New American Paintings Pacific Coast Issue #163 by newamericanpaintings

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December/January

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PRINTED IN KOREA All rights in each work of art reproduced herein are retained by the artist. Front cover: Koak, p80

Back cover: Yamazaki, p152

RANEE HENDERSON Palms up for the Peanut Gallery January 6 —February 18

Lets make slurping sounds

Reinhard p118

Contents 8

Editor’s Note

Noteworthy

Steven Zevitas

Juror’s and Editor’s Picks

Juror’s Comments Jenny Gheith, Associate Curator of Painting and Sculpture, San Francisco Museum of Modern Art, San Francisco, CA

14 156 178 188

Winners: Juror’s Selections Pacific Coast Competition 2022

Winners: Editor’s Selections Pacific Coast Competition 2022

Addendum Artists Pacific Coast Competition 2020-2022

Pricing Asking prices for selected works

163 December/January 2023

Editor’s Note

The juror for this issue is Jenny Gheith, Associate Curator of

world is fully embracing the moment. In May 2022, Kathy Huang,

Painting and Sculpture at the San Francisco Museum of Modern

Managing Director at Jeffrey Deitch’s eponymous gallery, curated

Art. Our annual review of artists working in the Pacific Coast region

the exhibition Wonder Women. The exhibition, which can justifiably

always draws a large and strong group of applicants. Jenny had her

called landmark, brought together the work of thirty Asian American

work cut out for her, and I am extremely pleased with the result

and diasporic women, including the three artists noted above. It was

of her efforts. The artists you will find in these pages come from

revelatory.

diverse backgrounds and each brings a unique aesthetic viewpoint. Collectively, they give strong evidence that painting is, as ever, in

The risk with such exhibitions, of course, is that they tend to define

very good shape.

the participating artists as a monolithic group when, in fact, their individual practices are completely divergent. The art world, to

As I have noted before, in the past decade the art world has gone

its own detriment, loves to categorize. As I was walking through

through a radical transformation. The white, heteronormative,

the gallery on opening night, I overheard a middle-aged couple

male perspective that Western art history has largely been built

discussing how “exotic” the imagery was. My sense is that the

on has been brought into question, and the shockwaves of this

included artists would have bristled at this comment and do not

seismic event have been felt throughout the cultural landscape.

feel that the narratives, iconography, and history of their collective

For artists from historically marginalized communities, the time

cultures are in any way exotic. Why would they? They are simply

has finally come for their voices to be heard and their stories to be

referencing their reality and generously allowing us to explore. n

told. At New American Paintings, we have had a front row seat to this awakening. Over the past decade, more and more of the artwork

Enjoy the issue!

we are privileged to review on an annual basis has been made by artists whose cultural and individual backgrounds are anything but

Steven Zevitas

normative.

Editor & Publisher

One of the communities that has been notably on the rise in recent years is that of Asian American and diasporic peoples. (In this issue, twenty-five percent of the featured artists are of Asian descent.) Artists such as Dominique Fung, Sasha Gordon, and Anna Park have quickly gained an international following and the art

New Art Dealers Alliance (NADA) newartdealers.org

Noteworthy:

William Scott

Juror’s Pick p124

William Scott’s utopian vision pictures a world where wholesome citizens live in a peaceful, just society. Based in science fiction and fantasy, his detailed compositions reimagine not only the architecture and urban structures of his native San Francisco but the emotional and spiritual essence of the people who live there. In this alternative reality he resurrects cultural figures who have died, unites people through community centers that replace penthouses, and depicts a younger version of himself, free of disability. Hopeful and filled with love for humanity, Scott’s paintings are testament to the potential for individuals to transform society by refusing the status quo and championing creativity. n

Shingo Shaun Yamazaki

Editor’s Pick p152

Yamazaki’s paintings are complex meditations on identity and cultural hybridity. There is an unease that pervades his work, the sort of unease that one feels if woken from a vivid dream. The viewer is offered a variety of spaces, multicultural iconography and subjects, yet Yamazaki is clearly not interested in straightforward narrative; he has a proclivity for obfuscating subjects in such a way that their role in the paintings is brought into question. Raised in Hawaii, Yamazaki is a second-generation Japanese/Korean American who now resides in Los Angeles. His work speaks to the liminality of his identity. Through these paintings, Yamazaki draws from his own experiences to explore issues such as generational trauma, anxiety, and invisibility. n

Winners: Pacific Coast Competition 2022 Juror: Jenny Gheith, Associate Curator of Painting and Sculpture, San Francisco Museum of Art, San Francisco, CA

Juror’s Comments

Jenny Gheith Associate Curator of Painting and Sculpture, San Francisco Museum of Modern Art, San Francisco, CA

In times of great change, many people find solace in the pursuits of those who devote their lives to the creative arts. Writers, filmmakers, musicians, and artists are frequently the ones who help us process the harsh realities that surround us, and their work provides a space for personal and collective reflection. The artists in this edition of New American Paintings have invariably been affected by the turbulent events of the past few years. What can the work of these artists, all of whom live on the Pacific Coast, tell us about what it means to be alive at this moment in history? Does the geography of the United States have a role to play? The artists in this volume share stories of lives that have been impacted by globalization and displacement, overwhelmed by loss and trauma, and challenged by political ideologies and Western ideals. All have chosen to confront these narratives and, in their own way, celebrate their truth and guiding principles. They find inspiration in various forms, most powerfully in careful considerations of overlooked histories, ancestral heritage, everyday life, imagination, fantasy, and nature. Their work is a testament to the ability of

Many artists look to the past in order to imagine a better present.

individuals to transform their realities. The artists included here are

Jeremy Okai Davis, Deidre DeFranceaux, and Richard-Jonathan

mothers, fathers, sisters, and brothers who are searching for a place

Nelson focus on the enduring histories of queer and Black cultures.

to stand, and this volume is dedicated to their struggle, their vision,

William Scott includes historical figures in his paintings, which

and their beauty. It hopes to provide visibility for where they are in their

imagine a more equitable society. Several artists, many of whom are

artistic journey.

first-generation Americans, acknowledge an identity formed through

Davis p34

Fuji p57

Yamazaki p154

Farin p52

Perry p105

Brown p24

“The artists in this volume share stories of lives that have been

impacted by globalization and displacement, overwhelmed by loss and trauma, and challenged by political ideologies and Western ideals. All have chosen to confront these narratives and, in their own way, celebrate their truth and guiding principles.” hybridity and look to rituals, myths, and ancient wisdom, such as Inga

as seen in canvases by Heather Brown, Nancy Evans, Amanda Rose

Bard, Sally Deng, Maya Fuji, Daniela Garcia Hamilton, Annie McCone-

Kachadoorian, Stephanie Sachs, and Karla Wozniak.

Lopez, and Shingo Shaun Yamazaki. Other artists examine how identity is shaped by long-held standards and confront these beliefs

Together, these artists provide a glimpse into the rich creativity that

to formulate new modes of representation that are not just symbolic,

persists. Their artwork is filled with questions about how one finds

but tangible. This is encapsulated in the work of Gina M. Contreras,

and creates a place for themselves in the world, and points to potential

stephanie mei huang, Jamie L. Luoto, and Yongqi Tang.

responses that permeate our understanding of what it means to be human. n

The emotionally charged portraits of Koak featured on the cover find good company in the work of other artists whose figures are imagined and exaggerated, existing in a world of dreams and memory that explore psychological space and interpersonal relationships, as in the paintings by Chase Biado, Gwynna Dille, Katja Farin, Elias Hernandez, Kelly Lynn Jones, Hannah Lupton Reinhard, and Kira Maria Shewfelt. Their bold, high-keyed expressionistic worlds are normally seen in contrast to those who use realism to picture the ordinary. Yet artwork by Alex Kupczyk, Terry Leness, Kyle Perry, Slate Quagmier, Julie Read, Madison Skriver, Michael Ward, and Dylan Wilde, whose work is grounded in nostalgia for previous generations and often based on old photographs of people and landscapes, appear closely related in imagination and attention. Similarly, many artists explore abstraction as a language of interlocking patterns and symbols that can both picture the sublime power of nature and the marks and meanders that capture time passing, memory, and transformation,

Juror’s Selections

The following section is presented in alphabetical order. Biographical information has been edited. Prices for available work may be found on p188.

Inga Bard They did not know we were seeds | oil on linen, 36 x 24 inches

Inga Bard It was all a dream | oil on linen, 16 x 20 inches

Inga Bard Letter to the Tzar | oil on linen, 90 x 140 inches

Inga Bard San Francisco, CA ingabardstudio@gmail.com / www.ingabard.com / @ingabard

Education 2015

MFA, Central Saint Martin’s School of the Arts, London, England

2011

BFA, New World School of the Arts, Miami, FL Professional Experience

2021

Art Director, with Andrew Berardini, Private Practice Residency at MobileCoinArt

2020

Cofounder, Paint the Void and Safety Net Fund (Bay Area nonprofits supporting artists after COVID-19)

2018 2011

Founder and Executive Director, Art for Civil Discourse Principal Drawing and Anatomy Instructor, Angel Academy of Art, Florence, Italy Co-organizer, Japan Now (art auction for earthquake relief), with Diego Singh, Miami, FL

I was born in Odessa, Ukraine, shortly after the dissolution of the Soviet Union. In my childhood, I witnessed my family continuously dissect their cognitive dissonance in relation to what they saw and heard on the news. Naturally, I became fascinated with the ways public imagination is forged out of hearsay and propaganda. As an artist, my conceptual framework formed around subverting and spectacularizing the environments where my subjects appear. With elements in both figuration and abstraction, my paintings shift between the real and the imagined. Through this visual language I aim to pose certain questions: How can we know what is happening in the world? Can we ever trust stories and rumors of what has happened knowing that all reports are mediated, if not due to malicious intent than simply because no account can escape subjectivity? Once we receive said reports, can we trust our own critical faculties to parse the information to understand the events? Perhaps most importantly, are we already too preconditioned to believe certain truths as reality?

