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143 August/September 2019 Volume 24, Issue 4 ISSN 1066-2235 $20

Recent Jurors: Nora Burnett Abrams

Miranda Lash

Museum of Contemporary Art Denver

New Orleans Museum of Art

Bill Arning

Nancy Lim

Contemporary Arts Museum Houston

San Francisco Museum of Modern Art

Staci Boris

Al Miner

Elmhurst Art Museum

Museum of Fine Arts, Boston

Nina Bozicnik

Dominic Molon

Henry Art Gallery

RISD Museum of Art

Dan Cameron

Sarah Montross

Orange County Museum of Art

deCordova Sculpture Park and Museum

Cassandra Coblentz

René Morales

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Barbara O’Brien

Walker Art Center

Kemper Museum of Contemporary Art

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Raphaela Platow

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Mouloudji p113

Contents 8

Editor’s Note

Noteworthy

Steven Zevitas

Juror’s and Editor’s Picks

Juror’s Comments Staci Boris, Associate Director of Exhibitions, School of the Art Institute of Chicago, Chicago, IL

Midwestern Competition 2019

157

Midwestern Competition 2019

178

Winners: Juror’s Selections Winners: Editor’s Selections Pricing Asking prices for selected works

143 August/September 2019

Editor’s Note

Staci Boris is one of my favorite art-world people, and this is the

The artists featured in this selection hail from throughout the

third time she has served as a juror for New American Paintings.

Midwest, with roughly one-third being Chicago-based. As with

We all want to congratulate her on her new position as Associate

many recent issues, the figure is, perhaps, the dominant subject of

Director of Exhibitions at the School of the Art Institute of Chicago.

note, and it is not difficult to see the influence of Chicago Imagism

When I first met Staci, she was a curator at Museum of Contemporary

on a number of artists. You will also find several artists engaged

Art, Chicago. Our next encounter occurred when she was

with textiles, another trend of note in the art world in recent years.

Chief Curator at the Elmhurst Art Museum. It was during her

In all, it is one of the more diverse issues we have published in

tenure there that Staci staged full museum exhibitions drawn from

a while, one that speaks well to the current aesthetic climate but

New American Paintings two years in a row. I have thanked her in the

also presents a number of distinct, idiosyncratic voices. n

past, but, once again, want to express what an extraordinary honor it was to have the publication come to life in this way. I know for a

Enjoy the issue!

fact that it greatly impacted the lives of a number of artists included Steven Zevitas

in the exhibition, as it did mine.

Editor and Publisher Given the amount of time that Staci has based her career in Chicago, it would be fair to say that she has an almost unparalleled knowledge of the city’s contemporary art scene and its legacy. Chicago has always played a vital role in the art world, and, especially

with

its

best-known

aesthetic

export,

Chicago

Imagism, has made a strong mark on visual culture. Over the past twenty years, as a number of home-grown artists such as Theaster Gates, Rashid Johnson, Kerry James Marshall, and Amy Sherald have become internationally recognized, the city’s stature in realm of the visual arts has only increased. There are now many significant artists who call Chicago their home and a number of world-class institutions and commercial galleries that support their efforts.

www.ospcatalogs.com

Producing fine art catalogs for museums, galleries and individual artists nationwide Clients include: International Sculpture Center, Zach Feuer Gallery, NADA, Bernard Toale Gallery and the Rose Art Museum

FIRST LAST PAINTING NAME.Type of Medium Artist Used. 00" x 00". Page 1

Noteworthy:

Mary Jones

Juror’s Pick p76

Iowa-based Mary Jones seems an apt choice to single out within this Midwest painting context. Though she has worked as an artist for more than forty years, her work continues to be timely, significant, and downright charming. Jones goes on walks to get to know her urban environment and maps her impressions and experiences of these journeys. Using street maps as the background and framing device, she fills her compositions with photographs, collage elements, text fragments, and exaggerated drawings of herself as the flaneuse, as well as people she encounters. Multiple perspectives intermingle in these portraits of place, which celebrate the act of observing as well as moving one’s body through space as an act of acquaintance. In this digital age, when you can stay inside and still feel connected to individuals, institutions, and cultures around the globe through screens, Jones’s work encourages the effort to put yourself out there.

Celeste Rapone

Editor’s Pick p138

I have been a fan of Celeste Rapone’s work since first encountering it in 2013, the year she was first represented in New American Paintings. She has always been a gifted painter, but over the past few years her work has become more formally complex and taken on a searing psychological resonance. The subjects of Rapone’s work, which are mostly women, find themselves in physically impossible positions, squeezed tightly into the boundaries of the picture plane. They are paintings about doubt, insecurity, and vulnerability; they are about the familiar and the unfamiliar; they are about the struggles we all face in our lives and the myriad ways in which we move beyond them.

Winners: Midwestern Competition 2019 Juror: Staci Boris, Associate Director of Exhibitions, School of the Art Institute of Chicago, Chicago, IL

Howard

Editorâ&#x20AC;&#x2122;s Selections: Ellen Hanson | Lynnea Holland-Weiss | Yowshien Kuo | Rosie Lee | Madeleine Leplae

Juror’s Comments

Staci Boris

Associate Director of Exhibitions, School of the Art Institute of Chicago, Chicago, IL

It seems silly to argue that painting is alive

embedded

Herman

Aguirre’s

sculptural

and well: it has held a prominent place in art

paintings memorializing the dead, the dread in

making for millennia now. The hundreds of

Juan Neira’s black and gnarled monoliths, the

submissions for this issue of New American

questionable activities of Tim Olson’s small-town

Paintings are evidence of its continued allure

characters, the chaotic limb-filled pileups in Duk

and relevance. The variety of aesthetic and

Ju L. Kim’s paintings, and the struggles carried by

conceptual approaches that characterizes

Jesse Howard’s “urban warriors . . . searching for

painting nationally can be seen in this regional

the truth.”

selection, reflecting a pluralism that is acknowledged by curators, collectors, and critics alike.

Difficult and challenging autobiographical experiences fuel the (often humorous) scenes in Benjamin Cabral’s disturbing but luminous beaded

A sense of anxiety, discomfort, and uncertainty pervades the current selection.

narratives; Jessica Campbell’s carpet-remnant collages that reveal unfortunate continuities

Fragmented figures and space, distorted bodies, vivid coloration, and

between the past and present; Orkideh Torabi’s satirical depictions

mysterious narratives are most certainly signs of the time. Artistic

of men in the style of Persian miniatures that address the repression

inspiration seems to come for many from Philip Guston, Pablo

of women; Lea Bult’s uncomfortable portraits of women from the

Picasso, Dana Schutz, and, fittingly, the Chicago Imagists, as well

If I Were a Man series; Celeste Rapone’s convoluted female figures

as comics. Subjects, images, and even aesthetics are sourced from

facing a future of potential failure; Jessica Westhafer’s intimate

the Internet, though autobiography figures prominently in many

scenes of fear and self-doubt; Benjamin Frederick’s mysterious

artists’ practices. Current social issues—from gender equality to

neighborhood scenes that include groups of people but little

racism to the immigrant experience—are addressed. In fact, even

communication; and Colin Matthes’s frenzied domestic scenes

the works I’d call abstract are seldom void of real-world references.

inspired by recent parenthood. Choices of style, material, color,

The barrage and accessibility of visual stimuli as well as the

composition, and gesture and an unguarded sense of vulnerability

attacks against human decency and ethical policies are impossible

underlie these compelling works that speak to personal moments

to ignore.

as well as larger, shared concerns.

Terms like tragedy, calamity, absurdity, uncertainty, trauma,

Other constructed narratives present fragments of places,

anxiety, and doubt appear in multiple artists’ statements and come

memories, and objects or symbols that provide open-ended

through in their works. These words can refer to the world in general

opportunities for viewers to work out their own interpretations.

but also to each artist’s personal experience when it informs their

Abrahm Guthrie’s collages of domestic interiors and happenings,

subject matter, whether overtly or indirectly. Consider the violence

Kristian Alanson Bruce’s dreamlike paintings (à la Magritte) with

Bennetts p18

Cartwright p42

Fiada p50

Guthrie p62

Proski p130

Westhafer p146

“Fragmented figures and space, distorted bodies, vivid coloration, and mysterious narratives are most certainly signs of the time.” text and decontextualized everyday objects, Caitlin Cartwright’s

but embody growth in their making. Garry Noland transforms found

landscape collages populated with animals and figure fragments,

and discarded materials, from bed rails to cardboard and tape,

and Claire Whitehurst’s playful and textured organic forms all teeter

into small and large-scale abstract works that communicate an

on the brink of reality and imagination, playing with the potential

environmental message.

of imbuing objects and shapes with meaning and emotion. The last grouping centers on abstraction, though almost Working from life, as opposed to sourced images, is important

all of the artists already mentioned engage it in some form. The

to both Allan Bennetts II and Debo Mouloudji. Bennetts’s nostalgic

liberal use of bold colors and abstract shapes ties together Adam

depictions of old stereo equipment and smartphones translate his

Dahlstrom, Anthony Keith Giannini, Dennis Michael Jones, Daniel

personal experiences with these technologies into portrayals of

Klewer, Chad Kouri, Alicia LaChance, Stephen Proski, and Nick

a specific period of time. Mouloudji uses live models to produce

Schleicher. Layering or alternating fields of highly saturated colors,

penetrating portraits that rely on her interaction with the subject. In

Schleicher and Klewer seem to be the “purest” of the abstractionists;

contrast, the portraits by Faron Fiada, with distorted, sharp-edged

nevertheless, Schleicher’s neon hues often reference cartoons, and

figures and highly saturated colors, are translations of appropriated

Klewer’s thickly applied horizontal bands of paint evoke landscapes.

images from pop culture, specifically the worlds of sports, television,

Dahlstrom, Giannini, and Proski all use an adapted form of the grid

and art history.

as an underlying framework for their colorful, repetitive forms, yet all three of them, whether in their titles or legible iconography, feature

The nature and associations of materials play an important

representational elements. Like Proski, Justin Henry Miller makes

role in the work of many of the artists. Works made of textiles or

linear images that are geometric and precise, painstakingly made

fiber include Gabe Lanza’s nostalgic and cartoony wool-and-silk

by hand yet giving the impression of a digital medium. LaChance

figures, Anna Buckner’s abstractions composed of loved ones’

layers delicately colored, transparent geometric forms to produce

clothing fragments, and Nick Larsen’s monochromatic denim

the illusion of deep space and to challenge our perceptions. Kouri’s

installations that occupy the space between sculpture and image,

vibrant and simple abstract compositions include reflective foil,

surface and form. Artists already mentioned, like Herman Aguirre,

literally incorporating viewers and their surroundings into his

Jessica Campbell, Juan Neira, and Benjamin Cabral, build their

works. At the other end of the spectrum, Dennis Michael Jones uses

surfaces or use non-paint materials to call attention to texture and

swirling psychedelic colors at a heroic scale to generate restless

prompt a more physical or visceral response to their work. Likewise,

and dynamic emblems of a culture that is constantly transforming. n

Melissa Oresky’s collaged abstractions not only resemble plants

Jurorâ&#x20AC;&#x2122;s Selections

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

Herman Aguirre Para aquellos que no pudieron estar | oil and oil/acrylic skins on canvas, 96 x 120 inches

Herman Aguirre Sangre | oil on panel, 36 x 48 inches

Herman Aguirre Vamos a darle una vuelta al cielo | oil and oil/acrylic skins on panel, 48 x 60 inches

Herman Aguirre Chicago, ILâ&#x20AC;&#x201A; 773.676.4791 (artist) / 312.944.1990 (Zolla/Lieberman Gallery) haguir@saic.edu / www.hermanaguirre.org / @herman.aguirre.35

b. 1992 Chicago, IL

Education

2017

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

2014

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

Residency

As a Mexican American, I use my identity, culture, and traditions as a potent form of inspiration. Through the materiality of paint, I try to capture the essence of an image referencing personal and public events. I explore abstract and representational ideas to bring forth the immediacy of issues regarding war, trauma, and loss. Whether political, social, or personal, the objects, images, and events depicted become conduits for obsessive ideas.

