New American Paintings West Issue #156 by newamericanpaintings

156

October/November

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156 October/November 2021 Volume 26, Issue 5 ISSN 1066-2235 $20

Recent Jurors: Bill Arning

Toby Kamps

Contemporary Arts Museum Houston

The Menil Collection

Nora Burnett Abrams

Miranda Lash

Museum of Contemporary Art Denver

New Orleans Museum of Art

Janet Bishop

Al Miner

San Francisco Museum of Modern Art

Museum of Fine Arts, Boston

Staci Boris

Dominic Molon

Elmhurst Art Museum

RISD Museum of Art

Nina Bozicnik

Sarah Montross

Henry Art Gallery

deCordova Sculpture Park and Museum

Dan Cameron

René Morales

Orange County Museum of Art

Pérez Art Museum Miami

Cassandra Coblentz

Barbara O’Brien

Independent curator

Kemper Museum of Contemporary Art

Eric Crosby

Raphaela Platow

Walker Art Center

Contemporary Arts Center, Cincinnati

Dina Deitsch

Monica Ramirez-Montagut

deCordova Sculpture Park and Museum

San Jose Museum of Art

Apsara Diquinzio

Lawrence Rinder

UC Berkeley Art Museum and Pacific

Film Archive

Lisa Dorin

Veronica Roberts

Williams College Museum of Art

Blanton Museum of Art

Anne Ellegood

Michael Rooks

Postmaster: Send address changes to

Hammer Museum

High Museum of Art

The Open Studios Press

Lisa D. Freiman

Alma Ruiz

Institute for Contemporary Art,

The Museum of Contemporary Art,

Virginia Commonwealth University

Los Angeles

Evan Garza

Kelly Shindler

Blanton Museum of Art

Contemporary Art Museum St. Louis

Michelle Grabner

Anna Stothart

2014 Whitney Biennial, Whitney Museum

Institute of Contemporary Art/Boston

of American Art

Catherine Taft

Randi Hopkins

LAXART

Independent curator

Julie Rodriguez Widholm

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

Laura Hoptman

Museum of Contemporary Art Chicago

Editor/Publisher: Steven Zevitas Associate Publisher: Andrew Katz Designer/Production Manager: Alexandra Simpson Operations Manager: Alexandra Simpson Marketing Manager: Liz Morlock Copy Editor: Richie Feathers Advertising Inquiries please contact Liz Morlock: 617.778.5265 New American Paintings is published bimonthly by: The Open Studios Press, 450 Harrison Avenue #47, Boston, MA 02118 617.778.5265 / www.newamericanpaintings.com Subscriptions: $89 per year. (Canada + $50/non-North America + $100) Periodical Postage paid at Boston, MA and additional mailing offices.

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PRINTED IN KOREA All rights in each work of art reproduced herein are retained by the artist. Front cover: Andreas, p16

Back cover: Chung, p54

Museum of Modern Art, New York

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Maharaj p104

Contents 8

Editor’s Note

Noteworthy

Steven Zevitas

Juror’s and Editor’s Picks

Juror’s Comments Lauren R. O’Connell, Curator of Contemporary Art, Scottsdale Arts, Scottsdale Museum of Contemporary Art, Scottsdale, AZ

14 156 178

Winners: Juror’s Selections Western Competition 2021

Winners: Editor’s Selections Western Competition 2021

Pricing Asking prices for selected works

156 October/November 2021

Editor’s Note

I want to give a huge thanks to Lauren R. O’Connell, Curator of

I am not that jaded. For me, the current moment we find ourselves

Contemporary Art at the Scottsdale Museum of Contemporary

in feels like it has the potential to be a genuine shift in our collective

Art, for doing such an extraordinary job as juror for this Issue. The

consciousness, and artists are playing a central role in pushing us

Scottsdale has always been one of my favorite regional institutions.

all forward. Art has always helped us grasp the world as it is and

Lauren is deeply immersed in the visual culture of her region and

suggested ways in which the world can be made better. The journey

extremely supportive of artists from Arizona and beyond. Please be

towards equality has never been easy, but the more voices that are

sure to give her incisive essay a read.

included, the better chance we have of getting there. n

What is immediately striking about this Issue #156 is that fifty-

Enjoy the issue.

percent of the featured artists do not identify as Caucasian. While New American Paintings has a proud history of supporting artists

Respectfully,

from marginalized communities, this Issue marks something of a watershed moment. If you have been even casually engaged with

Steven Zevitas

the art world over the past five plus years, you have been witness

Editor & Publisher

to a sort of awakening within the art world. After centuries, the moribund narrative of art history being driven by a white, male perspective has started to come unraveled. There are now more exhibitions of works by artists of color and other marginalized communities, both at commercial galleries and museums, then at any point in history, and many collecting institutions are making great efforts to ensure that their collections fairly represent the diversity of substantive artistic making, past and present. It is a “correction” that is long overdue. The art world has always loved a “moment,” so it is not surprising that some might view the current situation as another in long line of trends that individuals tend to rally around for a variety of reasons, mostly because the tendency to categorize is innate within all of us.

ETERNAL PRESCENCE

Jan. 7—Mar. 5, 2022 Say His Name: Jordan Davis 17, November 23, 2012; Jamee Johnson 22, December 14, 2019; Ryan Twyman 24, June 6 2019; Botham Shem Jean 26, September 6, 2018; Tamon Robionson 27, April 18, 2012; 2021, bleach, oil stick, and oil on canvas, 30 x 24 inches

ANTHONY PEYTON YOUNG

Noteworthy:

Angela Fox

Juror’s Pick p72

Angela Fox’s fantastical paintings are burned into my visual memory, evoking simultaneous feelings of amusement and panic. Masks, scorpions, snakes, fire, cats, skulls, nature, and body are rendered in a precise flurry of saturated colors and patterns. The subject matter is the hero’s journey that so often designates a man, but here the artist centers on a female protagonist. This play on traditional notions, within a surreal, almost hysterical setting, feels pertinent to the time in which we are living. n

Brianna Noble

Editor’s Pick p108

Noble’s work is difficult in the best possible way. As a young Black, Latinx woman, she is well aware that, even in our day and age, living in a Black body can be a political statement. Noble’s work focuses on Black bodies, but she makes numerous compositional and conceptual choices that disrupt our ability to easily “understand” her subjects. Noble uses sexuality to attract the viewer’s gaze and then, when she has us, makes us consider the entirety of her subject’s experience, both internally and externally. n

Winners: Western Competition 2021 Juror: Lauren R. O’Connell, Curator of Contemporary Art , Scottsdale Arts, Scottsdale Museum of Contemporary Art, Scottsdale, AZ

Editor’s Selections: Jacob Hayes | Ruin F. Kenzie | Amie LeGette | Alexandre Pépin | Noah Schneiderman

Juror’s Comments

Lauren R. O’Connell

Curator of Contemporary Art, Scottsdale Arts, Scottsdale Museum of Contemporary Art, Scottsdale, AZ

Selecting artists to feature in New American Paintings is a privilege

works that explore aspects of identity relating to otherness and

and a challenge, in that so many talented artists submit work.

code-switching based on personal experiences; they empower

When considering the submissions, I looked broadly at the

honest conversation about the long-term effects of imperialism and

definition of painting and focused equally on

colonialism. Andreas pulls imagery connected

technique and content. Knowing nothing about

to both Native American representation and

the artists or their practices, I selected works

the European conquest of North America—a

that made an impression on my intellect,

stuffed turkey, a white column house, a church

emotion, or curiosity, hooking and luring me

and steeple—into his paintings. Floating amid

into new spaces of thought.

incongruent landscapes, the subjects suggest a constructed reality formed by the retelling of

As I began making selections from the hun-

American history from the perspective of the

dreds of images, a narrative unfolded. It is nei-

oppressor.

ther linear nor limited to one theme, but rather a story told through contemporary painting

A reclamation of cultural heritage through

about the times we are living in. As a curator based in the South-

the observation of ancestral beliefs or artifacts is seen in the

west, I am drawn to works that speak to experiences in this part

collage paintings of both Suzy González and Renluka Maharaj,

of the country near the U.S. Mexico border. Specifically, paintings

where the past is used to understand the present in order to shape

by Carlos Encinas, Alejandro Macías, and Jesus Treviño reflect life

the future. In Guardians of Our Stories, Maharaj paints in details

through Chicano iconography, fractured portraiture, and desert

of garments and surroundings with vivid and rich colors on the

landscapes haunted by mirage-like figures. For example, Macías’s

faded surface of a black and white photograph of a family from

painting American Mexican (II) is a self-portrait of the artist wearing

India. As a descendant of South Asian families who were enslaved

a baseball cap with the Mexican flag. Set against a bright yellow

and brought to the Caribbean, Maharaj pays tribute to the erased

background, the bust up to the artist’s nose is replaced by striped

history of her people to recoup a distinct aspect of her identity.

patterns that are reminiscent of both Mexican blankets and data barcodes, suggesting conflict within oneself.

The human body is also a key component to personal identity and has long been at the center of painting, exploring the intricacies of

Identity is often influenced by the ideologies and traditions of where

existence from birth to death. Here, paintings by Forrest Solis and

one lives. Whether it is a singular or community endeavor, defining

Matthew Conway focus on the body by recontextualizing notions of

the boundaries of oneself is a universal practice. Jared Andreas,

desire and erotica. Solis’s realistic paintings are part of a series

Jeremy Biggers, Katherine Del Rosario, and Saskia Jordá make

based on French painter Gustave Courbet’s L’Origine du monde

Macías p100

Andreas p16

Maharaj p104

Solis p132

Kaye p89

Liu p97

“ In our present milieu, there is a rawness that is both fraught and sincere, which these artists explore visually, emotionally, and intellectually...” [The Origin of the World], a piece that shocked 17th century society

hyper-colored hands. Overhead and melting around is a fantastical

with its stark depiction of a naked woman whose head is covered

creature exuding vibrant patterns and a downpour of bulbous

by a sheet. In Solis’s paintings, the artist isolates body parts by

tears. For Liu, the paintings are manifestations of confusion and

surrounding them with a white cloth to render them lifeless and

joy influenced by the artist’s late diagnosed autism and short-term

devoid of recognition.

memory loss.

Since the beginning of 2020, the pillars of society have been

Overall, the selected works have a sense of vulnerability in their

destabilized by the pandemic of COVID-19, a divisive political

quest for transformation, whether personally or systemically.

climate, and civil uprisings for social and racial justice. Although

Art can share a multitude of perspectives, not just to provide

each has caused immense anxiety, this rupture has revealed the

answers, but to also reframe the question towards an open-ended

realities of extreme inequality in the United States and worldwide.

conversation. The paintings in this issue offer narratives that are

Candidly addressing the systemic failures of society are the works

unfolding indefinitely and out in many directions. In our present

of Humphrey Kaye, Aitor Lajarin-Encina, and Brianna Noble, all of

milieu, there is a rawness that is both fraught and sincere, which

whom employ satire to point out the imbalance and absurdity of

these artists explore visually, emotionally, and intellectually

contemporary culture. Kaye’s watercolors reimagine scenes from

through contemporary painting. n

the cult classic movie Back to the Future, recasting all characters as Kaye himself. The absurdity of centering a Black man in the 1985 film is palpable in A Colored Mayor, where two versions of Kaye talk in front of City Hall with the movie’s line, “A colored mayor, that’ll be the day,” quoted beneath. Elsewhere, the surreal paintings by Angela Fox and Caroline Liu transport the viewer into the imagination and mind—not to escape, but rather as an acute visual depiction of the internal distress and willpower to stay afloat that so many have experienced over the past year and a half. Liu’s Some Regrets merges styles of realism and animation, showing a realistic, sad face hiding behind flat,

Juror’s Selections

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

Jared Andreas Captives on the Carousel of Time | oil and acrylic on canvas, 60 x 40 inches

Jared Andreas Somnambulist (Cowcatcher) | oil and acrylic on canvas, 60 x 40 inches

Jared Andreas Purple Mountain Majesties | oil on canvas, 52 x 38 inches

Jared Andreas Boise, ID jandreasjandreas@icloud.com / www.jaredandreas.com / @jaredandreas

(insert statement here regarding identity, otherness and constructed reality)

Education 2018

BFA, Boise State University, Boise, ID

2020

35th Annual No Big Heads (online), Hugh McPeck Gallery,

Group Exhibitions University of Alaska Anchorage, Anchorage, AK Wide Open 11, Brooklyn Waterfront Artists Coalition, Brooklyn, NY 2018