Solo Exhibitions 2019

#FreedomFighters, Oslo Freedom Forum, Oslo, Norway

2018

Ashes of Our Zeitgeist, The Laundry, San Francisco, CA A Rock and a Hard Place, Mule Gallery, San Francisco, CA

2017

Manifest Mania of a Generation, Tupperware Gallery,

2013

Riot in Progress, Galleria della Stufa, Florence, Italy

2021

The Big Show, Good Mother Gallery, Oakland, CA

Richmond, CA

Group Exhibitions 2019

Drawing Now: Dynamic New Visions Through Drawing in the Bay Area, B4bel4b Gallery, Oakland, CA

2015

Festival of Disobedience, Victoria and Albert Museum, London, England Capsule, Embassy Tea Gallery, London, England

Bard

b. 1987 Odessa, Ukraine

Inga Bard | Letter to the Tzar (detail)

Chase Biado Elfish Blues | oil on canvas, 40 x 32 inches

Chase Biado Early Morning Light | oil on canvas, 48 x 40 inches

Chase Biado Fey Wild | oil on canvas, 16 x 20 inches

Chase Biado Los Angeles, CA @babyfroggy

Residency 2015

Creative Exchange Lab, Portland Institute for Contemporary Art, Portland, OR Solo Exhibitions

2023

The Pit, Los Angeles, CA

2022

Feywild, Noon Projects, Los Angeles, CA Marta, Los Angeles, CA Group Exhibitions

2022

I have an existential crisis every time I make a painting. I try to be brave. Music helps, naps, exercise, friendship. What does it feel like to be alive? What’s the vibe? I’m trying to listen to myself. I think we have souls. I think we create them. We are more than our corporeal selves. I don’t know the science of it, but I know what it feels like. And I think it has something to do with fantasy— what we desire, what we summon into being, the space we create and for whom. Painting is a psychological space. How do you let the world in and not just the world but our big fantasies wrapped around our little mortal skeletons. If freedom exists, I’m sure it’s terrifying. Maybe we were never human to begin with. But instead shadow creatures playing pretend.

NADA New York, w/ The Pit, New York, NY Frieze Los Angeles, w/ Marta, Los Angeles, CA Light Up the Sky, The Pit, Los Angeles CA Sirkus, Noon Projects, Los Angeles, CA Altar, Bozo Mag, Los Angeles, CA VODA, Seoul, South Korea

2021

Built In, Neutra VDL, Los Angeles, CA

2020

Growth, Helen’s Costume, Portland, OR Under / Over, Marta, Los Angeles, CA

Biado

b. 1985 Portland, OR

Heather Brown Flocking Together | oil and acrylic on canvas, 65.5 x 77 inches

Heather Brown Untitled | oil and acrylic on canvas, 66 x 78.5 inches

Heather Brown Untitled | oil on canvas, 66.5 x 78.5 inches

Heather Brown Los Angeles, CA www.heatherbrownstudio.org / @hbrown1119

My paintings are intuitive and idiosyncratic.

Education

Imagery develops through improvisation and the accrual of actions, reactions, considerations, and revisions.

MFA, University of California Los Angeles, Los Angeles, CA Solo Exhibitions

2022

Flocking Together, Alto Bena, Altadena, CA

2015

Bedfellows, Monte Vista Projects, Los Angeles, CA

2012

Ruins, Carter & Citizen, Los Angeles, CA

2010

Thank You for Your Childhood, Parker Jones,

2008

Thank You for Your Childhood, Parker Jones,

Los Angeles, CA

I draw on the idioms of modernist abstraction. Still, I try to abandon the function and authority of historical gestures and reimagine the act of painting to suit my needs. The language I have developed is filled with and emptied of meaning. It is epic in proportion and utterly banal. Nightmarish, perfunctory, funny, and sometimes sweet.

Los Angeles, CA Group Exhibitions 2021

Works on Paper, 2021, Long Beach Island Foundation of the Arts and Sciences, Loveladies, NJ

2019

Dreamhouse vs. Punk House (Plus Cat House), Serious Topics, Los Angeles, CA

2015

Better Far Pursue a Frivolous Trade by Serious Means than a Sublime Art Frivolously, CSULA Fine Arts Gallery, California State University, Los Angeles, CA

2013

California Visual Music, Guggenheim Gallery at Chapman University, Orange, CA Forms of Abstraction, Irvine Fine Arts Center, Irvine, CA Publications

2011

Molly Enholm, “Heather Brown: ‘Thank You for Your Childhood’ at Parker Jones,” art ltd. Magazine, January/February

2010

David Pagel, “Around the Galleries: The Geometry of

2009

Christopher Miles, “Heather Brown: Drawings at Parker

Imbalance,” Los Angeles Times, November 19 Jones,” LA Weekly, November 13–19

Brown

2002

b. 1977 Berkeley, CA

Gina M. Contreras Something Someone Cared About | acrylic, gouache, and graphite on canvas, 36 x 48 inches

Gina M. Contreras La Watcher | acrylic, gouache, and graphite on canvas, 24 x 30 inches

Gina M. Contreras Protection for Past Memories and Future Fantasies | acrylic, gouache, and graphite on canvas, 36 x 48 inches

Gina M. Contreras San Francisco, CA ginamcontreras@gmail.com / www.ginamcontreras.com / @ginamcontreras

Education 2008

BFA, San Francisco Art Institute, San Francisco, CA Solo Exhibitions

2021

Hey There Lonely Girl, Park Life Gallery,

2019

Sola Chola, Park Life Gallery, San Francisco, CA

2018

Loud Voices in Tiny Spaces, Mule Gallery,

2010

My Love Is Another Kind, Adobe Books Backroom Gallery,

I approach my work with a symbolic perspective, painting melancholy self-portraits that are lighthearted and depict honestly my aspirations and disappointments with Western beauty standards and romantic prospects. I seek to produce and create an abundance of sexual vulnerability that reflects and accepts the physical space I take up, but not to minimize myself in order to make others—or the male-driven aesthetic ideal—comfortable.

San Francisco, CA

San Francisco, CA San Francisco, CA Group Exhibitions 2021

Ginga Group Show, Chandran Gallery, San Francisco, CA NSFW, Spoke Art Gallery, San Francisco, CA Awards

2022

John S. Knudsen Prize, Crocker Art Museum, Sacramento, CA

2020 2008

Grant, The Svane Family Foundation, San Francisco, CA Schmidt Community Arts Fellowship, San Francisco Art Institute, San Francisco, CA Publications

2021

NSFW (Paragon Books)

2019

Illetante, Vol. 4 Collections Crocker Art Museum, Sacramento, CA San Francisco Museum of Modern Art Library, San Francisco, CA Ann Bremer Memorial Library, San Francisco Art Institute, San Francisco, CA

Contreras

b. 1985 Fresno, CA

Gina M. Contreras | Something Someone Cared About (detail)

Jeremy Okai Davis Aicha | acrylic and found wood on canvas-wrapped panel, 54 x 48 inches

Jeremy Okai Davis Fix | acrylic on canvas, 60 x 48 inches

Jeremy Okai Davis Metering | acrylic on canvas, 50 x 50 inches

Jeremy Okai Davis Portland, OR 503.224.0521 (Elizabeth Leach Gallery) www.work.jeremyokaidavis.com / @jeremyokaiart

Education 2022

BFA, University of North Carolina at Charlotte, Charlotte, NC Residency

2017

Space Gallery, Portland, ME

2022

New Paintings, One River School, Lake Oswego, OR

2020

Black Wood, Elizabeth Leach Gallery, Portland, OR

2019

The Presence of Color, Stumptown Downtown,

My stylistic figuration employs a kind of pixelation/pointillist hybridization that references photography while highlighting painterly brushstrokes. I have a deep affection for painting that is evidenced through imagery that uniquely synthesizes portraiture and expressionistic mark-making. My subjects symbolize the perseverance of Black culture and the kind of indefinable grace that can be maintained through struggle.

