by Leon Gallery, Denver, CO Rule Gallery, Denver, CO

127

Rodriguez-Warner

b. 1986 Managua, Nicaragua

Gabriel Sanchez Long distance | oil on canvas, 26 x 32 inches

128

Gabriel Sanchez Felix and Luis | oil on canvas, 20 x 20 inches

129

Gabriel Sanchez Another day of this | oil on canvas, 44 x 35 inches

130

Gabriel Sanchez Boulder, CO 213.395.0762 (Luis De Jesus Los Angeles) gabrielsanchezart@gmail.com / www.gabrielsanchezart.com / @gabriel.alejandro.sanchez

Education 2018

BFA, University of Colorado Boulder, Boulder, CO

2021

Mirando al Mundo, Luis De Jesus Los Angeles,

Solo Exhibition Los Angeles, CA Group Exhibitions 2022 2021

Eve Presents II, Eve Leibe Gallery, London, England Art Miami, w/ Luis De Jesus Los Angeles, Miami, FL Let me in, Monti8, Latina, Italy

2020

UNTITLED, ART Online, w/ Luis De Jesus Los Angeles (online)

Sanchez’s works focus on Cuban current events and politics as seen through the lens of portraiture. His recent paintings explore how proximity and union, ever-present aspects of Cuban society, inform notions of solitude and intimacy. Each painting captures a small scene of mundane events that occur daily on the island.

In these snapshots, the distractions of urban life are minimized and attention is brought to bear on a particular and present moment. Sanchez’s oil paintings are carefully rendered with classical technique. His use of realism produces “an authentic and inescapable illusion of existence” that brings the viewer into a closer relationship with his subject. The figures portrayed—his wife, family, friends, and acquaintances—serve as depictions of the warm yet stoic nature of Cuban culture that has changed little over time—a reminder to the world of what has been lost. Sanchez excels at creating scenes of togetherness and social unity.

Stay with me, Luis De Jesus Los Angeles, Los Angeles, CA 2019

Remote Generation, Lora Schlesinger Gallery, Los Angeles, CA Figurative Group Show, Lora Schlesinger Gallery, Los Angeles, CA Represented by Luis De Jesus Los Angeles, Los Angeles, CA

131

Sanchez

b. 1993 Miami, FL

Jessica Simorte First Summer | acrylic on canvas, 8 x 6 inches

132

Jessica Simorte Slowest Bloom | acrylic on canvas, 8 x 6 inches

133

Jessica Simorte Burrow | acrylic on canvas, 10 x 8 inches

134

Jessica Simorte Houston, TX www.jessicasimorte.com / @jessicasimorte

Education 2014

MFA, University of Cincinnati, Cincinnati, OH Solo Exhibitions

2020

There There, University of Saint Mary, Leavenworth, KS

2017

Pine, Blue Orange, Houston, TX

2015

Crimson Spackle Lines, Bust Gallery, Virginia Commonwealth University, Richmond, VA Corner Core, Kansas City Artists Coalition, Kansas City, MO Thank You for Coming, Galleri Urbane, Dallas, TX Two-Person Exhibition

2020

These small acrylic paintings ultimately connect to the public through what I see as one of many universal cultural connections, the pull of place that operates on all of us. This work is an ongoing examination of how artmaking can serve as a mode of placemaking. Through painting I am able to create environments that engage in a manner that is suggestive but not specific. These works are meditations on the infinite power of physical and psychological space.

Concrete Pocket, with Max Manning, Houston Community College, Central Art Gallery, Houston, TX

Abstraction is the framework with which I investigate ideas of place dependence and the psychological need to belong somewhere; approaching abstraction as an allegorical language is ideal for connecting the nonconcrete value of belonging within space. I have adopted a sincere approach to contemporary painting—these works are produced with an introverted inclination and modest scale. By looking at interiors through the filter of materials and physicality, the work ultimately focuses on drawing and painting as a means of navigating physical and intangible places.