XL Catlin Art Prize Exhibition, San Francisco Art Institute, San Francisco, CA; Linda Warren Projects, Chicago, IL; and New York Academy of Art, New York City, NY Award

2018

Alexa Rose Foundation Grant, Boise, ID Publication

2017

New American Paintings, Issue #137 Collections Boise Visual Chronicle, Boise, ID

Andreas

b. 1988 Hemet, CA

Jared Andreas | Captives on the Carousel of TIme (detail)

Andrea Bagdon Fractures | oil on canvas, 52 x 60 inches

Andrea Bagdon Residue | oil on canvas, 51 x 63 inches

Andrea Bagdon Specter and Spectator | oil on canvas, 34 x 43 inches

Andrea Bagdon Fort Collins, CO andrea.bagdon@colostate.edu / www.mercurialstudio.com

Education 2021

MFA, Colorado State University, Fort Collins, CO

2014

BFA, Northern Arizona University, Flagstaff, AZ Professional Experience

2021

Signal Culture Experimental Media Residency, Research Assistant, Owego, NY

2019-21 Colorado State University, Instructor of Record, Fort Collins, CO 2013-15 Upper Floor Experimental Art Collective, Co-Founder/ Owner, Jerome, AZ Solo Exhibition 2021

Specter and Spectator, Loveland Museum, Loveland, CO

2021

New Media Art Conference Exhibition, CICA Museum,

Group Exhibitions

My interdisciplinary practice examines abstracted systems of femininity by using the image processing mediums of paint and video to mutually inform each other. This hybrid form of art making allows me to enter a new conversation with my imagery with agency by creating visual ambiguity that challenges historical and contemporary images of female-identified persons as central objects. A dialog emerges between the physical labor of using the paint body and the technical automation of the video programing that fractures the symbolic and the real. The resulting paintings have an elaborate palimpsest, which lends to the ability to expose multiple layers of reality. The video compositing process gives my paintings a sense of movement and time that addresses the contemporary cultural programming of the female-identifying psyche. Art making, especially painting, should constantly be interrogated to challenge the status quo. By merging a historically patriarchal medium, such as painting, with experimental video—a medium that has been associated with feminism since its inception—my work aims to do exactly that.

Gyeonggi-do, South Korea International Juried Exhibition: An MFA Thesis, Ivy League Gallery, Minneapolis, MN 2020

CAA 108th Annual Conference at ARTexchange, Columbia College Chicago, Chicago, IL GIRLHOOD, Fringe Arts Bath, London, England RAW: MFA Juried Exhibition, University of Montana, Missoula, MT Awards

2021

Department of Art and Art History Research Grant, Colorado State University, Fort Collins, CO

2020

Scholarship, Kennedy Art Center, Washington, D.C.

2019

Lillyblade Art Scholarship, Colorado State University, Fort Collins, CO Publication

2021

Bagdon, Andrea, ‘Painting and Video: A Disobedient Mediation’, CICA Museum Press 23

Bagdon

b. 1983 St. Paul, MN

Andrea Bagdon | Fractures (detail)

Jennifer Balkan By reason of my motion, I cannot stop | oil on aluminum panel, 40 x 40 inches

Jennifer Balkan On the verge of ‘Poof’ | oil on aluminum panel, 40 x 40 inches

Jennifer Balkan Combustion | oil on aluminum panel, 40 x 40 inches

Jennifer Balkan Austin, TX jenniferbalkan@gmail.com / www.jenniferbalkan.net / @jenniferbalkan

Education 2001

Ph.D, University of Texas at Austin, Austin, TX

1992

BA, Lehigh University, Bethlehem, PA Solo Exhibitions

2021

Pan-demon-ium, AnArte Gallery, San Antonio, TX

2019

The Human Condition, Chimera Gallery, Millingar, Ireland

2012

Peep Holes, Wally Workman Gallery, Austin, TX

2010

The Geography of Self, Wally Workman Gallery, Austin, TX Two-Person Exhibition

2013

Disguises and Disappearances (with John McCarthy), Eleanor Ettinger Gallery, New York, NY

My paintings are emotionally-based, psychological narratives where the details lie in planes of color. I choose to exaggerate color; to in a sense break up a color field into its constituent colors, directing the viewer to particular areas by applying juicy bits of heavily saturated color. I strive to capture emotional states more than anything else, purposefully laying strokes down to create the illusion of an outer physical topography that houses an inner one of the soul. Though it’s a cerebral concept that motivates me, the process of painting is superior to all else. Once I begin a painting, my interaction with the panel takes on a life of its own; it transcends whatever I can say about the painting once it’s finished. Like some kind of meditation, I always hope to remain in this state during the entirety of my painting experience, though life’s chatter gets in the way at times. When I can exist in that sweet place for much of the time while I am painting, I can say my work is honest.

Group Exhibitions 2020

Painting the Figure Now III, Wausau Museum of

2018

Painting Now, Maxwell Alexander Gallery,

Contemporary Art, Wausau, WI Los Angeles, CA The Human Condition, AnArte Gallery, San Antonio, TX Awards 2019

Piece chosen as one of the “Select 50,” Portrait Society of America – International Portrait Competition, Tallahassee, FL

2015

Best Visual Artist of 2015, Austin Chronicle Readers’ Poll, Austin, TX Publications

2019

MacNougle, Niall, 'What Lies Beneath (a preview of solo exhibition The Human Condition)’, The Irish Independent ‘The Beast Within (preview of solo exhibition The Human Condition)’, American Art Collector – Issue #165

2017

Balkan, Jennifer, ‘I Feel Blue Much of the Time’, Artists on Art Magazine 27 Collection Wausau Museum of Contemporary Art, Wausau, WI

Balkan

b. 1970 Fort Bragg, NC

Laura Spalding Best Vanished Tempest | oil on found objects, 144 x 60 x 4 inches

Laura Spalding Best Tributary I | oil on found objects, 24 x 52 x 4 inches

Laura Spalding Best Kaleidoscope | oil on found objects, 30 x 18 x 2 inches

Laura Spalding Best Phoenix, AZ 602.264.1414 (practical art) lauraebest@gmail.com / www.lauraspaldingbest.com / @bestsofphoenix / @bestsofphoenix

Residency 2019

Tempe Center for the Arts, Tempe, Arizona Solo Exhibitions

2021

Surroundings, Pravus Gallery, The Newton, Phoenix, AZ

2019

Inundated, Stark Gallery, Phoenix, AZ

2018

Vanity, practical art, Phoenix, AZ

2016

Inferior Mirage, Chartreuse Gallery, Phoenix, AZ

2020

Keepsakes, practical art, Phoenix, AZ

2019

Water: Life, Art, Science, Tempe Center for the Arts

2018

Contemporary Forum Grant Winners Exhibition, Phoenix

Group Exhibitions Arizona Biennial, Tucson Museum of Art, Tucson, AZ Gallery, Tempe, AZ

I have been studying and painting the urban landscape of the southwest for many years now. Working with oil paint on metal and found objects, I have long viewed my groups of paintings as installations. In my work, I seek to analyze and quantify the complex infrastructure that makes our desert cities livable, while also appreciating the unexpected beauty that can be found in power lines and transformers. Through the visual metaphors of the oasis and the mirage, my paintings often reflect each other, distort, and even appear to melt from their surface. I start with the mirage as a melting point and blur the line between something that is a tantalizing promise on the horizon and something that we may always pursue but never actually reach. These depictions of the contemporary urban desert, featuring banal locations like highways, parking lots, and man-made waterfalls, explore the legacies of romanticism in the American West and tell stories of unfulfilled promises of paradise and the future effects of climate change.

Art Museum, Phoenix, AZ 2017

The Fate of Landscape Painting, Fine Art Complex 1101, Tempe, AZ

2016

Smaller Footprints, Museum of Art and History, Lancaster, CA Represented by practical art, Phoenix, AZ

Best

b. 1980 Euclid, OH

Jeremy Biggers Blood Moon and a Light Sonata | oil on a cradled panel, 72 x 72 inches

Jeremy Biggers Self-Portrait 2020 | oil on cradled panel, 24 x 18 inches

Jeremy Biggers Unspoken Burden 009 | oil on cradled panel, 60 x 48 inches

Jeremy Biggers Dallas, TX jeremy.biggers@gmail.com / www.jeremybiggers.com / @stemandthorn / @stemandthorn

Residency 2021

Pro Team Artist – Class of 2021, Trekell Art Supplies, Hesperia, CA

2020

Selected Artist, Carroll Harris Simms National Black Art Competition and Exhibition, African American Museum of Dallas, Dallas, TX Solo Exhibitions

2021

Unspoken Burdens, Arthello Beck Gallery, South Dallas Cultural Center, Dallas, TX

2019

Chronicle, Bernice Coulter Templeton Art Studio & Gallery,

From drawing to painting, graphic design to photography and filmmaking, Jeremy Biggers has been involved with imagemaking his entire life. His work is shaped by experiences— experiences that inform his view of the world. The visual language developed within his work deals with identity as it pertains to “codeswitching” and the feeling of being multiple people simultaneously. His signature “hyper-red,” featured in a number of the works, reminds the viewer, as well as himself, to be aspirational and to never allow oneself to become “satisfied” or “complacent.” Biggers hopes that his work resonates and establishes trust with the viewer, allowing sincere conversation to begin and perhaps inspiring the viewer to discover something about themselves while gaining a new perspective.

Texas Wesleyan University, Fort Worth, TX Group Exhibitions 2020

26th Carroll Harris Simms National Black Art Competition and Exhibition, African American Museum of Dallas, Dallas, TX Vivrant Thang, 500X, Dallas, TX

2019

Hyperlocal, The MAC, Dallas, TX Making It, Eastfield College, Mesquite, TX Chaos, Ro2 Art, Dallas, TX

2017

40 Under 40, Fort Works Art, Fort Worth, TX

2016

The People I’ve Come to Know, Fort Works Art, Fort Worth, TX Collections African American Museum of Dallas Eastfield College

Biggers

b. 1981 Dallas, TX

Daniel Blagg Ten Past 4:00 | oil on canvas, 41 x 58 inches

Daniel Blagg Lost in Space | oil on canvas, 38 x 58 inches

Daniel Blagg Oasis | oil on canvas, 58 x 88 inches

Daniel Blagg Fort Worth, TX 817.692.3228 (David Gallery) artspace111@sbcglobal.net / @danielblaggart

Education 1977

University of Texas at Arlington, Arlington, TX

I make art because I have to. It has always been that way since I can remember. I love the challenges and the excitement that painting presents to me. It’s a lot like sticking your head out of a jet window going 300 mph. To somehow give the insignificant an impact that raises it above itself.

Professional Experience 1972

Combat, Artist, Saigon, Vietnam Solo Exhibitions

2017

Tyler Museum of Art, Tyler, TX Rambler: New Paintings, Artspace111, Fort Worth, TX

2012

Peripheral Vision, Artspace111, Fort Worth, TX

2009

Letters from the Boneyard, Artspace111, Fort Worth, TX

2004

Urban Landscapes, Museum of the Southwest,

2002

Urbanscapes, Kidder-Smith Gallery, Boston, MA

Midland, TX

Collections Museum of Modern Art, Fort Worth, TX Art Museum of South Texas, Corpus Christi, TX The Grace Museum, Abilene, TX Museum of the Southwest, Midland, TX Coca Cola Bottling Co. George W. Bush Library, Dallas, TX Commerce Capital LLC, Dallas TX Artspace111, Fort Worth, TX Represented by Artspace111, Fort Worth, TX Davis Gallery, Austin, TX Kidder-Smith, Boston, MA

Blagg

b. 1951 Oklahoma City, OK

Bea Bonanno Elemental | cotton, wool, linen, rayon, acrylic, and glass beads, 71 x 34 inches

Bea Bonanno Home for Souls | cotton, wool, linen, rayon, and acrylic, 49 x 19 inches

Bea Bonanno Beach Trash | cotton, wool, linen, rayon, acrylic and glass beads, 27 x 13 inches

Bea Bonanno Lawrence, KS www.beabonanno.com / @beabannas

Education 2009

BFA, University of Kansas, Lawrence, KS Professional Experience

2015-21 Fiber Arts Educator, Lawrence, KS

Bea Bonanno’s work is an exploration of the human psyche through the interaction of texture, color, and shape. Patterns emerge from the synthesis of the invisible self given a visual form. Motifs repeat, transforming with each iteration, like a memory being remembered. A snapshot of thought-forms made solid, colliding and interacting with one another over a background of feeling tuned by color.