Solo Exhibitions

Portland, OR Together, Brothers, Stephanie Chefas Projects, Portland, OR 2018

More Education, PDX Airport Gallery, Portland, OR

2017

An Education, p:ear gallery, Portland, OR

2015

Predicting a Movement, Lonnie B. Harris Black Cultural Center, Oregon State University Corvallis, OR Group Exhibitions

2020

Favorite Things, Stephanie Chefas Projects, Portland, OR

2019

Selected Works, Wa Na Wari, Seattle, WA Awards

2019

Stumptown Artist Fellowship

2018

Individual Artist Fellowship, Oregon Arts Commission Collections Microsoft Corporation, Redmond, WA Port of Portland, Portland, OR Represented by Elizabeth Leach Gallery, Portland, OR

Davis

b. 1979 Charlotte, NC

Deidre DeFranceaux My Friend Floozy (Sister Flora Goodthyme), 2018 | oil on board with fabric, costume jewels, fiberglass, and epoxy resin, 84 x 54 inches

Deidre DeFranceaux Sister Dana Van Iquity, 2019 | oil on board with fabric, glass beads, acrylic rod, acrylic jewels, epoxy clay, found flag, fiberglass, and epoxy resin, 96 x 78 inches

Deidre DeFranceaux Harvey Milk (Hope Is Never Silent), 2020 | oil on board with acrylic beads, fabric, cameras, film, photos, plastic flowers, fiberglass, and epoxy resin, 114 x 80.5 inches. Photos courtesy Danny Nicoletta, Marc Cohen, and San Francisco History Center / San Francisco Public Library

Deidre DeFranceaux Santa Rosa, CA artbydeige@gmail.com / www.deidre-defranceaux.com / @artbydeige

Education 1997

MFA, San Francisco Art Institute, San Francisco, CA Solo Exhibitions

2021

Face to Face, Mocas Group, San Francisco, CA

2019

Pride, San Francisco City Hall, San Francisco, CA

2006

Red Ink Studios, San Francisco, CA

2022

ReImagine, Randall Museum, San Francisco, CA

Group Exhibitions 2019

I have been working on Legacy Series of the Sisters of Perpetual Indulgence, which refers to an Order of queer and trans nuns that began in San Francisco in 1979 and has expanded globally. The Sisters use campy humor and irreverent wit to promulgate universal joy and expiate stigmatic guilt. These pieces, like the subjects, are larger than life, ornately embellished, explore genderfuck, and break the box in every direction.

WOW: Wimples of the World, Harvey Milk Center for the Arts, San Francisco, CA

2014

What Tethers Us?, de Young Museum, San Francisco, CA

2001

Inaugural exhibition, Millenium Arts Center,

2000

The Future of the Body, Richmond Art Center,

Washington, DC Richmond, CA Awards 2006

My current work is a synthesis of my portrait painting and sculptural practices, incorporating 3D elements such as fabric, costume jewels, and personal items with oil painting, encased in epoxy resin.

I will be adding authentic vocal-sound pieces to the work for a deeper connection with the viewer. My Harvey Milk piece depicts Harvey riding on the top of a convertible with a pearlencrusted exterior, his life story splayed out on the windshield. The deconstructed cameras and spooled film rolls speak of the parallel nature of creating artwork and political activism; each is a long and complicated process of trial and error, failure and success.

Grant, SF Redevelopment Agency / SF Arts Commission, San Francisco, CA

2002

Grant, Black Rock City Honoraria Program, Black Rock City, NV

2001

Grant, Black Rock City Honoraria Program, Black Rock City, NV

1996

Jack K. and Gertrude Murphy Award and the Edwin Anthony and Adalaine Boudreaux Cadogan Scholarship, San Francisco Foundation, San Francisco, CA Publications

2002

“The Art of Burning Man,” Leonardo

2001

Jessica Dawson, “A New Administration,” ARTnews

2000

“Deidre DeFranceaux, in Search of Self,” World Sculpture News

DeFranceaux

b. 1965 Washington, DC

Sally Deng Bā Ná Mă | on acrylic on panel, 30 x 40 inches

Sally Deng Paper Family | acrylic on panel, 18 x 23 inches

Sally Deng

bittersweet, 落叶归根 | acrylic on panel, 18 x 24 inches

Sally Deng Montebello, CA ww.sallydeng.com / @sa.deng

Education 2016

BFA, ArtCenter College of Design, Pasadena, CA

Sally Deng creates art for magazines, newspapers, books, and more in her Los Angeles studio. Her art explores the interactions between individual figures and their environments. Through bold strokes and quiet landscapes, Deng works to create a visceral response from viewers.

Solo Exhibitions 2020

No Words for Home, Hey There Projects Gallery,

2019

Impressions, Nucleus Portland Gallery, Portland, OR

2018

Fierce, RAWsalt Gallery, Laguna Beach, CA

Joshua Tree, CA

Awards 2021

ADC Annual Award

2020

The 2020 30 Under 30, Art & Style, Forbes

2022

Warrior Princess: The Story of Khutulun (Farrar,

2018

Skyward: The Story of Female Pilots in WWII (Flying

Publications Straus and Giroux) Eye Books)

Deng

b. 1993 Los Angeles, CA

Gwynna Dille Bella Clare and Me, Forever Fifteen | oil on canvas, 48 x 36 inches

Gwynna Dille High Dive | oil on canvas, 72 x 36 inches

Gwynna Dille On the Tip of My Finger | oil on canvas, 48 x 36 inches

Gwynna Dille Los Angeles, CA studio@gwynnadille.com / www.gwynnadille.com

Education 2023

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

2022

New American Paintings, no. 157

My work is about contemporary mythology: pulling intimate details of my own life into the stories of magic and mystery I grew up hearing from my dad. I imagine the thin spaces of religion made anew, where earth meets eternity, and coopt them for my own silly grievances and pleasures. These paintings focus on themes of girlhood, grief, and ritual. The bathing suits are baptismal; the pink is sentimental. The figures are my best friend and I, deep in an oceanic grief and holding onto each other tight.

Dille

b. 2001 Los Angeles, CA

Gwynna DIlle | High Dive (detail)

Nancy Evans Apple Moon | acrylic on canvas, 68 x 46 inches

Nancy Evans Crescent Moon | acrylic on canvas, 68 x 46 inches

Nancy Evans Dharma Moon | acrylic on canvas, 68 x 46 inches

Nancy Evans Venice, CA 213.395.0762 (Luis De Jesus Los Angeles) evansnancy3@gmail.com / www.nancyevans.me / @artblather

Education 1972

BFA, University of California, Berkeley, Berkeley, CA Residencies

2018

Two Coats of Paint, Brooklyn, NY

2008

Art Channel Beijing, Beijing, China Painters & Sculptors Grant, Joan Mitchell Foundation

1987

Collaborative Artist Grant, National Endowment for the Arts Solo Exhibitons

2022

Moonshadows, Luis De Jesus Los Angeles,

2016

Tree. Lingam. Void., Jason Vass, Los Angeles, CA

Los Angeles, CA 2008

Psychic River, Cardwell Jimmerson Contemporary Art,

My paintings start with pouring paint on canvas. Usually I have a color in mind, and a simple composition. The Moon paintings are moody with dark, murky colors and a sense of place related to American transcendental painting and sympathetic to the early modernist work of Arthur Dove and Charles Burchfield. The paintings have compositionally deep space described by layers and layers of watery paint, and it is the suggestibility of material, the tendency to mimic natural processes, that results in artworks that are expressionistic rather than realistic or idealized. I am obsessed with color, and tend to use a very muted, desaturated palette that, when properly tuned, can result in a significant atmospheric effect. As an artist—practicing now for forty years—I have mostly worked within abstraction but in the Moon paintings I was specifically motivated to paint something “romantic.” Nature lent a helping hand with the stunning supermoons we’ve been observing over the last several years, a nighttime event that allows us moments of contemplation even in the big city.

Culver City, CA 2006

Keeping Body and Soul Together, Dangerous Curve,

1993

Motel Paintings, Sue Spaid Fine Art, Los Angeles, CA

Los Angeles, CA

Two-Person Exhibitions 1995

Late Spring, with Jim Hodges, Marc Foxx Gallery ,

1994

Nancy Evans and Roy Dowell, Fawbush Gallery,

Los Angeles, CA New York, NY Group Exhibitions 2002

LA Post Cool, San Jose Museum of Art, San Jose, CA

2000

An Active Life, Contemporary Arts Center, Cincinnati, OH Publications

2022 2007

Mary Jones, “Nancy Evans: Moonshadow,” Brooklyn Rail Michael Duncan, “Nancy Evans at Dangerous Curve,” Art in America, March Represented by Luis De Jesus Los Angeles, Los Angeles, CA

Evans

b. 1949 Los Angeles, CA

Katja Farin Exhausted Reflections | oil on canvas, 60 x 50 inches

Katja Farin Fascination at Work | oil on canvas, 72 x 55 inches

Katja Farin These Geese Are Going | oil on canvas, 65 x 60 inches

Katja Farin Los Angeles, CA www.katjafarin.com / @katjafarin

Solo Exhibitions 2021

in lieu, Los Angeles, CA

2020

Lubov, New York, NY Era Gallery, Milan, Italy

2019

in lieu, Los Angeles, CA Represented by Era Gallery, Milan, Italy

The work is about relationships, interactions, loneliness versus aloneness, and empathy. The figures are exploring their selfrealization, needs, and motives. The relationships between the figures represent universal problems, elation, and intimacies. As an artist, I am dedicated to investigating and observing cultural shifts in empathy and ideologies. The ambiguous space of the work allows the viewer to interject their body and emotions into the canvas. Social and interpersonal interactions have always been at the crux of the work, because I find that they are significant to understanding the people and culture evolving around us.