Group Exhibitions 2022

Salina Biennial, Salina Art Center, Salina, KS

2020

Lines of Thought, CICA Museum, Gimpo, Korea Flat Files Exhibition, Collar Works, Troy, NY Art She Says, Trotter & Sholer, New York, NY

2018

Hyper School, Big Medium, Austin, TX Collections Capital One, Houston, TX Chief, New York, NY MD Anderson Cancer Center, Houston, TX Young Art, Stockholm, Sweden

135

Simorte

b. 1988 Scottsdale, AZ

Keer Tanchak C.D. her | acrylic ink on paper, 30 x 22 inches

136

Keer Tanchak C.D. debut | acrylic ink on canvas, 20 x 16 inches

137

Keer Tanchak C.D. and A.V. in the studio | acrylic and ink on paper, 22 x 30 inches

138

Keer Tanchak Dallas, TX keer@keertanchak.com / www.keertanchak.com / @keertanchak

Education 2003

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

2000

The arrival of women and girls in the public eye is a fraught idea. I think about female predicaments and how slowly things evolve or don’t really evolve at all.

BFA, Concordia University, Montreal, Canada Residency

2003

Brucebo Residency, Gotland, Sweden

2022

TBA, 12.26, Dallas, TX

When painting my subjects repeatedly, I feel more akin to a performer. A singer? An actress? (As this is what we call them . . .)

There is magic in putting my mind in someone else’s body to catch feeling at a particular moment in time. Making each painting is always a new beginning. A constant debut.

Solo Exhibitions Little Visitors, Best Western, Santa Fe, NM 2017

Soft Orbit, Dallas Contemporary, Dallas, TX Two-Person Exhibition

2021

Romantik, with Janet Werner, 12.26, Dallas, TX Group Exhibitions

2017

Texas Biennial, Big Medium, Austin, TX Still They Persist, LMAKgallery, New York, NY

2009

Pleasure Paintings, Elmhurst Art Museum, Elmhurst, IL Award

2009

Artist Fellowship Award, Illinois Arts Council Publications

2021

John Zotos, “Keer Tanchak and Janet Werner,” Visual Arts Source, May Anthony Falcon, “The Female Figure from a Canadian Lens,” Patron Magazine, April Collections Dallas Museum of Art, Dallas, TX The Rachofsky Collection, Dallas, TX

139

Tanchak

b. 1977 North Vancouver, Canada

Vincent Valdez So Long, Mary Ann | oil on canvas, 54 x 72 inches

140

Vincent Valdez Rise | oil on canvas, 48 x 56 inches

141

Vincent Valdez Godspeed | oil on canvas, 52 x 84 inches

142

Vincent Valdez Houston, TX www.vincentvaldezstudio.com / @vincentvaldez77

Residency 2017

Joan Mitchell Foundation, New Orleans, LA Solo Exhibitions

2021

The New Americans, Art Basel Miami, w/ Matthew Brown, Miami, FL

2018

The Beginning Is Near: An American Trilogy / The City (Ch.I), Blanton Museum of Art, The University of Texas at Austin, Austin, TX Group Exhibitions

2022

Outwin Boochever Portrait Competition, The National Portrait Gallery, Smithsonian, Washington, DC

2021

These subjects are framed by my personal experiences and examination of contemporary life in twenty-first-century America. Distorted social realities such as economic and racial inequality, conflict, hypernationalism, sanctioned violence, and other systemic patterns that historically serve as prelude for democratic decay compel me to reflect on my social environment. I am alarmed by the denial of history. I will continue to create visual counterimages to impede the social amnesia that surrounds me. Painting can’t change the world. But, it can provide critical moments of silence and clarity during times of immense distortion and chaos. I stand firm in my belief that the artist must play a role in a rapidly changing society. It has been my life’s effort to create a visual language entirely my own, driven by a pursuit for skill, reflection, and conviction. Here are my visual memorials to the experience of being human.

Undoing Time, Arizona State University Art Museum, Tempe, AZ Shattered Glass, Jeffrey Deitch, Los Angeles, CA

2018

Suffering from Realness, MASS MoCA, North Adams, MA Awards

2022

Latinx Artist Fellowship, Mellon and Ford Foundations

2019

Artadia Award Represented by Matthew Brown, Los Angeles, CA

143

Valdez

b. 1977 San Antonio, TX

Vincent Valdez | So Long, Mary Ann (detail)

Lillian Warren On the Edge of Tomorrow | oil and acrylic on Mylar, 24 x 30 inches

