New American Paintings Pacific Coast #145 by newamericanpaintings

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New American Paintings

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Recent Jurors: Nora Burnett Abrams

Arnold Kemp

Museum of Contemporary Art Denver

School of the Art Institute of Chicago

Bill Arning

Miranda Lash

Contemporary Arts Museum Houston

New Orleans Museum of Art

Janet Bishop

Al Miner

San Francisco Museum of Modern Art

Museum of Fine Arts, Boston

Staci Boris

Dominic Molon

Elmhurst Art Museum

RISD Museum of Art

Nina Bozicnik

Sarah Montross

Henry Art Gallery

deCordova Sculpture Park and Museum

Steven L. Bridges

René Morales

Eli and Edythe Broad Art Museum

Pérez Art Museum Miami

Dan Cameron

Barbara O’Brien

Orange County Museum of Art

Kemper Museum of Contemporary Art

Cassandra Coblentz

Valerie Cassel Oliver

Independent curator

Virginia Museum of Fine Arts

Eric Crosby

Katie Pfohl

Walker Art Center

New Orleans Museum of Art

Susan Cross

Raphaela Platow

MASS MoCA

Contemporary Arts Center, Cincinnati

Dina Deitsch

Monica Ramirez-Montagut

deCordova Sculpture Park and Museum

San Jose Museum of Art

Lisa Dorin

Veronica Roberts

Williams College Museum of Art

Blanton Museum of Art

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Lisa D. Freiman

Alma Ruiz

Institute for Contemporary Art,

Museum of Contemporary Art, Los Angeles

Virginia Commonwealth University

Kelly Shindler

Evan Garza

Contemporary Art Museum St. Louis

Blanton Museum of Art

Anna Stothart

Rita Gonzalez

The Institute of Contemporary Art/Boston

Los Angeles County Museum of Art

Catherine Taft

Alison Hearst

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Modern Art Museum of Forth Worth

Julie Rodriguez Widholm

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

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Museum of Contemporary Art Chicago

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PRINTED IN KOREA All rights in each work of art reproduced herein are retained by the artist. Front cover: Mulleady, p118

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Editor’s Note

As I am writing these words, we are still in the middle of the

many have the impression that New American Paintings is a large

COVID-19 pandemic, and parts of the United States are, unfortunately,

publishing company with vast resources; nothing could be further

heading in the wrong direction. Over the past several months, our

from the truth. From the publication’s inception, it has been tended

lives have changed in ways that we could scarcely have imagined

over and published by a small and committed group of individuals, and

even a short time ago. As we all started coming to terms with the new

COVID took a good swipe at us as well. Because of the economic impact

normal of COVID, the brutal killing of George Floyd ignited the ever-

and scheduling constraints caused by COVID, we were forced to make

smoldering embers of racial injustice in our country and sent tens

the tough decision of releasing three issues of New American Paintings

of thousands into the streets demanding change to the deep-rooted

in digital form only. This, unfortunately, leaves a gaping hole in our

and systemic inequities that have plagued the United States since its

twenty-five-year printed history, but was a necessary sacrifice in the

origins. The year 2020 has turned into one like no other in our national

interest of keeping the project moving forward. (The affected issues

history.

are no. 145, which you are currently reading, no. 143, and no. 144. If you want to access either issue, simply go to www.issuu.com/store/

In the midst of all of this, artists––and the many individuals and

code and use offer code YAQBP9HF for no. 143 and SS484GZS for no.

organizations that support their efforts––have been forced to find

144.) To help soften the blow, we made these three issues available to

new ways to sustain and nurture those parts of our culture that are

the world for free, and I am happy to say that thousands have taken us

essential yet so easily left to simmer on the back burner. There is

up on the offer. (As a special note to our paid subscribers: These free

no way to put it lightly: The art world is in trouble. Without adequate

issues will NOT count toward your subscription. You will still receive

resources, the ramifications for artists, galleries, museums, and

the number of printed magazines you paid for, beginning with no. 146,

numerous other cultural institutions are dire, if not existential. Given

which has been presided over by the preeminent critic Jerry Saltz.)

the focus of New American Paintings on emerging artists, I am most concerned with those who are at the lower end of the art world’s

The juror for this issue of New American Paintings is Christine Y.

strata. All of that having been said, it has been extraordinary to see

Kim, Curator of Contemporary Art the Los Angeles County Museum

the generosity and creativity that so many have drawn on to keep the

of Art, who selected a very strong group of artists. Our cover artist,

wheels of culture turning. I have no idea what the art world will look

Jill Mulleady, is now internationally recognized and was included

like in twelve months, but I am hopeful that the efforts of a lot of smart

in the 2019 Venice Biennale. Veterans Amir H. Fallah and Alejandro

and dedicated people will blunt the damage.

Cardenas both keep pushing their respective practices in good directions. In terms of emerging artists, there are plenty to consider,

At New American Paintings we have, at a safe social distance,

including Alec Egan, Grace Lynne Haynes, Tahnee Lonsdale, Lilian

been doing everything we can to help artists and our other colleagues.

Martinez, and Christine Tien Wang, all of whom are quickly gaining

Because the magazine has been around for a quarter of a century,

attention.

Fallah p54

Egan p48

Haynes p66

Lonsdale p190

Martinez p98

Wang p154

As in years past, artists working in the Los Angeles area dominated the applicant pool, and roughly 50 percent of the artists featured in these pages call the city their home. The past decade has been a time of extraordinary growth for LAâ&#x20AC;&#x2122;s art scene. The city now boasts dozens of respected gallery programs, and as of 2019 has an international art fair in the form of Frieze LA. This positive trajectory has, of course, been threatened by COVID-19 and its attendant economic fallout. In response to the crisis, LA galleries, from the biggest to the smallest, banded together to form Gallery Platform LA (www.galleryplatform.la). It is one example of the forward-thinking ways in which the art world is responding to the new normal, and it gives me great hope that collectively we will find ways to make it through this difficult time and thrive in the future. From all of us at New American Paintings, please stay safe and healthy. n Enjoy the issue. Steven Zevitas Publisher & Editor New American Paintings

Alvarez p173

Contents 8

Editor’s Note Steven Zevitas

Noteworthy

Winners: Juror’s Selections

Juror’s and Editor’s Picks

170 196

Winners: Editor’s Selections Pacific Coast Competition 2019

Pricing Asking prices for selected works

Pacific Coast Competition 2019

145 December/January 2020

Noteworthy:

Amir H. Fallah

Juror’s Pick p52

Amir H. Fallah is best known for his vibrant, ornate, and dynamic figurative and still-life paintings. His canvases at once digest his own immigrant experience, interrogate systems of representation, and celebrate hybridity through the layering of color, pattern, and motif. The shrouded or veiled subjects are particularly resonant, capitalizing on ambiguity, tension, and even decoration. In a recent interview, he explained, “For a long time, I didn’t make any work dealing with social issues, but in the last year, it’s the only thing I can think about; it’s at the forefront of my mind.” These timely and evocative new works speak to an urgency and force palpable in the work. n

Jill Mulleady

Editor’s Pick p116

I first encountered Mulleady’s work in a 2015 group exhibition, and she had me at hello. There is an air of mystery, a sort of achy quietude, that pervades her work. She conjures this mood with both a sophisticated, nuanced handling of paint and an instinctual sense of her chosen subjects. Like many artists, Mulleady draws imagery from art history, popular culture, and personal experience, yet there is never anything forced or mechanical about these juxtapositions; it is as if she had the ability to seamlessly layer multiple temporalities into one cogent moment. n

Winners: Pacific Coast Competition 2019 Juror: Christine Y. Kim, Associate Curator of Contemporary Art, Los Angeles County Museum of Art, Los Angeles, CA

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 p196.

Misia Armstrong Begin Again | acrylic on wood, 4 x 11.5 x 4 inches

Misia Armstrong I Am You | acrylic on wood, 7 x 7 x 4 inches

Misia Armstrong Start Forever, Infinity to Go | acrylic on wood, 20 x 16.5 x 4 inches

Misia Armstrong Los Angeles, CA misiaarmstrong@gmail.com / www.misiaarmstrong.com / @takingtigermtn

b. 1985 Tychy, Poland

Education

2012

BFA, School of the Art Institute of Chicago

The main theme of my work is personal wayfinding. Self-trust and self-belief. Nature being the only relevant point of comparison, the only source for the guidelines and answers, being always around us and within us. Cultivating a childlike mindset is an imperative part of this. Unselfconscious expression and self-love, openness to possibilities, embracing uncertainties, spontaneity, hope, and focus on what feels good. Never feel old! Stay out of worry! Be not discouraged! There are still good times to be had!

Armstrong

Tamera Avery Red Glove | oil on canvas, 20 x 16 inches

Tamera Avery Rat Tales | oil on canvas, 24 x 18 inches

Tamera Avery Winterâ&#x20AC;&#x2122;s End | oil on canvas, 84 x 148 inches

Tamera Avery San Francisco, CA 833.278.5683 (Jen Tough Gallery) tamiavery2217@comcast.net / www.tameraavery.com / @tameraavery

b. 1957 Orange, CA

Education

1987

BS, University of California, Berkeley, CA

Solo and Two-Person Exhibitions

2019

Hell’s Valley, Jen Tough Gallery, Benicia, CA

Split Screen, w/ Deborah Oropallo, GearBox Gallery,

Oakland, CA

2018

Off the Rails, Merced College Art Gallery, Merced, CA

2017

Off the Rails, GearBox Gallery Inner Room, Oakland, CA

Group Exhibitions

2019

Art Market San Francisco, Jen Tough Gallery,

San Francisco, CA

Wild Things, Jen Tough Gallery, Pop-up Exhibition,

San Francisco, CA

Switching Gears, Axis Gallery, Sacramento, CA

2018

Salon at the Triton Competition, Triton Museum,

Santa Clara, CA

After Dark, Arts Benicia, Benicia, CA

Art Santa Fe, Jen Tough Gallery, Santa Fe, NM

Awards

2018

First Place, Crocker Kingsley Art Competition,

Blue Line Art, Roseville, CA

First Finalist Painting, Salon at the Triton Competition,

Triton Museum, Santa Clara, CA

2017

First Place Painting, Salon at the Triton Competition,

Triton Museum, Santa Clara, CA

Represented by

Jen Tough Gallery, Benicia, CA

My work is a celebration of youth, where the young are the champions of change in flawed social, political, and environmental landscapes. Faced with ever-mounting global change, the young have the knowledge to understand what is at stake and—with their increasingly powerful voices—the ability to rearrange the balance of power. To shift this balance visually, my subjects wear masks and costumes that augment their agency and the space they take up. Originally prompted by folk carnivals celebrating the arrival of spring, I employ found images and objects along with homemade costumes to portray figures modest in composition but heroic in execution. Through a process starting with collage, isolated images function as vocabulary, deconstructing visual truths and reconstructing them into stories that call for action. Using imagery from the White House to Chernobyl, icebergs to abandoned ships, I work at the intersection of the current reality and the possibility of change to tell a story of hope in a landscape of despair—with armor-clad youth standing in the path of destruction.

Avery

Alejandro Cardenas Nelica, Aleida, and Lucia | watercolor, gouache, and acrylic on canvas, with zebrawood artistâ&#x20AC;&#x2122;s frame, 24 x 20 inches

Alejandro Cardenas Suspended in the Vision of the Stoneman | watercolor, gouache, and acrylic on canvas, with zebrawood artistâ&#x20AC;&#x2122;s frame, 40 x 30 inches

Alejandro Cardenas Facing the Final Secluded | watercolor, gouache, and acrylic on canvas, with zebrawood artistâ&#x20AC;&#x2122;s frame, 40 x 40 inches

Alejandro Cardenas Los Angeles, CA 310.838.2770 (Anat Ebgi) studio@ars-ac.com / www.anatebgi.com/cpt_ae2s/alejandro-cardenas / @a.cardenas

b. 1977 Santiago, Chile

Education

2000

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

Solo Exhibitions

2019

ANTARCTICA, Harper’s Books, New York, NY

Calusa Garden, Anat Ebgi, Los Angeles, CA

2009

Narcomedusa, James Fuentes, New York, NY

2008

Arctic Cross, James Fuentes, New York, NY

Group Exhibitions

2009

The Group from Here, Bas Fisher Invitational, Miami, FL

2006

Left Behind, Hesperides, and ..., Sandroni Rey,

Los Angeles, CA

The Seventh Side of the Die, Alona Kagan Gallery,

New York, NY

2005

Fine Line, Adam Baumgold Gallery, New York, NY

Desired Constellations, Daniel Reich Gallery,

New York, NY

2003

Rectilinear Field, Rivington Arms, New York, NY

2002

Shallow Interiors Drawings, Marc Foxx Gallery,

Los Angeles, CA

Publications

2009

Alejandro Cardenas’s work depicts fluid and graphic characters populating verdant landscapes and dreamlike interiors. Humanoid, at times monstrous, subjects shapeshift, sublimate, and pose in various states of fluctuating energy—lounging on furniture, performing acrobatics, embracing one another. Cardenas pays special attention to tangential lines, repeated angles, and tessellations in each evocative figure, producing iconic—almost hieroglyphic—scenes. The artist grounds these figures within the impressionistic depth of his compositions, but by contrast their silhouettes are bound in flat space, filled with undulating patterns or an inky blackness. The mysterious world depicted is simultaneously organic and cosmic, built up with layers of watercolor, gouache, and acrylic, heightening the sense of hybridity. Along with surrealist painters such as Max Ernst, Wilfredo Lam, and Roberto Matta, Cardenas shares the desire to look inward—to collect drips of the subconscious leaking through the cracks of dreams—collapsing past and future, flatness and dimensionality.