2017-18 Fine Arts Work Center, Provincetown, MA

Professional Experience

2019

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

2018

Teacher, Start! Youth Program, Provincetown Art And Association Museum, Provincetown, MA

2016-18 Visiting artist, Continuing Studies Program/Workshop

Solo Exhibitions

2019

Cicatriz, Zolla/Lieberman Gallery, Chicago, IL

Tejido, Steve Turner Gallery, Santa Monica, LA

2018

Chunks, University of Wisconsin at Parkside, Kenosha, WI

Group Exhibitions

2019

Muscle Memories, Chicago Art Department, Chicago, IL

2018

El cielo entre los dos, Zolla/Lieberman Gallery, Chicago, IL

59th Mid-States Art Exhibition, Evansville Museum of Arts,

The work generated is made out of adoration toward my family and love of my people. By embracing these subjects, I allow a visual representation to symbolize the human condition we live in and the issues we face collectively. These paintings not only acknowledge current events, but also allow for each object, image, or event to continue having a presence not only today but also in the future.

Evansville, IN

Awards

2018

Thelma Karges Memorial Merit Award,

Evansville Museum of Arts

2017

Leonore Annenberg Fellowship Scholarship

Collections

Rockford Art Museum

National Museum of Mexican Art

Represented by

Zolla/Lieberman Gallery, Chicago, IL

Portrait Society Gallery, Milwaukee, WI 19

Aguirre

Allan Bennetts II Two Monitors (Sony PVM-20M2MDU) | oil on linen, 60 x 42 inches

Allan Bennetts II Stereo Stack II | oil on linen, 22 x 20 inches

Allan Bennetts II iPhone 7 Plus IV | oil on copper, 5 x 7 inches

Allan Bennetts II Ferndale, MI â&#x20AC;&#x201A; ab@allanbennetts.com / www.allanbennetts.com / @allannaut

b. 1979 Livonia, MI

Education

2019

MFA, Cranbrook Academy of Art, Bloomfield Hills, MI

2016

BFA, Wayne State University, Detroit, MI

2015-17 Studio of Steven Assael, New York, NY

Group Exhibitions

2019

Vernacular Environments, Part 3, Edward Cella Art

& Architecture, Los Angeles, CA

2019 Graduate Degree Exhibition of Cranbrook Academy of Art,

Cranbrook Art Museum, Bloomfield Hills, MI 2018

Bloomfield Hills, MI

To the End of the Earth, Detroit Artists Market Gallery,

Detroit, MI 2017

Tapped 7, Manifest Gallery, Cincinnati, OH

2016

Detroit Artists Market 2016 Wayne State University

Scholarship Awards and Exhibition, Detroit Artists

Market Gallery, Detroit, MI

Awards

2019

Nominee, Museum Purchase Award, Cranbrook Art Museum

2016

WSU UROP Research and Creative Project Grant,

Wayne State University

2015

First Year Liquidation Sale, Forum Gallery,

I seek to examine the varied positions consumer technologies occupy in both our collective and individual perception. In particular, the way these familiar, often intimate, objects fundamentally change when they cease to function in the way in which they were intended. At this point, we no longer see through the objects into their use or potential, but just see them: their physical form, awkward and silent. Through a slow, laborious painting process from direct observation, I translate my engagement with these objects. While aware of implicit notions of consumerist culture, mediated experiences, and mass production, this engagement also draws forth reflection on cherished memories and previously unrecognized personal insights. By rebuilding these products as paintings, I can move the object further from its former utilitarian function, shifting it into a new category of commodity that asks to be consumed in a very different way: as a painted representation to contemplate. Ideally, this isolated portrait creates a still and quiet space to encounter the resonances and subtle transmissions of its contained human content and implications.

WSU Department of Art and Art History Brian Gahagan Memorial Endowed Scholarship, Wayne State University

Bennetts II

Kristian Alanson Bruce Here, | oil on linen, 30 x 80 nches

Kristian Alanson Bruce Foamed the Other Spring | oil on linen, 65 x 79 inches

Kristian Alanson Bruce Years, Years, a Finger Feels Around | oil on linen and flashlight, 38 x 22 inches

Kristian Alanson Bruce Chicago, IL kbruce@saic.edu / @kristian_alanson

b. 1994 Bozeman, MT

Education

2016

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

Solo Exhibition

2016

At a Place Where the Trees Were Still All Green,

Stuart & Co. Gallery, Chicago, IL

Group Exhibitions

2019

On the Tip of the Tongue, Galeria Karen Huber,

Mexico City, Mexico

2018

Like One Speaks to the Stone, Stuart & Co. Gallery,

Chicago, IL

2016

In the Company of Flowers, Kruger Gallery Chicago,

Chicago, IL

BFA Show 2016, Sullivan Gallery, Chicago, IL

My work is concerned with disruption, calamity, and illogic. The paintings are not rational or sensible but try to make sense of events that don’t have a logical conclusion, cohesive narrative, or easy resolution. The result is often a feeling of inconclusiveness as things that are familiar and readily understood have been recontextualized into a series of incongruities and odd combinations. An emphasis on montage over narrative creates a string of conceptual confusions and a field of associations that relate to disjunction, discord, and disappearance. The various combinations of images, words, and objects are presented as an ensemble—one event. Objects float in spaces where they might not belong. I use fragments of speech, or writing, on top of paintings to add layers, and couple images together to create connections and conflicts of connotation that try to make sense of things when sense doesn’t necessarily apply and emphasize how contingency complicates the desire for conclusiveness.

Bruce

Anna Buckner To Loo and Soccer Shorts | gouache on pieced fabric on stretcher, 12 x 12 inches

Anna Buckner To Pops and a Denim Shirt | oil and gouache on pieced fabric on stretcher, 12 x 12 inches

Anna Buckner To All | pieced fabric on stretcher, 25 x 25 inches

Anna Buckner Lansing, MI annadbuckner@gmail.com / www.annabuckner.com / @annerbuck

b. 1989 Greensboro, NC

Love Letters

Education

2016

MFA, Indiana University, Bloomington, IN

2012

BFA, University of North Carolina at Chapel Hill,

Chapel Hill, NC

Residencies

2018

Design Inquiry, Vinalhaven, ME

2017

Unlisted Projects, Austin, TX

Solo Exhibitions

I made these six (not quite) quilts out of clothes that Iâ&#x20AC;&#x2122;ve accumulated over the years from people I love. Most of them have probably forgotten that I have these particular articles of clothing and might not appreciate that I have cut them up. The items of clothing are the subjects of (not quite) love letters. The other materials are details specific to each person. A piece of a knitted blanket for comfort. A little paint. A beach towel. What remains consistent in all of these relationships is Wrightsville Beach, North Carolina, and a house my great-great-grandfather built that looked a little bit like this (not quite) white barn.

2019

Love Letters, Bad Water, Knoxville, TN

2018

Approximately, Marian University, Indianapolis, IN

2017

What the Water Does, Museum of Human Achievement, Austin,TX

Soft Serve, Ante Modulation, Indianapolis, IN

2016

Quilt Paintings, MFA Thesis, Grunwald Art Gallery,

Bloomington, IN

Group Exhibitions

2018

Restraint and Limitation, Elder Gallery,

Nebraska Wesleyan University, Lincoln, NE

Behoven, IU Kokomo Downtown Gallery, Kokomo, IN

2017

Restraint and Limitation, George Caleb Bingham Gallery, University of Missouri, Columbia, MO

2016

Swatch, Tjaden Hall, Cornell University, Ithaca, NY Summer Invitation Exhibition, Kathryn Markel Fine Arts, New York, NY

Loose Canon, The Painting Center, New York, NY

Buckner

Lea Bult Wyly in Male: If I were a man... “I’d be the type of dude who would get in a bar fight, then go home and cuddle kittens.” | oil on panel, 36 x 36 inches

Lea Bult Zona in Male: If I were a man... “I wouldn’t have to wear underwear!” | oil on panel, 37 x 35 inches

Lea Bult Jackie in Male: If I were a man... â&#x20AC;&#x153;I would be more confident.â&#x20AC;? | oil on panel, 19 x 19 inches

Lea Bult Coloma, MI leabult@gmail.com / www.leabult.com / @leabult

b. 1982 Grand Rapids, MI

Education

2012

MFA, University of Michigan, Ann Arbor, MI

2005

BFA, Kendall College of Art and Design, Grand Rapids, MI

Residencies

2015

MacDowell Colony, Peterborough, NH

2014

Phillip C. Curtis Residency, Albion College, Albion, MI

2010

My current paintings explore gender and how our lives are constructed around expectations of it. I paint female subjects as a male version of themselves, and interview each woman about how her life would be different as a man. I am interested in this concept because there is a disconnect between male and female lived experience. Yet, somewhere in that middle ground, there is a place where we can better understand each other.

Thupelo, Cape Town and Greatmore Studios, Cape Town, South Africa

Professional Experience

2017-19 Adjunct Professor, Southwestern Michigan College,

Dowagiac, MI

2016-19 Art Instructor, Krasl Art Center, St. Joseph, MI

Solo Exhibitions

2017

Out of Sight, The OutCenter of Southwest Michigan,

Benton Harbor, MI

2014

Hidden Cargo, Bobbitt Visual Arts Center, Albion College,

Albion, MI

Group Exhibitions

2019

Breaching the Margins, Urban Institute for Contemporary Art,

Grand Rapids, MI

7th Annual Juried Competition, Bridgeport Art Center, Chicago, IL

2018

2018 West Michigan Area Juried Exhibition, Kalamazoo Institute for the Arts, Kalamazoo, MI

Art and Social Justice, Colfax Cultural Center, South Bend, IN

40th Annual Juried Competition, Midwest Museum of

American Art, Elkhart, IN

Award

2014

Awesome Grant, The Awesome Foundation

Represented by

FUN SQUAD Artist Collective, Benton Harbor, MI

Bult

Benjamin Cabral Benjamin Performing as Simon Peter and Tilikum as the Whale | beads and rhinestones on acrylic wood panel, 60 x 48 inches

Benjamin Cabral Mother Performing as Tilikum in SeaWorld on Ice | beads and rhinestones on acrylic painted wood panel, 60 x 48 inches

Benjamin Cabral Ceremonial Burial (2) | beads and rhinestones on acrylic painted wood panel, 84 x 72 inches

Benjamin Cabral Chicago, IL @benjamincabral

b. 1993 San Diego, CA

Education

2019

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

2016

BA, Point Loma Nazarene University, San Diego, CA

Solo Exhibitions

2016

Some Faces from around Here (The Paintings),

Martha Pace Swift Gallery, San Diego, CA

Open Up Your Eyes and You’ll See, Keller Gallery,

San Diego, CA

Group Exhibitions

2019

The Turf, The Research House for Asian Art, Chicago, IL

MFA Thesis Exhibition, Sullivan Gallery, Chicago, IL

Comp-art-mentalize, Andrew Rafacz Gallery, Chicago, IL

2018

I Know When Adults Art about to Cry, Sugar Space Gallery, Indianapolis, IN

Awards

2019

Dean Awards: Carrie Ellen Tuttle Fellowship,

School of the Art Institute of Chicago

2016

A painter by training, Benjamin Cabral makes work that is largely autobiographical, creating an honest yet inherently unreliable self-portrait. Cabral’s recent paintings are entirely encrusted with beads and rhinestones. They are conceived digitally, and the pixels are then transferred to the panel through a meditative application of beads. These works examine the intersections of trauma and nostalgia, joy and sorrow, and the digital and the analog. Cabral also creates sculptural works intended to be static performers engaging with the viewer.

Dean’s List: Honors Research Achievement, Point Loma Nazarene University

Cabral

Jessica Campbell The Brutal Telling | acrylic rug on panel, 36 x 48 inches

Jessica Campbell Victoria Inner Harbour | acrylic rug on panel, 36 x 48 inches

Jessica Campbell Scorned as Timber, Beloved of Sky | acrylic rug on panel, 36 x 48 inches

Jessica Campbell Chicago, IL 312.480.8390 (Western Exhibitions) www.westernexhibitions.com/artist/jessica-campbell / @zappafan2

b. 1985 Nanaimo, British Columbia, Canada

Education

2014

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

2011

BFA, Concordia University, Montreal, Canada

Solo Exhibitions

2018-19 Chicago Works: Jessica Campbell,

Museum of Contemporary Art, Chicago, IL

2018

who dis, Western Exhibitions, Chicago, IL

2016

Bria, The Sub-Mission, Chicago, IL

Group Exhibitions

2019

THIS IS SERIOUS: Canadian Indie Comics, Art Gallery

of Hamilton, Hamilton, Canada

2018

Sex, Death, and Visceral Honesty: Artworks and

Recently I have been primarily working in carpet, creating figurative works that visually mimic latch hook rugs while deviating from this precedent in their subject matter, style, and scale. These works reference craft traditions, home decor, fine art, and narrative art with an emphasis on comics. Engrained within them is a humorous tone, due to cartoony depictions and unorthodox material, though underlying this humor is often a darker subject matter that directly or indirectly references class oppression, sexual violence, gender discrimination, trauma, and other personal narratives. A conflation of these many forces is central to my work because it reflects the complexity of the human condition, which simultaneously encompasses multiple, seemingly contradictory experiences. I work as a cartoonist in addition to making studio work, and this combination of craft, fine art, and commercial art forms allows me to combine the familiar in new and unexpected ways.