144

Lillian Warren Silent Apology | oil and acrylic on Mylar, 30 x 40 inches

145

Lillian Warren Beauty Is Evidence | oil and acrylic on Mylar, 24 x 18 inches

146

Lillian Warren Houston, TX 281.794.7935 lhwarren@prodigy.net / www.lhwarren.com / @lillian.warren1

Education 1982

Fellowship, Université de Toulouse, Toulouse, France

1980

BFA, University of Tennessee, Knoxville, TN

2020

Parables and Everyday Stories, Anya Tish Gallery,

2019

Who You Once Were (video installation), Aurora Picture

Solo Exhibitions Houston, TX Show, Houston, TX 2018

They Woke Up and Started Dreaming, Anya Tish Gallery, Houston, TX

2013

Alone Together, Anya Tish Gallery, Houston, TX

2012

Wait with Me, Lawndale Art Center, Houston, TX

2007

Drive by Landscape, Pearl Fincher Museum of Art, Houston, TX

My subject matter revolves around transitional spaces and conditions, whether they be physical spaces or emotional states. My current series features the mundane urban/suburban landscape painted in acrylic and oil on Mylar. I am drawn to the unexpected poignancy of this landscape, emptied of people but with the heavy footprint of our presence. I love the quite isolation of the transitional in-between spaces of my city.

My process starts as I take pictures with my phone while out on a walk or running errands around my home in Houston, Texas.

Then I modify, simplify, and collage this source material on the computer to form a “digital sketch” that reflects my sense of a place, or even just a “kind” of place.

The image evolves further as I immerse myself in paint. I want to create a painting that is intimate since it is based on personal memory but somehow representative of a collective memory, because you feel that you’ve passed by these places before.

Group Exhibitions 2022

Texas National, Cole Art Center, Steven F. Austin State University, Nacogdoches, TX

2021

2020 Vision: Seeing Ourselves, Cabrillo Gallery, Cabrillo College, Aptos, CA

2019 2017

Narrative and Illusion, VETS Gallery, Providence, RI A Shared Vision: Selections from the Rudolph-Blume Collection, Bradbury Art Museum, Jonesboro, AR

2015 2006

Parliament of Owls, DiverseWorks, Houston, TX Baroque Visions and Urban Verities, Blue Star Art Space, San Antonio, TX Biennial Southwest, Albuquerque Museum, Albuquerque, NM Represented by Anya Tish Gallery, Houston, TX

147

Warren

b. 1958 Searcy, AR

Lillian Warren | Beauty is Evidence (detail)

Douglas Welsh King of Sweden | house paint and spray paint on canvas, 9 x 11 inches

148

Douglas Welsh Amor Fati | house paint and spray paint on canvas, 17 x 21 inches

149

Douglas Welsh My Type | house paint and spray paint on canvas, 17 x 21 inches

150

Douglas Welsh Houston, TX welsh.dougp@gmail.com / www.douglaswelsh.com / @dpw_art

Education 2022

MFA, University of Houston, Houston, TX

2014

BA, Bates College, Lewiston, ME Professional Experience

2022

Co-organizer of Bearing Witness: Houston Artists Respond—A Fundraiser for Ukraine, Blaffer Museum of Art, University of Houston, Houston, TX

2020-22 Cofounder of G5 Collective, University of Houston, Houston, TX Solo Exhibitions 2021

Life Raft, my current body of work, helps keep me afloat. It’s a way of surviving, managing, and overcoming the rollercoaster of high and low energy. Life Raft is a ritual during which I paint and listen to music simultaneously, often with one song on repeat until a painting is complete. This process helps me access energies, feelings, and memories, which I imbue into each work. I resolve paintings because I want to resolve something within myself.

The color and spatial relationships in my paintings can be lyrical, peaceful, disruptive, or tenuous, depending on my state of mind.

I ebb and flow between control and release, chaos and order, creating complex and dynamic abstract paintings. Ultimately, I seek harmony and balance in the interaction of these elements.

This search for synergy is mirrored in my life, but I am secure on my Life Raft, for now.