Sarah Douglas, “Liste: Quality Uneven but Spirits High,” Artinfo.com, June

2008

Holland Cotter, “Lower East Side: Art Shoehorned

Amid Charm,” New York Times, November

2003

Roberta Smith, “Art in Review,”

New York Times, February

Represented by

Anat Ebgi, Los Angeles, CA

Cardenas

Alejandro Cardenas | Facing the Final Secluded (detail)

Anthony Bradford Ciarlo Ooh La La | oil crayon on paper, 30 x 44 inches

Anthony Bradford Ciarlo Out and About and Feeling Good | oil crayon on paper, 30 x 44 inches

Anthony Bradford Ciarlo The Great Stench | oil crayon on paper, 30 x 44 inches

Anthony Bradford Ciarlo Los Angeles, CA 310.245.5720 anthony.bradford.ciarlo@gmail.com / www.anthonyciarlo.info

b. 1984 Los Angeles, CA

Education

2019

MFA, California State University, Northridge, CA

2012

BFA, Otis College of Art and Design,

Los Angeles, CA

Solo Exhibitions

2019

Detox Drawings (I flit, I float, I fleetly flee, I fly), The Shed Gallery, California State University, Northridge, CA

Group Exhibitions

2019

In the Garden, Honest Labor, Los Angeles, CA

Garbage Pail Kids, TopaintersTopaintings,

online exhibition

MA/MFA Graduate Exhibition, California State University,

Northridge, CA

CSUN: Drawing Now, West Gallery, California State

University, Northridge, CA

2018

Shoes, Bendix Building, Los Angeles, CA

Easy Winds, Honest Labor, Los Angeles, CA

Awards

2017

The John Baldessari Family Foundation Art Scholarship

An ant perched on an anthill, looking yonder while the sun sets, has a relationship contingent on that hill; it comprises the labor and time to build it and the births and deaths of ants in the process. Most notable is the antsâ&#x20AC;&#x2122; relationship to the earth, what the earth provides and takes away from them. My methods of making approach concept through the same lens as that ant. My relationship with the work, through the act of making it, and the energy and time required, establishes many codependent interrelationships of materiality, form, content, and the body, all situated on the ground, just like the ant on an anthill. Spaciousness, room to breathe, freedom to go where I please; I seek a nomadic life of sorts. Through my quest, and fully equipped with unanswerable questions, I obsessively venture toward that pleasantly elusive horizon line, where the unknown can be magical, scary, sincere, or a complete disaster. Getting lost in its vastness, I find creatures that become my friends.

Ciarlo

Kathryn Clark Before/After Night Sky of Aleppo, Syria | embroidery and acrylic on linen, 48 x 48 inches

Kathryn Clark By Land | hand embroidery on cotton organdy, 58 x 60 inches

Kathryn Clark Shelter Structure (Al Zaatari Refugee Camp) | hand embroidery and watercolor on Tyvek and cotton organdy, 59 x 46 inches

Kathryn Clark San Francisco, CAâ&#x20AC;&#x201A; 415.335.0753 kathryn@kathrynclark.com / www.kathrynclark.com / @kathrynclarksf

b. 1971 Knoxville, TN

Education

1997

BS, San Jose State University, San Jose, CA

Solo Exhibitions

2018

Refugee Stories, Riverside Museum of Art, Riverside, CA

2017

Kathryn Clark: Refugee Stories, Mule Gallery,

San Francisco, CA

Group Exhibitions

2019

Connections: Contemporary Craft at the Renwick Gallery,

The Smithsonian American Museum of Art

Renwick Gallery, Washington, DC

2018

Landscapes, Crafted, Society of Arts + Crafts, Boston, MA

Making Change: The Art and Craft of Activism, Museum of Design/Atlanta, Atlanta, GA

2017

Storyline, Houston Center for Contemporary Craft,

Houston, TX

The Embedded Message: Quilting in Contemporary Art,

Visual Arts Center of Richmond, Richmond, VA

Shelter: Crafting a Safe Home, Society for

Contemporary Art, Pittsburgh, PA

2016

In Remembrance: People, Time and Places, San Francisco

I use traditional textile mediums to reflect current global crises. This approachable medium presents the viewer with facts they might prefer to conveniently ignore. What at first seems beautiful, upon further investigation reveals a darker tale. My artwork questions the long-range implications these issues have on our environment, society, and economics. I use investigative journalism, historical research, infographics, and mapping to inform the work. I compose and relay these stories onto cloth, creating a historical document of our times. Inspired by the historical storyboard of the Bayeux Tapestries, Refugee Stories is a series of embroidery panels that follow the journey of the Syrian refugees into Europe. The monumental scale of the mass migration is documented at various points along the refugeesâ&#x20AC;&#x2122; journey out of Syria and into Western Europe. Each point along their journey is affected by geography, whether sea, pastoral farmland, or war-torn desert. Using international news stories, Google Earth, and numerical data from the United Nations, each panel pieces together the journey in one geographic map.

Center for the Book, San Francisco, CA 2016

Publications Ramona Barry and Rebecca Jobson, The Handmade Life: A Companion to Modern Crafting, Thames & Hudson

Mary Worrall, Lynne Swanson, and Beth Donaldson,

Marsha MacDowell, Quilts and Human Rights,

University of Nebraska Press

2015

Nora Atkinson, Craft for a Modern World: The Renwick

Gallery Collection, GILES

Collections

The Smithsonian American Museum of Art

International Quilt Study Center & Museum

American Civil Liberties Union

Clark

Bailey Davenport After That I Couldnâ&#x20AC;&#x2122;t Dance Anymore | oil on canvas, 46 x 72 inches

Bailey Davenport Portrait of Tarana Burke, Founder of the Me Too Movement | oil on canvas, 46 x 72 inches

Bailey Davenport He Was My Daddy, of Course I Loved Him | oil on canvas, 46 x 46 inches

Bailey Davenport San Diego, CA baileyrdavenport@gmail.com / www.baileyrdavenport.com / @baileyriverss

b. 1990 St. Louis, MO

Education

2019

University of San Diego, San Diego, CA

2012

Webster University, St. Louis, MO

Residency

2017

Studio Residency, Vermont Studio Center, Johnson, VT

Group Exhibitions

2019

Every Woman Biennial, Bendix Building, Los Angeles, CA

Tunnels and Bridges, Universidad de Guadalajara,

Guadalajara, Mexico

2018

The Last Resort, The Main Gallery, San Diego, CA

2015

Reject Show, The Living Gallery, Brooklyn, NY

Handheld Film Festival, Knoxville Museum of Art,

Knoxville, TN

2013

Choice Art, Contemporary Art Museum, St. Louis, MO

She Speaks Art, The Factory, St. Louis, MO

I produce paintings, videos, and performances that explore cultural identity and the politics of memory. Recently, in the series Testify! I paint portraits of publicly recognized survivors of sexual violence in the act of testifying to their experiences. As a survivor of childhood sexual abuse, I hope to construct a sense of solidarity and community among sexual violence survivors through the use of speculative nonlinear narratives that are part documentation and part call to action.

Davenport

Kyle Austin Dunn Agitated Surface | acrylic on canvas, 60 x 42 inches

Kyle Austin Dunn Chromatic Apathy | acrylic on canvas, 60 x 42 inches

Kyle Austin Dunn Four Imprints and a Compromised Suggestion | acrylic on canvas, 60 x 42 inches

Kyle Austin Dunn Oakland, CA studio@kyleaustindunn.com / www.kyleaustindunn.com / @kkyleddunn

b. 1987 Daytona Beach, FL

Education

2012

MFA, University of California at Davis, CA

2010

BFA, University of Florida, Gainesville, FL

Solo and Two-Person Exhibitions

2020

Captive Reflex, Gallery 16, San Francisco, CA

2019

Buzz, First Amendment Gallery, San Francisco, CA

2018 2014

Back and Forth: Collaborative Paintings, w/

Mathew Zefeldt, Hap Gallery, Portland, OR

Group Exhibitions

2019

Soft Opening, Galerie Robertson Arès, Montreal, Canada

Spraybows, Flowers Art Gallery, Oakland, CA

2018

Trinary, Gregory Kondos Gallery, Sacramento City College, Sacramento, CA

2017

Axis Picks, Axis Gallery, Sacramento, CA

Orium: An Art-Making Fundraiser, Aggregate Space

Gallery, Oakland, CA

2016

Headlands Center for the Arts Benefit Auction, Fort Mason

Center, San Francisco, CA 2014

Omnis International, Minan Gallery, Los Angeles, CA

2013

Present Tense, Headlands Center for the Arts,

Sausalito, CA

2012

SCOPE Miami 2012, Circuit 12 Contemporary at SCOPE,

Miami, FL

Illusion of Control, w/ Paul Taylor, Jackknife Studios, Oakland, CA

I explore and uncover biases through the digitally influenced presentation of an archaic medium. The paintings utilize layers of overlapping lines to create complex distortions—densely stacked and subtly interwoven nests from which suggested forms bulge and flex. Unlike conventional op aesthetics, these works trade in order and cleanliness for something more chaotic, mitigating their graphic nature. What is a line? The question is repeatedly brought up and investigated in the works. On a canvas versus in three-dimensional space, these interpretations diverge and conflate. There is a certain obsession with the simplicity of lines and how subtle changes or repetitions can greatly affect their singular translations. The rhythmic ways that a network of lines can function visually is similar to individuals in a community. A focused interest is exploration of how groups of lines blend in or flow gracefully in relation to surrounding layers (synchronization) versus those that disrupt or standout (dissonance). The intended experience of this visual seesaw is jumbled stimulation that both tranquilizes and disturbs, confusing our evocative response.

What we can’t see but want to see is art, Pro Arts

Gallery, Oakland, CA

Lightning Strikes Twice, Circuit 12 Contemporary Gallery, Dallas, TX

Dunn

Alec Egan Room | oil on canvas, 72 x 60 inches

Alec Egan Living Room | oil on canvas, 96 x 72 inches

Alec Egan Bathroom | oil on canvas, 72 x 60 inches

Alec Egan Los Angeles, CA https://anatebgi.com/cpt_artists/alec-egan / @alec.egan

b. 1984 Los Angeles, CA

Education

2013

MFA, Otis College of Art and Design, Los Angeles, CA

Residencies

2016

DNR Residency, Provincetown, MA

2015

Millwork Residency, Dubuque, IA

Solo Exhibitions

2019

Pets, Charles Moffett, New York, NY

Living Room, Dubuque Museum of Art, Dubuque, IA

2018

Viewing Room, Anat Ebgi, Los Angeles, CA

2017

Welcome Home, California Heritage Museum,

Los Angeles, CA

Group Exhibitions

2019

The Conversation, Anat Ebgi at Minnesota Street Project,

San Francisco, CA

2016

Memory Theater, Upfor Gallery, Portland, OR

2015

Sincerely Yours, Torrance Art Museum, Torrance, CA

Publications

2019

“Alec Egan at Anat Ebgi,” Patron Magazine, April

2018

Fragmented and yet fully whole, Alec Egan tackles the psychology of the domestic interior through a maze of lushly wallpapered rooms. Blooming flower arrangements, a window, a rug, a painting-within-the-painting: these are the clues presented in Egan’s blueprint key, allowing the viewer to map this imaginary home. The indulgent use of oil paint creates textures imbued with a cognitive power, the flatness of the patterns complemented by raised brushstrokes seemingly pushing and pulling one’s gaze. Thick impasto accentuates the dapples found in the floorboards or drywall of this home, the overwhelming quality of Egan’s playful patterns bordering on abstraction through Rococo-esque embellishment.