Publications by Independent Women’s Comic Book Artists

from the 1960’s Underground Movement to Today,

Central Connecticut Art Galleries, New Britain, CT

Publications

2019

Jessica Campbell Cuts a Rug: Collage and Comics @ MCA Chicago,” Juxtapoz, June 17

“Jessica Campbell and the Ghost of Emily Carr,”

Hyperallergic, Febuary 14

“7 artists to watch in January 2019,” Art Space, January 3

“Cutting a Rug,” Public Radio International, January 31

“The Weight of a Line: Art and Comics,” The Seen, April 18

2018

“First Look: Jessica Campbell,” Art in America, December

“Show-Ho-Ho! Here Are 32 Inspiring Museum Exhibitions to See Across the US over the Holidays,” ArtNet, December 13

“Jessica Campbell Turns High-Tech Moments into Carpet Paintings,” Chicago Magazine

Collection

Girls’ Club Collection

Represented by

Western Exhibitions, Chicago, IL

Campbell

Caitlin Cartwright Full Stop | acrylic, latex, and collage (fashion magazine, botanical calendar, People magazine, and paper) on board, 36 x 48 inches

Caitlin Cartwright Allies | latex, acrylic, and collage (Japanese paper, National Geographic magazine, and fashion magazine) on paper, 28 x 31 inches

Caitlin Cartwright Home | acrylic and collage (fashion magazine) on board, 12 x 12 inches

Caitlin Cartwright Dayton, OH ccartwright123@gmail.com / www.caitlincartwright.com / @caitlincartwright

b. 1982 Dayton, OH

Education

2013

MA, School for International Training, Washington, DC

2005

BFA, Maryland Institute College of Art, Baltimore, MD

Residency

2011-12 Pocosin Arts, Columbia, NC

Solo Exhibitions

2018

Front Street Experience Gallery, Dayton, OH

Color or Light Gallery, Dayton, OH

2017

Caitlin Cartwright, Social Change Artist P and M Artworks,

Leedy Volkus Gallery, Kansas City, KS 2015

Art and Global Health, Family Medicine Department,

Georgetown University, Washington, DC

2012

CAS Art Space, Columbia, NC

Group Exhibitions

2019

Works on Paper, Rosewood Arts, Dayton, OH

2018

Artists at Work, Tejas Gallery, Dayton, OH

2008

Tri- Me: Artworks from Three Cities: New York City,

Philadelphia, Baltimore, Danger Danger Gallery,

Philadelphia, PA

Publications

2018

“Meet Caitlin Cartwright, Social Change Artist,”

Dayton Most Metro

2017

“Caitlin Cartwright,” KC Studio

“Caitlin Cartwright, Social Change Artist,” KC Crossroads

Locality is important to me; I rely heavily on what’s around me for content and inspiration. I have spent most of my life living in varied communities in both the US and the global South, which has helped build my visual vocabulary. My collaged materials are sourced from locally made papers, dollar store finds, and teen magazines. I work in a narrative format, focusing on snapshot moments that depict an intimate take on larger movements. From there, I build a story with the goal of tapping into commonalities that connect us and showing corners of life that aren’t often represented. I tell these stories through the lens of stylization and postcolonial slants on exoticism, which contrasts bold visuals and personalized scenes.

Cartwright

Adam Dahlstrom Swimminâ&#x20AC;&#x2122; | mixed media collage, 12 x 18 inches

Adam Dahlstrom Untitled (study in pink) | mixed media collage, 24 x 18 inches

Adam Dahlstrom Pink Pinocchio | mixed media collage, 13 x 10 inches

Adam Dahlstrom Muskegon, MIâ&#x20AC;&#x201A; amdahlstrom@yahoo.com / www.adamdahlstrom.com / @adamdahlstromart

b. 1974 Grand Haven, MI

Solo and Two-Person Exhibitions

2014

Chronicle of Walks: Adam Dahlstrom, Firebarn Gallery,

Grand Haven, MI 2013

The Art of Collaboration: Book Illustrations from Dov Talpaz

Iâ&#x20AC;&#x2122;ve been obsessed for a long time with dichotomies and balance. My recent work is about pattern versus shape, how a rigid pattern can bump up against, and interact with, more organic forms. Pattern versus non-pattern, textures versus flatness, big shapes versus small ones, one thing helping to define the other.

and Adam Dahlstrom, Holland Area Arts Council,

Holland, MI

Group Exhibitions

2018

Michigan Regional Juried Exhibition,

Muskegon Museum of Art, Muskegon, MI

The Collectors Show, Artprize Hub, Grand Rapids, MI

2017

Intimately Public, Gallery Uptown, Grand Haven, MI

2014

75th Anniversary Exhibition: West Michigan Symphony,

Muskegon Museum of Art, Muskegon, MI 2009

There and Back Again: West Michigan/New York Collective

Show, Sanctuary Art Gallery, Grand Rapids, MI 2007 2006

2 Parts Loch Hame, Hoeksema Gallery, Grand Haven, MI SELF: Portraits and Narratives, Muskegon Museum of Art, Muskegon, MI

2005

G.I.A.N.T., 555 Gallery, Detroit, MI

Dahlstrom

Faron Fiada Three Girls by the Sea | oil on canvas, 30 x 30 inches

Faron Fiada Trackstar | acrylic on hardboard, 21 x 20.75 inches

Faron Fiada Newscaster Shouting | oil and acrylic on hardboard, 21 x 21.75 inches

Faron Fiada Chicago, IL faronfiada@gmail.com / www.faronfiada.com / @faronfiada

b. 1984 Oak Lawn, IL

I try to make things that I would like to see. I want them to be original and simple and fun.

Fiada

Benjamin Frederick The Morning Knocking | oil on canvas, 30 x 36 inches

Benjamin Frederick They All Heard It but It Did Not Resonate | oil on canvas, 16 x 20 inches

Benjamin Frederick The Orange Shirt | oil on canvas, 15 x 12 inches

Benjamin Frederick Dayton, OH 937.671.4808 benfrederickart@gmail.com / www.benjaminfrederickart.com / @benfrederickart

b. 1985 Dayton, OH

Education

2018

MFA, Edinboro University, Edinboro, PA

2008

BFA, Miami University, Oxford, OH

Professional Experience

2019

Visiting Faculty, Miami University Regionals, Hamilton, OH

Solo Exhibitions

2018

Up-close, Hoyt Art Center, New Castle, PA

MFA Thesis Exhibition, Up The Staircase Daily,

Bates Gallery, Edinboro, PA

Just As It Was, Arts Council of Wayne County, Goldsboro, NC

2017

Neighborhood Views, Crary Art Gallery, Warren, PA

Group Exhibitions

2019

Juried Spring Show, Dayton Society of Artists, Dayton, OH

2017

A Legacy of Observation, Crary Art Gallery, Warren, PA

(catalogue)

2017 Regional Juried Exhibition, Hoyt Art Center,

New Castle, PA

2016

42nd Annual October Evenings, Heeschen Gallery,

Meadville, PA

Walking Through Glue, University of Montana

(online exhibition)

2014

ArtEd, Rosewood Arts Centre, Kettering, OH

Awards

2019

1st place, Juried Spring Show, Dayton Society of Artists

2018

Nominee, Dedalus Fellowship, The Dedalus Foundation

2017

Merit Award, Hoyt Regional Juried Exhibition,

Hoyt Art Center

I try to find ways to emphasize the pattern of shapes in my paintings. I start with a visual experience in the form of a memory, drawing, or photograph. The ways that marks, colors, and shapes relate to each other interest me and guide my decisions while painting. It is more important that these elements work together than that they convey a clear description of something. In some of my paintings, the depiction of figures works as a pattern that hints at the way pattern correlates with the structure of a painting. I am drawn to the potential of this structure. Recently, I was considering the flux of disorder and rearrangement of cars at a traffic light as it relates to the idea of possible combinations. I am fascinated by how the unknown intentions of the drivers have effected the resulting arrangement of vehicles. In a similar way, my initial motivations become buried but at each step inform the creation of a particular mood, movement, or excitement that I discover through my process.

Frederick

Anthony Keith Giannini Remnant (Enumerate 3) | acrylic and screenprint on canvas, 84 x 60 inches

Anthony Keith Giannini Table Top Still Life (Residuum 4) | acrylic and screenprint on canvas, 96 x 72 inches

Anthony Keith Giannini Figure in a Landscape (Room with a View) | acrylic and screenprint on canvas, diptych, overall 84 x 120 inches

Anthony Keith Giannini Detroit, MI 248.884.9014 anthonykgiannini@gmail.com / www.anthonygiannini.com / @akgenie

b. 1984 Boulder, CO

Education

2012

MFA, Rhode Island School of Design, Providence, RI

2007

BFA, Michigan State University, East Lansing, MI

Residency

2012

Denniston Hill, Woodridge, NY

Solo Exhibitions

2018

Mess Head, Diane Rosenstein Gallery, Los Angeles, CA

2015

Field Manual: Confinement and Image Violence,

Harmony Murphy Gallery, Los Angeles, CA

Group Exhibitions

2019

Chains, Central Park Gallery, Los Angeles, CA

Contemporary Visions 9, BEERS Contemporary,

London, England

Halal Metropolis, Stamps Gallery, University of Michigan,

This body of work is an inundation of repetitive imagery and doublespeak in a digital culture. Entwined by a rigorous formal complexity, the work pools the daily and temporary stock of flashing images extracted from a rapidly changing environment. Compositions for the paintings come from photographs taken of tabletop still-life arrangements that include archived news clippings and personal ephemera. These are torn, cut, and loosely placed. Cropped images are arranged into layered cells and contain a broad range of gestures related to the current political climate. Sometimes offering a nonverbal display of dominance. In Critique of the Everyday, Henri Lefebvre suggests that a work of art acts as a “play-generating yeast” in the everyday; it breaks down as it initiates a process of fermentation, agitation, and disruption.

Ann Arbor, MI 2018

Selections, Elizabeth Dee Gallery, New York, NY

2016

Flat Foldability, Harmony Murphy Gallery, Los Angeles, CA

2013

Crossing the Line, Oliver Francis Gallery, Dallas, TX

2011

Soft Machines, The Pace Gallery, New York, NY

Award

2013

MacColl Johnson Fellowship, Rhode Island Foundation

Collections

UroGen Pharma Collection

Montefiore Medical Center Art Collection

Giannini

Abrahm Guthrie Grandmaâ&#x20AC;&#x2122;s House | gouache collage on board, 14 x 18 inches

Abrahm Guthrie Country Home | gouache collage on board, 12 x 12 inches

Abrahm Guthrie Country Fireworks | oil on panel, 24 x 20 inches

Abrahm Guthrie Madison, WI abrahmguthrie@gmail.com / www.abrahmguthrie.com / @Innerearcomics

b. 1983 Portland, OR

Education

2019

MFA candidate, University of Wisconsin Madison,

Madison, WI

2013

BFA, Rhode Island School of Design, Providence, RI

Group Exhibition

2013

Wandering Planer, Fjord, Philadelphia, PA

I grew up in a small barn that the family before us had turned into a temporary house. My dad cut firewood on the weekends and taught every one of his children the importance of having two wintersâ&#x20AC;&#x2122; worth of wood carefully stacked to dry in the woodshed. My mom taught us the potential of crystals and divined our future from a deck of animal-themed tarot cards. As children we spent our lives by the creek, eating dry ramen noodles and building spaceships to leave the planet. When my parents fought we were sent to our grandmotherâ&#x20AC;&#x2122;s house. Our grandmother kept us busy feeding and grooming her varied collection of animals, which included a fox, a doe, a family of opossums, a monkey, three or four rabbits, and a multitude of cats, dogs, and chickens, to name a few. Nights there were spent listening to endless hours of dice rolling across the tablecloth and watching alien documentaries that my uncle put on to help piece together the story of his abduction.