Farin

b. 1996 Los Angeles, CA

Katja Farin | Exhuasted Reflections (detail)

Maya Fuji Soft Touch | acrylic on wood panel, 48 x 36 inches

Maya Fuji Humid Day at the Sento | acrylic on wood panel, 40 x 30 inches

Maya Fuji Dream Lovers | acrylic and silver leaf on wood panel, 24 x 24 inches

Maya Fuji San Francisco, CA fuji1kenobe@gmail.com / www.mayafuji.com / @fuji1kenobe

Solo Exhibitions 2022

KAMI/髪/神, Voss Gallery, San Francisco, CA

2021

Humid Nostalgia, Keep Contemporary, Santa Fe, NM

2022

Across the Pond, Thinkspace Gallery, London, England

Group Exhibitions Growth, Thinkspace Gallery, Los Angeles, CA Art Central Hong Kong, Streams Gallery, Hong Kong Butterfly Effect, Tchotchke Gallery, New York, NY Looking Glass, Glass Rice Gallery, San Francisco, CA 2021

Battle of the Bay, Good Mother Gallery, Oakland, CA Ginga, Chandran Gallery, San Francisco, CA

2020

NSFW, Spoke Art, San Francisco, CA Award

2021

Born in Japan and raised in the California Bay Area, Maya Fuji is inspired by both her cultural heritage and the exploration of the liminal space she lives in as an issei (first-generation) mixedrace woman in the United States. She is fascinated by traditional Japanese mythology and folklore, as well as Shōwa and Heisei– era subcultures, and expands on these themes within the context of her personal experiences. A recurring theme in her work is the exploration of what forms our sense of identity, and how that can shift during one’s lifetime on account of generations living abroad. Imbuing the complexity of being multicultural, multinational, and multiracial is central to her works, as her paintings contrast the nostalgia of childhood memories with underlying feelings of being a foreigner simultaneously navigating Japanese and American communities. She illuminates self-discovery through narration and investigation of the otherness she has felt throughout her life, and uses it as a catalyst to reconnect with and reclaim space within her heritage.

Finalist, Beautiful Bizarre Magazine Art Awards Publications

2022

Beautiful Bizarre Magazine, no. 37 Jyni Ong, “The Bay Area meets Kanazawa in Maya Fuji’s bright and beautiful explorations” It’s Nice That

Fuji

b. 1988 Chigasaki, Japan

Daniela Garcia Hamilton Pastel | oil and marker on linen, 30 x 24 inches

Daniela Garcia Hamilton El coyote de Antonia | oil on linen, 36 x 36 inches

Daniela Garcia Hamilton Que le muerda! | oil and charcoal on linen, 46 x 46 inches

Daniela Garcia Hamilton Oxnard, CA danigarciaart@gmail.com / www.danigarciaart.com / @dahnniii

Education 2022

MFA, California State University, Northridge, Northridge, CA

2018

BFA, California State University Long Beach, Long Beach, CA Professional Experience

2020

Teacher, AP Studio, Westlake High School, Westlake Village, CA Solo Exhibition

2022

Sundays in Lake LA, Luna Anaïs Gallery, Los Angeles, CA Two-Person Exhibition

2022

Formas de Familia, with Hedy Torres, Artbug Gallery,

I create paintings that are influenced by my cultural upbringing as a first-generation Mexican American. I reflect on the cultural rituals I was raised with. Being the first to leave my community to pursue a college degree, I returned with questions as to why we performed the rituals without change. Rituals, such as birthday celebrations that included pushing the birthday boy headfirst into the cake, reminded me of the emotion I felt as a child. A rush of fear and uncertainty in conjunction with immense joy and an overflowing feel of community. I attempt to create an environment for the viewer to feel connected to these moments. The figures are placed in fabricated scenes that draw connections to colorful homes of Guanajuato, Mexico. Having spent most of my life traveling to my father’s hometown of Las Cañas in Guanajuato, my perception of our cultural roots were shaped by the time spent here. I use patterning throughout my work as a physical representation of family and how we are woven together through our shared experience.

Los Angeles, CA Group Exhibitions 2022

Continuum, Residency Art Gallery and The Kinsey Collection at SoFi Stadium, Inglewood, CA Retrato, Tlaloc Studios, Los Angeles, CA

2021

Drawn to Paper, City of Brea Art Gallery, Brea, CA 35x35, Department of Cultural Affairs at the Consulate General of Mexico, Los Angeles, CA Defiance of Juncture, Art Share LA, Los Angeles, CA

2020

A trace is not a map, Irvine Fine Arts Center, Irvine, CA Awards

2021

Best of Show, 35x35, Department of Cultural Affairs at the Consulate of Mexico, Los Angeles, CA Grant, Not Real Art, Los Angeles, CA Publication

2022

Fincar correspondencias, vol. 6 Collection California Polytechnic University, San Luis Obispo, CA

Garcia Hamilton

b. 1995 Northridge, CA

Elias Hernandez Two-Headed | oil on canvas, 36 x 28 inches

Elias Hernandez In the Garden | oil on canvas, 72 x 48 inches

Elias Hernandez Salvadoreño | oil on canvas, 36 x 30 inches

Elias Hernandez Sunnyvale, CA eliashernandez408@gmail.com / www.eliasxhernandez.com / @eliasxhernandez

Education 2020

BA, University of California, Los Angeles, Los Angeles, CA Professional Experience

2020

Bilingual Visual Arts Teacher, Oakland Unified School District, Oakland, CA Group Exhibitions

2022

You Can Alter Your Algorithm if You Want To, Goodyear Arts,

Reality and the anthropomorphic are the soul derivations of my character-building universes, which tie lifelike experiences through alternating and world-making concepts. These concepts often emerge from dreams, memory, and childhood nostalgia. Along with these structures of coexistence and dreaming, my figures mold into their worlds from my interests in life. I also introduce earlier influences like cartoons to cross-reference my life and show how dementing a figure can be to bring a sense of reality and anthropomorphism that sparks my curiosity in painting. I take inspiration from Philip Guston, Peter Saul, and Giorgio de Chirico through color, simplicity, and figure-building.

Charlotte, NC Small Works, Soft Times Gallery, San Francisco, CA Everything but the Kitchen Sink, La Luz de Jesus Gallery, Los Angeles, CA Publication 2022

Soft Times Quarterly, vol. 2 Represented by La Luz de Jesus Gallery, Los Angeles, CA

Hernandez

b. 1996 Santa Clara, CA

stephanie mei huang green requiem for my self ii | oil on linen, installed with sisal and horseshoes, 60 x 50 inches

stephanie mei huang green requiem for my self iii | oil on linen, installed with stirrups, sisal, and horseshoes, 60 x 50 inches

stephanie mei huang rope elegy | oil on canvas, silk and calf hobble, 6 x 11.5 inches

stephanie mei huang Los Angeles, CA stephaniemeihuang@gmail.com / www.stephaniemei.com / @stephaniemeihuang

Education 2022

Whitney Independent Study Program, New York, NY

2020

MFA, California Institute of the Arts, Valencia, CA

2016

BA, Scripps College, Claremont, CA

2022

how to hobble a young horse, Pulpo Gallery,

Solo Exhibitions Murnau, Germany Schindler House: 100 Years in the Making, MAK Center for Art and Architecture, West Hollywood, CA Everything Is Common, Artists Space, New York, NY 2021

the foul lump in my throat, 4th Ward Project Space, Chicago, IL self-armature, Office Space, Salt Lake City, UT (self-portraits as) neither donkey nor horse, Hauser and Wirth Book and Printed Matter Lab, Los Angeles, CA

Within the first six years of my life, I moved from Wisconsin to Indiana, then to Yokohama, Japan, and on to Shanghai, China. Through this diasporic upbringing, my work finds its roots in globalization and the role of cultural displacement in changing perceptions of nationhood and loss. Through research and practice, I aim to erode the violent mythologies that perpetuate expansionist and exceptionalist narratives, in the hopes of excavating forgotten and partial histories. I yearn to locate sites of emergence from which we can perhaps fabulate adjacent histories. As a Chinese American artist, I dialogue with and challenge the affective racialized, gendered constructions that codify my body as “harmless” and “nonthreatening” within the hegemonic West. I am interested in how my presence has the capacity to disarrange systems of prediction based upon otherness and threat. I see slippery, chameleonic identity as a form of infiltration: a soft power reversal within hard architectures of power. I explore these subjects through a diverse range of media and strategies including film/video, social interventions, sculpture, writing, and painting.

Group Exhibitions 2022

with her voice, penetrate earth’s floor, Eli Klein Gallery, New York, NY

2021 2020

General Objects, Heaven Gallery, Chicago, IL New Wight Biennial: Once more, with feeling . . . , New Wight Gallery, University of California, Los Angeles, Los Angeles, CA Art.Response.Now, Arizona State University Art Museum, Tempe, AZ Publications

2022

stephanie mei huang: how to hobble a young horse (Pulpo Gallery)

2021

stephanie mei huang, (self-portraits as) neither donkey nor horse, ed. Allison C Smith (self-published) Collection

2021

Autry Museum of the American West, Los Angeles, CA 71

huang

b. 1994 Wausau, WI

Kelly Lynn Jones Between Things | acrylic, oil, and oil stick on canvas, 74 x 62 inches

Kelly Lynn Jones Chilly Dots | acrylic, oil, and oil stick on canvas, 72 x 60 inches

Kelly Lynn Jones Collection No. 1 | acrylic, oil, and oil stick on canvas, 60 x 48 inches

Kelly Lynn Jones Los Angeles, CA 747.273.8240 (The Pit) www.kellylynnjones.com / @kelly_lynn_jones

Education 2010

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

2002

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

2022

Referencing my own daily life, I paint imagined spaces at the intersection of the real and whimsical. I look for tender moments of reflection to highlight, whether they are with oneself, in friendship, or in another meaningful relationship. These colorful and pattern-filled snapshots feature the romantic and playful as I explore the natural world, motherhood, the objects we surround ourselves with, memories, and the wistful.