“Vividness in Alec Egan’s ‘Viewing Room,’ at Anat Ebgi, Los Angeles,” ArtInfo

Collections

2016

Sanders Collection, Berlin, Germany

2009

Key Brand Entertainment, London, England

Represented by

Anat Ebgi, Los Angeles, CA

Egan

Alec Egan | Room (detail)

Amir H. Fallah A Path Set in Stone | acrylic on canvas, 68 x 96 inches

Amir H. Fallah Scales of Justice | acrylic on canvas, 48 x 72 inches

Amir H. Fallah Remember Now Be Here | acrylic on canvas, 72 x 96 inches

Amir H. Fallah Los Angeles, CA 310.281.0961 (Shulamit Nazarian) studio@amirhfallah.com / www.amirhfallah.com

b. 1979 Tehran, Iran

Education

2005

MFA, University of California, Los Angeles, CA

Solo Exhibitions

2020

Scatter My Ashes on Foreign Lands, Museum of

Contemporary Art Tucson, Tucson, AZ

2019

What It Means to Be an American, South Dakota Art

Museum, South Dakota State University, Brookings, SD

2018

How Far Weâ&#x20AC;&#x2122;ve Come, Denny Gallery, New York, NY

2017

A Stranger in Your Home, Shulamit Nazarian,

Los Angeles, CA

Unknown Voyage, Schneider Museum of Art, Ashland, OR

Faded, San Diego Art Institute, San Diego, CA

Awards

2021

Los Angeles Arts Commission, Los Angeles, CA

2019

COLA Individual Artist Fellowship

2018

Pow Wow Antelope Valley, Museum of Art and History,

Lancaster, CA

Northern Trust Purchase Prize, Expo Chicago, Chicago, IL

2015

Amir H. Fallah creates paintings, sculptures, and installations that utilize personal history as an entry point to discuss race, representation, the body, and the memories of cultures and countries left behind. Through this process, the artistâ&#x20AC;&#x2122;s works employ nuanced and emotive narratives that evoke an inquiry about identity, the immigrant experience, and the history of portraiture. Fallah interrogates systems of representation embedded in the history of Western art. Portraits of veiled subjects capitalize on ambiguity to skillfully weave fact and fiction, while questioning how to create a portrait without representing the physicality of the sitter. While the stories that surround his subjects are deeply personal and are told through the intimate possessions they hold most dear, his work addresses generational immigrant experiences of movement, trauma, and celebration. Fallah wryly incorporates Western art historical references into paintings formally rooted in the pattern-based visual language of Islamic Art. In so doing, his paintings possess a hybridity that reflects his own background as an Iranian-American immigrant straddling cultures.

Painters & Sculptors Program Grant, Joan Mitchell Art Foundation

Collections

Nerman Museum of Contemporary Art

SMART Museum of Art at the University of Chicago

Cerritos College Public Art Collection

Plattsburg State Art Museum

Represented by

Shulamit Nazarian, Los Angeles, CA

Denny Dimin Gallery, New York, NY

The Third Line, Dubai, UAE

Fallah

Kohshin Finley AJ | oil and mixed media on canvas, 60 x 48 inches

Kohshin Finley Erin | oil and mixed media on canvas, 60 x 48 inches

Kohshin Finley Jesse | oil and mixed media on canvas, 60 x 48 inches

Kohshin Finley Los Angeles, CA studio@kohshinfinley.com / www.kohshinfinley.com / @kohshinfinley

b. 1989 Los Angeles, CA

Education

2019

Otis College of Art and Design, Los Angeles, CA

Group Exhibitions

2019

Presence, Fullerton College, Fullerton, CA

2018

Revolver, LA Louver, Los Angeles, CA

The New Contemporaries, RESIDENCY Gallery,

Los Angeles, CA

Publications

2019

Cultured

2018

Los Angeles Times

2017

Artillery

Collections

Beth Rudin DeWoody

V. Joy Simmons MD

Kohshin Finley’s work depicts his friends and community as strong, resilient individuals on the other side of adversities they’ve faced. The subjects of his paintings use their victories as armor for their journey through everyday life. These visceral moments are made to facilitate conversations on fortitude and perseverance. Prior to each painting, Finley writes poems stemming from these conversations and interlaces them with his own history, chronicling a personal story that takes on a new life on the canvas. By telling stories that are honest to both his subjects and himself, Finley’s paintings establish genuine trust with the viewer, allowing a sincere connection to be made. Finley creates paintings in this way to honor his own vulnerabilities as well as those of his subjects, giving the viewer permission to discover something about themselves (in the precarious present).

Finley

Ellen George FAN SUITE (SPD-51) | silverpoint, gold point, and gouache on birch panel, 4.5 x 5.5 inches

Ellen George FAN SUITE (SPD-55) | silverpoint, gold point, and gouache on birch panel, 4.5 x 4.5 inches

Ellen George AXIS (SPD-31) | silverpoint and gouache on birch panel, 4 x 2.5 inches

Ellen George Vancouver, WA 503.222.0063 (PDX CONTEMPORARY ART) www.pdxcontemporaryart.com/ellen-george

b. 1957 Galveston, TX

Education

2019

National College of Art and Design, Dublin, Ireland

Austin College, Sherman, TX

Residencies

2016

c3:initiative+pulp&deckle, Papermaking Residency,

Portland, OR

2015

Jordan Schnitzer Printmaking Residency, Sitka Center for Art and Ecology, Otis, OR

Solo Exhibitions

2019

I begin with a thin line, PDX CONTEMPORARY ART,

Portland, OR

2017

April, Conduit Gallery, Dallas, TX

Group Exhibitions

2018

Descendent Threads, Portland Chinatown Museum,

Portland, OR

2017

Contemporary Abstraction, A.N. Bush Gallery, Salem, OR

Publications

2019

Richard Speer, “Ellen George,” Visual Art Source, May

2018

Bob Hicks, “A New Museum in Chinatown,” Oregon

I begin each painting with a thin line of silverpoint or gold point. Many of these delicate markings are layered within the chalky gouache brushstrokes. Visible, faintly visible, or hidden, I think of each of these lines as an axis, a line of stillness and support. It can be fixed and it can shift. The AXIS paintings are in the shapes of playing cards, lucky money envelopes, and piano keys. The outline’s of the FAN SUITE paintings are based on seventeenth-to nineteenth-century Chinese fans. In both series–scaled to fit in the hand–I paint on ultra-thin birch. Each panel has a unique warp that is both natural and sculptural. Instead of describing the visible world, these scaled-down mindscapes convey the interior landscape of emotion and mind. The imagery of my abstract paintings evokes flora, earth, water, and atmosphere. Lines and brushstrokes mingle, worlds emerge.

Artswatch, October

Collections

Portland Art Museum, Portland, OR

Tacoma Art Museum, Tacoma, WA

Hallie Ford Museum of Art, Willamette University,

Salem OR

Jordan Schnitzer Family Foundation Collection

4Culture Public Art Collection, Seattle, WA

Oregon Health and Science University, Portland, OR

The Nines, A Luxury Collection Hotel, Portland, OR

Represented by

PDX CONTEMPORARY ART, Portland, OR

George

Grace Lynne Haynes Enclave | gouache, pastel, and collage on paper, 39 x 26 inches

Grace Lynne Haynes Seeds | gouache, pastel, and collage on paper, 47 x 32 inches

Grace Lynne Haynes Sunday Mourning | gouache, pastel, and collage on paper, 34 x 21 inches

Grace Lynne Haynes Newark, NJ bygracelynne@yahoo.com / www.bygracelynne.com / @bygracelynne

b. 1992 Los Angeles, CA

Education

2017

BFA, Art Center College of Design, Pasadena, CA

Residencies

2019–20 Kehinde Wiley’s Black Rock Senegal Residency 2019

ProjectArt, Los Angeles, CA

2018

Vermont Studio Center Residency

Solo Exhibitions

2020

Summer Shadows, Band of Vices Gallery, Los Angeles, CA

Group Exhibitions

2020

Dallas Art Fair

Dakar Biennale

2019

Black & White, Paul Robeson Gallery, Newark, NJ

Untitled Art Fair, Miami

2018

Grace Lynne Haynes creates lusciously composed paintings containing bright textures and patterns. Intricate moments are juxtaposed against flat, black swaths of paint shaped to represent black female bodies. The artist’s painterly devices lead the viewer to question the very nature of color and how historically symbolic meanings surrounding colors and shades, especially black, are constructed. In Haynes’s work, black appears aspirational, dignified, and sublime. The result is a network of images addressing complex topics and stereotypes surrounding black femininity. Formally, Lynne is a master of color play and conveying textural details. She showcases young women lounging in luxuriously painted patterns against washes of color. Grace portrays tender moments as the hands of her figures rest on swaths of delicately layered areas of patterning and puffy tufts of material that compose clothing. You can almost feel how soft the textures and patterns are.

The Diversity and Inclusion Art Exhibition, Ontario Museum of History & Art, Ontario, CA

View from the Rooftop, New Image Art Gallery,

Hollywood, CA

Juried Exhibition 2018, Los Angeles Municipal Art Gallery,

Los Angeles, CA

Publications

2020

“30 Under 30 Art & Style Class of 2020,” Forbes

“20 Painters Who Are Shaping the Next Decade,” Daily

Collector, online, January

2019

Creative Quarterly, # 54

2017

New American Paintings, #133

2016

American Illustration, # 35

Award

Fellowship, Vermont Studio Center, Johnson, VT

Collections

Nina Chanel Abney

Mark Romanek

Tshabalaba Self

Jesse Williams

Haynes

Justyn Hegreberg Bonfire of the Tautologies (Only the Camel Knows the Hundredth Name) | ink and tape on paper, 6 x 5 inches

Justyn Hegreberg Hungry Ghosts in the Terminal Abode 11 | ink on paper, 8 x 5.5 inches

Justyn Hegreberg The Continuity of Surfaces (Four Things That Will Never Come Back) | ink and graphite on paper, 8 x 6.5 inches

Justyn Hegreberg Napa, CA 503.312.2192 justynhegreberg@protonmail.com / www.justynhegreberg.tumblr.com / @justynhegreberg

b. Coeur d’Alene, ID

Solo and Two-Person Exhibitions

2019

Relic (II): Justyn Hegreberg & Sara Osebold, The Vestibule, Seattle, WA

2018

Justyn Hegreberg and Amy Bay, SNAG, Seattle, WA

2017

Le Pendu, haz, Portland, OR

2014

Unhandled Exception, FalseFront, Portland, OR

2013

Madam I’m Adam, Remote Projects, Bloomington, IN

Authentic Travel, FalseFront, Portland, OR

Group Exhibitions

2018

An Art Den, Barker Hanger, Odd Ark•LA, Los Angeles, CA

Bloom In, Outback Arthouse, Los Angeles, CA

2017

Out of Sight, Vital 5 Productions, Seattle, WA

Red May, This Might Not Work, Helsinki, Finland

2016

Heptadecagon, SOIL, Seattle, WA

Studies, Nationale, Portland, OR

2015

As if in a dream, free-floating hands, eyes, and mostly mouths coexist with doodles, calculations, and inscriptions. I make this discrete body of work by placing disembodied parts of characters in the removed endpapers of books. I play with foreground and background to create a confused sense of space: vastness and claustrophobia. I started the series with the title Hungry Ghosts in the Terminal Abode followed by a number. I now use longer titles that seem more specific and more allusive at the same time, the effect being an enhanced cognitive dissonance that makes more space for questions than answers.