Guthrie

Jesse L. Howard Searching for the Truth | acrylic paint and charcoal, 48 x 45 inches

Jesse L. Howard Urban Warrior Walking into the Abyss | acrylic paint and charcoal, 50 x 40 inches

Jesse L. Howard A Portrait in Self-Pride | acrylic paint and charcoal, 48 x 38 inches

Jesse L. Howard Maywood, IL jessehowardstudio@gmail.com / www.jessehowardstudio.com / @stormbeforethecrisis

b. 1949 Chicago, IL

Education

1973

BS, Ball State University, Muncie, IN

Professional Experience

2019

Guest lecture, Waubonsee Community College,

Sugar Grove, IL

Guest lecture, Northeastern Illinois University,

Chicago, IL

Solo Exhibitions

2019

The Hieroglyphics of an Urban City, Waubonsee Community College, Sugar Grove, IL

2018

The Streets Are Talking, Northeastern Illinois University,

Chicago, IL

2015

Elmhurst College, Elmhurst, IL

Group Exhibitions

2019

A Sense of Gravity, Hofheimer Gallery, Chicago, IL

Biennial Quad-State Exhibition, Quincy Art Center,

Quincy, IL

Awards

2017-

Grand Prize, Drawing Resurfaced II,

Purdue University Galleries

2015

Nominee, 3Arts Foundation

Publications

2018

“What a glorious feast for the eyes and the soul:

Black Harvest Film Festival,” Chicago Sun-TImes

2017

New American Paintings, #131

Collections

DePaul Art Museum, DePaul University

Oak Park Public Library

Through my observations, coupled with my studies within my community, I strive toward a distinctive figuration poised between portraiture and social commentary. My figures are often solitary, distorted. They speak to being disenfranchised or homeless. For being homeless is being barely visible. My subjects often deny invisibility—moving through the world armored by clothing and flesh that offer refuge and protection. When one looks at the faces, which are often looking directly at you, the work directs the viewer to acknowledge their presence and protect them from disappearing. My portraits of African-American men exist in a singular world— human and ancestral, living and sculpted—with the immediacy and economy. I use lines often found in contemporary graphics, working in tandem with gray and black washes that suggest ancient stone. Spots of color can pull one back to the current moment—the red, green, and black of black empowerment is a palette created by Marcus Garvey to give dignity to a race of people who have been denied their identity for centuries.

Howard

Dennis Michael Jones Anxiously Awaiting | acrylic, enamel, spray, and paint fragments, triptych 72 x 82 inches

Dennis Michael Jones Devolution | acrylic, enamel, and paint fragments, triptych 56 x 53 inches

Dennis Michael Jones Meltdown | acrylic, enamel, spray, and paint fragments on canvas, 68 x 72 inches

Dennis Michael Jones Plymouth, MIâ&#x20AC;&#x201A; 734.658.6504 dmjones@wowway.com / www.dennismichaeljones.space / @dennisjonesvisualartist

b. 1959 Detroit, MI

Solo Exhibitions

2018

Dennis Jones, Candyland, NCRC Galleries,

University of Michigan, Ann Arbor, Mi

2013

sometimes you might discover something beautiful,

Northville Art House, Northville, MI

2011

Sometimes, Somewhere, Somehow, Art Gallery of Windsor,

Windsor, Canada 2009

Dennis Michael Jones Paintings, OK Harris Gallery,

New York, NY

2007

Fundamental(ist), Oakland University Art Gallery,

Rochester, MI

Group Exhibitions

2018

SIX (organizer and participant), Janice Charach Gallery,

W. Bloomfield, MI

2011

Super Sized Drawing Exhibition, Mary Washington

University Art Gallery, Fredericksburg, VA

2010

Ten Years of Contemporary Art at the Oakland University

Art Gallery, Oakland University Art Gallery, Rochester, MI

The Art of the Artistâ&#x20AC;&#x2122;s Book, Oakland University Art Gallery,

The act of painting encompasses all of human expression. This is its inherent desire, which exists in the magnetism between an image and object. Painting is a synthesis of the imagination and reality, the unknowable and the known; it is a dynamic interrelationship of content and form, which provide a basis for its syntax and comprehension. The language of painting is internal, and replaces the verbal articulation of ideas, yet simultaneously it is about the concrete materiality of the object directly in front of us. Paintings operate in the interchangeable region between thinking (idea) and image (object).

Rochester, MI

Observation and Surveillance, Project Room, Lincoln, NE

2009

Nine Miles South of Eight Mile: Windsor Biennial,

Art Gallery of Windsor, Windsor, Canada

ArtPrize: Artist Dennis Jones Exhibiting and the Public Votes,

Old Federal Building, Grand Rapids, MI 2006-08 Dehuman, traveled to Thames Gallery, Chatham, Canada;

Kenderdine Art Gallery, University of Saskatchewan,

Canada, Saskatchewan; Definitely Superior Gallery,

Thunder Bay, Canada; Gallery Lambton, Sarnia, Canada; WKP Kennedy Gallery, North Bay, Canada;

Woodstock Art Gallery, Woodstock, Canada, Canada

2007

Windsor Biennial, Art Gallery of Windsor, Windsor, Canada

Jones

Mary Jones 14th Day Two | acrylic and collage on panel, 30 x 40 inches

Mary Jones 14th Day Five | acrylic and collage on panel, 30 x 40 inches

Mary Jones 14th Day Seven | acrylic and collage on panel, 30 x 40 inches

Mary Jones Indianola, IA mjonesart@gmail.com / www.maryjonesart.com / @maryjonesart

b. 1950 Kane, PA

Education

1977

MFA, Indiana University Bloomington, Bloomington, IN

1973

BFA, University of Illinois Urbana-Champaign,

Champaign, IL

Residencies

2013

Anchor Graphics, Chicago, IL

1992

The Ragdale Foundation, Lake Forest, IL

Solo Exhibitions

2019

Coddiwompling, Tory Folliard Gallery, Milwaukee, WI

2018

I Remember Everything, Moberg Gallery, Des Moines, IA

These pieces are populated with personas combining what I have seen with what I have imagined about the people I pass when walking, or the former selves I see in old haunts. Walking encounters are all about the tension between private thoughts and public spaces, found things and plans.

The Looking Dress, Art at the Café, State Historical Museum, Des Moines, IA

2015

I make maps about the wilderness of public space. The raw materials come from rambling walks punctuated by stops to draw, write, and take photos. I choose places to move through that are both familiar and strange. The resulting works layer physical geography with memories and images that come to mind from other times and places. Moving across the streetscape, details get piled on in the way that life is lived—in steps, notes, beats, breaths, words, and marks.

Along the Way, Catich Gallery, St. Ambrose University,

Gathered together, these particulars chart the desire to belong in a place.

Davenport, IA 2014

Come See the Show, Ann Nathan Gallery, Chicago, IL

Group Exhibitions

2019

Dubuque Museum of Art Biennial, Dubuque, IA

2013

The Female Gaze: Women Artists Making Their World, Pennsylvania Academy of Fine Arts, Philadelphia, PA

2011

On & Of Paper: Selections from the Illinois State Museum, Illinois State Museum Chicago Gallery, Springfield, IL

Award

2018

Iowa Arts Council Fellowship

Collections

Linda Lee Alter Collection of Art by Women,

Philadelphia Academy of Art

Chicago Public Library

Illinois State Museum

Represented by

Tory Folliard Gallery, Milwaukee, WI

Moberg Gallery, Des Moines, IA

Jones

Duk Ju L. Kim This Land Is Your Land, This Land Is My Land | oil on muslin, 72 x 72 inches

Duk Ju L. Kim Interdepartmental | oil on muslin, 52 x 62 inches

Duk Ju L. Kim Bach and Beethovenâ&#x20AC;&#x2122;s Driver | oil on muslin, 60 x 72 inches

Duk Ju L. Kim Chicago, IL 312.654.9900 (Zg Gallery) lkim8487@gmail.com / www.dukjulkim.weebly.com / @djlnda

b.1967 Busan, South Korea

Education

1993

School of the Art Institute of Chicago, Chicago, IL

1990

BFA, Rhode Island School of Design, Providence, RI

Residency

1992

Skowhegan School of Painting and Sculpture,

Skowhegan, ME

Solo Exhibitions

2019

Duk Ju L. Kim: de-skinned, Zg Gallery, Chicago, IL

2018

De-skinned: Duk Ju L. Kim: Recent Work,

Chicago Cultural Center, Chicago, IL

2013

Being Paint: Duk Ju L. Kim, Zhou B Art Center, Chicago, IL

Group Exhibitions

2019

Work at Play, Zg Gallery, Chicago, IL

2012

Chicago Connect, EFFJAY PROJEKTS Gallery, Sheboygan, WI

2008

Form and Flux, l’Orangerie, Samois-sur-Seine, France

2005

Crossing the Line, The Painting Center, New York, NY

Awards

2018

Chicago Cultural Center Honorarium,

Department of Cultural Affairs

2011

CAAP Grant, City of Chicago, Department of Cultural Affairs

2008

Vermont Studio Center Fellowship Grant,

Vermont Studio Center

2003

Illinois Arts Council Fellowship Grant, Illinois Arts Council

1993

Philip Morris Scholarship,

School of the Art Institute of Chicago

Represented by

Zg Gallery, Chicago, IL

I approach the canvas as if making a three-dimensional sculpture. I want the paint to move and shift for the viewer. I expose and intertwine the hidden with the obvious: pulling the inside out and pushing the outside in. My color palette, paint surfaces, application, and composition are manipulated to make space, to box space. I’ve lived in Chicago for over twenty years. In that time, the city’s raw and rigid buildings, streets, and people have crept into my paintings. Exposed pipes, plumbing, and wires have become part of my work. Figures are abstracted and reconstructed from flesh-colored lines. I translate and superimpose the cityscape, melding humanity into the urban environment. I’m interested in revealing the contradictory and complex elements that exist around us. Gravity, violence, grace, and beauty all coexist and can be simultaneously exquisite and perverse. Personally, the act of painting is an open and honest back-andforth conversation. The fulfillment comes when that dialogue is achieved.

Kim

Daniel Klewer Cherry Sunset on a Lavender Shore | acrylic on canvas, 48 x 36 inches

Daniel Klewer Egyptian Blue over Electric Yellow | acrylic on canvas, 16 x 16 inches

Daniel Klewer Pale Chestnut Mint Cream | acrylic on canvas, 12 x 12 inches

Daniel Klewer Green Bay, WI www.danielklewer.com

b. 1982 Milwaukee, WI

Education

2011

MA, Cardinal Stritch University, Milwaukee, WI

2006

Bachelor of Arts, University of Wisconsin–Green Bay,

Green Bay, WI

Solo Exhibition

2020

PLOCH Art Gallery, Brookfield, WI

Group Exhibitions

2019

74th Art Annual, Neville Public Museum, Green Bay, WI

Dreams, artlessBastard, De Pere, WI

39th Annual SECURA Fine Arts Exhibition,

Trout Museum of Art, Appleton, WI

Art of Water III, James May Gallery, Algoma, WI

LOCAL 920, Art Garage, Green Bay, WI

2018

David Garnett Gallery, Milwaukee, WI

2016

Small Works, Limner Gallery, Hudson, NY

Remote View, Young Space, Green Bay, WI

Award

2019

1st place, 39th Annual SECURA fine Arts Exhibition,

Trout Museum of Art

Daniel Klewer continues to celebrate his love of paint in his series Linear Tactility. The paintings all share a consistent linearly divided composition with investigations into the visual and psychological resonance of color relationships and texture. A brushless paint application dominates the paintings’ surface. The works’ unique sculpturally textured paint feels as if it is reaching off the canvas toward the viewer. Tension between surface and depth, light and material, color and texture, draw you into the paintings’ surface, while the sharp cactus-like texture pushes back.

Klewer

Chad Kouri Opportunity For Reflection (Blue) | acrylic, hand-cut vinyl, and foil on raw blue canvas on panel, 33 x 27 inches

Chad Kouri Opportunity For Reflection (Orange) | acrylic, hand-cut vinyl, and foil on raw orange canvas on panel, 44 x 36 inches

Chad Kouri Urban Forager | acrylic and hand-cut vinyl on raw canvas, 22 x 18 inches

Chad Kouri Chicago, IL 213.213.0078 (Subliminal Projects) chad@chadkouri.com / www.chadkouri.com / @chadkouri

b. 1985 Sterling Heights, MI

Solo Exhibitions

2019

The Center, Subliminal Projects, Los Angeles, CA

2017

Chad Kouri at NEIU, Northeastern Illinois University,

Chicago, IL

2014

No Wrong Answers: Paper Paintings & Various Editions,

Johalla Projects, Chicago, IL

Group Exhibitions

2018

The Terra Foundation, EXPO Chicago, Chicago, IL

2017

Sonic Arcade: Shaping Space with Sound,

Museum of Arts and Design, New York, NY

2016

Unfolded: Made with Paper, Chicago Design Museum,

Known for his vibrant, abstract compositions, Chad Kouri examines themes commonly associated with visual literacy–– specifically how we see, read, and remember the world around us. His practice is influenced by minimalism, jazz, conceptual and systematic art, design, fashion, printmaking, and the gray areas in between. His most recent works are meant to prompt introspection, inspiring a slower pace in our day-to-day lives as a form of self-care and personal grounding. His projects range in diversity from one-of-a-kind and editioned artworks to self-publishing, interactive displays, large-scale installations, curation and arts facilitation, design direction and consulting, and most recently, an exploration of painting.