Solo Exhibitions 2020

Phosphene, Lawrence, KS

2019

Autonomic, Lawrence, KS

2017

Entrance, Lawrence, KS

Bonanno

b. 1986 New York, NY

Bea Bonanno | Elemental (detail)

Joey Brock Marion Hybrid 1 | acrylic, graphite, embroidery thread, and photography on Mylar, 49 x 39 inches

Joey Brock Dillon Abloom | polyester mesh, wallpaper, resin, embroidery thread, and photography on Mylar, 49 x 39 inches

Joey Brock Samuel | acrylic, fabric, embroidery thread, and photography on Mylar, 60 x 40 inches

Joey Brock Dallas, TX 214.850.8520 joey@joeybrockart.com / www.one-portraitproject.art / www.joeybrockart.com / @joeybrockart

I am a mixed media artist living in Dallas, TX. My portrait and abstract works are explorations of materials and textures.

Residency 2018

M.David & Co., with Truro Center for the Arts at Castle Hill, Brooklyn, NY On Center Gallery, Provincetown, MA Solo Exhibition

2020

In America, Ro2 Art, Dallas, TX

2017

innsaei, Craighead-Green Gallery, Dallas, TX

2016

Beyond the Looking Glass, LHUCA, Lubbock, TX

2021

True Colors (with Kelsey Anne Heimerman), Janette

Two-Person Exhibitions Kennedy Gallery, Dallas, TX Group Exhibition 2021

Star Children, Bradbury Art Museum, Jonesboro, AR

2020

From Chaos to Order, The Delaware Contemporary,

In 2018, I participated in the M.David & Co. artist residency in Brooklyn, NY. This was the genesis of my self-portrait, which was instrumental in finding my voice, and in turn, starting a social practice called the One-Portrait Project. The social practice involved interviewing people about their experiences with discrimination. I engaged with more than 65 people, aged 24 to 88, from all walks of life. The interviews forced people to look at their personal experience with discrimination while reflecting on their impact on the world, then documenting it with the portrait. The choice to stitch the surfaces together with cotton embroidery thread on the Mylar pieces is deliberate, and a necessary architectural function due to the translucency of the material. The photographs are used to create captivating mixed media portrait collages. The end result becomes an iconic image of the subject that celebrates the beauty of their humanity.

Wilmington, DE 35th Annual International Exhibition, Meadows Gallery, Tyler, TX 2019

Chaos 7, Ro2 Art, Dallas, TX Frozen Gesture II, M.David & Co., Brooklyn, NY

2018

Folded, M.David & Co., Brooklyn, NY Art for Advocacy, Northpark Center, Dallas, TX Award

2016

3rd Prize, Artistic Merit, Artspace III – Regional Juried Exhibition, Fort Worth, TX Collections Capital One, Dallas, TX Rawls College of Business, Texas Tech University, Lubbock, TX Alston & Bird, Dallas, TX

Brock

b. 1968 Fort Worth, TX

Aria Brownell Zion | oil on linen, 38 x 48 inches

Aria Brownell 4:30pm (Yonkers) | oil on linen, 36 x 54 inches

Aria Brownell Crown | oil on linen, 24 x 18 inches

Aria Brownell Austin, TX ariabrownell@gmail.com / www.ariabrownell.com / @ariabrownellstudio

Education 2015

BFA, State University of New York at Purchase, Purchase, NY Two-Person Exhibitions

2021

Something Like Yesterday (with Sidney Westenskow), Contracommon, Bee Cave, TX Group Exhibitions

2021

CAL National 2021, Conroe Art League, Conroe, TX 36th Annual International Exhibition, Meadows Gallery, University of Texas at Tyler, TX

2020

Playground (online), Saint Mason Austin Studio Tour (online), Contracommon, Bee Cave, TX

I paint about the fragility of memory. My work is an articulation of my desire to reimagine an already written biography. Memory is funny because it lie; the more I try to remember a time, the less I really see. Constantly reworking a memory both in my mind and on canvas completely obliterates the original truth of the time, separating my painting from Fact by miles. Painting in this way allows for acceptance and clarity, while digging through a montage of embarrassment, anxiety, depression, playfulness, serenity, and intimacy. I’m a constant voyeur and often it feels like I am an outsider bearing witness to a life that happens to me seemingly without any control. Consequently, I have a habit of overanalyzing memory and moment. Focusing on small details like skin and hair brings me close to my subject, while averted gazes and glimpses from afar mimic a feeling of detachment. Each time I work through an image, layer by layer, it’s being ripped from a timeline that will never be perfectly oriented again.

Contemporary Portraiture: Redefining the Figure (online), Visionary Arts Collective A Brief Interruption, Contracommon, Bee Cave, TX CCAN National Juried Competition, Center for Contemporary Arts, Abilene, TX Texas and Neighbors Exhibit and Competition (online), Irving Arts Center, Irving, TX 2019

Pump Project Alumni Show, Mosaic Sound Collective, Austin, TX Due EAST, Canopy Studios, Austin, TX Awards

2021

Jerry Goldstein Foundation Award Recipient

2020

Juror’s Award, CCAN National Juried Competition, Abilene, TX Publications

2019

Wright, Caroline, A Painter’s Guide to East Austin Studio Tour 2019-Five Artists You Don’t Want to Miss on This Year’s EAST, Austin Chronicle Featured artist, Almost Real Things – Issue 14: Vivid Represented by Contracommon, Bee Cave, TX

Brownell

b. 1993 Peekskill, NY

Vincent K. Chung …lavender and velvet | acrylic, olive oil, spray paint, dirt, and neon on sewn dyed canvas, 56 x 48 inches

Vincent K. Chung romantic apology | acrylic, olive oil, oil sticks, pen, chalk pastel, irrigation strings, burlap, metallic, vinyl, spray paint, dirt, old t-shirt, and neon on sewn dyed canvas, 48 x 42 inches

Vincent K. Chung sun was high & so was i | acrylic, olive oil, dirt, chalk pastel, oil stick, pen, scotch tape, irrigation strings, and neon on sewn dyed canvas, 51 x 54 inches

Vincent K. Chung Phoenix, AZ 917.519.5595 hello@vincent-chung.com / www.vincent-chung.com / @vincentkchung

Education 2016

BS, Arizona State University, Phoenix, AZ

2021

ROMANTIC APOLOGY, Chinatown Soup, New York, NY

2017

if time were a color, Chinatown Soup, New York, NY

Solo Exhibitions

Group Exhibitions 2021

Forever becoming, Scottsdale Museum of Contemporary Arts, Scottsdale, AZ

2019

bad neighborhood, Belhaus, Phoenix, AZ Choice Cuts, The Lodge Art Studio, Phoenix, AZ Liner Notes, The Gallery at Mountain Shadows, Phoenix, AZ

2018

Phoenix, Areté Venue and Gallery, Brooklyn, NY

2017

MOVE, House Gallery, Phoenix, AZ

Vincent Chung is a New York-born, Phoenix-based artist whose work aims to capture the human condition by exploring the nature of existence, the examination of the imperfect, and the mercurial nature of emotions. His multidimensional works reside at the intersection of traditional methods and contemporary forms, which he examines by confronting the preciousness that is often associated with traditional painting. Chung’s method is spontaneous and organic—working mostly on the ground, indoors and out—which allows the canvas to pick up fragments of dirt and debris that make for unpredictable marks. The nature of the materials he uses are brought to the foreground by leaving hanging threads and frays of ripped cotton or linen. His work reflects the juxtaposition of labor in an age of instant gratification. By layering sewn textiles and mounting bold neon fixtures, he allows viewers to reflect on the different steps of his process. The dynamic nature of his work has the potential to transform space and evoke emotions through exposing the infinite and everchanging beauty of life.

Publications 2020

'Vincent Chung: IN HIS OWN WORDS’, Phoenix Art Museum Create! Magazine Vol. 21 'Diary GUYHEPNER

2019

Martian, Matt, Around the Block Vol. 16 'Vincent Chung', Blok Studio 'Liner Notes', AZ Lifestyle - The Arts

2018

'The Phoenix Issue', SNAX Magazine Vol. 6 Studio Visit Magazine, Vol. 43

2017

AHE Vol. 02, A Hundred Eleven Magazine Vol. 2 Represented by Guy Hepner, New York, NY

Chung

b. 1991 New York, NY

Matthew Conway blue hour | oil on canvas, 24 x 30 inches

Matthew Conway current | oil on canvas, 24 x 30 inches

Matthew Conway summer glow | oil on panel, 18 x 24 inches

Matthew Conway Austin, TX 817.690.4786 matthew.conway.artist@gmail.com / www.matthewconwayartist.bigcartel.com / @matthewconwayartist

Education 2018

BFA, University of Texas, Austin, TX

2013

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

2019

Heart Throbs, A Love Bizarre, Los Angeles, CA

2015

Paper Dolls: Drawings by Matthew Conway, The Road Gallery, New York, NY Group Exhibitions

2020

Queer Art Fair, The Little Gay Shop, Austin, TX

2016

Art Gaysel, The Gaythering Hotel, Miami Beach, FL This Swarty Face, The Midway Gallery, San Francisco, CA

2015

The LGBT Show, The Linus Gallery, Los Angeles, CA

I have come to regard my art as a reaction to the trauma that many queer individuals face every day, as well as the pain that toxic masculinity inflicts upon all of us. There is beauty, passion, and desire in my paintings and they reflect these values from a place of empathy and respect. My work has always been about subverting traditional masculinity, creating space that allows for a way to be quiet, passive, and beautiful. I am interested in the tension between figuration and abstraction, the public and the private, the viewer and the performer. These paintings showcase figures in water that abstract and distort, while sunlight illuminates and reveals their forms. They offer intimate views of private lives, moments of repose, and vulnerability. I believe all artistic nudes are inherently political, and this informs these paintings.

Conway

b. 1983 Fort Worth, TX

Katherine Del Rosario On My Way, Self Portrait | oil on canvas, 30 x 24 inches

Katherine Del Rosario Maria Del Rosario Coming Home | oil on canvas, 30 x 24 inches

Katherine Del Rosario The Tres Marias as The Three Graces | oil on canvas, 72 x 48 inches

Katherine Del Rosario Tempe, AZ 480.309.4318 kdelroosa@gmail.com / www.katherinedelrosario.com / @katdelrosie

Education 2019

BFA, Arizona State University, Tempe, AZ Professional Experience

2020

Arizona Commission on the Arts and the Herberger Institute for the Design and the Arts, Digital Content

My inspiration for my work reflects on being a Filipina woman in the diaspora, the displacement of home, cultural assimilation, Catholicism, generational relationships, and the harsh expectations of womanhood. As a displaced Filipina on stolen land, I also look upon Philippine history as a context of understanding and reframing who I am. To know history—is to know self. I choose to create art because it is my form of resistance and to push forward in an imperialist, capitalist world.

Creator, Tempe, AZ Group Exhibitions 2021

I Am You, You Are Me, Scottsdale Public Art, Scottsdale, AZ Artlink 21st Annual Juried Exhibition, Artlink, Phoenix, AZ

2020

I’m From Here, Harry Wood Gallery, Tempe, AZ The Square, Modified Arts, Phoenix, AZ

2019

Juried Undergraduate Show, Harry Wood Gallery, Tempe, AZ Scope, Gallery 100, Tempe, AZ Awards

2019

Honors Studio Recipient, Arizona State University, Tempe, AZ Sun Angel Scholarship, Arizona State University, Tempe, AZ Publications

2021 2019

Filipino/American Artist Directory McCarty, Sarah A., 'First Gen student overcomes bumpy road to earn art degree', ASU Now Collection The Artist’s Grief Deck

Del Rosario

b. 1996 Seattle, WA

Carlos Encinas MIDCENTURY ASSIMILATION | acrylic on wood, 32 x 43 inches

Carlos Encinas MI CASA ES SU BAUHAUS | acrylics on wood, 35 x 39 inches

Carlos Encinas JACOBO’s LADDER | acrylic on wood, 42 x 34 inches

Carlos Encinas Tucson, AZ 520.447.6117 encinas6@cox.net / www.encinas6.wixsite.com/paintings / @arcadiaboy6

Education 1994

MFA, University of Arizona, Tucson, AZ Professional Experience

1982-11 Educator, Tucson, AZ

Carlos Encinas is a Tucson resident and native. He is a lifelong artist who works with multiple artistic mediums. His current works are computer-assisted, hand-painted acrylics on wood or metal. His paintings are inspired by current events, popular culture, personal experiences, Latino/Chicano, and border issues. He is influenced by a large variety of artists in history and those found on Instagram or Artdaily media.