Art in America: Artists Working in 50 States + Puerto Rico, Miami, FL

Color as Form / Form as Color, c2c Project Space,

San Francisco, CA

Wrappings: Saya Moriyasu, Colleen Hayward and Justyn

Hegreberg, The Alice, Seattle, WA

Dark Matter, Jeffrey Thomas Fine Art, Portland, OR

Hegreberg

David Hendrickson Cheese and Macaroni | acrylic and inkjet on linen, 12 x 12 inches

David Hendrickson Six Flags Over Texas | acrylic and inkjet on linen, 12 x 12 inches

David Hendrickson Heavenly | oil, acrylic, paper, and inkjet on canvas, 12 x 12 inches

David Hendrickson Pasadena, CA dchendrickson1@gmail.com / www.dhendrickson.com / @dvdhndrcksn

b. 1988 Los Angeles, CA

Education

2019

MFA, California State University, Northridge, CA

2010

BFA, Rhode Island School of Design, Providence, RI

Group Exhibitions

2019

Cruel Optimism, Wow Project LA, Chewing Foil,

Los Angeles, CA

Crocodile Tears, w/ YNGSPC/Kate Mothes, Morgan Fine

Arts and Film Center, Brooklyn, NY

MFA & MA Thesis Exhibition, Main Gallery, California State University, Northridge, CA

2018

Shoes, Monte Vista Projects, Los Angeles, CA Easy Winds, Honest Labor, Los Angeles, CA

2017

Space vs. Time, Coaxial Arts Foundation, Los Angeles, CA

Re Composition: A Call and Response between Artists

My paintings recombine, repeat, redact, and crop elements, materials, and objects to elicit a sense of absurdist absence and alienation. Digitally manipulating and collaging appropriated images, especially those that acknowledge the body, allows me to examine notions of authorship, authenticity, and objectivity. Printing these files and modifying them with crude applications of paint, I deconstruct and fragment sourced imagery to question the integrity of art, memory, and time. I paint on digitally manipulated inkjet prints and translate the appropriated images into ambiguous compositions through traditional observational painting. In the futile pursuit of questioning authenticity, I paint and print different versions of the same image multiple times. My work distills and expands on my experience within the confines of the Internet and embodies the existential absurdity of an era lacking a tangible sense of place.

and Writers, West Gallery, California State University, Northridge, CA

2015

There Is No School on the Second Floor, Blackstone

Gallery, Los Angeles, CA

2013

Disquieting Duck, Blackstone Gallery, Los Angeles, CA

2010

Senior Invitational, Woods Gerry, Rhode Island School of Design, Providence, RI

Awards

2018

Mary Bayramian Fellowship

2017

John Baldessari Family Foundation Art Scholarship

Hendrickson

Eric Huebsch Gray Matters | wood, T-shirt, paint, stains and glue, 36 x 30 inches

Eric Huebsch Brevity Briefs | wood, underwear, stains, and glue, 21 x 12 inches

Eric Huebsch No Legs to Stand On | wood, tank top, glue, and stain, 56 x 16 inches

Eric Huebsch Los Angeles, CA erichuebsch@hotmail.com / www.cockandoodle.com / @cockandoodle

b. 1975 Woodstock, IL

Education

2001

MFA, University of Illinois Urbana-Champaign,

Champaign, IL

1997

BFA, Alfred University, Alfred, NY

Residency

2019

Artist Residency, Matrix 4, Woodstock, IL

Solo Exhibitions

2017

The Retail Lab, Please Do Not Enter, Los Angeles, CA

Group Exhibitions

2018

We Gather Here Today, Dread Lounge, Los Angeles, CA

Shines Through, Huntington Beach Art Center,

Huntington Beach, CA

2017

The Paperweight Show, Fisher Parrish Gallery,

Brooklyn, NY

2016

Other Better Things, Annual Exhibitions, Los Angeles, CA

2015

Bellingham National, Whatcom Museum, Bellingham, WA

2010

I consider the sponge my “spirit animal.” Constantly absorbing, filtering, and releasing: that’s how the sponge survives, and as an artist I am doing the same. I strive to be in tune with my immediate and greater surroundings and attempt to process the smorgasbord of stimuli humans are confronted with. In my practice, there are several themes that I have continued to explore: our environment and how humans and animals interact in our fabricated artifice and in nature; the absurdities of our daily existence and the extremes of human desire; our insatiable appetite and need to swing between fantasy and reality to validate our complicated lives. Unlike the sponge, I digest this information and that forces my nerves to react. Life is rich and bountiful; there is more than enough food for thought. I am digesting these delectable morsels and regurgitating them back into the world for the public, hopefully, to notice and absorb.

Narrative Animal Imagery, San Luis Obispo Museum of Art, San Luis Obispo, CA

2008

Animalicious, Rio Hondo College Art Gallery, Whittier, CA

If I Told You You Were Beautiful, Would You Date Me on the

Regular?, Oliver Kamm/5BE Gallery, New York, NY

New Art Dealers Alliance (NADA) Fair, w/ Rocket-Projects, Miami, FL

2004

The Stray Show, w/ New Image Art Gallery, Chicago, IL

2002

Sweet and Wild, Greg Kucera Gallery, Seattle, WA

Huebsch

Greg Ito The Hunt | acrylic on canvas, 40 x 30 inches

Greg Ito Wild Flowers | acrylic on canvas, 40 x 30 inches

Greg Ito Night Signals | acrylic on canvas, 34 x 25 inches

Greg Ito Los Angeles, CA www.gregito.xyz / @gregitooo

b. 1987 Los Angeles, CA

Education

2008

BFA, San Francisco Art Institute, San Francisco, CA

Solo Exhibitions

2019

Enchantment, Arsenal Contemporary, Toronto, Canada

2018

Time Traveller, Public Lands, Sacramento, CA

Sun Sprawl, Club Pro, Los Angeles, CA

2017

Lullaby, Andrew Rafacz, Chicago, IL

2016

Soothsayer, Steve Turner, Los Angeles, CA

2015

THE ORDER OF SHADOWBOXING, Et Al.,

San Francisco, CA

2014

Heavy Withdrawls, City Limits, Oakland, CA

Group Exhibitions

2019

Temporary Resting Place, Three Four Three Four,

New York, NY

2018

The Private Collection of Water McBeer, Jeffery Deitch,

Attuned to beauty in tragedy, Greg Ito’s paintings and installations operate like quasi–film sets though pared-down, minimal, and dreamlike, emphasizing mood and symbols rather than crystalized detail. Ito’s landscapes are overlaid with a personal lexicon of symbols: burning candles, keyholes, windows, snakes, moons, suns, and all sorts of critters, allowing the incorporation of each to accumulate perspectives and open portals to an imagined reality. Alluding to themes of love and loss, hope and tragedy, his work juxtaposes the autobiographical (past and present) with the aspirational (future). Ito’s paintings operate as self-portraiture and reflect upon the evolving narrative of life in Los Angeles— beyond the freeways, desert plants, and swimming pools.

New York, NY 2017

Broken Language, Shulamit Nazarian, Los Angeles, CA

EXPAT, R/SF projects, San Francisco, CA

2014

Bay Area Now 7, Yerba Buena Center for the Arts,

San Francisco, CA

2007

Camera 1 Camera 2, The Luggage Store,

San Francisco, CA

Represented by

Anat Ebgi, Los Angeles, CA

Ito

Sujin Jung Alone | digital collage, 17 x 12 inches

Sujin Jung Cactus Man | digital collage, 17 x 12 inches

Sujin Jung Kimchi | digital collage, 9 x 12 inches

Sujin Jung Glendale, CA 310.946.2045 @suuuuuuuuuuuuuuue

b. 1994 Ulsan, Republic of Korea

Education

2013–14 BFA, Samsung Art and Design Institute, Seoul,

Republic of Korea

2015

BFA, Art Center College of Design, Pasadena, CA

Group Exhibitions

2019

LACDA “Top 40” International Juried Competition,

Los Angeles Center for Digital Art, Los Angeles, CA

2019

Piccadilly Art Festival 2019 Korea, Piccadilly Plus 1,

Seoul, Republic of Korea

Publication

2015

Aesthetica Magazine, Los Angeles, CA

Award

LACDA “Top 40” International Juried Competition,

Los Angeles, CA

My works are a description of my interest in daily life. We’re surrounded by objects that we get used to and no longer notice. By making mutated versions of daily life—the objects and behaviors we observe in our environment, I offer another perspective to as many people as possible. Plants, the human body, and places are the main locales for this metamorphosis. This gives viewers an opportunity to refresh the meanings of objects. I create monstercharacters from the real world and let people enjoy them in real life.

Jung

Jennie Jieun Lee Recreation Park on 7th | glazed ceramic, acrylic, oil and pencil on wood 29 x 20 x 11.5 inches

Jennie Jieun Lee Long Beach Boulevard | glazed ceramic, acrylic, oil and pencil on wood, 20 x 20 x 3 inches

Jennie Jieun Lee Monday at Noon | glazed ceramic, acrylic, oil and pencil on wood, 29 x 20 x 10 inches

Jennie Jieun Lee New York City, NY 212.560.0670 (Martos Gallery) jennie@jenniejieunlee.com / www.jenniejieunlee.com

b. 1973 Seoul, Republic of Korea

Education

2019 MFA, California State University, Long Beach, CA 1999 Studio Diploma, School of the Museum of Fine Arts,

Boston, MA

Solo Exhibitions

2019

Sizziling Gouba and Long Beach, Martos Gallery, NY

2017

Seizure Crevasse, The Pit, Glendale, CA

2016

Immigrant’s Ear, Levy Delval, Brussels, Belgium

2015

Mrs. Thompson’s Mirror, Martos Gallery, New York, NY

Am I Ugly, Cooper Cole, Toronto, Canada

2014

Smile Purgatory, Galerie Lefebvre et Fils, Paris, France

Publications

2018

Jennie Jieun Lee uses rich imagery and textured marks to create her ceramics and installations. Busts, masks, wall works, and vessels covered in abstract gestures conjure emotional and psychological states, while fissures, oozes, and breaks merge references to the history of ceramics with her idiosyncratic experiences. Created through complex, multipartite slip casting and untraditional glazing methods, Lee’s work reveals visceral, almost violent marks of making. While highly formal, her ceramics remain deeply personal. Mining her experiences as a Korean-American, Lee’s artworks speak to the artist’s childhood memories and collective anxieties––spanning the past and the present.

Leah Ollman, “Ceramic art, once written off as mere craft, wins a brighter spotlight in the L.A. scene,” LA Times,

2017

April 25 Catherine Taft, “Review for Seizure Crevasse at The Pit,” Artforum, Summer

Leah Ollman, “At the Pit in Glendale, Sculpture That

Keeps You On Your Toes,” Los Angeles Times, April 11

Andy Campbell, “Critics Pick,” artforum.com, March 31

Awards

2019

Art Matters Foundation Grant

2018

CSULB Graduate Research Fellowship

2017

Guggenheim Foundation Fellowship

Pollock Krasner Foundation Grant Recipient

2015

Artadia New York Award Recipient

Represented by

Martos Gallery, New York, NY

Lee

Jennie Jieun Lee | Monday at Noon (detail)

Aubrey Ingmar Manson Mother Maybe | cardboard, napkins, acrylic paint, plaster, Sculpey clay, 81 x 60 x 13 inches

Aubrey Ingmar Manson Happiness, Itâ&#x20AC;&#x2122;s Everywhere | cardboard, napkins, fabric and acrylic paint, 78 x 79 inches

Aubrey Ingmar Manson Our Fountain of Leisure, detail of Faster, Hammers...Weâ&#x20AC;&#x2122;re Almost There! | cardboard, house paint, napkins, ceramic, plaster, wire and Sculpey clay , 96 x 108 x 144 inches

Aubrey Ingmar Manson Los Angeles, CA www.aubreymanson.com / @aubrey_ingmar_manson

b. 1987 Chicago, IL

Education

2015

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

2010

BFA, Northern Illinois University, Dekalb, IL

Solo and Two-Person Exhibitions

2019

Faster, Hammers . . . We’re Almost There!, ARVIA,

Los Angeles, CA

Parapraxis, w/ Thalia Rodgers, GHOST, Omaha, NE

Group Exhibitions

2019

AWHRHWAR, Art Los Angeles Contemporary Art Fair,

Los Angeles, CA

These Creatures, Wignall Museum of Contemporary Art,

Rancho Cucamonga, CA

Oneiric Landscapes, 5 Car Garage, Santa Monica, CA

A Store Show, Odd Ark•LA, Los Angeles, CA

Parallels to This Fictional Universe, Die Botschaft and L’oiseau présente . . . , Berlin, Germany

Emergent Matter, Garash Galería, Mexico City, Mexico

Midlife Crisis, O’, Los Angeles, CA

What is this mess? How do I clean up this mess? Should I clean up the mess?! And then there are so many of them . . . Creating artwork is much like playing for me. It is how I still play as an adult, facilitating growth and understanding, particularly when digesting the greater outside world. It also provides a sense of comfort with the sculptural paintings formed in shapes similar to pillows, mattresses, or bodies. Within them, I construct fictional narratives, each piece somewhat humorous in an attempt to make light of the serious situations they are reenacting. Underlying them is a personal commentary on current systemic issues within society, from feminist political struggles to wealth inequality and anti-capitalist theory. The materiality of the pieces, composed of mostly accessible or found materials, diverges from standard commodifiable art objects. There is the question of how long the artwork will last or whether it can enter an art market. I think the work, then, primarily exists to make a statement, describing its moment in time.