Chicago, IL 2015

The Freedom Principle, Museum of Contemporary Art Chicago, Chicago, IL

2014

CyCollage, Spin, London, England

2013

10x10, Ukrainian Institute of Modern Art, Chicago, IL

2012

Studio Visit, Purdue University, West Lafayette, IN

2011

All Together Now, Vanderbilt University, Nashville, TN

2010

Don’t Piss on Me and Tell Me It’s Raining, apexart,

New York, NY

Let There Be Geo, A+D Gallery, Columbia College Chicago,

Chicago, IL

Collections

Walker Art Center

Lerner Children’s Pavilion at Hospital for Special Surgery

Chicago Design Museum

Represented by

Subliminal Projects, Los Angeles, CA

Uprise Art, New York, NY

Kouri

Alicia LaChance Vanishing Point Series 04 | mixed media, 17 x 15 inches

Alicia LaChance Vanishing Point Series 02 | mixed media, 15 x 11 inches

Alicia LaChance Vanishing Point Series 01 | mixed media, 15 x 11 inches

Alicia LaChance St. Louis, MO 314.398.9636 info@alicialachance.net / www.alicialachance.com / @alicia_lachance_

b. 1970 Webster Groves, MO

Professional Experience

2019

Public commission for a hospitality project, Singapore

2018

Public sculptural commission, Kobe, Japan

2016

Commission, Nashville, TN (lead designers Parts

and Labor Design, New York)

Commission, Chicago Athletic Association Hotel

(lead designers Roman and Williams, New York)

2011

Public art commission, Lambert International Airport, Chicago, IL

Solo Exhibition

2020

Georgia Southern University, Statesboro, GA

Group Exhibitions

2019

James Oliver Gallery, Philadelphia, PA

Dan Addington Gallery, Chicago, IL

Melanee Cooper Gallery, Chicago, IL

Collections

Twitter collection

Esteé Lauder, New York

New York University

Temple University

University California San Diego Jacobs Medical Center

Mayo Clinic

I am driven by color, process, and ideas around semiotics. The aim is for the color to respirate. I try to push experimental mediums to glow like light and really hover beyond the canvas. I hope the viewer wants to touch the work as much as see it. For years now I have been building an alphabet of abstract forms I call the Ornament of Grammar. The name is a flip on Owen Jones’s nineteenth-century survey of architectural design and ethnographic art The Grammar of Ornament. Observing twentyfirst-century graphic forms, street glyphs, emojis, and other charged forms of communicating, I pursue these paintings as if trying to find an Esperanto. Too, I have started to regard the 2D plane as an altar and have a desire to use it as a means of social amelioration.

LaChance

Gabe Lanza The Boxer | wool and silk on monkscloth, 38 x 20 inches

Gabe Lanza Favorite Sweater | wool and silk on monkscloth, 38 x 25 inches

Gabe Lanza The Fly Salesman | wool and silk on monkscloth, 40 x 26 inches

Gabe Lanza Chicago, IL 312.401.0481 gabe@gabelanza.com / www.gabelanza.com / @robotlover

b. 1977 Milwaukee, WI

Education

1999

Milwaukee Institute of Art and Design, Milwaukee, WI

Solo Exhibitions

2019

Saint Xavier University, Chicago, IL

2018

One River School, Chicago, IL

2010

Logsdon 1909, Chicago, IL

Group Exhibitions

2019

Contemporary Art Center, Peoria, IL

2018

Line Dot Gallery, Chicago, IL

2016

Gallery 1988, Los Angeles, CA

2015

Co-Prosperity, Chicago, IL

2014

Bridgeport Art Center, Chicago, IL

2012

Believe Inn, Chicago, IL

2006

Judy Saslow Gallery, Chicago, IL

The Beverly Arts Center, Chicago, IL

Cliff Dwellers Club, Chicago, IL

While drawing inspiration from my travels around the world, my interest in folk and textile art offers an aesthetic richness full of colors, narratives, and textures. Challenging the judgment that separates textiles and fine art, my new direction in fibers embraces a technique that is traditionally “craft” and pushed into other disciplines like sewing and quilting. I investigate what the practice means and how it is possible to renew this traditional craft for a contemporary audience, hoping to remove the commercial ambition often associated with rugs or carpets. Regardless of media or artistic discipline, my work is a materialization of my nostalgia for cartoons and toys of the past, blending my own delicate balance of humor, beauty, and awkwardness. As with all my work, I start with simple stories and choose a moment that freezes the dialogue, allowing the viewer to imagine what’s happening before and after.

Lanza

Nick Larsen Belongings (Queer Mountain) | foreground sculpture: bleached denim, cast urethane, cord, and latex paint, 30 x 10 x 10 inches; background painting: bleached denim, cast urethane, paper, latex paint, colored pencil, thread, and cord, 96 x 180 inches

100

Nick Larsen Belongings (Queer Mountain) (detail) | bleached denim, cast urethane, paper, latex paint, colored pencil, thread, and cord, 96 x 180 inches

101

Nick Larsen Belongings (We Found Ourselves...) (detail) | roofing paper, thread, and felt, 68 x 68 inches

102

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

b. 1982 Reno, NV

Education

2019

MFA, The Ohio State University, Columbus, OH

2007

BFA, University of Nevada, Reno, NV

Solo, Two-Person, and Collaborative Exhibitions

2018

West Ghost / Spirit Willing, Skylab Gallery, Columbus, OH (collaborative exhibition)

2017

SAME DIFF, w/ Taylor Ross, Hopkins Hall Gallery,

Ohio State University, Columbus, OH (two-person exhibition)

2015

I Wonder If I Care as Much, Oats Park Art Center, Fallon, NV

(collaborative exhibition)

Haunts or Whatever, Tahoe Gallery, Sierra Nevada College, Incline Village, NV

2012

Heavy Forever, Holland Project, Reno, NV

(collaborative exhibition)

Use Your Illusion III, McKinley Arts Center, Reno, NV

2011

Happier with Dreams than Wives, McNamara Gallery,

University of Nevada, Reno, NV

Thick Dreams, OXS Gallery, Carson City, NV

Group Exhibitions

2019

Ex:perimental; Punctu[a]tion, Urban Arts Space,

Columbus, OH

2017

Tilting the Basin: Contemporary Art of Nevada,

Nevada Museum of Art, Reno and Las Vegas, NV

2014

Bathed in Sunshine, Covered in Dust, Holland Project,

Queer Mountain is an uninhabited high-desert wilderness northeast of Death Valley, and it is difficult to see. I tried, unsuccessfully, last summer after finding it on a map while planning a road trip somewhere else. I made it to the outskirts, but an intense fire season followed by a wet winter had washed out the three roads in, and I was forced to head back the same way I came without seeing any of it. It wasn’t until much later that I started to think of this failed trip—my inability to reach this place—as an analog for a kind of fantasy tethered to landscape. The maps, site overview images, material catalogs, and fictional artifacts of my current work—all forms I discovered during the six years I worked in the archaeological field—draw out and articulate this fantasy. The desert is a place defined by what it lacks; in the no man’s land between archaeological inventory and speculative fiction, I want to mine both what’s present and visible and, more importantly, what isn’t.

Reno, NV 2013

Trespasses as Whispers, Sierra Arts Gallery, Reno, NV

Publications

2019

Belongings, artist book

2012

Banging a Dead Drum, artist book

103

Larsen

Colin Matthes Victory Feast 6 | oil on canvas, 48 x 60 inches

104

Colin Matthes Victory Feast 3 | oil on canvas, 48 x 60 inches

105

Colin Matthes Home Defense Painting: Taking Punches | oil on canvas and carved 2 x 4â&#x20AC;&#x2122;s, 39 x 35 inches

106

Colin Matthes Milwaukee, WI 414.828.6321 www.colinmatthes.com / @colinmatthes

b. 1978 Milwaukee, WI

Education

2003

MFA, University of Michigan, Ann Arbor, MI

Residencies

2019

Hotel Pupik, Schrattenberg, Austria

2013

Little Brown Mushroom Camp, St. Paul, MN

Solo and Two-Person Exhibitions

2018

Colin Matthes and Chris Smith: Total Information Objects,

Roots & Culture, Chicago, IL

Makeal Flammini and Colin Matthes: Domestic Animals, Galerie Kenilworth, Milwaukee, WI

2017

Carlos Hermosillo Alvarez and Colin Matthes:

Echoing Concerns, Charles Allis Museum, Milwaukee, WI

2015

The Almost Now, Het Bos, Antwerp, Belgium

I grew up in an old farmhouse a mile away from a village with three bars, a post office, and the World’s Greatest Junk Parade. Installing temporary electric at small-town county fairs and wiring trailer parks is how I learned to make things. My work is guided by the “potential of limited means,” which refers to the resourcefulness and improvisation necessary to solve problems with whatever is on hand: limitations become possibilities; creativity serves function. As a conceptual artist focused on drawing and painting, I am best known for instructional drawings, tactical paintings, and civically minded projects that range from group knowledge drawing sessions to solar-powered remote-control car demolition derbies. I am currently working on Tactical Paintings, a project where each work is both a painting and an object designed to perform a specific task, and Domestic Animals, a series of paintings informed by drawings made while putting my two-year-old son to bed.

Colin Matthes: Instructional and Flood Resistant Work, Bockley Gallery, Minneapolis, MN

2011

FIREDRILLTRADESHOW, Artspace Leguit,

Antwerp, Belgium

Group Exhibitions

2017

Old Glory, Mulherin, New York, NY

In Case of Emergency, Science Gallery, Trinity College Dublin, Dublin, Ireland

Award

2012

Mary L. Nohl Fund Fellowship

Publications

2016

“The Almost Now,” rooiljin

2015

“Colin Matthes, Back in Five Minutes,” De Bomen

American Artists Against War 1935–2010,

University of California Press

107

Matthes

Justin Henry Miller Dude | acrylic and aerosol on paper, 30 x 22 inches

108

Justin Henry Miller Sheâ&#x20AC;&#x2122;s Full of Surprises | acrylic and aerosol on paper, 30 x 22 inches

109

Justin Henry Miller Skullz | acrylic and aerosol on paper, 30 x 22 inches

110

Justin Henry Miller Cape Girardeau, MO 217.254.2703 (artist) / 314.696.9900 (Zg Gallery) j51loco@hotmail.com / justinhenrymiller.wordpress.com / @justinhenrymiller

b. 1980 Arcola, IL

Education

2006

MFA, University of Notre Dame, Notre Dame, IN

2003

MA, Eastern Illinois University, Charleston, IL

2002

BA, Eastern Illinois University, Charleston, IL

Professional Experience

2012-

Associate Professor/ Area Head of Painting/ Gallery

Coordinator, Southeast Missouri State University,

Cape Girardeau, MO

2007-12 Assistant Professor, University of Saint Francis,

Fort Wayne, IN

Solo Exhibitions

2018

Hustle and Glo, Bruno David Gallery, St. Louis, MO

Future Primitives, Brazosport College, Lake Jackson, TX

2016

The Fallout Kingdom, Zg Gallery, Chicago, IL

2013

Forgotten Future, Arts Council of Southeast Missouri,

Cape Girardeau, MO

2012

Beyond the Afterglow: Recent Paintings by

Justin Henry Miller, Tarble Arts Center,

Eastern Illinois University, Charleston, IL

2010

Remnants of a Radiant Tomorrow, Zg Gallery, Chicago, IL

2006

Radioactive, Aron Packer Gallery, Chicago, IL

Group Exhibitions

2019

The Chicago Imagists: Before and After,

Lubeznik Art Center, Michigan City, IN

Work @ Play, Zg Gallery, Chicago, IL

2018

Small Worlds, Bruno David Gallery, St. Louis, MO

Menagerie, Art St. Louis, St. Louis, MO

Represented by

Bruno David Gallery, St. Louis, MO

Zg Gallery, Chicago, IL

As a product of generation X, my life straddles the pre- and posttech boom. During the early part of my life, I might come across a handful of images or illustrations while researching a topic in a library or encyclopedia. Presently, the amount of images available via the Internet is seemingly infinite and sometimes overwhelming. This body of work emerges from an interest in the inundation of images and the mental layering that occurs as we experience, process, and recall them. The elements that compose these paintings are coalescing fragments that teeter between cooperation and individualism. In some instances, the interweaving layers come together to provide a greater clarity, while in others they convolute. Still, in some pieces, unique moments ultimately prevail.