Solo Exhibitions 2021

First Studio Gallery, Phoenix, AZ

2020

Burton Barr Publica Library, Phoenix, AZ

2019

Juvencio Jimenez-Valdez Contemporary Gallery, Los Angeles, CA

Encinas

b. 1951 Tucson, AZ

Fausto Fernandez Huitzilopochtli | collage, acrylic, oil sticks, and spray paint on canvas with blue floating frame, 60 x 81 inches

Fausto Fernandez The phenomenon of moiré magnification | collage, acrylic, and tin foil on canvas, 72 x 48 inches

Fausto Fernandez Malinalxochitl | collage, resin, acrylic, oil sticks, and spray paint on canvas, 89 x 63 inches

Fausto Fernandez Phoenix, AZ info@faustofernandez.com / www.faustofernandez.com / @faustoartist

Education 2001

BFA, University of Texas at El Paso, El Paso, TX

2019

Progression Through Colors, Turner Carroll Gallery,

Solo Exhibitions Santa Fe, NM Performance Center, Estrella Mountain Community College, Avondale, AZ 2013

Mechanical Metaphors, The Rubin Center, El Paso, TX

2010

The Virtue of Wisdom, Gebert Contemporary, Scottsdale, AZ Group Exhibitions

2020

Arizona Biennial, Tucson Museum of Art, Tucson, AZ

2019

Retro Reaction, Tempe Center for the Arts, Tempe, AZ

2018

Dress Matters, Tucson Museum of Art, Tucson, AZ

2014

Beauty Reigns, McNay Art Museum, San Antonio, TX

2009

Locals Only, Phoenix Art Museum, Phoenix, AZ

2008

Fernandez is a mixed media collage artist whose artworks include a variety of paintings, public art, and community engagement projects. He is known for his large-scale multimedia paintings and site-specific installations. In his studio work he employs traditional media, photography, and found objects. He layers these identifiable subjects with abstract elements in dense arrangements, resulting in large compositions that serve as metaphors for human interaction. The process of looking at oneself in order to assess aspects that are important to one’s identity inspires his artwork. The creative ideas in his work develop from questioning his family’s upbringing, differences and similarities in culture from his experience as a Mexican American, religion, human interaction, and our behavior in society. He has created artwork inspired by mathematical equations, technology, preservation of culture, and mythology.

REMIX, Smithsonian National Museum of the American Indian, New York, NY

2007

REMIX, The Heard Museum, Phoenix, AZ Collections The Heard Museum Phoenix Art Museum Tucson Museum of Art New Mexico in Public Places

Fernandez

b. 1975 El Paso, TX

Angela Fox The Ecstatic Feminine | gouache on museum board, 20 x 16 inches

Angela Fox The Fool | gouache on museum board, 20 x 16 inches

Angela Fox The Visionaries | gouache on museum board, 20 x 16 inches

Angela Fox San Antonio, TX www.angelafox.net / @angelafoxart

Education 2006

MFA, San Francisco Art Institute, San Francisco, CA

2004

BA, University of the Incarnate World, San Antonio, TX Professional Experience

2008-

San Antonio College, Adjunct Faculty, Visual Arts Department, San Antonio, TX

2007-

University of the Incarnate Word, Adjunct Faculty, Art Department, San Antonio, TX

My work focuses on discovery of the self through the creation of a hero-warrior archetype. Mighty serpent women swing their maces while riding beasts that lead them into the unknown. They traverse strange inner landscapes, wading through thorns and brush, scorpions and fire, to emerge transformed by trials and adventure. Color, pattern, and symbolism express the complexity and beauty/ugliness of the hidden realms of the unconscious. These warriors wield knives, laser vision, and magic hand gestures to protect and liberate themselves from the obstacles of pain, betrayal, and cruelty. These characters operate as a spiritual double—infinite, indestructible, inside and all around, she is a guide that prepares one to be reborn fearlessly.

Solo Exhibitions 2019

Feared and Revered, South Texas College, McAllen, TX

2017

Heart of a snake, Gravelmouth Gallery, San Antonio, TX Group Exhibitions

2021

Pabst Blue Ribbon x San Antonio Street Art Initiative

2019

The Happy Hour Group Show, In Heroes We Trust Gallery,

(mural), 6th Street and Avenue B, San Antonio, TX Los Angeles, CA 2018

Crisp!, heliumcowboy artspace, Hamburg, Germany San Antonio Street Art Initiative (underpass highway pillar mural), Quincy and St. Mary’s Street, San Antonio, TX

2016

4%ers, Athen B. Gallery, Oakland, CA

2015

4%ers, FFDG, San Francisco, CA Alchemy, Inner State Gallery, Detroit, MI Journey Into the Other, Flatcolor Gallery, Seattle, WA

2014

Broad Spectrum, Empire 7 Studios, San Jose, CA Spatial Planes, Blue Star Contemporary Art Center, San Antonio, TX

Fox

b. 1982 Beeville, TX

Angela Fox | The Visionaries (detail)

Suzy González Home Again | acrylic, dyed corn husks, and oil on canvas, 48 x 36 inches

Suzy González Mutual Aid of the Earth | acrylic, corn husks, corn, beans, squash seeds, leaves from the artist’s garden, and resin on panel, 30 x 40 inches

Suzy González Precipitate (Rain), Evaporate (Sun), Condense (Cloud) | acrylic, dyed corn husks, and oil on canvas, 40 x 90 inches

Suzy González San Antonio, TX suzy@suzygonzalez.com / www.suzygonzalez.com / @soozgonzalez

Education 2015

MFA, Rhode Island School of Design, Providence, RI

2012

BFA, Texas State University, San Marcos, TX Residencies

2018

National Association of Latino Arts & Cultures Leadership Institute, San Antonio, TX

2016

The Studios at MASS MoCA, North Adams, MA The Wassaic Project, Wassaic, NY

2015

The Trelex Residency, Madre de Dios, Perú Professional Experience

2019

New York Foundation for the Arts, Immigrant Artist Mentor, San Antonio, TX

2018-19 Intercultural Leadership Institute, Lakota Territory, SD; Honolulu, HI; San Antonio, TX

Through Xicanx veganism, I find interest in the decolonization of diet—or rather, a desire to reclaim the Indigenous plant-based nourishment of my ancestors through food and herbalism. I analyze what it means to decolonize art and to embrace the lessons that the earth has to teach us. Materials relate to parts of my identity, and I recognize when they mix or resist one another. The corn husks represent the skin of the figures, recalling Mesoamerican beliefs that our very beings are created from maíz. This material used works to dismantle folk and fine art hierarchies. I call these “mestiza media” works, reclaiming the “mestizo” colonial caste label. I define mestiza media as using materials that originate from the region(s) of the artist’s ancestors. Accepting mixedness is also about embracing queerness and the fluid nature of identities that reject constructed binaries. My work serves to work through my own intersections and to strive for intercultural conversations with folks outside of my identities. This, I hope, will open doors to compassion and healing in this world of destruction.

Solo Exhibitions 2018

The Husks We’re In, Palo Alto College, San Antonio, TX

2017

Both | And, Hello Studio, San Antonio, TX Discolored, Misshapen, Broken, Presa House Gallery, San Antonio, TX Two-Person Exhibitions

2019

Collective Likeness (with Eliseo Casiano), Texas A&M

2017

Mestizx Nation: Dos Mestizx (with Michael Menchaca),

University Corpus Christi, Corpus Christi, TX Contemporary Art Gallery, University of Connecticut, Storrs, CT Group Exhibitions 2021

COVID-19 Memorial, Biennial of the Americas, Museo de las Americas, Denver, CO

2020

ELA 25: Intersección: Choque & Alivio, Mexic-Arte Museum, Austin, TX

2019

Our Connection to the Land, Movimiento de Arte y Cultura Latino Americana, San Jose, CA

González

b. 1989 Austin, TX

Rachel Henriksen Enclosure Enclosed | acrylic panel on wallpaper, 10 x 18 inches

Rachel Henriksen I Thought I Knew | acrylic on panel, 19 x 21 inches

Rachel Henriksen Nuance of Feeling | acrylic and 3D puff paint on panel, 21 x 21 x 3 inches

Rachel Henriksen Provo, UT rachelahenriksen@gmail.com / www.rachelhenriksen.com / @rachilieu

Education 2020

BFA, Brigham Young University, Provo, UT Residencies

2021

Popps Packing Residency, Detroit, MI World of Co. Online Artist Residency, Sofia, Bulgaria Professional Experience

2017

Artist David Thorpe, Intern, Berlin, Germany Solo Exhibitions

2020

Hidden in Plain Sight, Gallery 303, Provo, UT

2019

Knew/New, Utah Museum of Contemporary Art,

My interests as an artist lie in the fluctuation of culture, perception, and identity, and I aim to challenge the notion that these are unalterable, fixed. As my work has evolved, recognizable imagery has been paired down to a new vocabulary of dynamic and hybridized forms, which I use to visualize concepts that are both deeply personal and widely universal. The corresponding abstracted forms that emerge have enabled me to better communicate ideas about the world and our place in it, especially in relation to each other and to nature. Pattern, color, repetition, and grids are also important aspects of my work and are used alongside the forms to establish systems that I rupture and interrupt to create new ways of navigating visual experience. This process relates to the way my awareness has evolved as I seek for greater empathic connection.

Salt Lake City, UT Two-Person Exhibitions 2021

Transformation/s (with Carrie Everett), Bountiful Davis Art Center, Bountiful, UT

2020

All Around the Shop (with Maren Elmont), Washer/Dryer Projects, Salt Lake City, UT Small Works, The Covey Center, Provo, UT Group Exhibitions

2021

On COVID-19: IMMEMORY (online), COVID IMMEMORY Artist Collective World of Co. Online Group Exhibition (online), World of Co. Online Artist Residency, Sofia, Bulgaria

2020

FORM 2020, CICA Museum, Gimpo, South Korea Women to the Front: Perspectives on Equality, Gender, and Activism, Rio Gallery, Salt Lake City, UT

2019

45th Annual Statewide Exhibition, Bountiful Davis Art Center, Bountiful, UT

2018

Extent of Territory, University of Stanislaus, Turlock, CA Publication

2020

'Incubation Period', PARC Collective/ Granary Arts Publication

Henriksen

b. 1994 Provo, UT

Saskia Jordá Radius III | gouache, colored pencil, wood veneer, vellum, denim, and thread on handmade paper, 28 x 21 inches

Saskia Jordá Radius II | gouache, ink, vellum, and thread on handmade paper, 28 x 21 inches

Saskia Jordá Radius IV | gouache, vellum, felt, and thread on handmade paper, 33 x 33 inches

Saskia Jordá Phoenix, AZ infojorda@gmail.com / www.saskiajorda.com / @saskiajorda

Education 2004

MFA, School of Visual Arts, New York, NY

2000

BFA, Arizona State University, Tempe, AZ Residency

2013

California State University Artist Residency, Grand Central

In a world where a six-hour airplane flight can transplant a person into a completely alien world, cultural identity is retained through rituals surrounding clothing, play, language, and food. Having relocated from my native Venezuela to the United States as a teenager, I became aware of the layers of ‘skin’ that define and separate cultures: one’s own skin, the second skin of clothing, the shell of one’s dwelling place—all these protecting the vital space of one’s hidden identity.

Art Center, Fullerton, CA Solo Exhibitions 2017

Lineage, Eric Fischl Gallery at Phoenix College,

2016

A Geography of Line, Phoenix Art Museum, Phoenix, AZ

2013

Unraveling Tradition, Grand Central Art Center,

Phoenix, AZ

Santa Ana, CA

With the series “Radius,” I explore the connections between shifting borders and shifting identities, alluding to ways in which both landscapes and bodies can be contested sites. The visual vocabulary of a hatched pattern of alternating colored lines— the customary graphic representation of a disputed territory in a map—is used to chart place, conveying complicated power struggles and histories through a series of lines.