Intersect Fair, w/ The Pit, Aspen, CO (solo presentation) Love Letter, The Pit, Los Angeles, CA

2021

Goals, La Loma Projects, Los Angeles, CA Run with the Wolves, The Pit, Los Angeles, CA Group Exhibitions

2021

Twisted Dream, Los Angeles, CA (pop-up) Included in the flat file, Deanna Evans Projects, New York, NY

2020

Life in a Pressure Cooker, Young Space Gallery (online)

2017

Untitled exhibition, Minnesota Street Project, San Francisco, CA (pop-up) Collections

2022

Aïshti Foundation, Beirut, Lebanon Xiao Museum of Contemporary Art, Rizhao, China Represented by The Pit, Glendale, CA

Jones

b. 1977 Los Angeles, CA

Kelly Lynn Jones | Chilly Dots (detail)

Amanda Rose Kachadoorian Mission Valley, San Diego | oil on canvas, 18 x 24 inches

Amanda Rose Kachadoorian The Barrio, San Diego | oil on canvas, 18 x 24 inches

Amanda Rose Kachadoorian Sweetwater Marsh, San Diego | oil on canvas, 40 x 35 inches

Amanda Rose Kachadoorian San Diego, CA artfromrose@gmail.com / www.amandakachadoorian.com / @art_from_rose

Education 2018

BA, University of California, Berkeley, Berkeley, CA Residencies

2020

Art Produce, San Diego, CA

2019

Bread & Salt, San Diego, CA

2021

Botanical Hybridity of San Diego’s Multicultural History,

Solo Exhibitions Oceanside Museum of Art, Oceanside, CA 2019

Botanical Hybridity of San Diego’s Multicultural History, Bread & Salt, San Diego, CA Group Exhibitions

2022 2021

I use painting as a tool to create preexisting landscapes, before modern development, and surrealist plants that are inspired by botanicals from various ecosystems. Through organic shapes, vibrant colors, and dreamy landscapes I research and experiment with unique plant life as a new form of portraiture. The hybrid botanicals represent various cultures and their historical significance to create a symbolic ecosystem distinctive to each respective region. Each narrow 10-foot painting is representative of a micro-region of San Diego to tell a story of its history starting with the virgin landscape and its natural landmarks. With the question “How did the modern landscape we see today came to be?” I research various points of history from the indigenous Kumeyaay tribe to Spanish colonialism, California annexation, the impacts of World War II, and so forth. This project speaks to the integration of cultures, migration, and adaption but also the acknowledgment of our society’s history.

Art Auction 2022, Oceanside Museum of Art, Oceanside, CA Sowing Seeds of Universal Language, Mesa Art Gallery, San Diego Mesa College, San Diego, CA

2020

2020 AiR+, Art Produce, San Diego, CA 29th Annual Juried Exhibition, Athenaeum Music and Arts Library, San Diego, CA

2019

Subterranean, Mesa College Art Gallery, San Diego Mesa College, San Diego, CA Anthropocene: Humans and Nature, Bonita Museum, Bonita, CA 25 and Under: Sanctuary Exhibition, Museum of Contemporary Art San Diego, San Diego, CA

2018

Art of Painting in the 21st Century, John Natsoulas Gallery, Davis, CA Publications

2021

Lisa Deaderick, “Chula Vista artist explores intersections of history, multiculturalism and nature in her paintings,” San Diego Union-Tribune, November 6 Akiko Surai, “Akiko Surai on Amanda Kachadoorian,” HereIn, April 19 (online) 79

Kachadoorian

b. 1995 San Diego, CA

Koak June | Flashe, acrylic, oil, graphite, chalk, pastel, charcoal, and casein on canvas, 77.5 x 62 inches

Koak Away | Flashe, acrylic, graphite, and chalk on linen mounted on panel, 77.5 x 62 inches

Koak Dark Corridor | acrylic, graphite, Flashe, and chalk on linen, 79.5 x 59 inches

Koak San Francisco, CA 415.576.9300 (Altman Siegel)

Education 2016

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

2011

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

2022

The Driver, Perrotin, Hong Kong

2020

Return to Feeling, Altman Siegel, San Francisco, CA

2019

Holding Breath, Union Pacific, London, England

2018

Breaking the Prairie, François Ghebaly, Los Angeles, CA

Solo Exhibitions

Seed for Planting, Walden, Buenos Aires, Argentina 2017

Bathers, Alter Space, San Francisco, CA

2021

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

Group Exhibitions Berkeley Art Museum and Pacific Film Archive, Berkeley, CA

Koak creates emotionally charged portraits of figures imbued with a sense of agency and inner life. Drawing on the visual vocabulary of comics, her work engages hierarchies of gender and form, interrogating commonly held cultural assumptions on identity and human nature. The exquisite technique for which Koak is known is expressed in beautifully effortless mark-making and demonstrates a rare type of generous and handmade master craftsmanship. The figures that Koak portrays are “not often based on specific people, but always a portal to connect the universal to the individual.” She elaborates: “My work stems from wanting to talk about the universal, or our shared external realities through an internal context. Because I think that through connecting these two things, we’re able to make the internal, or personal, universal again, while at the same time, maintaining its delicacy and nuance. The bold linework in Koak’s paintings and drawings—mirrored too in her sculptures—for her is “an homage to comics and an expression of love for its ability to communicate complex thoughts through nuanced simplicity.”

Traces, Haverkampf Leistenschneider, Berlin, Germany 2020

100 Drawings, The Drawing Center, New York, NY

2018

Liquid Dreams, François Ghebaly, Los Angeles, CA

2017

Female Gaze, Museum of Sex, New York, NY Therianthropy, Laura Bartlett Gallery, London, England Awards

2020

Eureka Fellowship Program, Fleishhacker Foundation, San Francisco, CA

2018

Liquitex Residency, Minnesota Street Project, San Francisco, CA Represented by Altman Siegel, San Francisco, CA Union Pacific, London, England

Koak

b. 1981 Lansing, MI

Alex Kupczyk Untitled 75 | oil on linen, 54 x 36 inches

Alex Kupczyk Untitled 80 | oil on linen, 48 x 36 inches

Alex Kupczyk Untitled 79 | oil on canvas, 12 x 12 inches

Alex Kupczyk Pasadena, CA 818.434.9153 alexkupczyk@outlook.com / www.alexkupczyk.com / @alexkupczyk

Education 2020

BFA, ArtCenter College of Design, Pasadena, CA

I think of my main body of work as an allegory of life and death told in an unconventional and deliberately obfuscated way. Each individual work is a moment in a vague narrative that appeals to different, and hopefully specific, aspects of what it is to exist as a human.

Professional Experience 2021

Faculty, ArtCenter College of Design, Pasadena, CA Two-Person Exhibition

2015

Abstract Flavor; Pistachio, with Dave Kupczyk, MRG Fine

I feel that my work is a desperate reminder of the reality of nature. In the idea that art can be valid on its own terms in the way nature itself is valid, as well as in the reminder of the madness and complexity of the human experience.

Art Gallery, Beverly Hills, CA Group Exhibitions 2022 2021

Hive Tarot XIII, The Hive, Los Angeles, CA Light Vulnerable Objects Threatened by Eight Cement Bricks, Meliksetian | Briggs, Los Angeles, CA

2020

Grad Show Fall 2020, ArtCenter College of Design, Pasadena, CA

I want to sensitize my viewers to the subtlety and intentionality of art-making, from the smallest visual decisions and materials to the conceptual identity of the work. And in that process, sensitize my viewers to see beauty. Beauty in the commonplace and the ugly. To see if I can make people appreciate, as I do, the vast and intricate world of information that is only revealed through critical examination.

Concrete Cathedral, ArtCenter College of Design, Pasadena, CA 2018

Studio Practice, ArtCenter College of Design,

2016

Anything Goes, MRG Fine Art Gallery, Beverly Hills, CA

2014

The Way We Are, Modest Fly Art Studio Gallery,

2012

Visual Arts Senior Show, Los Angeles Center for Digital Art,

Pasadena, CA

Tujunga, CA Los Angeles, CA Award 2021

Gold Award, Graphis New Talent Annual 2021 Publications

2022

American Illustration 41

2021

American Illustration 40

2020

American Illustration 39

Kupczyk

b. 1994 Pasadena, CA

Terry Leness Easy Living | oil on canvas, 18 x 24 inches

Terry Leness Desert Shores | oil on canvas, 30 x 40 inches

Terry Leness The Good Life | oil on canvas, 24 x 30 inches

Terry Leness Tieton, WA 310.828.5070 (Skidmore Contemporary Art) terryleness@gmail.com / www.terryleness.com / @lenessterry

Education 1981

AB, Harvard University, Cambridge, MA Residency

2012

Ucross Foundation, Clearmont, WY Solo Exhibitions

2019

Road Trip, Skidmore Contemporary Art, Santa Monica, CA

2017

Sunshine Muse, Skidmore Contemporary Art, Santa Monica, CA

Brilliant light, deep shadows, rich color, clean lines, and repetitive forms are the elements that best define my work. Early, simple studies of window reflections have evolved into an extensive exploration of architectural subject matter, and, as my subject matter has expanded, so also has my attention to detail. I am exploring more, however, than the mere play of light and shadow on architectural forms. My subject matter is eclectic and provocative: suburban houses reminiscent of my childhood, older commercial buildings, dilapidated trailers, and careworn campers. The buildings and campers I paint hint at the lives of their occupants and suggest the possibility of beauty and mystery in the ordinary.