Life Raft, Elgin Street Studios, School of Art, University of Houston, Houston, TX Group Exhibitions

2022

For Ellen, Hardy & Nance Studios, Houston, TX Whole in Pieces, Monterroso Gallery, Houston, TX 44th Thesis Exhibition, Blaffer Art Museum, University of Houston, Houston, TX CAL InterNational 2022, Conroe Art League, Conroe, TX This Mortal Coil, Elgin Street Studios, School of Art, University of Houston, Houston, TX

2021

Unconquerable Texas Women, Martha’s Contemporary, Austin, TX Alexa, Take Me Home, Anya Tish Gallery, Houston, TX Emergence, Elgin Street Studios, School of Art, University of Houston, Houston, TX Loop: New Non-Objective Painting, Box 13, Houston, TX

151

Welsh

b. 1991 Houston, TX

Caroline Zurmely Strap | nail polish, 14 x 18 inches

152

Caroline Zurmely Hand | nail polish, 8 x 10 inches

153

Caroline Zurmely Blonde | nail polish, 16 x 12 inches

154

Caroline Zurmely Dallas, TX www.carolinezurmely.com / @carolinezurmely

Education 2017

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

2016

Ox-bow School of Art, Saugatuck, MI

2022

Apotrope, Cob Gallery, London, England

Group Exhibition

Caroline Zurmely’s art is often driven by material, texture, and process above theme or subject. Recent series include nailpolish-enamel relief paintings and pieces made by manipulating the fibers of vintage towels. Her work with nail polish explores tabloid photography and scenes of public mourning in tight close-ups, crafting opposing senses of intimacy and remoteness between the viewer and subject. Utilizing unconventional materials and restricting the scope of her pieces, Zurmely aims to alter the viewer’s experience with respect to distance.

Young Sculptor’s Exhibition, National Sculpture Society, New York, NY 2021

By Yourself with Everyone: Part 39, Good Mother Gallery, Oakland, CA Publication

2020

ArtMaze Mag, no. 20

155

Zurmely

b. 1994 Grosse Pointe, MI

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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Beronica Gonzales Fig. #2 | thread, graphite, acrylic, oil, canvas, and found fabric, 17.5 x 15 inches

158

Beronica Gonzales Fig. #1 | thread, acrylic, oil, canvas, and found fabric, 17.5 x 15 inches

159

Beronica Gonzales Then and Now | thread, acrylic, oil, canvas, and found fabric, 11 x 11.5 inches

160

Beronica Gonzales Denton, TX 210.562.0058 beronicamg1@gmail.com / www.beronicagonzales.com / @beronicamg

Education 2021

BFA, University of North Texas, Denton, TX Residency

2022-23 The Cedars Union, Cohort 3, Dallas, TX Solo Exhibition 2022

Lying in Squares, Cluely Projects, Dallas, TX Two-Person Exhibition

2021

Material Girl(s), with Victoria Gonzales, Union Art Gallery, Denton, TX

My work engages with the passage of time and the ways in which both found and created objects can preserve moments. Objects can serve as vessels for ever-evolving personal sentiments.

Found materials are used to draw out and lay bare the personal yet often unknown histories of both their previous owner and the journey of the item itself. By repurposing found items and reproducing my own everyday personal effects in my work, I preserve my subjects and create memorials to the mundane.

Through their transformation, the memorialized objects are given a new life to exist as an artwork. By doing so, I express and resist the erosion of time on the objects and my connections to them.

The inclusion of found and created possessions connects the individual narrative at play in my work with the anonymized pasts of my working materials.

Group Exhibitions 2021

Face to Face Portraits, Site:Brooklyn Gallery, Brooklyn, NY (online) Now / Contemporary 2021, Arts Fort Worth, Fort Worth, TX College Expo 2021, 500x Gallery, Dallas, TX (online) Materials: Hard + Soft International Contemporary Craft Competition and Exhibition, Meadows Gallery, PattersonAppleton Arts Center, Denton, TX

2020

4th Annual Small Works Show, Arts Fort Worth, Fort Worth, TX 30 Under 30, Gough Gallery, Patterson-Appleton Arts Center, Denton, TX Expo 2020, 500x Gallery, Dallas, TX Hot & Sweaty, 500x Gallery, Dallas, TX Texas National 2020, The Cole Art Center, Nacogdoches, TX Rising Eyes of Texas, Rockport Center for the Arts, Rockport, TX Awards

2022 2020

Cluley Projects Inaugural Open Call Honorable Mention, Rising Eyes of Texas, Rockport Center for the Arts, Rockport, TX