Group Exhibitions 2019-20 Counter-Landscapes: Performative Actions from the 1970sNow, Scottsdale Museum of Contemporary Art, Scottsdale, AZ 2019 2018

Distance, Dorsky Gallery, Long Island City, NY Cacerolazo, at ArtPrize 10 (Finalist), Grand Rapids Museum, Grand Rapids, MI

2016

String Theory: Contemporary Art and the Fiber Legacy, Tucson Museum of Art, Tucson, AZ Awards

2019

Research and Development Grant, Arizona Commission on the Arts / Newton and Betty Rosenzweig Fund for the Arts, Phoenix, AZ

2015

Arlene and Morton Scult Contemporary Forum Artist Award, Phoenix Art Museum, Phoenix, AZ Publications

2021

Tresp, Lauren, ‘Bodies//Boundaries’, Southwest Contemporary – Vol. 1

2020

Exhibition Catalog, Counter-Landscapes: Performative Actions from the 1970 – Now

2019

Krysa, Danielle, ‘A Big Important Artist’, Philadelphia: Running Press

Jordá

b. 1978 Caracas, Venezuela

Humphrey Kaye I’m Going to Night School! | watercolor, 18 x 24 inches

Humphrey Kaye A Colored Mayor | watercolor, 18 x 24 inches

Humphrey Kaye What the Hell Are You Doing To My Car?! | watercolor, 18 x 24 inches

Humphrey Kaye San Antonio, TX hkr006@gmail.com / www.humphreykaye.crevado.com / @humphreykayeart

Education 2021

MFA, University of Texas San Antonio, TX

2016

BFA, Sam Houston State University, Huntsville, TX

My work explores the absurdity of being alive as a Black man. I talk about nostalgia greatly in my work, for I feel that humans are easily programmed with toxic ideas from an early age. One of these ideas is that “white is the standard.” As a Black man, I want to comment on the movies that I grew up enjoying, while also reflecting upon my continued growth as a human being.

Professional Experience 2020-

Drawing Professor, University of Texas, San Antonio, TX

2020

Studio Assistant for Jesus “Toro” Martinez, Dock Space Gallery, San Antonio, TX

2019

I want my work to spark conversation about how people view themselves, especially through the lens of the toxic messages they perhaps unknowingly received growing up.

Teaching Assistant for Jayne Lawrence, Figure Drawing,

2016

Nitty-Gritty, Satellite Gallery, Huntsville, TX

In my series ‘Earth Angel, Earth Angel,’ I comment on my favorite childhood movie, Back To The Future, by casting myself as the main characters and placing quotes from the few Black characters of the film.

Group Exhibitions

With this series, I ask: Could 1955 have a place for a Black man?

2021

37th Juried Student Exhibition, University of Texas,

2020

Annual Collegiate Exhibition, San Antonio Art League and

University of Texas, San Antonio, TX Solo Exhibitions

San Antonio, TX Museum, San Antonio, TX Award 2021

Graduate 2nd Place at 37th Juried Student Exhibition, University of San Antonio, San Antonio, TX

Kaye

b. 1992 Houston, TX

Aitor Lajarin-Encina Pets | acrylic on canvas, 20 x 16 inches

Aitor Lajarin-Encina windows | acrylic on canvas, 68 x 48 inches

Aitor Lajarin-Encina Your shadow is your shade | acrylic on canvas, 12 x 16 inches

Aitor Lajarin-Encina Fort Collins, CO www.aitorlajarin.info / @aitorlajarin

Education 2015

MFA, University of California, San Diego, CA

2003

BFA, University of Basque Country, Bilbao, Spain

Through my paintings, I present figurative vignettes of existential ruminations and social satire that invite us to explore territories of thinking and emotion relating to a wide range of psychosocial and political aspects of contemporary living conditions. I am particularly interested in unpacking and re-presenting everyday life and social behavior, and addressing dimensions of doubt, oddness, relativeness, paradox, perplexity, and uncertainty. My work is aesthetically drawn from historic painting traditions, comics, cartoons, and popular and amateur imagery to articulate a ludic effort to find productive spaces for aesthetic fulfillment and critical engagement at a time of widespread cultural anxiety. This effort is circumscribed through different modes of critiquing late capitalism, Western modernity, and the globalized neoliberal management of both subjectivities and everyday life.

Lajarin-Encina

b. 1977 Vitoria, Basque Country, Spain

Aitor Lajarin-Encina | Your shadow is your shade (detail)

Caroline Liu Chinese New Year | oil, acrylic, and glitter on canvas, 54 x 42 inches

Caroline Liu Some Regrets | oil, acrylic, and glitter on canvas, 54 x 42 inches

Caroline Liu Our Inner Demons Need Hugs Too | acrylic, glitter, and faux fur on canvas, 54 x 42 inches

Caroline Liu Albuquerque, NM carolineliuart@gmail.com / www.carolineliu.com / @catsandart

Education 2011

BFA, University of New Mexico, Albuquerque, NM Residencies

2019

ACE AIR, Ace Hotel x Johalla Projects, Chicago, IL

2017

Hatch, Chicago Artist Coalition, Chicago, IL

2018

A Hollow Shell of Elastic Skin, Elastic Arts, Chicago, IL

2017

The Year of the Moths, Slate Fine Arts, Chicago, IL

2014

CONCUSSED, Chicago Art Department, Chicago, IL

Solo Exhibitions

Bridging the two unique perspectives that form my identity, my work explores my experiences as a late-diagnosed Autistic person and my tribulations with short-term memory loss from multiple concussions over the last decade. By balancing the two, I create fantastical narratives that bind together magic and realism, which sparks larger conversations about loss, joy, and the eternity of self. I explore these themes by transporting viewers into my own daydreams filled with bright pops of color, textural elements, and refractive light.

Two-Person Exhibitions 2020

Forget Me Not, Forgive Me Not (with Moises Salazar), Roots & Culture Contemporary Arts Center, Chicago, IL

2017

Trace Elements (with Ellen Hansen), Miishkooki Art Space, Skokie, IL Group Exhibitions

2021

American Skin, NYCH Gallery, Chicago, IL

2019

Polished, Scout Gallery, Milwaukee, WI

2018

Fugitive Narratives, Kanter McCormick Gallery,

2017

Of Memory and Forgetfulness, Chicago Artists Coalition,

Chicago, IL Chicago, IL Publications 2020

‘Print and Object’, Friend of the Artist Magazine, Issue #11

Liu

b. 1987 Naperville, IL

Caroline Liu | Chinese New Year (detail)

Alejandro Macías American Mexican (II) | oil and acrylic on canvas, 30 x 30 inches

100

Alejandro Macías Everything and Nothing at Once (Shift) | oil and acrylic on canvas, 30 x 30 inches

101

Alejandro Macías Nopal en la Frente (con Bud Light) | oil and acrylic on linen, 58.5 x 46 inches

102

Alejandro Macías Tucson, AZ alexmaciasart@gmail.com / www.alexmaciasart.com / @alexmaciasart / @alex.macias.art

Residencies 2020

The Studios at MASS MoCA, North Adams, MA

2018

Vermont Studio Center, Johnson, VT Professional Experience

2019-21 University of Arizona, Assistant Professor, School of Art, Tucson, AZ Solo Exhibitions 2021

4x4: Alejandro Macias, Tucson Museum of Art, Tucson, AZ

2020

Hidden in Plain Sight, Presa House Gallery, San Antonio, TX Group Exhibitions

2020

Between Two Worlds, Visual Art Center at the University of Texas at Austin, TX

2019

Lobster Dinner: A Show of Small Works, Trestle Gallery, Brooklyn, NY Texas National 2019, Cole Art Center at Stephen F. Austin

My work stems from the division represented by the U.S./ Mexico border and how the history of this boundary creates an internal conflict between my voice and identity. The Rio Grande Valley, where I was born and raised, remains a unique place for its fusion of Mexican and American culture. Coming from this large stretch of marginalized region, I feel divided by these two nations while simultaneously composed from them. This mirrors my personal engagement with traditional rendering and my challenge with contemporary drawing and painting. Much of my artistic direction is compositionally divided with a mixture of conventional, representational, and abstract approaches. This acts as a metaphor for my upbringing in a remote, and yet culturally rich, area of the United States. Having now resided in Tucson, Arizona since 2019, I continue to seek and gain a better understanding of my ethnic background while framing and contextualizing ideas on Mexican American identity, assimilation, repression, civil rights, immigration, cultural misconceptions, and the ever-shifting American political landscape.

University, Nacogdoches, TX 34th Annual International Exhibition, Meadows Gallery at The University of Texas at Tyler, TX 2018

Brand 46 Annual National Juried Exhibition of Works on Paper, Brand Library and Art Center, Glendale, CA Young Latinx Artists 23: Beyond Walls, Beyond Gates, Under Bridges, Mexic-Arte Museum, Austin, TX Americas 2018: Paperworks, Minot State University, Minot, ND

2017

NEW TEXAS TALENT XXIV, Craighead Green Gallery, Dallas, TX Fourth Annual Juried Regional Exhibition, Artspace111, Fort Worth, TX Publication

2020

Molina, Diana, Icons & Symbols of the Borderland: Art from the US-Mexico Crossroads 103 Collection The City of San Antonio, Department of Arts and Culture

Macías

b. 1987 Brownsville, TX

Renluka Maharaj Guardians of Our Stories | acrylic paint, acrylic markers, and colored pencils on paper, 40 x 60 inches

104

Renluka Maharaj Heavy Is the Crown | acrylic paint, acrylic markers, rhinestones, and fabric on paper, 40 x 50 inches

105

Renluka Maharaj Gulab | acrylic paint, acrylic markers, glitter, and rhinestones on canvas, 30 x 40 inches

106

Renluka Maharaj Boulder, CO renluka@me.com / www.renluka.com / @renlukamaharaj

Education 2017

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

2021

McColl Residency, Charlotte, NC

For me, identity is an ever-evolving culmination of the past, present, and desires for the future. Yet, when your people’s history—and by extension your own—is practically erased, the understanding of one’s identity is inherently limited. This longing to find those missing pieces is what drives my artmaking. The work I create is my way of bringing to light a lost history that continues to impact millions of people of South Asian descent.

Golden Foundation, New Berlin, NY Solo Exhibitions 2021

Pelting Mangoes, Artworks Gallery, Loveland, CO

2020

Pelting Mangoes, FLXST Gallery, Chicago, IL

2019

Home, Is A Place Called Home, Rule Gallery, Denver, CO Group Exhibitions

2021

First Public Art Installation, Queens Botanical Garden, Queens, NY Unraveled, Restructured, Revealed, Trout Museum of Art, Appleton, WI Far and Familiar, Glass Rice, San Francisco, CA

2018

Following abolition in the mid-1800s, indentured laborers from India were brought to the Caribbean, Mauritius, Fiji, Natal, Reunion, Sri Lanka, Malaysia, and Myanmar as a substitute for slave labor. Sugar planters needed a replacement workforce and Indians proved to be good cultivators. Little did they know they would be subjected to the same conditions under slavery before signing their contracts of bondage. My grandparents entered Trinidad and Tobago as indentured laborers, and this has been a point of departure for ongoing dialogue and research. In the words of Khal Torabully, friend and Semiologist, “Art liberates what the archives obliterate.”

A Violence, Pulse Art Fair, Miami Beach, FL A Violence, Project For Empty Spaces, Newark, NJ

2017

EXPO Chicago, Chicago, IL Publications

2021

All SHE Makes, Issue 1 Torabully, Khal and Carter, Marina, Coolitude 2, An Anthology

2017

Expo Chicago, The International Exposition of Contemporary and Modern Art, Catalogue Collections

2017

Art Institute of Chicago, Photo Department, Chicago, IL

107

Maharaj

b. 1976 South Oropouche, Trinidad and Tobago

Renluka Maharaj | Guardians of Our Stories (detail)

Brianna Noble XXIII.1 | oil on canvas, 40 x 50 inches

108

Brianna Noble The One | oil, acrylic, and chain on canvas, 48 x 60 inches

109

Brianna Noble White Man’s Servix | oil and pastel on canvas, 36 x 48 inches

110

Brianna Noble Phoenix, AZ bnoblepaints@gmail.com / www.briannanoble.com / @brianna.noble

Education 2017

BFA, Herberger Institute for Design and the Arts, Arizona State University, Tempe, AZ

2014

Associate of Arts, Phoenix Community College, Phoenix, AZ Professional Experience

2019

Wonderspaces Arizona, Co-Manager, Scottsdale, AZ Solo Exhibitions

2019

To be Determined…, Eye Lounge, Phoenix, AZ

2018

Just Checking In, Eye Lounge, Phoenix, AZ

2020

20th Annual Juried Exhibition, Artlink, Phoenix, AZ

Brianna Noble is an able-bodied Black Latino surviving in a predominantly urban white community. This on its own brings context to the artist’s work, no matter how hard they attempt to avoid it, as living in a Black body in 2021 is still a political statement. On the other hand, when they lean into the intentional, Noble uses the idea that sex sells to drive viewers to the work. Then they try different ways to disrupt the viewer’s gaze, such as satire with abrasive wording and drawings that remind the audience that the figure depicted is a human with a mind too—a human who is in control of their body and reproductive choices, even when they are put on display “sexually.” Noble hopes that the next person with a similar experience can find familiarity and the power to live by their own devices.