111

Miller

Debo Mouloudji What We Mirror | oil on canvas, 72 x 82 inches

112

Debo Mouloudji And out of the Muck a Pearl | oil on canvas, 56 x 72 inches

113

Debo Mouloudji Full Moon in Pisces | oil on canvas, 72 x 62 inches

114

Debo Mouloudji Milwaukee, WI debom217@gmail.com / www.debomouloudji.com / @debomouloudji

b. 1990 Paris, France

Education

2021

MFA candidate, Pratt Institute, Brooklyn, NY

2015-17 The Art Students League of New York, New York, NY 2012-13 École nationale supérleure des Beaux-Arts, Paris, France 2012

BFA, Parsons School of Design, The New School,

New York, NY

Debo Mouloudji is a French-born artist whose work focuses on the hierophany of the flesh. Mouloudji always paints the model from life. It is a cardinal principle in her practice, as her portraits are emanations of the temporal and eternal. For her, painting is the binding of energy and time into form. Influenced by mythology, oneness, and anxiety in regard to our mortal existence, it is Mouloudji’s current and future hope to capture the infinite within that which is carnally bound.

2004-08 Académie de la Grande Chaumière, Paris, France

Residency

2018

77Art, Rutland, VT

Group Exhibition

2019

Rutland Studio August, 77 Gallery, Rutland, VT

115

Mouloudji

Juan Neira No Memorials for the Martyrs | treated fabrics, 42 x 25 inches

116

Juan Neira Verse#!@$! | treated fabrics, 15 x 15 inches

117

Juan Neira Because I Lack the Very Language to Articulate This Weight | concrete and treated fabrics, each 96 x 48 inches

118

Juan Neira Chicago, ILâ&#x20AC;&#x201A; 786.389.1412 neirajuanstudio@gmail.com / www.neirajuan.com / @juanneira_

b. 1992 Bogota, Colombia

Education

2019

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

Solo Exhibitions

2018

Stepping into a Personal Void, Ideobox, Miami, FL

2016

Blank Spaces, Elt Space, Miami, FL

Group Exhibitions

2019

A Body of Work, Jane Lombard Gallery, New York, NY

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

Chicago, IL

2017

Spring Collection, Brillembourg Collection, Miami, FL

2016

NADA Art Fair, Locust Projects, Miami, FL

Smash and Grab, Locust Projects, Miami, FL

Hollywoodâ&#x20AC;&#x2122;s All-Media Juried Biennial,

Art and Culture Center of Hollywood, Hollywood, FL

2015

Last Exit, Bakehouse Art Complex, Miami, FL

The overwhelming weight that one experiences while being in a state of emptiness is contradictory. How can one feel completely overwhelmed while existing in the rawness of desolation? The journey of deciphering emptiness as human experience has left me with the ungraspable obscurity of its identity: a condition that we all share yet cannot concretely articulate. I create bodies that demand attention, bodies that seduce the viewer into seeing them as artifacts of the concealed. Opulent and tragic monuments that commemorate what we cannot express with words. Testaments to the complexity of comprehending what it means to mean anything at all.

119

Neira

Garry Noland Giant Economizer, No. 1 | foamboard, spray paint, and found bed frame, 70 x 50 x 3 inches

120

Garry Noland Floor Plan | vinyl paint, corrugated cardboard, decollage, cornstarch, and plastic hook, 88 x 98 x 1 inches

121

Garry Noland Landscape with Ocean | found materials, vinyl paint, charcoal powder, and cornstarch, 44 x 19 x 3 inches

122

Garry Noland Independence, MO garrynoland@gmail.com / www.garrynolandart.com / @garry.noland

b. 1953 Rapid City, SD

Education

1978

BA, University of Missouri-Kansas City, MO

Residency

2011-13 Studio Residency Fellowship, Studios Inc., Kansas City, MO

Solo Exhibitions

2020

Shockoe Artspace, Richmond, VA

2019

Insurance, Granite City Art & Design District,

Granite City, IL

Base Materials, Cleve Carney Art Gallery, College of DuPage,

My studio practice is multidisciplinary and has included large drawings, installations, object-based sculpture, mixed media painting, and performance. The one constant is an openness to rough patches, glitches, or mistakes. The presence of “boundaries between mistakes” establishes lines and immediate contextual relationships. What goes with what? What happens on either side of a line? What’s good and who decides? Lines result from abutting elements within each piece: shape to shape, shape to overall form, and form to wall and floor. Those relationships mime our interactions with art and with each other.

Glen Ellyn, IL 2017

The Most Beautifulest Thing in the World, Tiger Strikes Asteroid, Chicago, IL

Group Exhibitions

2020

The Stubborn Influence of Painting, Boulder Museum

of Contemporary Art, Boulder, CO

2019

Parallels to a Fictional Universe, l’oiseau présente...,

Berlin, Germany

2018

UnCommon Materials, University Art Gallery, California

State University–Dominguez Hills, Carson City, CA

Made and Connected, John Michael Kohler Art Center,

Sheboygan, WI

2017

Over and Over, Glass Curtain Gallery, Columbia College,

Chicago, IL

Rough Patches and Glitter, Los Angeles Valley College,

Van Nuys, CA

SoftServe, Holiday, Los Angeles, CA

Hyperactive, Artspace, Raleigh, NC

2016

Transformers, Ruth Funk Center for Textile Arts,

Florida Institute of Technology, Melbourne, FL

Award

2013

Charlotte Street Foundation Visual Artists Fellowship 123

Noland

Tim Olson A Concessions Vendor with a Squirrel and a Starling | oil on panel, 34 x 25 inches

124

Tim Olson Exotic Pet Dealers Heading to Missouri | oil on panel, 30 x 38 inches

125

Tim Olson The Arrow Head Motel Triptych | oil on panel, 36 x 72 inches

126

Tim Olson Dubuque, IA 563.599.7560 tim@timolsonstudio.com / www.timolsonstudio.com

b. 1962 Storm Lake, IA

Education

2003

BA, Loras College, Dubuque, IA

Solo Exhibitions

2017

The Iowa State Fair Panorama (installation), Iowa State Fair, Des Monies, IA

St. Mary’s to Steeple Square, A Community Portrait, Steeple Square, Dubuque, IA

2015 2013

Millwork Portraits, Gallery C, Dubuque, IA Tim Olson: Drawings and Paintings, Craft Studio Gallery,

The paintings in this series combine regional subject matter (crime stories, landscapes, portraits) with paintings from the past. It started, in part, with a recognition of the similarity between contemporary mug shots and portraits by early Netherlandish painters, and continued from there. I tend to misinterpret or ignore symbolic details when I look at paintings from the past. I give them my own mixed-up meaning— kind of like mishearing lyrics to a song and making up your own. Through this misreading, the paintings (and songs) develop their own idiosyncratic stories. This undisciplined trait has been useful in making these paintings.

University of Missouri, Columbia, MO 2012

A City at Work: 1912 and 2012, Dubuque Museum of Art, Dubuque, IA

2009

Tim Olson, Farnham Galleries, Simpson College,

Indianola, IA

2008

A Rake’s Progress, Dubuque Museum of Art, Dubuque, IA

Group Exhibitions

2018

Photo Sensitive, Olson-Larsen Galleries, Des Monies, IA

40th Annual Rock Island Fine Arts Exhibition, FIGGE Art

Museum, Davenport, IA 2017

DuMA Biennial, Dubuque Museum of Art, Dubuque, IA

2015

Midwest Summer: Light and Warmth, Cedar Rapids, MI

2008

32nd Annual Rock Island Fine Arts Exhibition,

Augustana College Art Museum, Rock Island, IL

2007

Biennial Juried Invitational, Dubuque Museum of Art,

Dubuque, IA

31st Annual Rock Island Fine Arts Exhibition,

Augustana College Art Museum, Rock Island, IL

2006

The Nude International 2006, Lexington Art League,

Lexington, KY

127

Olson

Melissa Oresky Vegetal Entity No. 8 | acrylic and collage on linen, 24 x 18 inches

128

Melissa Oresky Vegetal Entity No. 7 | acrylic and collage on linen, 24 x 18 inches

129

Melissa Oresky Vegetal Entity No. 2 | acrylic and collage on canvas, 24 x 18 inches

130

Melissa Oresky Normal, IL melissa.oresky@gmail.com / www.melissaoresky.com / @moooooooooosky

b. 1974 Bethesda, MD

Education

2000

MFA, University of Illinois at Chicago, Chicago, IL

1996

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

In my collage-based paintings and drawings, I look to plants as subjects and positive models of how to think and act. In the sentences below, I speak equivocally about my work, my process, and plants, reflecting a desire to become a little bit more plantlike, as well as a recognition of plants as perceptive, expressive beings.

Residencies

Plant Axioms

2010

Santa Fe Art Institute, Santa Fe, NM

2000

Skowhegan School of Painting and Sculpture,

Skowhegan, ME

2008

Santa Fe Art Institute, Santa Fe, NM

Professional Experience

2012

Professor, Illinois State University, Normal, IL

Solo Exhibitions

2017

Succulent, Succulent, DEMO Project, Springfield, IL

Cultivar, K. Imperial Fine Art, San Francisco, CA

2012

Trail, Hyde Park Art Center, Chicago, IL

2011

Tangled Grounds, Elmhurst Art Museum, Elmhurst, IL

2001

12 x 12: New Artists, New Work, Museum of Contemporary Art Chicago, Chicago, IL

Group Exhibitions

2019

Collage Office (organizer and participant), The Franklin,

They are surfaceâ&#x20AC;&#x201D;sealed; porous; active. They find shape; signal; light. They are structured; ordered; muddled; distorted. They breathe; eat; and excrete constantly and all over. They touch the air and hold the ground. They fasten and extend, adding part upon part. They are articulate; reticulate; filled; directed; reflected; filtered; shadowed. They are smooth; rough-edged; shiny; grainy; grubby; multicolored; intense; dull; translucent. They are protoplasm; cellulose; water; gases; air; salts; sugars; toxins; decay. They are full; bulging; waiting; withering; moving in place; their limbs turning and circling. They are cognitive and hold memory; they catch time in layers. They think with others as themselves; they are distributed. They yield and endure; they spread.

Chicago, IL 2013

Angular Seduction, TSA New York, Brooklyn, NY

2012

New Formalisms 2, 65GRAND, Chicago, IL

2010

Where There Is, OQBO Gallery, Berlin, Germany

Collections

The Museum of Modern Art Library

Elmhurst Art Museum

131

Oresky

Stephen Proski The Slumber Party | oil and acrylic on canvas with thread, 78 x 78 inches

132

Stephen Proski Hookey | oil, acrylic, and marker on canvas, 70 x 70 inches

133

Stephen Proski The Spanish Girl in the Pink Room | oil on canvas with thread, 42 x 61 inches

134

Stephen Proski Kansas City, MO stephenproski@gmail.com / www.stephenproski.com / @stephenproski

b. 1988 San Francisco, CA

Education

2010

BFA, Kansas City Art Institute, Kansas City, MO

Professional Experience

2016-

direct support professional, Imagine That!, Kansas City, MO

Solo Exhibitions

2018

Year Zero, Gallery No One, Chicago, IL

I Think Next Week I’m Not Going to Have Any Problems, Juice Box Gallery, Kansas City, KS

2016

Sell Out Pay Rent Get Laid Feed Cat, Fort Gondo Compound for the Arts, St. Louis, MO

Group Exhibitions

2017

Charlotte Street Foundation Fellows, Nerman Museum

of Contemporary Art, Overland Park, KS

Kansas City Catch-All, Providence College, Providence, RI

2016

The Liminal and the Limitless, 50/50, Kansas City, MO

2012

Sustaining/Creating, National Gallery of Art,

Washington, DC

2011

Twenty Something, City Arts Project, Kansas City, MO

Awards

2018

ArtsKC purchase award

2017

Charlotte Street Foundation Visual Artist Award

Publications

2016

KC Studio

2015

National Endowment for the Arts

Collections

Kansas City Museum

Marion and Henry Bloch Family Foundation

My work is a response to what I see, and what I see is different from what you see. I explore the complexities of sightlessness in a sight-driven world. Squinting through the clutter and clamor of reality, my paintings reflect the whimsy and absurdity of our post-cultural landscape framed through a tinted comedic lens. Influenced by the chaos occurring in cartoons—a limitless universe without precaution or repercussion—I find logic in punchlines. Gags such as anvils dropping, painted faux tunnels, and exploding pianos inform my decision making when it comes to making a gesture. Dismal yet all at once humorous, my subject matter stems from past/present moments that haunt and eat away at me, producing a series of conundrums that writhe on the brink of a painterly language, blurring together elements of both collage and quilt–making. Compositions are cut into pieces and sewn back together by hand to create remixed arrangements. Resounding amplified lullabies under a blanket of distortion.