161

Gonzales

b. 1999 San Antonio, TX

Aleya Hoerlein The Realm of Possibilities, Number 1 | oil on muslin on wood panel, 48 x 24 inches

162

Aleya Hoerlein The Realm of Possibilities, Number 4 | oil on muslin on wood panel, 12 x 9 inches

163

Aleya Hoerlein The Realm of Possibilities, Number 8 | oil on muslin on wood panel, 5 x 7 inches

164

Aleya Hoerlein Taos, NM aleyahoerlein@gmail.com / www.aleyahoerlein.com / @aleyahoerlein

Education 2008

BFA, School of Visual Arts, New York, NY

2022

Project for Ukraine, Far x Wide, Brooklyn, NY (online)

2021

Threshold, Far x Wide, Brooklyn, NY (online)

Group Exhibitions

Shape in All Its Forms, Site:Brooklyn Gallery, Brooklyn, NY (online) 2004

Pier Show 12, Brooklyn Waterfront Artists Coalition, Brooklyn, NY Publications

2021

Compositionally, I am painting the space between and around forms as much as the forms themselves. The composition and shapes I use on the canvas convey negative and positive spaces that alternate: sometimes the dark color recedes into a void, a nothingness; at other times, the darkness emerges to become the subject and the gradients of colors become the background.

The gradients are a gradually dawning or dimming light source, an expansion, and a fleeting moment of time. Some shapes come close to touching but do not; there is tension and longing in that sliver of space between them.

“On-the-Spot with Aleya Hoerlein,” The Brooklyn Rail, July Elisa Wouk Almino, “A View from the Easel During Times of Quarantine,” Hyperallergic, April

I work intuitively, painting the initial linework and shapes on muslin stretched over wood panels. During multiple reworkings, I fill in the shapes with colors, repainting everything in several layers and refining the edges as I go. I often apply a blended gradient of bright and/or complementary colors and a solid black made from a mix of deep blue and red oil paint. The resulting paintings evoke ambiguity and a realm of possibilities.

“Bodies//Boundaries,” Southwest Contemporary Magazine, vol. 1, Spring Wild Lands (Jen Tough Gallery) Collections Private collection, New York, NY Private collection, Taos, NM Private collection, San Francisco, CA Private collection, Nashville, TN Private collection, Mercer Island, WA Private collection, Helena, MT Represented by G2 Gallery, Santa Fe, NM

165

Hoerlein

b. 1980 Santa Monica, CA

Eli Kauffman What We Give Each Other / What We Owe Each Other | oil on canvas, 66 x 40 inches

166

Eli Kauffman You May Dream of Me | oil and acrylic on canvas, 48 x 48 inches

167

Eli Kauffman I Dreamt It Was Your Birthday | oil and acrylic on canvas, 46 x 46 inches

168

Eli Kauffman Salt Lake City, UT 801.652.9448 ekauffma@alumni.risd.edu / www.elikauffman.squarespace.com / @eli_kauffman

Education 2022

BFA, Rhode Island School of Design (RISD), Providence, RI Solo Exhibition

2022

Finch Lane Gallery, Salt Lake City, Utah

2022

Residual Hauntings, RISD Museum, Providence, RI

Group Exhibitions Magic Hour, RISD Memorial Hall Gallery, Providence, RI Untitled exhibition, RISD Woods Gerry Gallery, RISD, Providence, RI Of Soiled Bodies, RISD Museum, Providence, RI The Portal Is Now, South Temple Street, Salt Lake City, UT (interactive art event) 2021 2020

SLC Queer, Urban Arts Gallery, Salt Lake City, UT Good Night Moon, Gelman Gallery, RISD Museum,

The work portrays symbiotic relationships between figures, exploring what we give each other and what we owe each other.

Figures mirror each other’s movements, creating reflections and repetition of familiar actions. Everyday experiences like fixing a neighbor’s sink or watching a friend get ready for a night out can be a revelation. These familiar actions convey a reflexive understanding between loved ones.

Many of the works explore sincerity in performance during social gatherings. The mythologized party is a way to navigate the complexity of American adolescence, while road trips and tarot readings serve as tools to reflect on that period of life. Most of the works are set at night, with lighting choices that reference comingof-age television shows. Saturated color conveys melodrama and tension, revealing emotional urgency. Many of the figures return the gaze of the audience, as if they are waiting to have their photo taken. This creates the illusion that the audience could step into the work and be a part of the events depicted on the canvas.