STNDRD Projects: Dream Wavers, Loyola Marymount University, Los Angeles, CA

GIFC: Velvet Ropes, Shrine, New York, NY

Award

2015

Ox-Bow School of Art Fellowship

Collection

Private collections in Canada, Mexico, Norway, and USA

Manson

Lilian Martinez Pastel Caves | acrylic on linen, 25 x 20 inches

Lilian Martinez Yellow Dog | acrylic on linen, 40 x 34 inches

Lilian Martinez The Big Flower | acrylic on linen, 70 x 55 inches

100

Lilian Martinez Yucca Valley, CA 323.641.7177 (Ochi Projects) @bfgf

b. 1986 Chicago, IL

Education

2009

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

Residency

2018

Macedonia Institute, Chatham, NY

Solo Exhibitions

2019

Soft Shades, Nationale, Portland, OR

Rosa Mariposa, Commune, Tokyo, Japan

2018

Woman and Women, Ochi Projects, Los Angeles, CA

2017

Getâ&#x20AC;&#x2122;cha Head in the Game, The Naughton Gallery,

Belfast, Ireland

Clay Architecture, Commune, Tokyo, Japan

2016

Mystery, Feelings, Internet, Ochi Projects,

Los Angeles, CA

Represented by

Ochi Projects, Los Angeles, CA

Lilian Martinezâ&#x20AC;&#x2122;s work reconciles past with present and future, combining elements from art history and classical architecture with contemporary pop-cultural references. Martinez is interested in exploring alternate histories where women, particularly women of color, are not excluded from specific cultural narratives typically associated with privilege, and her figures are usually engaged in recreational or leisurely activities. Her work indulges color and mood; it is direct while maintaining a sensibility that is charmingly nonchalant.

101

Martinez

Kayla Mattes wut will they fed us when all teh fishes r gone? | handwoven wool on cotton, 46 x 35 inches

102

Kayla Mattes HALP! TEH HOUSE IZ ON FYRE! | handwoven wool and cotton, 45.5 x 36 inches

103

Kayla Mattes Blue Screen of Death | handwoven wool, cotton, bamboo, and polyester, 47 x 40 inches

104

Kayla Mattes Los Angeles, CA kaylamattes@gmail.com / www.kaylamattes.com / @kaylamattes

b. 1989 Lancaster, CA

Education

2019

MFA, University of California, Santa Barbara, CA

2011

BFA, Rhode Island School of Design,

Providence, RI

Solo Exhibitions

2019

Cat-astrophe, Richard Heller Gallery, Los Angeles, CA

2016

Live Buy Build, FISK, Portland, OR

Group Exhibitions

2019

Know Your Meme, San Jose Museum of Quilts and Textiles,

San Jose, CA

Textile Biennial, Museum Rijswijk, Rijswijk, Netherlands Temporary Clash, Art, Architecture & Design Museum, Santa Barbara, CA

2018

Geometry, Tiger Strikes Asteroid, Philadelphia, PA

IN TANDEM, Guerrero Gallery, San Francisco, CA

LADYLIKE, Border Patrol Gallery, Portland, ME

Publications

2018

Katie Treggiden, Weaving: Contemporary Makers on the

My work explores chaos and crisis in the digital age by slowing it down through a tactile process that is structurally tied to the screen. Rather than adding pigmented material to a woven canvas or a secondary hidden surface, my tapestries embrace the narrative and technological history embedded in the act of materializing thread into the woven grid. Instilled with jokes and visual fodder, I navigate grim issues like environmental havoc with humor and vibrancy. My recent body of work portrays cats as unexpected spectators of ecological change. As mascots of the Internet, cats have a powerful voice. Their disconcerting judgment can be felt through a glare, and their effortless virality has influence. The cats’ position as social onlookers becomes multilayered when analyzed through their cultural attachment to femininity and humans’ persistent dismissal of their fiery disposition. By continuing the tradition of archiving culture through the coded medium of tapestry weaving, I employ cloth as a form of urgent communication.

Loom, Ludion

Zio Baritaux, “Is Weaving Women’s Work?,” i-D

2016

Emily Burns, “Q & A with Kayla Mattes,” Maake Magazine,

#2, Spring

Award

2016

Working Artist Organization Grant

105

Mattes

Kayla Mattes | Blue Screen of Death (detail)

Nick McPhail Power Lines | oil on paper, 43 x 36 inches

108

Nick McPhail Stop Light | oil on paper, 33 x 26.5 inches

109

Nick McPhail Hill | oil on paper, 60 x 48 inches

110

Nick McPhail Los Angeles, CA 323.641.7177 (Ochi Projects) www.nickmcphail.com / @nickmcphail

b. 1982 Laingsburg, MI

Residencies

2019

Untitled_1983, Geneva, Switzerland

Ochi Gallery, Ketchum, ID

2018

100 West Corsicana, Corsicana, TX

2017

Vermont Studio Center, Johnson, VT

Solo Exhibitions

2020

Windows, Ochi Projects, Los Angeles, CA

2019

Lights, Untitled 1983, Geneva, Switzerland

2018

Pictures, Holiday, Los Angeles, CA

2009

Street and Sky, Mina Dresden, San Francisco

Group Exhibitions

2019

Chain, Central Park Gallery, Los Angeles, CA

Absolute Space, Ochi Gallery, Ketchum, ID

Wholly Coast, Monte Vista Projects, Los Angeles, CA

2017

Soft Serve, Holiday, Los Angeles, CA

Self Reliance 2017, Nowspace, Los Angeles, CA

2014

Recurrence, Fridman Gallery, New York, NY

Publications

2019

My practice is based around everyday occurrences that reside in our periphery. In that sense I’m also interested in attention and focus, and where it is allocated. My work employs overlapping textures and disorienting compressions of space, with a focus on distorting the perception of foreground and background. While I source imagery from photographs that I take, my paintings are not tied to a specific location and are often equally dependent on memory, the layering of multiple images, and abstraction. I’m intrigued by how we navigate spaces, and how architecture restricts and commands our movement and vision using stairs, walls, fences and entryways; therefore these elements are frequently the subject matter of my work.

Layla Leiman, “Landscapes That Glow: Nick McPhail’s LA Paintings,” Art Maze Magazine

Rebecca Irvin, “Painter Nick McPhail . . . ,” It’s Nice That

Represented by

Ochi Projects, Los Angeles, CA

111

McPhail

Mary Mocas Notice of Development | acrylic, found paper, spray paint, and muslin on wood panel, 80 x 50 inches

112

Mary Mocas Melt the Ice | acrylic, found paper, spray paint, construction netting, muslin, marine netting, and teardrop crystals on wood panel, 55 x 72 inches

113

Mary Mocas Skin 1, Side A | acrylic, found paper, spray paint, netting, staples, iron bars, bolts and chain, 96 x 37 inches

114

Mary Mocas Los Altos Hills, CAâ&#x20AC;&#x201A; marymocas@mocasart.com / www.marymocas.com / @marymocas

b. 1949 Niagara Falls, NY

Education

2016

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

1971

BA, Marietta College, Marietta, OH

Residencies

2018

Anderson Ranch, Snowmass, CO

2015

AICAD/New York Studio Residency, Brooklyn, NY

Professional Experience

2019

Curator, The Glass Cube Project, CCA Hubbell Street

Galleries, San Francisco, CA

2017

Group Exhibitions

2019

Collect and Connect, San Jose Institute of Contemporary

Art, San Jose, CA 2018

Art for AIDS, UCSF Alliance Health Project,

San Francisco, CA

2017

BLUETS: To fall under a spell, GearBox Gallery,

Oakland, CA

2016

Here I, Berkeley Art Center, Berkeley, CA

West Coast Craft, California College of the Arts,

San Francisco, CA

2015

Crank, Southern Exposure, San Francisco, CA

Resonant Conversations, California College of the Arts,

San Francisco, CA

2013

Four Artists on Paper, City of Berkeley Public Offices,

The resulting compositions explore surface and structure, representation and abstraction, and play with positive and negative space. Large paint pours become individual pieces that are hung by metal brackets and chains. These works become much more referential to the human body. Importantly, they reveal both sides of a painterly surface and utilize light as an agent of change. My work offers an alternative entry point and exchangeâ&#x20AC;&#x201D;one that is based on feminist concerns and free-floating anxiety regarding mainstream social structures. Weaving signs and signifiers related to control, subjugation, liberation and revolution, my work is about reimagining and about offering space for contemplation of individual and shared identities.

Berkeley, CA 2012

Juror, Abstracted, San Francisco Women Artists Gallery, San Francisco, CA

I am a mixed-media artist who utilizes collage, painting, and sculpture. My process begins when I gather peeling wheat-pasted paper from urban walls around the world. I accumulate layers of torn narrations while adding hard-edge, poured, sprayed, and gesturally applied paint to various substrates. Found objects such as broken glass, dislocated road reflectors, surgical detritus, wire, beads, and wood also make their way into the work.

50/50 Show, Sanchez Art Center, Pacifica, CA

Publication

2016

Thesis/Antithesis/Synthesis, exh. cat., California College of the Arts

115

Mocas

Jill Mulleady Kleptocracy | oil on linen, 65 x 67.5 inches

116

Jill Mulleady Made in the Shade | oil on canvas, 36.5 x 36.5 inches

117

Jill Mulleady Prince S | oil on linen, 65 x 50 inches

118

Jill Mulleady Los Angeles, CA

b. 1980 Montevideo, Uruguay

Education

2009

MFA, Chelsea College of Arts, London, UK

Solo Exhibitions

2020

We Wither Time into a Coil of Fright, Whitney Museum of American Art, New York, NY

2019

Fight-or-Flight, Swiss Institute, New York, NY

Erupted Citadel, Statements, Art Basel, Basel,

Switzerland

May You Live in Interesting Times, Biennale di Venezia,

Jill Mulleady (b. Montevideo, Uruguay, 1980) lives and works in Los Angeles. Mulleady’s practice shifts between close observations of everyday reality and highly elaborated imaginary worlds. In her work, references to historical painting are put into communication with images taken from both popular culture and personal life, creating a strange feeling of merged, multiplied temporalities. Her work belongs to the collections of the Hirshhorn Museum, Washington, DC; the Hammer Museum, Los Angeles; the Rubell Family Collection, Miami; Fondazione Sandretto Re Rebaudengo, Turin; and the Aïshti Foundation, Beirut.

Venice, Italy 2018

Mouth-to-mouth, Galerie Neu, Berlin, Germany

Void of Course, Schloss, Oslo, Norway

Mother Sucker, Positions, Art Basel, Miami, FL

2017

This Mortal Coil, Freedman Fitzpatrick, Los Angeles, CA

Angst vor Angst, Kunsthalle Bern, Bern, Switzerland

Group Exhibitions

2019

Venice Biennale, Venice, Italy

Feel the Sun in Your Mouth: Recent Acquisitions, Hirshhorn Museum, Washington, DC

Emissaries for Things Abandoned by Gods, w/ Estancia Claude Mirrors, w/ Victor Man and Issy Wood, Schinkel Pavillon, Berlin, Germany

FEMSA, Casa Luis Barragán, Mexico City, Mexico

Avengers: Someone Left the Cake Out in the Rain, Reena

Spaulings, Los Angeles, CA 2018

SI ONSITE, Swiss Institute, New York, NY

The Weather Outside, Freedman Fitzpatrick, Paris

Impulse Control, Freedman Fitzpatrick, Paris, France

Mad World, Marciano Collection, Los Angeles, CA

Spiegelgasse, Hauser & Wirth, London, UK

Represented by

Freedman Fitzpatrick 119

Mulleady

Jill Mulleady | Kleptocracy (detail)

Alexandra Noel Naoki | oil and enamel on panel, 5 x 7 inches

122

Alexandra Noel Ship Spotting | oil and enamel on panel, 10 x 14 inches

123

Alexandra Noel Empathy | oil and enamel on panel, 7 x 24 inches

124

Alexandra Noel Los Angeles, CA

b. 1989 Columbus, OH

Education

2013

MFA, Art Center College of Design, Pasadena, CA

2011

BA, University of San Diego, CA

Solo Exhibitions

2019

There’s always something, Bodega, New York, NY

Just a head, Atlantis, Marseille, France

Master Planned, Freedman Fitzpatrick, Paris, France

2018

Theatre Road, Parker Gallery, Los Angeles, CA

2017

The Armory Show, w/ Bodega, New York, NY

2016

From rafters, Bodega, New York, NY

Bone-in, Neochrome, Turin, Italy

Group Exhibitions

2019

A Cloth Over a Birdcage, Chateau Shatto, Los Angeles, CA

Bolthole, Potts, Los Angeles, CA

2018

Kiss in Tears, Freedman Fitzpatrick, Los Angeles, CA

Alexandra Noel’s small-scale paintings and sculptures deal with issues of representation, agency, age, scale, and our relationship with digital media and screen time. Her work concerns the tension between flatness and depth in a psycho-spatial sense, with her sculptures often mimicking toys while maintaining a conversation with the handheld quality of her paintings. Often, subjects lack shadows while exuding a sense of impending or imploding doom. The capitalism of image pollution seeps its way into the haze of her work. Subjects as seemingly disparate as a baby’s teeth coming in and the demise following global warming are explored with equivalent intensity, often playing with the actual size of the reference subject. Noel explores how to look at painting and sculpture and moments of modern anxieties within the same familiar scaled frame as a movie or a text message to a friend.