135

Proski

Celeste Rapone Home Studio | oil on canvas, 66 x 84 inches

136

Celeste Rapone Angel | oil on canvas, 52 x 64 inches

137

Celeste Rapone Corner Office | oil on canvas, 62 x 56 inches

138

Celeste Rapone Chicago, IL 773.278.1664 (Corbett vs. Dempsey) kate@corbettvsdempsey.com

b. 1985 New Jersey

Education

2013

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

2007

BFA, Rhode Island School of Design, Providence, RI

Solo and Two-Person Exhibitions

2019

Roberts Projects, Los Angeles, CA

Josh Lilley Gallery, London, England

2018

Everlast: Celeste Rapone and Betsy Odom,

Corbett vs. Dempsey, Chicago, IL

2017

Celeste Rapone and Jenn Smith, Julius Caesar Gallery,

Celeste Rapone’s recent paintings are about trying. Initially conceived as coping mechanisms for a possible future as a failed painter, exploring alternate endeavors that could be pursued in place of painting, these portraits now tap into consequences of exposure: humiliation, vulnerability, doubt. Rapone makes autobiographical portraits of (mostly) women in impossible positions—both anatomically and in their set of situational circumstances. Working mostly improvisationally, interrupted by moments of structure, she develops them through passages of whimsy and uncertainty—a process that greatly reflects the women they depict.

Chicago, IL

Group Exhibitions

2019

Small Painting, Corbett vs. Dempsey, Chicago, IL

Stains on a Decade, Josh Lilley Gallery, London, England

2018

Five Propositions, Roberts Projects, Los Angeles, CA

2017

8, Elizabeth Houston Gallery, New York, NY

Not Knowing, Heaven Gallery, Chicago, IL

Minds Eye I, Ed Paschke Art Center, Chicago, IL

Layer Cake, Zolla/Lieberman Gallery, Chicago, IL

Close to Me, Roots and Culture, Chicago, IL

Awards

2018

Grant recipient, Pollock-Krasner Foundation

2017

Working Artist Grant

Each painting attempts to squeeze the entire figure into the picture plane, emphasizing the discomfort of feeling fully exposed. Rapone develops these swollen compositions through a collision of unfamiliar material with relics from her personal history, perhaps straddling the line between wannabe and hasbeen. These paintings investigate the notion of trying, through depictions of grand expectations, come-downs, and reinvention—conditions that concurrently embody the process of painting.

139

Rapone

Nick Schleicher UXM-244 | acrylic, neon pigments, glazing medium, and gel gloss on panel, 36 x 26 inches

140

Nick Schleicher PBB-929 | acrylic, glazing medium, and gel gloss on panel, 36 x 26 inches

141

Nick Schleicher MKW-003 | acrylic, glazing medium, and gel gloss on panel, 36 x 26 inches

142

Nick Schleicher St. Louis, MO www.nickschleicher.com / @nickschleicherart

b. 1988 St. Louis, MO

Education

2011

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

Solo Exhibitions

2017 .skin, PLAQUE, Granite City, IL

6 paintings 9 sculptures, Grease 3, St. Louis, MO

2015

Synthesizer, Hoffman LaChance Contemporary,

St. Louis, MO

Vibration Process, The Millitzer Gallery, St. Louis, MO

Group Exhibitions

2019

Making Marks, Aupuni Space, Honolulu, HI

2018

G-CASH, Beverly (redux), St. Louis, MO

SSSS*, Gallery of Contemporary Art at Forest Park

Community College St. Louis, MO

Nail Salon, pop-up exhibition, St. Louis, MO

SHOW SHOW SHOW SHOW, pop-up exhibition,

St. Louis, MO

2017

ACLU Art Auction, Grease 3, St. Louis, MO

2016

Lot 49, The Luminary, St. Louis, MO

2015

Art:314, Contemporary Art Museum St. Louis, St. Louis, MO

Analog RAM, The Return of Active Memory, Research House for Asian Art, Chicago, IL

2014

Whitney Houston Biennial 2, Julius Caesar, Chicago, IL

Publication

2019

Nick Schleicher’s work presents a formalist interest in painting and sculpture that’s submerged in both astronomical studies and nostalgic pop fiction. His most recent body of work, Colors in Space, investigates color-field painting through the process of pulling and stacking layers of translucent acrylic glazes to create worlds of suspended color. Through the use of neon colors and iridescent buffs, these saturated and exceptionally reflective color fields bring to mind images of celestial bodies, surfaces of futuristic megaliths, or pop references. The works’ reflective and iridescent nature is meant to celebrate their surroundings. Activated by light and movement, the color fields catch reflections in their uneven surfaces and merge those surroundings with the work itself, creating an intimate experience for the viewer in a unique moment of time and space.

“Monaco Meets: Nick Schleicher,” interview with Monaco members Sage Dawson, Meghan Grubb, and Edo Rosenblith

143

Schleicher

Orkideh Torabi I asked for a hero | fabric dye on stretched cotton, 43 x 37 inches

144

Orkideh Torabi I hear you body | fabric dye on stretched cotton, 43 x 37 inches

145

Orkideh Torabi We can do it | fabric dye on stretched cotton, 48 x 60 inches

146

Orkideh Torabi Chicago, IL 312.480.8390 (Western Exhibitions) www.westernexhibitions.com/artist/orkideh-torabi / @orkidto

b. 1979 Tehran, Iran

Education

2016

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

Residencies

2017

Bemis Center for Contemporary Arts, Omaha, NE

Wassaic Residency Program, Wassaic, NY

2002

BA, Tehran University of Art, Tehran, Iran

Solo and Two-Person Exhibitions

2019

Western Exhibitions, Chicago, IL

Give them all they want, Richard Heller Gallery,

Santa Monica, CA

2018

Stacey Beach and Orkideh Torabi, Interface Gallery,

Oakland, CA

2017

Christopher Davison and Orkideh Torabi, Horton Gallery,

The primary source of inspiration for me is the current repression of women throughout patriarchal societies. Growing up, I gradually recognized how women do not benefit from the same opportunities as men in their everyday lives. Having consistently observed how many facets of society are established to favor men over women, I questioned how my life would differ if none of these boundaries existed. My work depicts scenes that women would be typically excluded from, even though it’s entirely normal for men to be doing such things—drinking, picnicking, swimming, celebrating freedom. In this repressive reality, women are limited in power. Through painting, I create a space where I can mess with these men and play with them on my own terms. I depict men as funny, cartoonish figures in decorative colors. This representation aims to mock the complex and fragile masculinity of patriarchal societies in which men control every aspect of life. I consider the advantages of being a man, while using humor to question these social norms.

New York, NY

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

2016

Western Exhibitions, Chicago, IL

Group Exhibitions

2018

Weight of a World, Weinberg/Newton Gallery, Chicago, IL

2016

Ground Floor, Hyde Park Art Center, Chicago, IL

Publications

2019

“Orkideh Torabi’s Latest Solo Show Laughs at Patriarchy,” Juxtapoz, June 19

2018

“Lapping Up NADA New York’s Lush Portraits and Giant Tongue Sculptures,” Hyperallergic, March 9

Collections

Microsoft Art Collection

Smart Museum of Art, The University of Chicago

Represented by

Western Exhibitions, Chicago, IL 147

Torabi

Jessica Westhafer Bug Eyes | oil on canvas, 48 x 45.5 inches

148

Jessica Westhafer Reflection | oil on canvas, 48 x 48 inches

149

Jessica Westhafer Butterfly Palace | oil on canvas, 60 x 74 inches

150

Jessica Westhafer Bloomington, IN jessicalynnlani@hotmail.com / www.jessicawesthafer.com / @_jessicawesthafer

b. 1990 Denver, CO

Education

2020

MFA, Indiana University, Bloomington, IN

2014

BFA, University of Arkansas, Fayetteville, AR

Solo Exhibition

2015

Plants, Patterns, and Portraits, Arsaga’s Depot,

Fayetteville, AR

Group Exhibitions

2019

Snow Day, Thierry Goldberg Gallery, New York, NY

2018

Chromatose, Gamut Gallery, Evansville, IN

2017

Red, STORY Gallery, Bentonville, AR

One Night Standard, Lalaland Studio, Fayetteville, AR

2016

WomanMade:NWA, STORY Gallery, Bentonville, AR

2014

56th Annual Delta Exhibition, Arkansas Arts Center,

Little Rock, AR

SAAC Juried Competition, South Arkansas Arts Center,

El Dorado, AR

Fibs, Half-Truths, Outright Lies, East Center Studios,

Fayetteville, AR

Ladies of DAPA Exhibition, Lalaland Studio, Fayetteville, AR

2013

Exhibition/Contemporary Representations,

East Center Studios, Fayetteville, AR

Natural Synchronicity, Arsaga’s Depot, Fayetteville, AR

Award

2019

Pygmalion’s Award, School of Art, Architecture + Design,

Indiana University Bloomington, Bloomington, IN

My paintings are both real and imagined, rooted within my memories of adolescence. I mythologize my past in my present through paint. The images in my paintings are intimate glimpses of everyday events, with characters that are both vulnerable and playful. Through a graphic style and use of vivid colors, these commonplace scenes are exaggerated while still capturing distinct human emotions. These moments are specific yet universal, and offer a humorous approach to dealing with relatable memories, fears, and desires.

151

Westhafer

Claire Whitehurst Empty Room | oil on canvas, 20 x 16 inches

152

Claire Whitehurst View of the Ocean | oil on canvas, 48 x 36 inches

153

Claire Whitehurst Between Falling and Waking | oil on canvas, 24 x 18 inches

154

Claire Whitehurst Iowa City, IA www.clairewhitehurst.com / @claire_downes

b. 1991 Baton Rouge, LA

Education

2020

MFA candidate, University of Iowa, Iowa City, IA

2017

Post-Baccalaureate Certificate, Pennsylvania Academy

of the Fine Arts, Philadelphia, PA

2015

BFA, University of Mississippi, Oxford, MS

Professional Experience

2018-20 Gallery and Exhibition Coordinator, University of Iowa,

Iowa City, IA

2017-20 Instructor of Record, University of Iowa, Iowa City, IA

Group Exhibitions

2019

Hastings College + Young Space National Juried Exhibition,

Suspended between recognizable forms and dreamt abstraction, my paintings rely on their physical surface to anchor themselves within a larger structure of color, texture, and symbol. Motifs often repeat, reflecting as mirages of themselves, tracing a bumpy line connecting the work and the images within it. The surfaces inform the images—leaving room for autonomy within the paintings, as if they’ve constructed themselves. I’m interested in the parallels between physical material and a sense of clarity and misunderstanding. I am engaged in that cloudy and lofted space where referential logic and reflective ideas conjoin. The possibility for an image to simultaneously confound and describe is what I ask of these images.