Providence, RI Awards 2022

Nominee, Emerging Artist Award, St. Boltoph Club Foundation, Boston, MA

2020

Maharam STEAM Fellowship (partnered with Wasatch Community Gardens), Salt Lake City, UT Publications

2020

“RISD X ArtFrankly,” Alpha'a (blog) Cellar Space Magazine, no. 1

169

Kauffman

b. 1998 Salt Lake City, UT

Eli Kauffman | You May Dream of Me (detail)

Alexis Pye Flower Boy, 2021 | oil, oil pastel, oil stick, and acrylic yarn on canvas, 30 x 30 x 1.5 inches

170

Alexis Pye Man with Sheep, aka the Baptist, 2021 | oil, oil pastel, and oil stick on canvas, 32 x 38 x 1.5 inches

171

Alexis Pye That One Time, 2021 | oil, oil pastel, acrylic yarn, and oil stick on canvas, 70 x 48 inches

172

Alexis Pye Houston, TX 713.526.7800 (Inman Gallery) alexispye24@gmail.com / @pyealexis

Education 2019

BFA, University of Houston, Houston, TX Residency

2018

Summer Studios Resident, Project Row Houses, Houston, TX Solo Exhibition

2021

The Real and the Fantastic / The Irrational Joys of the Axis, Inman Gallery, Houston, TX

Alexis Pye makes paintings about the fantastic that dwells in the mundane. Her work weaves the ordinary with embroidery frames that look into everyday life with a touch of the marvelous.

She explores the tradition of portraiture as a way to express the Black body outside of its social constructs, evoking playfulness, wonder, and Blackness, as well as joys amidst adversity. These paintings offer intimate glimpses into the garden-immersed environments of her subjects. Pye is also interested in domestic space and surrealist elements, introducing the outside into the inside and vice versa. She is experimenting with furniture- and world-building, inspired by the philosophies of Black surrealist thinkers such as Aimé and Suzanne Césaire.

Pye

b. 1995 Detroit, MI

Two-Person Exhibition 2021

Honor Thy Self, with Cindy Elizabeth, Martha’s Contemporary, Austin, TX Group Exhibitions

2022

Houston Rockets X CAMH, Contemporary Arts Museum Houston, Houston, TX

2021

My Mirror Is Fine, Community Artists’ Collective,

2020

This Is America | Art USA Today, Kunstal KAdE,

Houston, TX Amersfoort, Netherlands 2019

Everything’s Gonna Be Alright Now, David Shelton Gallery, Houston, TX 20th Annual Citywide African American Artists Exhibition, Texas Southern University and the Museum of Fine Arts, Houston, TX

2018

Round 51: Local Impact II, Project Row Houses, Image credit: Bria Lauren

Houston, TX Publications 2022

Amarie Gipson, “Three Houston-Based Contemporary Artists You Should Know,” Houstonia, Spring

2019

Chris Becker, “Gallery Show Curated by Robert Hodge Is ‘Alright’ Alright!,” Houston CityBook, posted July 10 Represented by Inman Gallery, Houston, TX

173

Jason Saager Gravity Optional Countryside | monotype and oil on paper mounted over linen on panel, 39 x 36 inches

174

Jason Saager Subterranean Pathfinder | monotype and oil on paper mounted over linen on panel, 18 x 24 inches

175

Jason Saager Triple Sunrise | monotype and oil on paper mounted over linen on panel, 48 x 60 inches

176

Jason Saager Mesa, AZ +32.2.538.08.18 (Rodolphe Janssen) @jasonsaager

Education 2012

MFA, Hunter College, New York, NY

2007

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

2021

Sharpe-Walentas Studio Program, Brooklyn, NY

2014

Pioneer Works, Brooklyn, NY

2006

International Center for the Arts, Monte Castello di Vibio, Italy Solo Exhibitions

2022

Sky Gardens, Rodolphe Janssen, Brussels, Belgium

2021

Ecstatic Outdoors, Ross+Kramer Gallery,

2015

Scenes from the Time Collapse, St. Paul the Apostle,

My paintings are elaborate fantasy worlds of impossible spaces.