Group Exhibitions I Art Woman, Guadalajara, Jalisco, Mexico 2019

No Center Line, University of Arkansas, Fayetteville, AR Americana, Modified Arts, Phoenix, AZ All Eyes, Eye Lounge, Phoenix, AZ

2017

We Witnessed, Arizona State University Gallery 100, Tempe, AZ Publications

2021

Twirl Project 2:10, https://www.twirlproject.com/2-brianna-noble.html Twirl Project 1:10, https://www.twirlproject.com/brianna-noble.html

2020

Peregrinos y sus letras, http://www.peregrinosysusletras.net/artistas-invitados

111

Noble

b. 1994 Phoenix, AZ

Robert Peterson Alocasia | oil, 40 x 40 inches

112

Robert Peterson The Chair | oil, 40 x 40 inches

113

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

114

Robert Peterson Lawton, OK isketchfashion@gmail.com / www.caleblee81.com / @caleblee81 / @caleblee81

Education 2008

Parsons, The New School of Design, New York, NY Solo Exhibitions

2020

Believing is Achieving, Sand Springs Historical Museum, Tulsa, OK

2019

Works of Robert Peterson, Bruce Lurie Gallery,

2016

Iconic Pairs, JRB Art at the Elms Gallery,

Los Angeles, CA Oklahoma City, OK

I believe that all visual artists will go through stages in their career where they explore not only different mediums and subjects, but also themself. It has always been important to my artistic development to go through these types of stages because they push me to become a better artist. Initially, the paintings I created were based solely on stock images of celebrities that I found on the internet. As I grew as an artist, so did my desire to become more creative. I began photographing people I know, and over the past two years my paintings evolved to focus more on the Black experience as I know it, which is projected onto the work. My art is my truth and my voice. It reflects a softer side of Black people, yet still shows our strength and resilience—something that I want to see more of in galleries and museums.

Group Exhibitions 2021

Masterpiece II, Band of Vices, Los Angeles, CA 21 Piece Salute, Black Wall Street Gallery, Soho, NY

2020

LA Art Show, Patrick Painter Inc., Los Angeles, CA

2018

Cleveland Museum of Contemporary Art, Cleveland, OH

2015

Kaleidoscope NYC, Eastmen Collective, New York City, NY Publications

2019

Dudson, Danny, ‘ARTIST SPOTLIGHT: ROBERT PETERSON’, ArtX, www.artx.net

2016

Williams, Jessica 'Visual artist Robert Peterson exhibit at JRB Art at the Elms', Oklahoma Gazette Collections Michael and Susan Hort collection Gardy St. Fleur Collection Shelly Lambert collection Amare Stoudemiere Sean Combs Collection

115

Peterson

b. 1981 Denver, OK

Oliver Polzin Multicameral | gouache on board, 24 x 18 inches

116

Oliver Polzin Sky Civilian | gouache on board, 14 x 11 inches

117

Oliver Polzin A Self Portrait | gouache on board, 16 x 20 inches

118

Oliver Polzin Santa Fe, NM www.oliverpolzin.com / @all_over_pollution

Education 2009

BFA, Arizona State University, Tempe, AZ

Painting is a divinatory process. I begin with a kernel that goads me, and over some faithful time I can start to see a way. As I go, beauty may surface, shimmer, or dive back under. When such delights do emerge, I try to just notice. My hope is to find those beautiful, emotional, delightful peaks and simply let them live.

Professional Experience 2015-

Meow Wolf, Creative Director, Santa Fe, NM

2011-16 CHIMERA, Radical Art Instructor, Santa Fe, NM Solo Exhibitions 2014

Humans I Wouldn’t Mind Being, Watermedia, GVG Contemporary, Santa Fe, NM Group Exhibitions

2021

Freewill in the Afterlife, Solo Room in Meow Wolf’s Omega Mart, Las Vegas, NV

2020

Anecdotal Scenarios, Gouache, GVG Contemporary,

2017

Doom Room, The Art Motel at Life is Beautiful Festival,

2016

Tea Leaf Reader, Meow Wolf, Santa Fe, NM

Santa Fe, NM Las Vegas, NV The House of Eternal Return, Meow Wolf, Santa Fe, NM 2013

Omega Mart, Meow Wolf, Santa Fe, NM Land Cakes, AHA Festival, Santa Fe, NM Southwest Abstraction, Soil, GVG Contemporary, Santa Fe, NM

2012

Dimensionality, Oils, GVG Contemporary, Santa Fe, NM

2011

The Due Return Addendum, 516 Arts, Albuquerque, NM The Due Return, Meow Wolf, Santa Fe, NM

2010

Habitats, Meow Wolf, Santa Fe, NM

119

Polzin

b. 1986 Marquette, MI

Oliver Polzin | Multicameral (detail)

Justin Richel Blue Window | acrylic and casein on shaped canvas, 74.5 x 45.5 x 4.5 inches

120

Justin Richel Blue Window (Verso) | acrylic and casein on shaped canvas, 74.5 x 45.5 x 4.5 inches

121

Justin Richel Small Step (Mighty Lite) | acrylic and casein on shaped canvas, 26 x 17 x 20.5 inches

122

Justin Richel Roswell, NM artistjustinrichel@gmail.com / www.justinrichel.com / @justinrichel

The impetus for this recent body of work began with a simple line of questioning.

Education 2002

BFA, Maine College of Art, Portland, ME Residencies

2020

Roswell Artist-in-Residence, Roswell, NM

2015

Monhegan Artists’ Residency, Monhegan Island, ME

2013

John Michael Kohler Arts Center Arts/Industry Residency, Sheboygan, WI

“What is a painting?” Perhaps the simplest answer to that question is its materiality. - Traditionally: Paint, canvas, and wood supports. “What is the function of a painting?” - A window or portal; an aperture. - A framework or ideology. - An object of and for contemplation.

2005-07 Fine Arts Work Center Fellowship, Provincetown, MA Solo Exhibitions 2020

A Window, A Door, A Ladder, Roswell Museum and Art Center, Roswell, NM Group Exhibitions

2020

12 New Mexico Artists to Know Now, SW Contemporary,

Adhering to the subsequent list, these works are simply constructed from paint, canvas and wood. The imagery within the series consists of windows, doors, and ladders, referring to the internal and external world, psychological states of mind, and thresholds to alternative possibilities. Archetypal by nature, these forms feature large in dreamscapes as well as our waking lives. They represent bridges between awareness and the unconscious.

Santa Fe, NM 2019

Simulacrush, Center for Maine Contemporary Art,

2018

Parallax: A RAiR Connection Exhibition, Roswell Museum

Rockland, ME and Art Center, Roswell, NM Collections Portland Museum of Art, Portland, ME John Michael Kohler Arts Center, Sheboygan, WI Kohler Co., Kohler, WI Fidelity Investments, Boston, MA Anderson Museum of Contemporary Art, Roswell, NM

123

Richel

b. 1979 New Brunswick, NJ

Madeline Rupard Fire on Mt. Timpanogos, Late October | acrylic and urethane on panel, 24 x 18 inches

124

Madeline Rupard After We Spoke | acrylic on panel, 24 x 18 inches

125

Madeline Rupard Past Mom’s House | acrylic and resin on panel, 24 x 18 inches

126

Madeline Rupard Provo, UT 484.772.0501 madkaye@gmail.com / www.madelinerupard.com / @madelinerupard

Education 2019

MFA, Pratt Institute, Brooklyn, NY BFA, Brigham Young University, Provo, UT Residencies

2019

Soaring Gardens Artist Retreat, Laceyville, PA

2016

Vermont Studio Center, Johnson, VT Solo Exhibition

2021

Light As the Thing Body Moves Through, Brigham Young University, Provo, UT

2019

Dream Worlds of Mass Culture, Pratt Institute, Brooklyn, NY

I grew up moving frequently around different parts of the U.S. and traveling across long distances. One of my first memories is a glimpse through the backseat window of a car: a pink sunset, power lines, a McDonald’s arches sign. A sense of wonder at the modern world, and transient, lonely observation is instilled in my work; I am always passing through. I paint pictures to describe the overwhelming sensory effect of the American landscape: the suburban in conjunction with the sublime, the mysterious in the mundane, and the ancient and man-made running up against each other. My work is also about floors, ceilings, and skies, and about negotiating the more immediate surfaces and materials of the canvas. Using opaque and translucent brushstrokes, I attempt to paint the air around objects. My most recent exploration is the use of resin as a way to mimic watery light. Still, I have yet to find a blue that is electric enough.

Two-Person Exhibitions 2021

Wandering Bonneville (with Amelia O’Neill), JKR Gallery, Provo, UT Group Exhibitions

2021

Breaking Labyrinths: A Collage + Walking + Video Project, Wirral Met Gallery, Birkenhead, England Rouge, Sears Art Museum, St. George, UT

2020

Odd Spaces: A Cooperative Book Project, MCLA Gallery 51, North Adams, MA Radical Hope, A Virtual Art Exhibition for COVID-19 Relief (online), Artsteps

2018

Lust for Life, Pfizer Building, Brooklyn, NY

2017

The Great Good Place, Alice Gallery, Salt Lake City, UT Publications

2020

Lynn, Christopher, 'Review – Peaks and Valleys: The Rise of Utah’s Alternative Art Platforms', New Art Examiner The Carolina Quarterly, Summer Issue, https://thecarolinaquarterly.com/summer-2020-69-4/

2019

CURA. Magazine, Spring Issue 127

Rupard

b. 1991 Provo, UT

Corey Sandelius Tiger Hunt in Eternis (After Rubens) | acrylic on wood panel, 33 x 42 inches

128

Corey Sandelius The Underneath | oil on wood panel, 32 x 42 inches

129

Corey Sandelius The King is Dead, Long Live the King | acrylic on wood panel, 36 x 53 inches

130

Corey Sandelius Phoenix, AZ corey@coreysandelius.com / www.coreysandelius.com / @coreysandelius

Education 2000

BFA, Pasadena Art Center College of Design, Pasadena, CA

My subject matter revolves around the human experience. It relies on the desires, joys, deprivation, and sorrows we all feel. As technology and social media continue to change the way we interact, the underlying relationships between people do not change. Through painting, I seek to not only maintain the viewer’s connection to a tactile world, but deepen the mystery as well.

Two-Person Exhibitions 2009

With Mike Shinoda, Gallery 1988, Los Angeles, CA

2016

La Luz de Jesus Annual Juried Competition, La Luz de

Group Exhibitions Jesus Gallery, Los Angeles, CA 2013

La Luz de Jesus Annual Summer Show, La Luz de Jesus Gallery, Los Angeles, CA

2011

La Luz de Jesus 25th Anniversary Group Show, La Luz de Jesus Gallery, Los Angeles, CA

2009

Billy Shire Fine Arts, Culver City, CA

2006

Youngblood, Billy Shire Fine Arts, Culver City, CA

1999

New York Society of Illustrators Awards Gallery Show, Society of Illustrators, Manhattan, NY Awards

2001

Gold Medal in Unpublished Illustration, Society of Illustrators, Los Angeles, CA

1999

Gold Medal in Unpublished Illustration, Society of Illustrators, Los Angeles, CA Collections Billy Shire Fine Arts, Culver City, CA

131

Sandelius

b. 1977 Seattle, WA

Forrest Solis Origin of Desire (back I) | oil on canvas, 18 x 30 inches

132

Forrest Solis Origin of Desire (chest I) | oil on canvas, 18 x 30 inches

133

Forrest Solis Origin of Desire (legs I) | oil on canvas, 24 x 36 inches

134

Forrest Solis Phoenix, AZ 480.429.0711 (Gebert Contemporary) forrest.solis@asu.edu / www.forrestsolis.com

Education 2003

MFA, Indiana University, Bloomington, IN

2001

BFA, Kansas City Art Institute, Kansas City, MO Solo Exhibitions

2016

Sleepers Redux, Jamie Brooks Fine Art, Costa Mesa, CA L+D, Community Services Building, Arizona State

Unable to separate myself from my form, I experience the world as subject and object, infinitely folding and unfolding; eternally bound and yet distinct. Desire lies in the imbalance of those proportions. It is longing, a persistent deferral that needs tension and grows with distance. While death is completion, it is an end—a conclusive shift from subject to object. My interest is in the erotic potential that exists in this proximity to death; when death is near but still at a safe distance and our bodies are perilously within the window of desirability.