Tiger-poems and songs for hurricanes, Travesía Cuatro, Guadalajara, Mexico

2017

Annex Showroom, M+B, Los Angeles, CA Kill It on Vacation, w/ XYZ Collective, The Steak House Doskoi, Tokyo, Japan

Represented by

Freedman Fitzpatrick

Bodega, New York, NY

125

Julio Panisello-Huguet Plastic Bag Portrait 2 | oil on recycled plastic bag, 24 x 12 inches

126

Julio Panisello-Huguet Plastic Bag Portrait 3 | oil on recycled plastic bag, 24 x 12 inches

127

Julio Panisello-Huguet Plastic Bag Portrait 5 | oil on recycled plastic bag, 24 x 12 inches

128

Julio Panisello-Huguet West Hollywood, CA julio.panisello@gmail.com / www.juliopanisello.com / @juliopanisello / @julio.panisello

b. 1971 Amposta, Catalonia

Education

1994

BFA, Universitat de Barcelona, Spain

Professional Experience

2017-19 Founder and Director at Roofless Painters,

Los Angeles, CA

Solo Exhibitions

2014

The Havisham Hour, New York Public Library,

New York, NY

2013

Miracles of the Dough, pop-up exhibition, ShoeboxLA,

Los Angeles, CA

Group Exhibitions

2019

Other Places Art Fair, San Pedro, CA

2018

Sexy X-MAS, The Lodge, Los Angeles, CA

2017

Roofless at the Museum, Heritage Square Museum,

Los Angeles, CA

Eternal Marionettes, Bob Baker Marionette Theater,

Los Angeles, CA

2016

WELCOME!, CSULA Fine Arts Gallery, Los Angeles, CA

2015

2015 Open Show, Gallery 825, Los Angeles, CA

We Gave Our Best, Now the Rest Is up to the Hope Chest: Los

I recognize in my work a strong influence from my childhood experiences growing up gay in Franco’s Spain. My first impression of fine art came from being exposed to religious paintings when I attended catechism classes in church. I was eight years old. There was a profound eroticism in the expressive nudity of the physical figures. At the same time, their represented suffering was an invitation to romanticize pain. I realized later in life how that highly stylized sentimental combination of eroticism and physical struggle influenced my approach to painting. The feminine in the masculine has also been part of the conceptual genesis of my visual narrative. Having to conceal my sexual orientation in such a hostile, orthodox environment allowed me to explore themes of hiding and revealing, of internal and projected identity.

Angeles, Eastside International, Los Angeles, CA

Memories in the Making, Samuel Freeman Gallery,

Los Angeles, CA.

Award

Grand Prize and Audience Choice Award, Los Angeles Plein Air Festival, Los Angeles, CA

2015

Publication Katie Bode, “See Through at Elsie’s Watch and Jewelry Repair,” Contemporary Art Review Los Angeles

Collection

Museum of Jurassic Technology, Los Angeles, CA

129

Panisello-Huguet

Gregory Rick Bannon goes to Berkeley | acrylic on canvas, 48 x 60 inches

130

Gregory Rick OIF IV | acrylic on canvas, 50 x 60 inches

131

Gregory Rick Morning in America | ink, watercolor, and gouache, 36 x 50 inches

132

Gregory Rick Stanford, CA gregoryrick@cca.edu

b. 1981 Minneapolis, MN

Education

2021

MFA candidate, Stanford University, Stanford, CA

Residency

2016

Kala Veterans Residency Program, Berkeley, CA

Professional Experience

2008–09 Graphic artist and muralist for Youth Farm and

Market Project, Minneapolis, MN

1999

Set design for Illusion Theater, Minneapolis, MN

1998–00 Muralist for Creative Energy Murals, Minneapolis, MN

Group Exhibitions

2018

Turning Tales: New Work by 2017–2018 Veterans

Residency Artists, Kala Art Institute, Berkeley, CA

Award

My life has been full of tribulations. I look at them as initiations. My father went to prison when I was seven for attempted murder. Although losing my dad was rough, his giving me two books, one on history and one on art, started my infatuation with both, and served as a means of connection with my pops. Similarly, art was a bastion of light after I returned from Iraq, and helped me deal with my guilt about the war. I tell stories that reflect my story but are not totally personal and are still in dialogue with the wider world. Where myth gives voice to the underbelly, the lumpen, in tandem with displaying the familiar and grandiose. My work tethers together seemingly opposing ideas as I teeter between the personal, the historical, and the political. I approach my art practice with the certainty that my position will shift on many things given ample time. I see my work as history painting promoting the obscure, the forgotten, and common knowledge. Reflecting on the absurdness of history, I mean, whose history is it?

2017–18 Yozo Hamaguchi Printmedia Scholarship Award,

California College of the Arts, Oakland

Publication

2013

“Homeless Art Show,” Berkeley Times

Collection

California College of the Arts, San Francisco

133

Rick

Bryan Ali Sanchez Truck Bed | oil on canvas, 64 x 80 inches

134

Bryan Ali Sanchez El Monte (The Mountain) | oil on canvas, 72 x 60 inches

135

Bryan Ali Sanchez Nameless | oil on canvas, 60 x 78 inches

136

Bryan Ali Sanchez San Diego, CA bryan.ali.sanchez@gmail.com / www.bryan-ali.com / @bryan_ali_sanchez

b. 1989 San Diego, CA

Education

2019

BFA, California State University Long Beach,

Long Beach, CA

2016

AA, San Diego City College, San Diego, CA

Group Exhibitions

2019

Common Walls, Palm Court Arts Complex, Irvine, CA

Insights 2019, University Art Museum, Long Beach, CA

Shifting through the Circuit, Max L. Gatov Gallery,

Long Beach, CA

2014

Centennial Alumni Exhibition, City Gallery, AH 314,

San Diego City College, San Diego, CA

2012

Paintings, Saville Theater, San Diego, CA

City Collective Exhibition, Space 4 Art, San Diego, CA

Twenty Twelve Show, Luxe Gallery, San Diego, CA

2011

Art Night, La Casita, San Diego, CA

City Collective, Curran Plaza, San Diego, CA

Publications

2019

My paintings deal with the inequalities of class structure, depicting the hardships of the working class. As a first-generation Mexican American, I also investigate the psychological effects and complexity associated with misplaced identity. As a painter, I try to make sense of this ordeal by confronting Mexican hyperbolic clichés with an honest intent to display the realities of Mexican people and the traumas surrounding the Tijuana border. My approach to oil painting is expressive in terms of paint handling. I employ the tactility and physicality of paint, using gestural marks to depict the figure and landscape, hoping this will mirror the complexities surrounding these issues. The idea of the fight-or-flight response is portrayed by the figures in various scenes and coincides with my intuitive approach in reworking a painting. I try to evoke this experience through my color palette, as it is both invented and derived from observation. The compositional structure in each painting is created from personal experiences and the recollection of stories I have heard throughout my life.

James Scarborough, “A Conversation with San Diego Artist Bryan Ali Sanchez,” What the Butler Saw: An Arts

Magazine, September 2

“Meet Bryan Ali Sanchez,” VoyageLA, May 7

137

Sanchez

Bryan Ali Sanchez | Truck Bed (detail)

Steven Stodor 2424_5 | plastic, paint, and resin on canvas, 24 x 24 inches

140

Steven Stodor Green #2 | Mylar, plastic, and resin on canvas, 24 x 24 inches

141

Steven Stodor Starry Night | plastic, paint, glitter, and resin on canvas, 40 x 30 inches

142

Steven Stodor San Francisco, CA info@stodor.com / www.stodor.com / @_stodor_

b. 1983 Detroit, MI

Education

2013

BFA, Academy of Art University, San Francisco, CA

Solo Exhibitions

2019

Portals, International Art Museum of America, San

Francisco, CA

2018

City Hall, San Francisco City Hall, San Francisco, CA

2015

Home Port, The Cannery Galleries, San Francisco, CA

2014

Untitled, Arterra Condos Galley, San Francisco, CA

2013

Regatta, Gallery 625, Academy of Art University, San

Francisco, CA

Group Exhibitions

2016

Art for AIDS, w/ UCSF Alliance Health Project, Metreon,

Through multiple layers of Mylar, transparent colored plastic, and spray paint, under resin, I create minimalistic, nonrepresentational abstractions. Each piece is a study of color, color combinations, and the emotional effects of represented color(s). Simple shapes that are incorporated include the circle, which predates recorded history and is majorly associated with positivity. The aim of the work is to provide an experiential, contemplative glamour to the viewer.

San Francisco, CA 2013

St. Jude Children’s Research Hospital Benefit, Twitter HQ, San Francisco, CA

Everyday Worlds: Interiors and Exteriors, de Young Museum, San Francisco, CA

2012

Matter, de Young Museum, San Francisco, CA

2011

A Question of Social Consciousness: What’s Your

Question?, 111 Minna Gallery, San Francisco, CA

Where To? The Call of the Times, de Young Museum,

San Francisco, CA

2006

Made in the Mission, Amaru Gallery, San Francisco, CA

Awards

2015

Honorable Mention, Chelsea International, Agora Gallery, New York, NY

2013

Third Place, 17th Annual de Young Museum Student

Showcase, San Francisco, CA

143

Stodor

Judith Sturdevant Self-Portrait as My Garden | oil and acrylic on cut canvas, 30 x 30 inches

144

Judith Sturdevant Bornite Waves | oil acrylic and collage on sewn canvas and muslin, 45 x 34 inches

145

Judith Sturdevant Floral Sigil | oil, acrylic and collage on sewn canvas with linen and satin, 47 x 36 inches

146

Judith Sturdevant Portland, ORâ&#x20AC;&#x201A; judith@judithsturdevant.com / www.judithsturdevant.com

b. 1974 Alamogordo, NM

Education

2012

BFA, Pacific Northwest College of Art, Portland, OR

Solo Exhibitions

2018

Oracles, Adam Arnold Studio, Portland, OR

2015

Landscape in Transfiguration, ZGF Architects,

Portland, OR

2014

Or Somewhere Else, FalseFront, Portland, OR

2011

This Isnâ&#x20AC;&#x2122;t Working, Higgins Gallery, Pacific Northwest

College of Art, Portland, OR

2011 Something, IN FLUX Gallery, Pacific Northwest

College of Art, Portland, OR

Group Exhibitions

2019

Mirror, Womxn House, Portland, OR

2017

My process utilizes traditional painting techniques together with collage, textile arts, and digital manipulation to evoke transformative states and spaces inspired by a feminine aesthetic informed by the history of women in the arts. I use mediums and materials as a substrate in a manner where they lose distinction, where each becomes the other. I then overlay images drawn from nature, the body, the written word, and my prior paintings to further the synthesis and to render the figurative in a language grounded in abstraction while creating a dynamic interplay between handmade gesture and digital operation.

Unlimited, PAGE Space, Pacific Northwest College of Art, Portland, OR

2016

Tacoma Art Museum Gala, Tacoma Art Museum,

Tacoma, WA

Out of Sight, Pioneer Square, Seattle, WA

2015

White Noise 2.0, Natural History, Portland, OR

2014

Surrounding Visibility, Sylvania North View Gallery,

Portland Community College, Portland, OR

2012

Spacial Personality, Worksound, Portland, OR

The 100 Show, Wieden+Kennedy, Portland, OR

2011

Line of Sight, galleryHOMELAND, Portland, OR

147

Sturdevant

Lava Thomas Lottie Green Varner | graphite and contĂŠ pencil on paper, 47 x 33.5 inches

148

Lava Thomas Cora McHaney | graphite and contĂŠ pencil on paper, 47 x 33.5 inches

149

Lava Thomas Addie J. Hamerter | graphite and contĂŠ pencil on paper, 47 x 33.5 inches

150

Lava Thomas Berkeley, CA www.lavathomas.com / @lavathomas

b. 1958 Los Angeles, CA

Education

1999

BFA, California College of the Arts, Oakland, CA

1996

University of California, Los Angeles, CA

Residencies

2019

Lucas Artists Fellowship in Visual Arts, Architecture, and Design, Saratoga, CA

2017

Artist in Residence, Headlands Center for the Arts,

Sausalito, CA

Solo Exhibitions

2018

Mugshot Portraits: Women of the Montgomery Bus

Boycott, Rena Bransten Gallery, San Francisco, CA 2015

Berkeley, CA

2014

Lava Thomas: Beyond, Museum of the African Diaspora,

My creative process is led by research, experiential knowledge, and experimentation. It is informed by current events, black feminism, and history — both public and personal. While drawing and mark-making are the backbone of my practice, I look for ways that specific materials and methods support the conceptual ideas that I want each project to convey. By engaging in dialogues that shape our past and present, my practice is a means to imagine and create a more equitable future.