I’m interested in finding a sense of tranquility and transcendence in the work while negotiating with disorientation, irrational nonsense, and absurd perspectives.

I start my process by making an oil monotype on a large plate of plexiglass. I use my body weight to create the print. This approach creates time pressure and unpredictable outcomes because I have to finish before the paint dries. It isn’t always clear what’s going to happen when the painting gets pressed onto the paper.

This way of working enables me to experiment and take risks at a fast pace. I then mount the print on canvas over panel and work into it with direct painting. The idea is to create a magically ordered world out of managing the chaos and uncertainty in the print. I slowly paint out most of the surface with tiny brushes over time and add in whatever feels right along the way.

East Hampton, NY New York, NY Group Exhibitions 2021

SPRING/BREAK Art Show, New York, NY My Sweet Doppelgänger, Richard Heller Gallery, Santa Monica, CA

2017

Flowers, Washington Project for the Arts, Washington, DC

2016

Beauty, St. Paul the Apostle, New York, NY

2015

Karmic, Life on Mars Gallery, Brooklyn, NY Paul Klee, Underdonk, Brooklyn, NY Represented by Rodolphe Janssen, Brussels, Belgium Ross + Kramer, New York, NY

177

Saager

b. 1982 Mesa, AZ

Jason Saager | Subterranean Pathfinder (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.

Adrián Aguirre p16 POR p17 POR p18 $1,800

Loc Huynh p72 NFS p73 NFS p74 NFS

Gabriel Sanchez p128 POR p129 POR p130 POR

RF. Alvarez p20 NFS p21 NFS p22 NFS

Erika Jaeggli p76 $1,800 p77 $1,800 p78 NFS

Jessica Simorte p132 $600 p133 $600 p134 $800

Charis Ammon p24 $10,000 p25 $10,000 p26 $6,500

Tracy Kerdman p80 $9,000 p81 $7,500 p82 $2,500

Keer Tanchak p136 $5,000 p137 $6,000 p138 $5,000

Bettina p28 $4,200 p29 $4,400 p30 $4,200

Dirk Kortz p84 $7,800 p85 $7,800 p86 $7,800

Vincent Valdez p140 NFS p141 NFS p142 NFS

Sean Cairns p32 $6,800 p33 $7,000 p34 $5,800

Renee Lai p88 NFS p89 $5,000 p90 NFS

Lillian Warren p144 $3,200 p145 $3,800 p146 $2,700

Cassandra Chalfant p36 $2,000 p37 $1,800 p38 $3,000

Yasuyo Maruyama p92 $3,000 p93 $3,900 p94 NFS

Douglas Welsh p148 NFS p149 $1,200 p150 NFS

Farima Fooladi p40 POR p41 POR p42 NFS

Michael McCaffrey p96 $3,000 p97 $2,000 p98 $5,000

Caroline Zurmely p152 NFS p153 NFS p154 $975

Andrew Fowler p44 $5,000 p45 $5,000 p46 $5,000

Annie Miller p100 $2,800 p101 $2,500 p102 $3,200

Zoey Frank p48 NFS p49 NFS p50 NFS

Mihee Nahm p104 NFS p105 NFS p106 NFS

Philip Gabriel Steverson p52 $3,000 p53 $2,600 p54 $2,550

Jared Packard p108 $2,000 p109 $3,000 p110 $3,000

Drew Gaines p56 NFS p57 NFS p58 NFS

Robert Peterson p112 NFS p113 NFS p114 NFS

Raul Rene Gonzalez p60 $10,000 p61 $10,000 p62 $10,000

Joel Daniel Phillips p116 NFS p117 NFS p118 NFS

Joe Hedges p64 $7,500 p65 $3,500 p66 $3,000

Emily Blair Quinn p120 $3,500 p121 $3,500 p122 $3,300

Katy Horan p68 NFS p69 NFS p70 $5,000

Diego Rodriguez-Warner p124 $75,000 p125 $75,000 p126 $100,000

178

Beronica Gonzales p158 $700 p159 $700 p160 $550 Aleya Hoerlein p162 POR p163 POR p164 POR Eli Kauffman p166 POR p167 POR p168 POR Alexis Pye p170 NFS p171 NFS p172 NFS Jason Saager p174 NFS p175 NFS p176 NFS

$20