New Paintings, G. Gibson Gallery, Seattle, WA 2015

Linda Hodges Gallery, Seattle, WA

2013

Smith & Vallee Gallery, Edison, WA Group Exhibitions

2018

Untitled exhibition, J. Willott Gallery, Palm Desert, CA

2016

American Road Trip, SITE:Brooklyn, Brooklyn, NY

2013

Suburbia, Linda Hodges Gallery, Seattle, WA Publications

2021

Woo Jihyun, Splash! (Wisdom House)

2015

“Beautiful Gloom,” City Arts, October

2014

New American Paintings, no. 115 The Stranger, vol. 23, no. 30 (cover)

2013

“Suburbia: Dream or Nightmare,” Seattle Times, December 20 “The Power of Notan in Landscape Composition,” International Artist, no. 92 Represented by Skidmore Contemporary Art, Santa Monica, CA J. Willott Gallery, Palm Desert, CA

Leness

b. 1959 Fayetteville, NC

Jamie L. Luoto We Hunt the Doe | oil on linen, 42 x 49 inches

Jamie L. Luoto Ourself Behind Ourself, Concealed | oil on linen, 51 x 39 inches

Jamie L. Luoto Minds Pass Minds if they Be Occupied | oil on linen, 50 x 68 inches

Jamie L. Luoto Healdsburg, CA info@jamieluoto.com / www.jamieluoto.com / @jamie_luoto

Solo Exhibition 2019

Art in the Library Featuring Jamie L. Luoto, Napa County Library, Napa, CA Group Exhibitions

2022

Through Mossy Ways, I Like Your Work (online)

2021

All About Women, Marin Society of Artists (online)

2020

Chasing Ghosts V, Verum Ultimum Art Gallery,

2019

Therefore, I Am, Orange County Center for Contemporary

Portland, OR Art, Santa Ana, CA 2018

Defining the Art of Change in the Age of Trump, The Center for Contemporary Political Art, Washington, DC It’s Time: An Uncensored Look at the Time’s Up and #MeToo Movements, Orange County Center for Contemporary Art, Santa Ana, CA

My current body of work, I Believe in Ghosts, is a series of selfportraits that illuminates the aftermath of sexual assault: the lasting psychological impact of interpersonal trauma on an individual. I explore my psyche and experience with complex posttraumatic stress disorder, blurring the line between external presentation and internal reality to bring to light the unseen injuries of sexual trauma that invade and haunt mind and body. I draw on psychological horror, witchcraft, mythology, and folklore, as well as art-historical influences, such as seventeenthcentury Dutch masters and twentieth-century surrealists. I’m interested in the long history of exploitation and appropriation of the female body and making self-representations that reflect the complexities of how we, as women, view ourselves, how we’re shown ourselves, and how we’re seen by others. I relate the tradition of being silenced in the face of dismissal, disbelief, and shaming to the historical exclusion of women’s work and themes in Western art.

Pride and Prejudice: Gender Realities in the 21st Century, ARC Gallery, Chicago, IL Persistence, Museum of Northern California Art, Chico, CA Identity Spectrum, Susquehanna Art Museum, Harrisburg, PA 2017

The FL3TCH3R Exhibit, Reece Museum, Johnson City, TN Nasty Women, The Knockdown Center, Maspeth, NY Award

2022

Semifinalist, Outwin Boochever Portrait Competition 2022, National Portrait Gallery, Smithsonian Institution, Washington, DC Publications

2022

Ty Bishop, Friend of the Artist, vol. 15

2021

“Artist to Watch,” Vast Art Magazine, no. 3

2020

Karen Gutfreund, Not Normal: Art in the Age of Trump (self-published) 95

Luoto

b. 1987 St. Cloud, MN

Jaime L. Luoto | We Hunt the Doe (detail)

Annie McCone-Lopez CITLALLINICUE (STARS-HER-SKIRT) | acrylic on wooden cradleboard, 20 x 16 inches

Annie McCone-Lopez QUETZALLICUE (FEATHERS-HER-SKIRT) | acrylic on wooden cradleboard, 20 x 16 inches

Annie McCone-Lopez COYOLXAUHQUI (BELLS-HER-FACE) | acrylic on wooden cradleboard, 20 inches in diameter

Annie McCone-Lopez Manhattan Beach, CA anniemcconelopez@gmail.com / @anniemcconelopez

Education 1995

Apprenticeship with Eli Levin, Santa Fe, NM

1993

Oregon College of Art and Craft, Portland, OR

1992

Pacific Northwest College of Art, Portland, OR

1991

Kansas City Art Institute, Kansas City, KS

My work explores the many facets and connections I have with my Mexican heritage. Using myth and cosmology to express the divine feminine in order to bring forth our story. Bringing ancient knowledge to the forefront of our modern souls. Keeping the connection strong for us all.

Professional Experience 2008-11 Cofounder, Art Director, and Instructor, Centro Artístico A’jachel, Panajachel, Guatemala 2009-11 Co–Art Director, Instructor Pre-9, Life School, Panajachel, Guatemala 2000-03 Cofounder and Assistant Art Director, ARTillery/Murals, Faux Finishes, Interior Design, and Color Consulting, Taos, New Mexico Solo Exhibitions 2007

Muses and Myth, Galería Panza Verde, Antigua,

1997

Caffe Tazza, Taos, New Mexico

Guatemala

Two-Person Exhibitions 2013

Oda de Belleza, with Kristine McCallister, Galería Panza Verde, Antigua, Guatemala

1990

Works in Clay, with Kristine McCallister, Topanga Art Gallery, Topanga, CA Group Exhibitions

2015

Annual Juried Exhibition, Honolulu Academy of the Arts Honolulu, Hawaii

2014

Annual Juried Exhibition, Honolulu Academy of the Arts, Honolulu, Hawaii

2012

10th Annual Erotic Art Show, La Galería, Panajachel, Guatemala

McCone-Lopez

b. 1971 Saugus, CA

Richard-Jonathan Nelson Glittering cloud | collage, hand-weaving, dye, and embroidery on Kona cotton, 10 x 11 feet

100

Richard-Jonathan Nelson Foolish to believe this is the future when we’ve only just arrived | collage, hand-weaving, dye, and embroidery on Kona cotton, 13 x 12 feet

101

Richard-Jonathan Nelson Strung up from branches once enfolded and entrancing | collage, dye, embroidery, appliqué, and sequins on Kona cotton, 64 x 72 inches

102

Richard-Jonathan Nelson Berkeley, CA richardartistmail@gmail.com / www.richard-jonathan-nelson.com / @rich_nels

Education 2017

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

2011

BFA, Georgia State University, Atlanta, GA Residencies

2019

The Studios at MASS MoCA, North Adams, MA

2017

Headlands Center for the Arts, Sausalito, CA Solo Exhibitions

2022

Interlacing distributed intelligence/noir care, MoAD, San Francisco, CA Belligerent and guarded in an elegant Blackness, MINT, Atlanta, GA

2019

Discontent with Brute Force Uploading, Richmond Art Center, Richmond, CA

My work expands modern definitions of Black existence through the boundless imaginative possibilities within speculative fiction. Through textiles, video, photography, and makeup, I reinterpret the Black body not as a simple caricature of identity but as an undiscovered impetus for cultural evaluation. By reconstructing Black bodies, culture, and experiences through the prism of science fiction I make apparent the diversity and nuance that Western culture so easily ignores. By referencing the Southern gothic roots of my upbringing to create Afrosurrealist realms where the Diaspora’s relationship to reality isn’t limited to a faulty Western gaze. My work, through the conceptualization of hoodoo as a forgotten technology for cultural defiance and escape, reclaims the influence and beauty of forgotten traditions. By integrating the symbolism, metaphorical material sleight of hand, and herbal knowledge of hoodoo I create a visual language that speaks to Blackness but also its concerns regarding freedom, emotion, and sexuality.

A Pallet of Blackberry and Feverfew, Cube Space Gallery, Berkeley, CA 2018

Anastatica, Aggregate Space Gallery, Oakland, CA Two-Person Exhibition

2018

Deep Horizon, with Dionne Lee, Embark Gallery, San Francisco, CA Group Exhibitions

2021

Call & Response: Craft as a Tool for Activism, Museum of Craft and Design, San Francisco, CA (online) Asterisks in the Grand Narrative of History, Longwood Center for the Visual Arts, Farmville, VA

2017

Sooner or Later, Southern Exposure, San Francisco, CA

103

Nelson

b. 1987 Savannah, GA

Kyle Perry No Parking | acrylic on metal, 12 x 12 inches

104

Kyle Perry Passenger | acrylic on metal, 18 x 12 inches

105

Kyle Perry Endless Sea | acrylic on wood, 23 x 29 inches

106

Kyle Perry Seattle, WA artandnothingness@gmail.com / www.artandnothingness.com / @nobody._._nothing

Group Exhibitions 2022

Untitled exhibition, Ballard Pop-Up Gallery, Seattle (pop-up) Gallery Gala 2022, CRÉATEUR, Figure Ground Gallery, Seattle, WA

2021

Kind of good, Museum of Museums, Seattle, WA (pop-up) Publication

2021

CRÉATEUR, no. 4 (Spring)

When we view art, the experience is as much a reflection of our own thoughts and feelings as it is a perception of the art itself. Bearing this relationship in mind, there’s a deliberate vagueness to much of my work. My paintings are often based on old photos I find—little glimpses of times and people long forgotten. Abstracted and further removed from their context, I leave space for the viewer to find a sense of familiarity, like a moment of déjà vu or an unplaceable nostalgia. I like to use people as subjects, because figures express so much, so subtly. A weight in their shoulders or a glimmer in their eye insinuates meaning without having an inherent meaning. I layer in as much depth as possible using light and contrast. I want people to feel like they could fall into my paintings, I want them to feel fully immersed in whatever reflection they have.