University, Tempe, AZ Group Exhibitions 2020

Viewpoints: How We Understand Art, Scottsdale Center for the Performing Arts, Scottsdale, AZ

2019

Friends of EMS, Yucca Valley Art Center, Yucca Valley, CA

2018

10 Artists/2000 Speculums, Step Gallery, Phoenix, AZ

“But the erotic offers a well of replenishing and provocative force to the woman who does not fear its revelation, nor succumb to the belief that sensation is enough.” - Uses of the Erotic: The Erotic as Power by Audre Lorde

Figurative Painting Exhibition, Gebert Contemporary Gallery, Scottsdale, AZ 2017

When Push Comes to Shove: Women in Power, Scottsdale Contemporary Art Museum, Scottsdale, AZ Awards

2017

Herberger Institute of Design and Art Project Grant: 10 Artists/2000 Speculums, Tempe, AZ

2016

Herberger Institute of Design and Art Project Grant: Our Creative Stories, Tempe, AZ

2015

Institute of Humanities Research and Herberger Institute of Design and Art Creative Push Seed Grant, Tempe, AZ Publications

2018

Quiballo, Rembrandt, 'Forrest Solis: Feminine Mystique', Java Magazine, https://javamagaz.com/?p=5310 Trimble, Lynn, 'Why 10 Artists Are Turning OB/GYN Equipment into Works of Art', Phoenix New Times Trimble, Lynn, 'Here’s Your Guide to October First Friday in Phoenix (featuring 10 Artists/2000 Speculums)', Phoenix New Times Represented by Gebert Contemporary, Scottsdale, AZ The Sugarman-Peterson Gallery, LLC., Sante Fe, NM

135

Solis

b. 1979 Houston, TX

Forrest Solis | Origin of Desire (chest I) (detail)

Tracy Stuckey No Tire Basura | oil on canvas, 48 x 60 inches

136

Tracy Stuckey The Influencers | oil on canvas, 60 x 72 inches

137

Tracy Stuckey Mini Super | oil on canvas, 60 x 72 inches

138

Tracy Stuckey Fort Collins, CO 303.292.0909 (Visions West Contemporary) tracystuckey@gmail.com / www.tracystuckey.com / @tracystuckey

Education 2005

MFA, University of New Mexico, Albuquerque, NM

2001

BFA, Florida State University, Tallahassee, FL Solo Exhibition

2021

Extranjero: Recent Paintings From Mexico, Visions West Contemporary, Denver, CO

2019

Tracy Stuckey: Works on Paper, Schmidt Dean Gallery, Cherry Hill, NJ

2017

Stranger in These Parts, NAU Art Museum, Flagstaff, AZ

2015

Suburban Cowboy, Visions West Contemporary, Denver, CO

In August of 2019, my family and I moved to Baja California Sur, in Mexico, for what was supposed to be a year. As I prepared for this adventure, my mind was full of ideas about what I thought would be my experience. After arriving, I realized that my intentions were ill-conceived and what I thought I’d be exploring was not a reality after all. Rather than try to force my preconceptions about the region into the work, I decided to take in as much of the experience as I could—to observe and to explore. Our time in Mexico was cut short because of COVID-19 and we had to return home. I continued working on these new paintings while back in Colorado. The paintings and drawings in this body of work contain snippets of memories and ideas of kitsch and cliché, reflecting my experience as a whole.

Two-Person Exhibition 2020

Shared Space: Erika Osborne and Tracy Stuckey (with Erika Osborne), University of Wyoming Visual Arts Gallery, Laramie, WY Group Exhibitions

2020

Repercussions, Kruglak Art Gallery, MiraCosta College, Oceanside, CA

2017

Superstar, Elizabeth Houston Gallery, New York, NY New Frontier, Curtis Center for the Arts, Denver, CO

2014 2013

Fixation, Zhou B Art Center, Chicago, IL Contemporary Couples: A Creative Life Together, Strohl Art Center, Chautauqua Institution, Chautauqua, NY Publications

2018

Larkins, Zoe, 'Nocturnes', Exhibition Catalog, Visions West Contemporary Corriel, Michele, 'Highlighting the Work of Painter Tracy Stuckey', Western Art & Architecture, http://western artandarchitecture.com/october-november-2018/high lighting-the-work-of-painter-tracy-stuckey

139

Stuckey

b. 1977, IN

Jesus Treviño Lost in Transition (They Might Be…) | oil on canvas, 36 x 36 inches

140

Jesus Treviño The Path Fading in the Sun | oil on canvas, 72 x 60 inches

141

Jesus Treviño Venus en Flores | oil on canvas, 36 x 24 inches

142

Jesus Treviño Austin, TX jesus.trevino03@outlook.com / www.jesustrevinoart.com / @jesustrevinoart

Education 2022

MFA, University of Texas at Austin, TX

2018

BA, University of Texas Rio Grande Valley, Brownsville, TX Solo Exhibitions

2019

Behind Our Walls, Presa House Gallery, San Antonio, TX

2021

Haunted Summer, Field Projects Gallery, New York, NY

Group Exhibitions Icons and Symbols of the Borderland, Carlsbad Museum and Art Center, Carlsbad, NM Rising Eyes of Texas 2021, Rockport Center for the Arts,

The themes in my work are rooted in my upbringing on the U.S./ Mexico border. I am interested in the erasure of history and the displacement of people and its residual personal, emotional, and social effects. I’m trying to engage familial histories—histories of injustice and collective memory—by building a landscape of paintings and art objects that hold memory of what was and reveal traces of what remains. Like histories and memories that tend to be slippery or actively erased, structures are fragile and threaten to collapse; painted landscapes are shifting and dematerializing, and witness figures dissolving as they seek to maintain identity and autonomy. Elsewhere, figures uncomfortably conform to or feel foreign to an environment, often in transit or by occupying liminal spaces. Beneath the surface, underpaintings are buried, forcing a slow reveal and discovery of unheard narratives.

Rockport, TX 2020

Third Coast National Biennial, K Space Contemporary, Corpus Christi, TX Between Two Worlds, Visual Arts Center, Austin, TX 47th Annual International Exhibition, Brownsville Museum of Fine Art, Brownsville, TX Awards

2020

Honorable Mention, Third Coast National Biennial, K Space Contemporary, Corpus Christi, TX

2019

Best in Show, 47th Annual International Exhibition, Brownsville Museum of Fine Art, Brownsville, TX Honorable Mention, Painting, 47th Annual International Exhibition, Brownsville Museum of Fine Art, Brownsville, TX Collections The City of San Antonio, Department of Arts and Culture, San Antonio, TX Presa House Gallery, San Antonio, TX

143

Treviño

b. 1995 Brownsville, TX

Alexandra Valenti Urgency | acrylic on linen, 60 x 36 inches

144

Alexandra Valenti Eureka | acrylic on linen, 60 x 36 inches

145

Alexandra Valenti Gestation | acrylic on linen, 53 x 40 inches

146

Alexandra Valenti Austin, TX studio@alexandravalenti.com / www.alexandravalenti.studio / @valenti_studio

Education 1991

University of California, Berkeley, CA

2018

Present Primitive, Preacher Gallery, Austin, TX

Solo Exhibitions

Group Exhibitions 2016

Preacher Gallery, Austin, TX

2014

LIGHT, Common House, Austin, TX

2013

With Love from Texas, Busy Being Gallery, Austin, TX Together Whatever, Common House, Austin, TX

Over the past few years, the crux of my work has been centered around loss and resilience. Painting has become a way through. Without a clear understanding as to why, I started to fixate on, and paint representations of, female stone idols. It became clear to me that each piece was actually a portrait of fictional women who lived their lives in an ancient, crumbling city, unable to adhere to societal norms but rather to their commitment to an inner world— the scaffolding upon which is their creativity and freedom. There are repeating motifs of roots weaving into the faceless, imperfect bodies, the biospheric shapes, misshapen breasts, crumbling architecture, and plant (giving) life. They ultimately serve as a mediation on metaphysical exploration, creative expression, and wonderment.

Collections The Line Hotel, Austin, TX Soho Myriad, Atlanta, GA

147

Valenti

b. 1968 Washington, DC

Lillian Warren August 10 | oil and acrylic on Mylar, 24 x 18 inches

148

Lillian Warren February 20 | oil and acrylic on Mylar, 40 x 30 inches

149

Lillian Warren July 03 | oil and acrylic on Mylar, 30 x 40 inches

150

Lillian Warren Houston, TX 713.524.2299 (Anya Tish Gallery) lhwarren@prodigy.net / www.lhwarren.com / @lillian.warren1

Solo Exhibitions 2020

Parables and Everyday Stories, Anya Tish Gallery,

2018

They Woke Up and Started Dreaming, Anya Tish Gallery,

Houston, TX Houston, TX 2013

Alone Together, Anya Tish Gallery, Houston, TX

2012

Wait with Me, Lawndale Art Center, Houston, TX Drive by Landscapes, Pearl Fincher Museum of Art,

When the pandemic of COVID-19 hit, I self-quarantined at home like so many others. Feeling cut-off and disoriented, I listened to the news, watched the light change and shadows move, and surveilled my neighbors as they walked their dogs. At first, I couldn’t find it within me to paint anything, but after a while I began to paint what I saw from my limited window on the world: the view from my fifth-floor balcony. I painted things I typically wouldn’t notice and used aggressively cropped, sometimes vertiginous views as a means to express a personal and collective sense of isolation, disconnection, and uncertainty.

Houston, TX 2007

Urban Realities, Galveston Arts Center, Galveston, TX

2021

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

Group Exhibitions Art Responds to 2020, View Center for Arts and Culture, Old Forge, NY 2016

Twenty-Five: A Conclusion, Galveston Arts Center,

2015

Parliament of Owls, DiverseWorks Art Space, Houston, TX

Galveston, TX 2012

American Art Today: Figures, The Bascom Center for the Visual Arts, Highlands, NC

2011

Visual Territory, Pittsburg State University, Pittsburg, KS

2008

National Juried Exhibition, Atlanta Artists Center,

2006

Baroque Visions and Urban Verities, Blue Star Art Space,

Atlanta, GA San Antonio, TX Biennial Southwest, The Albuquerque Museum, Albuquerque, NM Publications 2013

New American Paintings, Issue #108 Represented by Anya Tish Gallery, Houston, TX

151

Warren

b. 1958 Searcy, AR

Ben Willis Busted | acrylic, aerosol, glitter, resin, and vinyl on panel, 12 x 12 inches

152

Ben Willis The Return | acrylic, aerosol, glitter, resin, and vinyl on panel, 8” diameter

153

Ben Willis WAVY, Installation View | dimensions variable

154

Ben Willis Phoenix, AZ ben.willis.art@gmail.com / www.benwillisart.com / @ben.willis.art

This body of work is an exercise in giving a third dimension to what typically has two.

Education 2013

MFA, Arizona State University, Tempe, AZ

2005

BFA, Miami University, Oxford, OH Residency

2018

Carved panels, acrylic paint, holographic vinyl, glitter, pearlescent pigments, and many layers of poured resin allow me to give the viewer more than they often see when looking at a picture on the wall.

CVAD Foundations Program, Visiting Artist, University of North Texas, Denton, TX Professional Experience

2013-

Phoenix College, Adjunct Faculty, Phoenix, AZ

2021

WAVY, Stephanie Chefas Projects, Portland, OR

2020

DOSES, Stephanie Chefas Projects, Portland, OR

2017

Candy Man, Fort Works Art, Fort Worth, TX

This third dimension—though less than an inch thick—blurs the line between painting and sculpture. It’s where I spend hours testing the limits of my materials and abilities.

Solo Exhibitions

Group Exhibitions 2021

Art Faculty + Alumni Exhibition, Miami University Art

2020

Abstract Elegance, Found:RE Contemporary, Phoenix, AZ

2019

Summer Collective, Stephanie Chefas Projects,

Museum, Oxford, OH

Portland, OR Emerging to Established, Krause Gallery, New York, NY 2017

Scope Art Show, Art Basel, Miami, FL Duets 2.0, Fort Works Art, Fort Worth, TX

2016

9 Grams, Fort Works Art, Fort Worth, TX Publications

2017

ArtMaze Magazine, Issue 2

2016

Create! Magazine, Issue 1

155

Willis

b. 1982 Cincinnati, OH

Editor’s Selections

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

Jacob Hayes Ward | oil on wood panel, 30 x 24 inches

158

Jacob Hayes Scott | oil on wood panel, 36 x 24 inches

159

Jacob Hayes Inlaws | oil on wood panel, 20 x 30 inches

160

Jacob Hayes Olathe, KS jacobhayesart@gmail.com / www.jacobahayes.com / @jacobahayes

Education 2014

MFA, New York Academy of Art, New York, NY

2011

BFA, University of Kansas School of the Arts, Lawrence, KS Group Exhibitions

2019

Summer Exhibition, Wilkinson Gallery, New York Academy of Art, New York, NY

2018

I paint psychological portraits within the setting of rural American life. The subjects of my work are family members and friends painted against the backdrop of Kansas and the iconography and memories of my childhood: wood paneling, taxidermy deer, catfish, hunting, the big sky, and open plains. My paintings combine the aesthetics of posed portraiture against naturalistic settings and explore the idea of what is real and what is fake; what is natural and what is posed. This body of work allows me to explore the complexities of my family members, their faults and imperfections, and the unfortunate cycles in our family narrative.