San Francisco, CA

Group Exhibitions

2020

New Time: Art and Feminisms in the 21st Century,

Berkeley Art Museum & Pacific Film Archive,

Berkeley, CA

2019

The Outwin 2019: American Portraiture Today, National

Portrait Gallery, Washington, DC

Plumb Line: Charles White and the Contemporary,

California African American Museum, Los Angeles, CA

2018

Be Not Still: Living in Uncertain Times, Part II, di Rosa

Center for Contemporary Art, Napa, CA

Award

2015

Joan Mitchell Foundation Painters and Sculptors Grant

Publication

2019

Looking Back and Seeing Now, Berkeley Art Center,

Through an oeuvre that includes drawing, sculpture, and sitespecific installation, I strive to connect people across distance and difference, using my practice to bridge our common humanity while addressing important issues of our time. Whether creating memorials to victims of racial violence, illuminating the labor of women in the struggle for equality, or stretching the conventions of portraiture and representation, I am concerned with amplifying ideas that explore visibility, resilience, and empowerment in the face of erasure, trauma, and oppression.

Ara Osterweil, “Lava Thomas: Rena Bransten Gallery,” Artforum 57, # 5, January 151

Thomas

Christine Wang Leo Yacht | acrylic on canvas, 96 x 72 inches

152

Christine Wang Woman Yacht | acrylic on canvas, 96 x 72 inches

153

Christine Wang Kellyanne | acrylic on canvas, 60 x 72 inches

154

Christine Tien Wang San Francisco, CA 323.589.1135 (Night Gallery) www.christinetienwang.com

b. 1985 Washington, DC

Education

2013

MFA, University of California, Los Angeles, CA

2008

BFA, Cooper Union for the Advancement of Science & Art, New York, NY

Residencies

2013

Virginia Commonwealth University in Qatar

2007

Skowhegan School of Painting and Sculpture,

Skowhegan, ME

Professional Experience

2017-20 Assistant Professor, Painting and Drawing, California

College of Art, Oakland, CA

Solo and Two-Person Exhibitions

2019

Cryptomemes: Women and Leo DiCaprio, Evergold

[Projects], San Francisco, CA

Mark Dion + Christine Wang: “Climate Change Is Real: Stop

My paintings combine photorealistic images and mannered texts. The text is oftentimes humorous and sardonic, commenting on current events, pop culture, sexual desire, commodity fetishism, and cognitive dissonance. I am inspired by my own feelings of guilt, greed, and shame. These negative emotions point to ideological paradigms that I have inherited, internalized, or reflect. I make the values of society visible by underscoring my own embarrassing thoughts. My paintings point to an ambivalent relationship between the subject and the ideological conditions that produce the subject. The “I” in my paintings is confused and abject, slipping between a desiring subject and a sexual object, between a political subject and cog in the capitalist machine. Is the voice of the “I” the voice of the artist, the viewer, the painting, or the celebrity? The ambiguity of my paintings points to a world where subjective desires are produced by racist and capitalist structures.

Procrastinating,” Galerie Nagel Draxler, Munich, Germany

Christine Wang / Anna Fasshauer, w/ Galerie Nagel Draxler, Art Berlin, Berlin, Germany

2018

Christine Wang and Grant Levy-Lucero, w/ Night Gallery, Independent Art Fair, New York, New York

2017

Devotional Art for Your Home, Night Gallery,

Los Angeles, CA

It is the holes which make it useful, w/ Galerie Nagel

Draxler Art Cologne, Cologne Germany

Award

2019

Finalist, San Francisco Museum of Modern Art Society for the Encouragement of Contemporary Art

Collection

Los Angeles County Museum of Art

Represented by

Night Gallery, Los Angeles, CA

Galerie Nagel Draxler, Berlin, Germany

155

Wang

Nick Wilkinson Inna Inna | acrylic and colored pencil on panel, 48 x 42 inches

156

Nick Wilkinson Knock Knock | acrylic and colored pencil on panel, 54 x 48 inches

157

Nick Wilkinson Old News | acrylic and colored pencil on panel, 48 x 42 inches

158

Nick Wilkinson Los Osos, CA nick@nwilkinson.com / www.nwilkinson.com / @_nickwilkinson_

b. 1979 El Centro, CA

Education

2003

BA, San Diego State University, San Diego, CA

Professional Experience

2015-20 Director, Left Field Gallery, Los Osos, CA

Solo Exhibition

2017

NIAD Art Center, Richmond, CA

Group Exhibitions

2019

The Spring Exhibition, Blank Art Objects,

San Francisco, CA

Climate Therapy, Public Land, Sacramento, CA

TINT, Gamut Gallery, Minneapolis, MN

2018

Does It Make a Sound?, Ochi Gallery, Ketchum, ID

2017

Body High, Tiger Strikes Asteroid, Los Angeles,

Zing Zam Blunder, Harbinger Projects, Reykjavík, Iceland

I find myself suspicious of most marks as soon as they hit the surface of the painting. In response, most are immediately, or over time, redacted or softened in some way—the painting becomes a layered history of steps and missteps, an uncanny conversation with my own id. Much of this dialogue exists in the tension between atmospheric color, form, and the unpredictable variations borne out of erasure and editing. What comes out on the canvas is a soup of visual triggers that I am unknowingly and daily cataloging: an abandoned banana peel, a sunbaked bumper sticker, an awkward tile job, yesterday’s sunrise, or my children’s drawings. As these symbols become modified and amended, the resulting pocks, scratches, and coverups build to a textured surface that announces its own history and allows for the viewer’s interpretive response.

Ocotillo, Tyler School of Art, Philadelphia, PA 2016

Deal with It, Woskob Family Gallery, The Pennsylvania State University, St. College, PA

2015

Out of the Great Wide Open, Museum of Contemporary Art Santa Barbara, Santa Barbara, CA

2014

Objects Objects!!, Helmuth Projects, San Diego, CA

Ducks, Greenpoint Terminal Gallery, Brooklyn, NY

2013

Thresholds, San Luis Obispo Museum of Art, San Luis Obispo, CA

159

Wilkinson

YESNIK Queen of a King | acrylic and collage on canvas, 36 x 30 inches

160

YESNIK The New Paradise | acrylic and collage on canvas, 40 x 32 inches

161

YESNIK Material Memory | acrylic and collage on canvas, 48 x 40 inches

162

YESNIK Vista, CA yesnikevadstudio@gmail.com / www.yesnik.studio / @yesnik.studio

b. 1971 Pittsburgh, PA

Solo and Two-Person Exhibitions

2019

Lux Art Institute, Encinitas, CA

2018

Subliminal Sanctuary, Jules Maeght Gallery,

San Francisco, CA

For Better or Worse: YESNIK x JAYBO, w/ For the

Unconventional, Los Angeles, CA

2017

Mojave, w/ For the Unconventional, pop-up exhibition,

Los Angeles, CA

Momentary Bliss, New Image Art Gallery,

Los Angeles, CA

Van Gogh Ate My Dog, w/Jaybo Monk, Kallenbach Gallery,

I like to visually convey the world in ways that challenge our perception of it. This is what motivates me to create.

Amsterdam, Netherlands 2015

The Modern Condition, FFDG, San Francisco, CA

Ashes to Ashes, Die Kunstagentin, Cologne, Germany

2014

Cushion of Memory, Library Street Collective, Detroit, MI

2012

Everything at Once, Joshua Liner Gallery, New York, NY

2010

New Works, Joshua Liner Gallery, New York, NY

2008

You Are Here, ALICE Gallery, Brussels, Belgium

2007

Sure Why Not, BLK/MRKT Gallery, Los Angeles, CA

Group Exhibitions

2019

Magic Wave, online exhibition, Young Space, Wisconsin

2016

Pop Austin, pop-up exhibition, Austin, TX

2013

Out with the Old, Library Street Collective, Detroit, MI

163

YESNIK

YESNIK | Queen of a King (detail)

Ilana Zweschi Dominion | oil on canvas, 60 x 48 inches

166

Ilana Zweschi YELLOWHAMMER | oil on canvas 60 x 48 inches

167

Ilana Zweschi Vermillion Sky Maze | oil on archival oil paper, 12 x 9 inches

168

Ilana Zweschi Seattle, WA 206.624.3034 (Linda Hodges Gallery) izweschi@gmail.com / www.ilanazweschi.com / @ilanazweschi

b. 1988 Greenley, CO

Education

2014

MFA, University at Albany, Albany, NY

2011

BS, Skidmore College, Saratoga Springs, NY

2010

School for International Training, New Delhi, India

Professional Experience

2017-20 Instructor, Cornish College of the Arts, Seattle, WA

Solo Exhibitions

2018

studio e Presents: Ilana Zweschi, Gallery Frames,

Seattle, WA

2017

Cannibal, Cornish Playhouse, Seattle, WA

Group Exhibitions

2020

Flat File 2020, Tiger Strikes Asteroid, New York, NY

2019

By & By: Hope for the Future, Durden and Ray, Los

Angeles, CA (participating artist and curator)

2018

n(y)oo, SOIL Gallery, Seattle, WA

Art Math, Center on Contemporary Art, Seattle, WA

2017

Out of Sight: A Survey of Contemporary Art in the Pacific

I start with written text. Documents that have the power to outline ways in which some lives are made more important than others. Pronouncements and propaganda that strip living beings of their inherent value and turn them into anonymous things. I then take the numbers, letters, and punctuation that comprise these texts and alphabetically reorder them. The result is total nonsense. All of the same elements are there, but they no longer have the power to do harm. They have been disarmed. Like taking a gun and switching around its parts so the mechanism can no longer fire. Finally, I use both forms of the text to write an algorithm that drives the decisions of each brushstroke of paint. I input the raw data of the text into the algorithm, run it through a series of “if/ then” rules I assign based on the structure and grammar of the written words, and receive an output of painterly actions. The paintings could not exist without either the original or altered text.

Northwest, Vital 5 Productions, Seattle WA

Time and Space, Czong Institute for Contemporary Art, Gimpo-si, Republic of Korea

2019

Publications Kevin Smith, “Ilana Zweschi,” 52 Critical Painters Blog, September 9

Kate Mothes, “Ilana Zweschi,” Young Space, February 19

2016

FreshPaintMagazine, #15, October

Award

2014

MFA Departmental Commendation, State University at Albany, Albany, NY

Represented by

Linda Hodges Gallery, Seattle, WA

SOIL Gallery, Seattle, WA

169

Zweschi

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 p196.

Michael Alvarez Weâ&#x20AC;&#x2122;re Out Here | oil on panels with student artwork and ephemera on corkboard, 60 x 48 inches

172

Michael Alvarez Look at This Photograph, 1 | oil, spray paint, and graphite on canvas, 31 x 24 inches

173

Michael Alvarez Wasteland Paradise | oil, spray paint ,and graphite on canvas, 72 x 60 inches

174

Michael Alvarez Los Angeles, CA 626.379.8564 mailto@michaelalvarezart.com / www.michaelalvarezart.com / @_michaelalvarez__

b. 1983 Los Angeles, CA

Education

2007

Art Center College of Design, Pasadena, CA

Solo Exhibitions

2019

Mama’s Boys and Other Stories, Riverside Art Museum,

Riverside, CA

2018

We’re Out Here, Marlborough Gallery, New York, NY

Group Exhibitions

2018

35x35: Dual Vision, Mexican Cultural and Cinematographic

Center, Consulate General of Mexico in Los Angeles,

Los Angeles, CA

2017

Dark Progressivism: The Built Environment, Museum of Art

My paintings document a collection of stories and experiences within my contemporary urban environment that I would like to share with the viewer. Some are personal experiences, relationships, or spaces I have intimate connections to. Some are based on shared stories, and collections of visual artifacts. Some stories are celebratory, some dysfunctional, some absurd, and some are everything at once. Through a process of detail, distortion, blur, and texture, I aim to capture the haze of memory and perception, while experiencing and processing moments in time.

and History, Lancaster, CA

4th SUR:Biennial, Cerritos

College Art Gallery, Cerritos, CA

Collection

The Cheech Marin Collection

175

Alvarez

Michael Alvarez | Wasteland Paradise (detail)

Allison Anderson Pretty Slut | oil and spray paint on canvas, 60 x 48 inches

178

Allison Anderson You Play Ball Like a Girl | oil and spray paint on canvas, 25 x 25 inches

179

Allison Anderson Wallpaper #3 | oil and spray paint on canvas, 60 x 48 inches

180

Allison Anderson Orange, CA alliandersonE@gmail.com / www.alliandersonstudio.com / @alliandersonE

b. 1990 La Palma, CA

Education

2021

MFA candidate, Tyler School of Art, Temple University,

Philadelphia, PA

2014

BFA, California State University, Long Beach, CA

Residency

2015

Nine Human Heads, Tyler SPI/SSI Group Exhibition,

IceBox Project Space, Philadelphia, PA.