Jackson Dinsdale Art Center, Hastings, NE 2018

National Wet Paint Biennial, Zhou B. Art Center, Chicago, IL Paper in Particular National Exhibition, Columbia College, Columbia, MO

2017

Magnolia Ball, Ogden Museum of Southern Art,

New Orleans, LA

Deep Show, The Art Factory, Memphis, TN

Poly-tiks, Pennsylvania Academy of the Fine Arts,

Philadelphia, PA

2015

Legacy of a Mississippi Master, Mississippi Museum of Art,

Jackson, MS

.PNG (Portable Nature Graphics), Southside Gallery,

Oxford, MS

Award

2018

Stanley Foundation Grant for International Research

155

Whitehurst

Editorâ&#x20AC;&#x2122;s Selections

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

Ellen Hanson Afternoon Sun | oil on canvas, 48 x 72 inches

158

Ellen Hanson Lake Self-Portrait | oil on canvas, 44 x 77 inches

159

Ellen Hanson Reclining Nude @1500Tk | oil on canvas, 50 x 48 inches

160

Ellen Hanson Chicago, ILâ&#x20AC;&#x201A; ellenrhanson@gmail.com / www.ellenrhanson.com / @ellenrhanson

b. 1992 Wilmette, IL

Education

2021

MFA, Virginia Commonwealth University, Richmond, VA

2014

BA, Bennington College, Bennington, VT

Solo and Two-Person Exhibitions

2019

Hold Sway: Ellen Hanson and Aimee Beaubien,

Heaven Gallery, Chicago, IL

2018

Ellen Hanson, The Winchester, Chicago, IL

2017

My paintings are about feeling exposed and vulnerable. About watching and being watched. The subjects, ranging from myself figures excerpted from historical paintings, reality TV stars, and cam girls, are all depicted during intimate moments. These figures, usually aware of their roles, have a strong claim to agency but are unsure if their sexuality will be used against them. Taking the form of shaped canvases, my paintings mimic windows and folding screens to emphasize the illusion of the image and to stress the role of a watcher/viewer in a way that questions the nature of privacy.

Aligning the Echo: Ellen Hanson and Hannah Sawyer, Friendzone, Chicago, IL

Trace Elements: Ellen Hanson and Caroline Liu, Miishkooki, Skokie, IL

Group Exhibitions

2018

The Smile Behind the Mask, Heaven Gallery, Chicago, IL

3rd Annual Portrait Exhibition, Elephant Room Gallery,

Chicago, IL

Interiors, Happy Gallery, Chicago, IL

Bite Me, Burnette Gallery, Woodstock, NY

Cinnamon, Produce Model Gallery, Chicago, IL

2017

Text Versus Image, Beyond Studios, Brooklyn, NY

2016

Yeah Maybe #7, Yeah Maybe, Minneapolis, MN

Zephyr Projects Launch, Kinz + Tillou, New York, NY

2014

Things Have Changed Between Us, Usdan Gallery,

Bennington, VT

161

Hanson

Lynnea Holland-Weiss Around Your Ribs with Patience | acrylic and Flashe on canvas, 72 x 84 inches

162

Lynnea Holland-Weiss Dream Catchers | acrylic, Flashe, and oil bar on canvas, 78 x 96 inches

163

Lynnea Holland-Weiss Parallel Thoughts | acrylic and oil bar on canvas, 64 x 52 inches

164

Lynnea Holland-Weiss Cleveland, OH +41.22.700.51.51 (Galerie Sébastien Bertrand) info@galeriebertrand.com / www.lynneahollandweiss.com / @lynneahw

b. 1990 Berkeley, CA

Education

2013

BFA, California College of the Arts, San Francisco, CA

Solo Exhibitions

2018

The Light Knows, Siena Heights University, Adrian, MI

Flood Love, Galerie Sébastien Bertrand,

Geneva, Switzerland

2015

Unfold All Over, Space 1026, Philadelphia, PA

Group Exhibitions

2019

ArtGenéve, Galerie Sébastien Bertrand, Geneva, Switzerland

2018

Milkmade, Field Projects Gallery, New York, NY

Faux Leisure, Elephant Gallery, Nashville, TN

2017

I See You, Space 1026, Philadelphia, PA

Muscle Memory, Athen B. Gallery, Oakland, CA

2016

Up(Lyft), Otion Front Studio, Brooklyn, NY

Our Town, Richmond Art Center, Richmond, CA

Publications

2018

Field Magazine, #3

2017

Art Maze Magazine, #5

2016

New American Paintings, #127

Represented by

Galerie Sébastien Bertrand, Geneva, Switzerland

We are breathing bodies full of water, love, and heartache. My paintings address universal human experiences as we navigate the unknown, embrace one another, and search for connection and truth. The figures I paint proclaim their intimate and ripe presence. They flood the viewer with all that they know and pull us to thoroughly feel emotions that surface. I make from a very guttural and feminine perspective, in that I value emotional intelligence, complexity, and multiplicity. I want to leave ideas open-ended and gesture a thought full of questions rather than present a conclusion or explanation that becomes a crutch for viewers to lean on. In my paintings, there is a constant feeling of loss and letting go, while simultaneously a sense of expansion and being filled up. We all dance through this wave on the daily at varying scales—even our breath cycle has ebb and flow. Painting is a saturation of time. It has the ability to bring the past and future together. The figures in my paintings hold space for this.

165

Holland-Weiss

Yowshien Kuo Living with the Great Fear of the Period | acrylic and bone ash on canvas, 28 x 32 inches

166

Yowshien Kuo You Ought to Visit the Smokies | acrylic and bone ash on canvas, 28 x 32 inches

167

Yowshien Kuo I Like America and America is Liking Me | acrylic and bone ash on canvas, 36 x 32 inches

168

Yowshien Kuo St. Louis, MO albertyowshien@gmail.com / www.albertyowshien.com / @yowshien

b. 1985 St. Louis, MO

Solo Exhibitions

2019

Safety Last!, The Bermuda Project, Ferguson, MO

Too Good To Be True, LVL3, Chicago, IL

2018

A Demonstration from Fifty Percent, Putnam Center

for the Arts, Jacksonville, IL

Facts and Figures Make Liars of Those Two

Charlatanical Divines, The Millitzer Gallery, St. Louis, MO

Group Exhibitions

2019

Counterpublic, The Luminary, St. Louis. MO

Exhibition #21, G-CADD, Granite City, IL

2018

Plaid Progress, Intersect Art Center, St. Louis, MO

Paul Artspace 5 Years, Gallery 210, St. Louis, MO

I’m attracted to stories and characters presented in literature and media and use these examples as a litmus test to examine my own identity and the identity of those who occupy my environment. I apply the metaphors carried in these personas to my own dislocation and curiosities. The Chinese cowboy in American folklore, for example, has a comical and tragic irony that I enjoy.

169

Kuo

Rosie Lee Leon | acrylic, 24 x 20 inches

170

Rosie Lee Junebug | acrylic, 60 x 48 inches

171

Rosie Lee Jerome | acrylic, 40 x 30 inches

172

Rosie Lee Grand Rapids, MI rosieleeart@gmail.com / www.rosieleeart@gmail.com / @rosieleeart

b. 1978 Fort Worth, TX

Education

2020

MFA and MA candidate, Kendall College of Art and Design,

Grand Rapids, MI

2002

BA, University of North Texas, Denton, TX

Solo Exhibitions

2019

Showcase, Urban Institute of Contemporary Arts,

Grand Rapids, MI

2016

The Dandy Fresh Collection, Wunderkammer Gallery,

Fort Wayne, IN

2015

Black Faces & White Walls, Tarrant County Community

College, Arlington, TX

Dandy Fresh Pt. 2 (The Cool Kids), South Dallas

Cultural Center, Dallas, TX

2014

Dandy Fresh Pt.1, Richland College, Dallas, TX

Group Exhibitions

2019

MEGA 2019, Urban Institute of Contemporary Arts,

Grand Rapids, MI

The Grass Is Always Greener, or Green, or Verde,

Alluvium Gallery, Grand Rapids, MI

2018

Masters III: The Group Show, Alluvium Gallery,

Grand Rapids, MI

2016

Import/Export, Jennifer Ford Gallery, Fort Wayne, IN

2014

Lost Angles, Josey Records, Dallas, TX

Groceries/Fresh Produce, Delgado Studios, Dallas, TX

2012

Oak Cliff: In Transit, Oak Cliff Cultural Center, Dallas, TX

Preservation Is the Art of the City, Fort Worth Arts

Community Center, Fort Worth, TX

Award

My work revolves around narratives that reflect nostalgia and black culture. Each painting serves as a repository preserving our existence. The combination of color and scale helps figures appear regal, commanding of attention. I want viewers to make connections with my portraits as if they knew the figures personally. By applying blues, purples, and reds as undertones for skin color, or painting the eyelids a bright color to accentuate a particular mood, Iâ&#x20AC;&#x2122;m conveying a sense of presence and diversity found within black people. Also, the application of color to certain facial features confronts racist caricatures of the past. I want to color, between the lines, a new understanding of blackness in terms of a black aesthetic, one of vitality steeped in humanity and dignity.

2012-14 Teaching Artist Fellowship, Big Thought, Inc.

173

Lee

Madeleine Leplae Funky Steps | oil on canvas, 28 x 24 inches

174

Madeleine Leplae Butterflies Blue | oil on canvas, 20 x 18 inches

175

Madeleine Leplae The End | oil on canvas, 40 x 30 inches

176

Madeleine Leplae Chicago, IL madeleine.leplae@gmail.com / @madeleineleplae

b. 1994 Biarritz, France

Education

2017

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

Solo Exhibition

2018

Spare Stripes, Yours Truly, Milwaukee, WI

Group Exhibition

2019

The Red Show, Happy Gallery, Chicago, IL

My painting practice is in a direct line extending from my background in drawing. While constantly searching for and noticing line and pattern in life, the transition from research to pencil to paint has brought the images through a new filter. From butterflies and windows to calligraphy, I bring together a disparate vocabulary of imagery as subjects for my experiments in composition, painting technique, and color.

177

Leplae

Pricing

Prices published here, for the most part, represent the current price for a work established by the artist or his/her gallery. If a work has been sold prior to publication and a price is shown here, it represents the price the work would command if it were available at the time this book is produced (August - September 2019).

Herman Aguirre p16 POR p17 POR p18 POR

Dennis Michael Jones p72 $13,500 p73 $9,500 p74 $11,000

Melissa Oresky p128 $2,200 p129 $2,200 p130 $2,200

Allan Bennetts II p20 NFS p21 NFS p22 NFS

Mary Jones p76 $2,400 p77 $2,400 p78 $ 2,400

Stephen Proski p132 $3,500 p133 $1,875 p134 $2,100

Kristian Alanson Bruce p24 POR p25 POR p26 POR

Duk Ju L. Kim p80 $12,000 p81 $8,500 p82 NFS

Celeste Rapone p136 POR p137 POR p138 POR

Anna Buckner p28 $500 p29 $500 p30 $500

Daniel Klewer p84 NFS p85 NFS p86 NFS

Nick Schleicher p140 $2,000 p141 $2,000 p142 $2,000

Lea Bult p32 NFS p33 NFS p34 NFS

Chad Kouri p88 $2,800 p89 NFS p90 $1,400

Orkideh Torabi p144 $5,000 p145 $5,000 p146 $8,000

Benjamin Cabral p36 $3,800 p37 $ 3,800 p38 $4,500

Alicia LaChance p92 $1,700 p93 $1,200 p94 $1,200

Jessica Westhafer p148 $4,000 p149 $4,500 p150 $6,500

Jessica Campbell p40 $4,000 p41 $4,000 p42 $4,000

Gabe Lanza p96 POR p97 POR p98 POR

Claire Whitehurst p152 NFS p153 $4,000 p154 $2,000

Caitlin Cartwright p44 $1,200 p45 $1,200 p46 NFS

Nick Larsen p100 NFS p101 NFS p102 NFS

Adam Dahlstrom p48 $1,200 p49 NFS p50 $800

Colin Matthes p104 $4,500 p105 $4,500 p106 $2,600

Faron Fiada p52 $5,500 p53 $3,500 p54 $3,500

Justin Henry Miller p108 $1,600 p109 $1,600 p110 $1,600

Benjamin Frederick p56 $1,200 p57 $360 p58 $200

Debo Mouloudji p112 $18,000 p113 $15,000 p114 $14,000

Anthony Keith Giannini p60 $13,500 p61 $NFS p62 $27,000

Juan Neira p116 $1,300 p117 $800 p118 $6,000

Abrahm Guthrie p64 NFS p65 NFS p66 $1,200

Garry Noland p120 $10,000 p121 $12,000 p122 NFS

Jesse l Howard p68 $3,500 p69 $3,500 p70 $ 2,000

Tim Olson p124 $4,000 p125 NFS p126 NFS

178

Ellen Hanson p158 NFS p159 NFS p160 $2,500 Lynnea Holland-Weiss p162 POR p163 POR p164 POR Yowshien Kuo p166 NFS p167 NFS p168 NFS Rosie Lee p170 $1,700 p171 $3,000 p172 $2,000 Madeleine Leplae p174 NFS p175 NFS p176 NFS

$20