Real Man, Mandarin Oriental, Miami, FL Artists by Artists, Forum Gallery, New York, NY Summer Exhibition, Flowers Gallery, New York, NY Take Home a Nude, Sotheby’s, New York, NY

2017

About Face, Southampton Art Center, Southampton, NY

2016

BP Portrait Award 2016, National Portrait Gallery, London, UK Awards

2019

Semifinalist, Outwin Boochever Portrait Competition, National Portrait Gallery, Smithsonian Institution, Washington, DC

2018

Grant Recipient, Elizabeth Greenshields Foundation, Montréal, Québec, Canada

2017

Eric Fischl Artist-in-Residence, West Nottingham Academy, Colora, MD

2016

Finalist, BP Portrait Award Exhibition, National Portrait Gallery, London, UK

2014

New York Academy of Art Residency, Mimar Sinan University, Istanbul, Turkey

161

Hayes

b. 1986 Olathe, KS

Ruin F. Kenzie OHI | acrylic on wooden panel and plywood, 78 x 58 x 1.5 inches

162

Ruin F. Kenzie GAMED/TIMED/COMPASS | acrylic on wooden panel and foam, 48 x 48 x 3 inches

163

Ruin F. Kenzie Untitled-Outside | acrylic, vinyl paint on stretch and unstretched canvas, 55 x 72 x 1.5 inches

164

Ruin F. Kenzie Cheyenne, WY walkermaxus@yahoo.com / www.ruinkenzie.com / @walkermaxus

My work deals with my thoughts and the silence of time implied by actions.

Education MFA, Bradley University, Peoria, IL Tamarind Master Printer, University of New Mexico, Albuquerque, NM BFA, Arizona State University, Tempe, AZ Group Exhibitions 2021

Shape In All Its Forms, Site Brooklyn Gallery, Brooklyn, NY

We move through a life of noted memories and stretches of unmeasured time. My work encompasses a human-created construct—that of time, with the language of abstract art. By utilizing the physicality of time—such as a clock’s face, arches, gaps, doorways, or circles—I seek a structure as a starting point. With a structure and an expression of abstract painting, a process of play and playing around evolves into an act. I value paintings to find moments of stoppage as a refuge for reflection.

Awards Finalist and Fellowship Award, Illinois Art Council, Chicago, IL Publication 2021

Studio Visit Magazine, Vol. 50

2017

Studio Visit Magazine, Vol. 39

2016

Manifest, International Painting Annual 6, Collections Rockford Art Museum, Rockford, IL Arkansas State University, Jonesboro, AR

165

Kenzie

b. 1953 Cheyenne, WY

Ruin F. Kenzie | Untitled-Outside (detail)

Amie LeGette Saltchuck | painted silk, steel, and magnets, 72 x 96 inches

166

Amie LeGette Soft Beets | painted silk, steel, and magnets, 72 x 72 inches

167

Amie LeGette Brine | painted silk, steel, and magnets, 18 x 18 inches

168

Amie LeGette Albuquerque, NM amielegette@gmail.com / www.amielegette.com / @amielegette

Education 2021

MFA, University of New Mexico, Albuquerque, NM Graduate Certificate: Women, Gender, and Sexuality Studies, University of New Mexico, Albuquerque, NM

2010

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

2019

Artist In Residence Yamanashi Finalist, Kofu, Japan

2016

Signal Fire Finalist, Portland, OR

2021

Cusp, Masley Gallery, Albuquerque, NM

2018

Accumbent Arrays, Ellsworth Gallery, Santa Fe, NM

2017

Slow Grow, Littman Gallery, Portland, OR

2013

Piny Showers, Michael Strogoff, Marfa, TX

Solo Exhibitions

Organic structures, loose figuration, and atmosphere rising through layers of translucent painted silk. These works are physically deconstructed—torn down from large swaths—and reassembled onto the frame. Some layers hang loose while others are stretched; some lean against the wall as if to feel temporary, informal, and casual. The physical space created in the layering and the lean play with the depth of field and the viewer’s perception of solidity. The images become reflected and refracted; the layers feel inseparable as they bleed into one another with their translucent passages. With this body of work, translucency can be seen as a metaphor for the desire of the self to be seen. The impermanence in the leaning installation and the translucency can be seen as a metaphor for ephemerality and the fleeting nature of things.

Two-Person Exhibition 2018

Nascent Atmospheres (with Courtney M. Leonard), ] Ellsworth Gallery, Santa Fe, NM Group Exhibitions

2021

In Tandem, Masley Gallery, Albuquerque, NM

2019

The Modifiers, Tamarind Institute, Albuquerque, NM The Rain, Artist In Residence Yamanashi, Kofu, Japan Publications

2018

Eddy, Jordan, 'Review / Nascent Atmospheres’, The Magazine Abatemarco, Michael, Fragility and natural reflection: ‘Nascent Atmospheres,’ Pasatiempo

169

LeGette

b. 1985 Lindsay, CA

Alexandre Pépin Flowers Flowers Flowers Flowers | oil on canvas, 60 x 60 inches

170

Alexandre Pépin Jogger | oil on canvas, 20 x 24 inches

171

Alexandre Pépin Radiant Gold Emptiness | oil on unstretched canvas, 91 x 96 inches

172

Alexandre Pépin Austin, TX pepin.alexandre1@gmail.com / www.alexandrepepin.ca / @alexandrepepin

Education 2022

MFA, University of Texas at Austin, Austin, TX

2016

BFA, Concordia University, Montréal, Québec, Canada Residencies

2021

Summer Fellowship, Ox-Bow School of Art & Artist Residency, Saugatuck, MI

2017

Vermont Studio Center, Johnson, VT

2020

Good Strong Handshake, Visual Arts Center, Austin, TX

Group Exhibitions Inner Landscapes, Archive Contemporary Gallery, Montréal, Québec, Canada 2019

My paintings explore the subject of nature as an open receptacle for poetic and psychological imagery, offering landscapes of all kinds where painting, Buddhism, beauty, and queerness intersect. In painting, I am interested in the medium’s rich and complicated history, as well as its current position that is strangely misaligned with the trajectory of human progress. In Buddhism, I find appealing a fundamental acknowledgement of life as suffering and in ways to end or reduce suffering, which favor a better appreciation of life ‘as it really is’. In beauty, I am moved by the possibility of an aesthetic experience that provides a space of radical openness where our ordinary concerns are brought into question. In queerness, I seek to make work that embodies vulnerability, sentimentality, transgression, fluidity, joy, and an embrace of awkwardness that reflects the positive values gleaned from the challenges of my own queer experience.

Asculpture, Rad Hourani Foundation, Montréal, Québec, Canada Pour l’Art, Galerie B-312, Montréal, Québec, Canada Future, Marc Gosselin Gallery, Montréal, Québec, Canada ARTCH: Emerging Contemporary Art, Dorchester Square, Montréal, Québec, Canada Awards

2019

Elizabeth Greenshields Foundation Grant, Montréal, Québec, Canada

2018

Production Grant, ARTCH, in collaboration with CJE Montréal Centre-Ville, Greater Montréal Foundation & the Bronfman Foundation, Montréal, Québec, Canada

2017

Emerging Artist Grant for Research, Creation and Exploration, Québec Arts and Letters Council, Montréal, Québec, Canada

173

Pépin

b. 1992 Montreal, Quebec

Noah Schneiderman Third Winter | oil and wax on wood panel, 30 x 30 inches

174

Noah Schneiderman Learning Again | oil and wax on wood panel, 47.5 x 43 inches

175

Noah Schneiderman Eigengrau | oil and wax on canvas, 96 x 72 inches

176

Noah Schneiderman Denver, CO noah@steppingstone.store / www.noahschneiderman.com / @pleasedontlookmeup

Solo Exhibition 2021

My paintings function as mirrors of my inner life and cultivate an understanding of self and of the world. Through this proximity I seek to gain and reveal a clarity in my lived experience.

Sometimes I Bow to the Dust, Bell Projects, Denver, CO Group Exhibition

2021

Deeper, Friend of a Friend Gallery, Denver, CO

2019

Poems for Our Country, Union Hall, Denver, CO

2018

Downtown (A Tribute To The Mudd Club), Lane Meyer

This confluence of the internal and external worlds acts as a bridge to uncover truths and questions about who and what we are. Informed by nature, memory, and the mystical, these works seek to brush against that which lies just beneath the surface of everyday life.

Projects, Denver, CO Publications 2021

Rinaldi, Ray Mark, ‘As the pandemic winds down, Denver galleries gear up’, The Denver Post

2019

Chiodo, Maya, ‘Poems for Our Country: Artists’ Hopes and Proclamations for 2020’, 5280 Magazine

177

Schneiderman

b. 1996 Mattoon, IL

Noah Schneiderman | Eigengrau (detail)

Pricing

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

Jared Andreas p16 $3,000 p17 $3,000 p18 $3,000

Angela Fox p72 NFS p73 NFS p74 NFS

Corey Sandelius p128 $3,000 p129 $3,000 p130 $3,000

Andrea Bagdon p20 NFS p21 NFS p22 NFS

Suzy González p76 $6,000 p77 NFS p78 $10,000

Forrest Solis p132 NFS p133 NFS p134 NFS

Jennifer Balkan p24 $10,200 p25 $10,200 p26 $10,200

Rachel Henriksen p80 NFS p81 $400 p82 $480

Tracy Stuckey p136 $11,200 p137 $14,800 p138 $14,800

Laura Spalding Best p28 $7,500 p29 NFS p30 NFS

Saskia Jordá p84 $2,500 p85 $2,500 p86 $3,500

Jesus Treviño p140 $3,500 p141 $8,000 p142 NFS

Jeremy Biggers p32 $18,300 p33 $1,525 p34 $10,160

Humphrey Kaye p88 $800 p89 $800 p90 $800

Alexandra Valenti p144 NFS p145 NFS p146 NFS

Daniel Blagg p36 $18,000 p37 $17,000 p38 $22,000

Aitor Lajarin-Encina p92 $2,550 p93 $4,550 p94 $1,950

Lillian Warren p148 $3,200 p149 $3,800 p150 $3,800

Bea Bonanno p40 $10,000 p41 NFS p42 $2,200

Caroline Liu p96 $6,400 p97 $6,400 p98 $6,400

Ben Willis p152 NFS p153 NFS p154 NFS

Joey Brock p44 NFS p45 $4,900 p46 NFS

Alejandro Macías p100 NFS p101 $3,000 p102 $4,500

Aria Brownell p48 NFS p49 NFS p50 NFS

Renluka Maharaj p104 $12,000 p105 $12,000 p106 $6,000

Jacob Hayes p158 NFS p159 NFS p160 $2,500

Vincent K. Chung p52 NFS p53 NFS p54 NFS

Brianna Noble p108 $3,000 p109 NFS p110 $2,500

Ruin F. Kenzie p162 $1,500 p163 $1,000 p164 $1,500

Matthew Conway p56 $2,000 p57 $2,000 p58 $1,200

Robert Peterson p112 $16,000 p113 NFS p114 NFS

Amie LeGette p166 $6,400 p167 NFS p168 $1,400

Katherine Del Rosario p60 $3,000 p61 $2,500 p62 $4,000

Oliver Polzin p116 POR p117 NFS p118 NFS

Alexandre Pépin p170 NFS p171 NFS p172 NFS

Carlos Encinas p64 $4,000 p65 $4,000 p66 $4,000

Justin Richel p120 NFS p121 NFS p122 NFS

Noah Schneiderman p174 NFS p175 NFS p176 $6,000

Fausto Fernandez p68 $8,000 p69 $6,000 p70 $8,500

Madeline Rupard p124 NFS p125 NFS p126 NFS

178

$20