107

Perry

b. 1991 Mission Viejo, CA

Slate Quagmier Still Life with Large Styrofoam Cube (December) | acrylic on panel, 48 x 44 inches

108

Slate Quagmier Still Life with Key Limes and Key Lime Pie M&Ms (March) | acrylic on panel, 48 x 39 inches

109

Slate Quagmier Still Life under an Orange Sky (September) | acrylic on panel, 48 x 72 inches

110

Slate Quagmier Hayward, CA 310.652.8272 (Gallery 825) slatequagmier@gmail.com / www.slatequagmier.com / @slatequagmier

Solo Exhibitions 2021

The Present Plague, Gallery 825, Los Angeles, CA

2020

stARTup Art Fair, Los Angeles, CA

2017

Attitudes of Cows, Realty World Neighbors, Hayward, CA Group Exhibitions

2022

21st Japan International Art Exchange Exhibition, Tokyo Metropolitan Art Museum, Tokyo, Japan

2015

small time, Gallery 825, Los Angeles, CA

My current series focuses on still-life paintings inspired by both COVID-19 and the Baroque. Each painting is themed for both the month in which it was created and the ongoing pandemic. Items in the paintings were either already in my home or obtained from my weekly trips to the supermarket. Many doomscrolling sessions resulted in some of the texts or objects that were chosen, with the emergent themes and stories springing from the ideas associated with the items on display: seasons, fads, places, time periods, autobiographical details, almost anything at all, or potentially nothing. The series is my attempt at the search for order and comprehension in a world that has increasingly neither.

Adorn, Gallery 825, Los Angeles, CA B/W, Gallery 825, Los Angeles, CA 2014

Baroque, Gallery 825, Los Angeles, CA Represented by Gallery 825, Los Angeles, CA

111

Quagmier

b. 1989 Zzyzx, CA

Julie Read Yellow No. 2 | acrylic on canvas, 24 x 18 inches

112

Julie Read Hers behind the Lamp | acrylic on wood, 16 x 12 inches

113

Julie Read Morning Heat | acrylic on wood, 6 x 6 inches

114

Julie Read Port Townsend, WA artbyjulieread@gmail.com / www.artbyjulieread.com

Solo Exhibitions 2014

First Big Show, Max Grover Gallery, Port Townsend, WA

Julie Read became interested in painting after encountering the work of a folk artist in Vermont, though she has always been busy making some sort of art. Read grew up in northeastern Colorado and now lives on the Quimper Peninsula in Washington State.

Two-Person Exhibition 2021

Bygones: Julie Read and Steve Parmelee, Bainbridge Arts & Crafts, Bainbridge Island, WA

2020

Kindred Spirits: Max Grover and Julie Read, Grover Gallery, Port Townsend, WA Group Exhibition

2019

Port Townsend School of the Arts Faculty Exhibit, Phyllis Lamphere Gallery, Washington State Convention & Trade Center, Seattle, WA Collection Bainbridge Island Museum of Art, Bainbridge Island, WA Represented by Bainbridge Arts & Crafts, Bainbridge Island, WA Northwind Arts Center, Port Townsend, WA

115

Read

b. 1980 Grand Junction, CO

Hannah Lupton Reinhard I Saw Butterflies All Week | oil and Swarovski crystals on canvas, 40 x 40 inches

116

Hannah Lupton Reinhard After the Song | oil and Swarovski crystals on canvas, 60 x 48 inches

117

Hannah Lupton Reinhard Song of the Sea | oil and Swarovski crystals on canvas, 60 x 84 inches

118

Hannah Lupton Reinhard Los Angeles, CA 212.633.6555 (Fredericks & Freiser) hannahluptonreinhard@gmail.com / @hannahmontana12346789

Education 2020

BFA, Rhode Island School of Design, Providence, RI

2016

University of California, Berkeley, Berkeley, CA

2022

Beshert: Beholden, Seasons LA, Los Angeles, CA

2022

What a Long Strange Trip, Analog Diary, Beacon, NY

Solo Exhibition

Group Exhibitions 2021

Untitled Art Fair, w/ Fredericks & Freiser, Miami, FL Fairyland, Mindy Solomon, Miami, FL Towards a More Beautiful Oblivion, Fredericks & Freiser, New York, NY The Armory Show, w/ Carl Kostyál, New York, NY We’re Just Havin’ Fun, Bill Brady Gallery, Los Angeles, CA Speech Sounds, Harkawik, New York, NY

The paintings seek to investigate dualities of beauty and ugliness, movement and paralysis, beckoning and withdrawal, naïveté and sophistication, religion and secularity, specificity and generalization. They imagine a Jewish hyperfemininity within a fairy tale of art history, using layers of transparent yet saturated paint, in a subtractive, cross-hatched drawing mode. This creates luminescent, bright coloration, as well as a mechanical, brutal hard edge. Ultimately, the paintings are “defaced” with Swarovski crystals, engaging in histories of craft and a nostalgia for glitter, while creating moments of light and texture that dissolve the real and unreal. The figures are often sheltered by veils, or beneath the cover of trees and dappled shadows, evoking the shrouding of Leah, the masquerade of Esther, and the basket of Moses. The veil obscures the face in the same way that pattern, sparkle, and technical virtuosity hide the heartache of these figures. It’s a trick—a “look over here so I can do this while you’re distracted”— to hide a secret Jewishness, sadness, and self-consciousness, under classicizing ideas of femininity and narrative.

Award 2020

#Your2020Portrait Contest, Brooklyn Museum, Brooklyn, NY Represented by Fredericks & Freiser, New York, NY Seasons LA, Los Angeles, CA

119

Reinhard

b. 1996 Irvine, CA

Hannah Lupton Reinhard | Song of the Sea (detail)

Stephanie Sachs Play the Light | acrylic and oil on canvas, 30 x 40 inches

120

Stephanie Sachs Every Dream Everyone Has Ever Dreamt | acrylic and oil on canvas, 30 x 40 inches

121

Stephanie Sachs Where the Water Breaks Its Silence | acrylic and oil on canvas, 40 x 60 inches

122

Stephanie Sachs Kihei, HI 808.298.1600 stephsachs@gmail.com / www.stephaniesachs.com / @sachsmaui

Education 1988

BFA, Washington University, St. Louis, MO

1987

Skowhegan School of Painting and Sculpture, Skowhegan, ME Solo Exhibitions

Islands evoke the fantasy of escape for some, but for me, having lived on Maui for over thirty years, these islands fill me with a deep sense of home. When creating this body of work, I wanted to unabashedly embrace the themes of nature, islands, and water, erasing any prejudice I might have that contemporary art can’t speak of lush dreams. This work aims to offer the viewer a range of emotions inside these fantastical landscapes, from the meditative to the adventurous.

2000-22 Four Seasons Artist Showcase, Wailea, HI 2010

Love in the Afternoon, Margaret Thatcher Projects, New York, NY Group Exhibitions

2022

Kipaipai, Melissa Morgan Gallery, Palm Springs, CA

Exuberant joy is easy to paint; bright colors remind us of the crescendo moments in our lives, but here, by choosing earth tones, I am speaking to a deeper, more internal joy. Even as the imagery is mysterious and fanciful, these wondrous scenes remain strangely familiar.

Untitled exhibition, Wailea Hills Collection, Wailea, HI Annual Juried Show, Hui No’eau Visual Arts Center, Makawao, HI 2020

Kipaipai Fellows, Kahilu Theatre, Kahilu, HI

2019

Art Maui, Maui Arts and Cultural Center, Kahului, HI

2017

Water Is Our Soul, Art Project Paia, Paia, HI Publication

2020

Betty Ann Brown, “Artist Profile,” Art and Cake

123

Sachs

b. 1966 Brooklyn, NY

William Scott Untitled (WS 229), 2016 | acrylic on canvas, 60.5 x 36 x 2 inches

124

William Scott Untitled (WS 559), 2021 | acrylic on canvas, 60 x 36 x 2 inches

125

William Scott Untitled (WS 314), 2020 | acrylic on paper, 44.5 x 30 inches

126

William Scott Oakland, CA www.creativegrowth.org/artists#/william-scott

Solo Exhibitions 2022

Malmö Konsthall, Malmö, Sweden

2021

Independent Art Fair, New York, NY

2009

Good Person, White Columns, New York, NY

2008

From One Revolution to Another, Palais de Tokyo,

Studio Voltaire, London, England

Paris, France Group Exhibitions 2022

Creative! Growth!, John Michael Kohler Arts Center,

2021

NADA House 2021, Governor’s Island, New York

Sheboygan, WI Black American Portraits, Los Angeles County Museum of Art, Los Angeles, CA 2020

It’s a Beautiful Day Outside, Ortuzar Projects,

2013

The Alternative Guide to the Universe, Hayward Gallery,

The Skyline Friendly Organization (SFO) is a spectacular spaceship that tours the world. Its mission is to promote peace on earth and good. wholesome behavior across the planet. Within the SFO is a group called the Wholesome Close Encounter (WCE) who leave the spaceship to teach the people of the world humorous good behavior. SFO people will replace the bad aliens and the evil in the world today. WCE people will bring back the lives of those who died from COVID-19 and gun violence. The new humans will become wholesome, humorous peacemakers building a better world for the twenty-first century. No more scary people, monsters, horrors. Evil aliens will be canceled in the future and replaced as WCE. SFO will become a new generation of science fiction’s humorous fantasies, bringing a better world and creating peace on earth. Within the SFO are three sexy ladies called Captain Planet Peace Makers. These friendly giant humorous peacemaker women are the younger Diana Ross of the classic ’70s, Sheila Queenzilla, and Halle Berry’s Cleopatrazilla.