Group Exhibitions

2019

Here Now Art Mart, Grab Bag Studio, Eagle Rock CA

2014

CA 101 2014, Pier Plaza Galleries, Redondo Beach, CA

Award

2014

VSA Emegering Artist via The John F. Kennedy

Performing Arts Center, Washington, DC

Publication

2014

New American Paintings, #115

Collection

California State University, Long Beach

Gathering text and selected imagery from personal journals, books, and films, I try to illustrate the psychological thought process of a strong female in America. The women I am inspired by are ones that have contributed a lot to their field but have received very little recognition due to their gender. I focus on the female’s thoughts, fears that deal with navigating maledominated spaces, along with female body issues that all woman face on the daily, including myself. I establish the structure of a painting with feminist text that is concealed with transparent veils of color, along with somewhat recognizable female forms and objects floating in and out of the composition, leaving the viewer atmospherically surrounded by the female’s thoughts. A painting is most successful when the text and figures are slightly obscured, inviting the viewer to contemplate what the painting is trying to say.

181

Anderson

Deitra Charles Goodnight sweet Lorraine | oil on canvas, 27 x 18 inches

182

Deitra Charles Trespassingâ&#x20AC;&#x201C;Loitering Forbidden by law | oil on canvas, 27 x 18 inches

183

Deitra Charles Untitled | oil on canvas, 36 x 48 inches

184

Deitra Charles Carson, CA deitra.charles@gmail.com / www.deitracharles.com / @deitrac

b. 1968 Los Angeles, CA

Education

2019

MFA, Claremont Graduate University, Claremont, CA

1991

BA, Loyola Marymount University, Los Angeles, CA

Solo Exhibitions

2019

Phenomenal Women, CGU Gallery 128, Claremont, CA

Goodnight sweet Lorraine, CGU Gallery 129,

Claremont, CA

Quiet Moments, MFA thesis exhibition, Peggy

Phelps Gallery, Claremont, CA

Group Exhibitions

2020

Blackstract: Dysfunctional parasol, tag Gallery,

Los Angeles, CA

2019

Reflections: Trespassingâ&#x20AC;&#x201D;Loitering forbidden by law,

My work is sourced from a personal place and evolves into a shared experience. It is broad in scope and connected by threads of memory, history, and hope. I step into the past to gain self-awareness. Drawing and painting figurative artwork with deliberate movements and an uninhibited mindset, I bridge the past and the present, the traditional and the contemporary. I create innovative pieces using a variety of styles lending to the sincerity of my work. I use my art to create an environment that is inclusive, engaging, and thought-provoking.

Navigating lifeâ&#x20AC;&#x201D;He side-eyed me, East and

Peggy Phelps Galleries, Claremont, CA

Adapt: Melancholy flowers, Claremont City Hall,

Claremont, CA

2018

Chroma: Untitled, Peggy Phelps Gallery, Claremont, CA

Dream: Untitled, CGU Space 230, Claremont, CA

SoCalMFA Juried Exhibition, Millard Sheets Art Center, Pomona, CA

Fresh Take: Eagle in flight, Claremont City Hall,

Claremont, CA

2017

Twelve, East Gallery, Claremont, CA

daybreak, East Gallery, Claremont, CA

Entities: Dysfunctional parasol, The watcher,

Claremont City Hall, Claremont, CA

Publication

2019

Studio Visit Magazine, vol. 45

185

Charles

Michael Haight Bad King | watercolor, gouache, and ink on canvas, 72 x 60 inches

186

Michael Haight Ten Directions #3 (27 Narratives) | watercolor, gouache, and ink on canvas, 44 x 57.5 inches

187

Michael Haight 1 Frame (Blue Suit Double Death Point) | watercolor and ink on canvas, 24 x 18 inches

188

Michael Haight Los Angeles, CA Maustinhaight@gmail.com / www.haight.space / @haight.space

b. 1984 Fontana, CA

Education

2010

MFA, Claremont Graduate University, Claremont, CA

2007

BA, University of California, Riverside, CA

Professional Experience

2009-20 Art services provider

Solo Exhibitions

2009

I Haight This Show, 50 Bucks Gallery, Pomona, CA

Ok I Believe You, Peggy Phelps Gallery, Claremont, CA

Group Exhibitions

2019

Limited Edition Custom Panels, Pretend Gallery,

Los Angeles, CA

2017

Artist & Residence, Bernardo Hale Gallery,

Los Angeles, CA

2016

Human Condition, LA Metropolitan Medical Center,

Los Angeles, CA

Group-a-Therapists, Kippenberger-Beuys Gallery,

Glendale, CA

Being Present Mafia, Soze Gallery, Hollywood, CA

2015

Rabbit Hole DTLA, Kippenberger-Beuys Gallery,

Los Angeles, CA

2012

Plexus no.7, Chashama Gallery, Brooklyn, NY

The Visitation, Cirrus Gallery, Los Angeles, CA

2011

My arts practice is intertwined with my Buddhist practice. Themes of compassion, suffering, cycles of death and birth, and the accumulation of wisdom flow through each image. In my series Alcoholic Crepuscules, about the nights when my friends and I drank until sunrise, each image is anchored by the inevitable sunriseâ&#x20AC;&#x201D;a new beginning selfishly ignored by those seeking to elongate the nighttime. The work in my series Ten Directions focuses on giving and receiving, exerting control and being controlled, and the benefits of blessingsâ&#x20AC;&#x201D;essentially the simultaneous narratives of interaction that pervade in all directions. My series of headless forms reference our body language as we tumble after illusions. In all my work I use gouache and watercolor over a chalky gesso to create thin, transparent washes of color over wide spaces. Afterwards I go in with a fine, scriptlike hand to define and focus form and figure.

The 6th International Inviting Exhibition, Gallery Iang, Seoul, Republic of Korea

2010

Mirror/Window, Louis V E.S.P., Brooklyn, NY

189

Haight

Tahnee Lonsdale We Kneel | spray paint and oil on canvas, 64 x 70 inches

190

Tahnee Lonsdale 4 in a Bed | spray paint and oil on canvas, 64 x 70 inches

191

Tahnee Lonsdale Big Spoon, Little Spoon | spray paint and oil on canvas, 64 x 70 inches

192

Tahnee Lonsdale Los Angeles, CA 212.255.5735 (De Buck Gallery) tahneelonsdale@gmail.com / www.tahneelonsdale.com / @tahneelonsdale

b. 1982 Reading, England

Education

2007

BA, Byam Shaw School of Art, University of the Arts,

London, England

Solo Exhibitions

2020 My dad taught me to tie knots, mum, the names of flowers,

pt. 2, Oakland, CA 2019

Tender Loin, Dellasposa, London, England

Tear Hear, 0.0 Los Angeles, CA

2017

Furnished, Herrick Gallery, London, England

2016

Pipe Dreams, De Buck, New York, NY

Group Exhibitions

2019

Here + Now, Pabloâ&#x20AC;&#x2122;s Birthday, New York, NY

Runs Straight Through, Torrance Art Museum/YNGSPC, Torrance, CA

Rainy-Day CanapĂŠ, LM Gallery, Latina, Italy

Oneiric Landscapes, 5 Car Garage, Los Angeles, CA

The Future Is Female, Dellasposa, London, England

Colored Light, De Buck, San Francisco, CA

2018

Site Unseen, Dellasposa, London, England

2017

The Amorist, Arusha, Edinburgh, Scotland

Colored Light, De Buck, New York, NY

Represented by

De Buck, New York, NY

Dellasposa, London, England

Each of my paintings peers into my personal journey, juggling the ambiguous roles of a twenty-first-century mother and artist. There is always the tug between needing to be at home spending time with my children and being in my studio working. This duality is a reality men are not traditionally challenged with. Asked to simultaneously serve as yin and yang, women are embroiled in long-held expectations that they will be nurturing and vulnerable within the expansive space of their inherent power, strength, and independence. Beginning with sculptural formations I observe in furniture, often discarded and haphazardly tossed on the streets, I move from the object to the canvas and anthropomorphize these abstract shapes into representations of the body. My figures are rendered genderless and loosely repetitive, maintaining a balance between order and chaos. On one hand, my gestures indicate a docile figure, tucked in on itself or weaving and tying into another, and on the other, an independent body moving away from its former entanglements.

193

Lonsdale

Tahnee Lonsdale | 4 in a Bed (detail)

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.

Misia Armstrong p16 $2,400 p17 $1,100 p18 $2,400

Eric Huebsch p76 $2500 p77 $2500 p78 $3000

Steven Stodor p140 $1,152 p141 $1,152 p142 $2,470

Tamera Avery p20 $3,500 p21 $4,200 p22 $14,500

Greg Ito p80 NFS p81 NFS p82 NFS

Judith Sturdevant p148 NFS p149 $1,000 p150 $1,000

Alejandro Cardenas p24 NFs p25 NFS p26 NFS

Sujin Jung p84 $250 p85 $250 p86 $200

Lava Thomas p148 NFS p149 NFS p150 $20,000

Anthony Ciarlo p30 $1,000 p31 $1,000 p32 $1,000

Jennie Jieun Lee p88 POR p89 POR p90 POR

Christine Tien Wang p152 POR p153 POR p154 POR

Kathryn Clark p34 $3,000 p35 $3,000 p36 $3,000

Aubrey Ingmar Manson p94 $3,200 p95 $2,400 p96 NFS

Nick Wilkinson p156 $3,800 p157 $4,800 p158 $4,800

Bailey Davenport p38 NFS p39 NFS p40 NFS

Lilian Martinez p98 NFS p99 NFS p100 NFS

YESNIK p160 $8,000 p161 NFS p162 $12,000

Kyle Austin Dunn p42 $6,300 p43 $6,300 p44 $6,300

Kayla Mattes p102 NFS p103 NFS p104 $7,000

Ilana Zweschi p166 $6,000 p167 $6,000 p168 NFS

Alec Egan p46 NFS p47 NFS p48 NFS

Nick McPhail p108 NFS p109 POR p110 NFS

Amir H. Fallah p52 POR p53 POR p54 POR

Mary Mocas p112 $10,000 p113 $10,000 p114 $12,000

Kohshin Finley p56 POR p57 POR p58 POR

Jill Mulleady p116 NFS p117 NFS p118 NFS

Ellen George p60 $900 p61 NFS p62 NFS

Alexandra Noel p122 NFS p123 NFS p124 NFS

Grace Lynne Haynes p64 NFS p65 NFS p66 NFS

Julio Panisello-Huguet p126 NFS p127 NFS p128 NFS

Justyn Hegreberg p68 $350 p69 $350 p70 $350

Gregory Rick p130 $4,800 p131 $5,000 p132 $3,800

David Hendrickson p72 NFS p73 $1,250 p74 NFS

Bryan Ali Sanchez p134 $9,500 p135 NFS p136 $10,000

196

Michael Alvarez p172 $9,000 p173 NFS p174 $12,500 Allison Anderson p178 NFS p179 $600 p180 $800 Deitra Charles p182 $3,000 p183 $2,000 p184 NFS Michael Haight p186 $7,500 p187 $6,000 p188 NFS Tahnee Lonsdale p190 $13,500 p191 $13,500 p192 $13,500

Have you met NYFA? The mission of New York Foundation for the Arts (NYFA) is to empower artists across all disciplines at critical stages in their creative lives and professional development.

NYFA serves its mission through four programs: FISCAL SPONSORSHIP Provides individual artists and emerging arts organizations with the means to collect tax-deductible donations.

ONLINE RESOURCES NYFA Classifieds, NYFA Source, NYFAâ&#x20AC;&#x2122;s Business of Art articles, and #ArtistHotline are invaluable resources for job seekers, artists, and arts professionals.

NYFA LEARNING NYFAâ&#x20AC;&#x2122;s professional development programs include panels, workshops, individual consultations, and training opportunities.

AWARDS AND CASH GRANTS Each year, NYFA awards over $650,000 in cash grants to individuals pursuing artistic excellence, as well as artist-in-residence opportunities.

Learn more at www.nyfa.org

PAPAY SOLOMON: N E W PA I N T I N G S SEPTEMBER 2020

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