New York, NY London, England 2007

Creative Growth, Gavin Brown’s Enterprise, New York, NY Publication

2022

William Scott (Lenz Press, Malmö Konsthall, and Studio Voltaire) Collections The Museum of Modern Art, New York, NY San Francisco Museum of Modern Art, San Francisco, CA The Museum of Contemporary Art, Los Angeles, CA The Studio Museum in Harlem, New York, NY Represented by Creative Growth Art Center, Oakland, CA

127

Scott

b. 1964 San Francisco, CA

Kira Maria Shewfelt How long do I have to wait for you? (The Red Shirt) | oil on linen, 54 x 25 inches

128

Kira Maria Shewfelt Dandelion Kiss | oil on linen, 50 x 43 inches

129

Kira Maria Shewfelt The Deluge | oil and spray paint on canvas, 72 x 96 inches

130

Kira Maria Shewfelt Los Angeles, CA aveavalito@gmail.com / www.kiramaria.com / @avalito

Education 2015

MFA, New York University, New York, NY

2010

MA, Art History, University of Southern California, Los Angeles, CA

2006

BA, Yale University, New Haven, CT

My work is inspired by the edges of subjectivity and the ways in which a body contains and permits feeling. I’m interested in symbols that reframe everyday moments and current happenings into cosmic propositions, porous to history, repetition, and shared experience. I invite romance and fantasy into the work as politically inclusive gestures, with a history of connecting self and other, and reimagining stasis. My paintings are often about love.

Residency 2016

Despina / Largo das Belas Artes, Rio de Janeiro, Brazil

2022

Flower Shop, Smoke the Moon, Santa Fe, NM

Group Exhibitions Telescoping, False Cast Gallery, Santa Monica, CA 2021

Hot Tropic, La Loma Projects, Los Angeles, CA

2020

Peripheral Reverie, Penske Projects, Montecito, CA So Far, La Loma Projects, Los Angeles, CA SPRING/BREAK Art Show, w/ Jacob’s West, Los Angeles, CA

2019

Sweet Cheeks, Big Pictures Los Angeles, Los Angeles, CA We Are Gathered Here Today, Dread Lounge, Los Angeles, CA

2018

American Fine Arts, An Allegory for Americas, BBQLA, Los Angeles, CA (traveling) Publication

2015

“Sound Recipe for the Morning & How to Get a Girl out of the Shower,” Denver Quarterly, vol. 49, no. 2

131

Shewfelt

b. 1984 Los Angeles, CA

Madison Skriver Lilith | oil on canvas, 24 x 24 inches

132

Madison Skriver Earthly Delights | oil, acrylic, gel medium, glitter, polymer clay, and permanent marker on canvas, 24 x 24 inches

133

Madison Skriver Love//Sick | oil on canvas, 36 x 36 inches

134

Madison Skriver Portland, OR 913.579.3173 (Kyle Holt) mmskriver@gmail.com / www.madisonskriver.com / @beautifuluniverse

Education 2020

BFA, University of Oregon, Eugene, OR Solo Exhibitions

2020

Americana, The Washburn Gallery, University of Oregon, Eugene, OR

2019

Foyer Gallery, University of Oregon, Eugene, OR

2020

Making a Better Painting, Hoffman Gallery, Lewis & Clark

Group Exhibitions College, Portland, OR 2019

Pointing at Things, LaVerne Krause Gallery, University of

I believe that there is a particular magic inherent to painting. I try to imbue some of that mysticism into my work by using saturated color palettes, combining elements of realism with flat, graphic surfaces and referencing both ancient and modern symbols. I’m continually fascinated by the division between idealization and reality, particularly the chasm between America’s optimistic dreams of the 1960s and the decadence and disillusionment of the subsequent decade. Since childhood, mid-century culture and aesthetics have resonated with me. This has evolved into an interest in nostalgia itself, the haunting effect it has on the soul, how it emphasizes what a bittersweet predicament it is to be a human being. The energetic imprints of the past have become influential ghosts, continually manifesting themselves within my paintings.

Oregon, Eugene, OR Untitled juried undergraduate show, Laverne Krause Gallery, University of Oregon, Eugene, OR 2016

Untitled exhibition, Joyce Gallery, Lane Community College, Eugene, OR Awards

2020

Phillip Halley Johnson Scholarship, University of Oregon, Eugene, OR

2019

Kirchoff Family Fine Arts Scholarship, Oregon Community Foundation, University of Oregon, Eugene, OR Represented by Kyle Holt, Overland Park, KS (agent)

135

Skriver

b. 1988 Newport, OR

Yongqi Tang Eat Drink Man Woman: The Apartment | oil on canvas, 79 x 109 inches

136

Yongqi Tang Eat Drink Man Woman: The Wedding | oil on canvas, 79 x 109 inches

137

Yongqi Tang One Step Away: The Stair | oil on canvas, three parts, 84 x 144 inches overall

138

Yongqi Tang Seattle, WA yongqikay@gmail.com / www.ichibanstudio.blog / @yongqiichiban

Education 2022

MFA, University of Washington, Seattle, WA Residency

2022

Field Projects Gallery, New York, NY

2022

University of Washington MFA+MDes Thesis Exhibition,

Group Exhibitions Henry Art Gallery, University of Washington, Seattle, WA The End, Sandpoint Gallery, Seattle, WA 2021

Having studied and worked between China and America, my works have been influenced by the drastically different cultural and ideological contexts of the two countries. Interested in how the interaction with the environing world would affect our existence, I question and deconstruct my roles in both private and public space by investigating the social construction of identities through the act of painting and drawing. My works examine the fluidity of our self-images and relate to the broader human experience of the ambiguousness of identity such as gender, sexuality, and nationality. The objective of my works is to reinterpret the categories into which we are born to rearticulate the discourse around them.

The Reordering of Things, Jacob Lawrence Gallery, Seattle, WA Summer, Sandpoint Gallery, Seattle, WA

2020

Work in Progress Show, Sandpoint Gallery, Seattle, WA Small Expressions, Northwind Arts Center, Port Townsend, WA Eros, C’est la Vie, Gallery 110, Seattle, WA

2019

Honors Graduation Exhibition, Jacob Lawrence Gallery, Seattle, WA Awards

2022

Scholarship, Puget Sound Group Northwest Artists, WA

2021

Boyer and Elizabeth Bole Gonzales Scholarship, WA

139

Tang

b. 1997 Shenzhen, China

Yongqi Tang | Eat Drink Man Woman: The Apartment (detail)

Michael Ward Apartment for Rent | acrylic on canvas, 28 x 22 inches

140

Michael Ward Artesia House | acrylic on canvas, 14 x 18 inches

141

Michael Ward JFK Restaurant Supply | acrylic on canvas, 28 x 48 inches

142

Michael Ward Costa Mesa, CA 714.458.9305 michael@tmichaelward.com / www.tmichaelward.weebly.com / @tmichaelward

Solo Exhibitions 2019

Artist Alliance 2019 Biennial, Oceanside Museum of Art, Oceanside, CA

There is a grace to the ordinary world we live in that we often overlook. My paintings, based on photos of that ordinary world, are a way for me to discover that grace through the close observation required to render the images in paint. The overlooked is seen, the mundane reveals its beauty, the grace is made manifest.

Only See, Gallery 417, Los Angeles, CA 2017

San Francisco to San Diego: California Urban Landscapes, California Art Club, Altadena, CA

2015

Community Art Project Gallery, Laguna Beach, CA

2014

The Mystery of the Ordinary, Casa Romantica Cultural Center and Gardens, San Clemente, CA Group Exhibitions

2022

Festival of Arts, Laguna Beach, CA Cityscape, George Billis Gallery, Los Angeles, CA

2021

The source images for my paintings are as recent as the year, as old as half a century when I first started seeing. Getting them on canvas allows me to relive those ephemeral moments, to uncover mysteries, to truly know what I once only glanced at. Making these paintings opens my eyes, and heart, to the grace. My influences include Vermeer, Charles Sheeler, Richard Estes, Robert Bechtle, and Richard Diebenkorn. As a painter, I am selftaught.

Tondo 2021, Spoke Art Gallery, San Francisco, CA Awards

2014

Finalist, 24th Art Competition, Artists Magazine

2010

Art Kudos International Juried Art Competition Publications

2021

Artsy Shark, April (online)

2020

Hyperrealism Magazine, Fall American Artist, December/January Collection Laguna Beach Festival of Arts Permanent Art Collection Represented by Skidmore Contemporary Art, Santa Monica, CA

143

Ward

b. 1953 Billings, MT

Dylan Wilde A True Blessing | oil on canvas, 40 x 40 inches

144

Dylan Wilde Caution Children Playing | oil on canvas, 60 x 48 inches

145

Dylan Wilde Bougainvillea BBs | oil and acrylic on canvas, two parts, 32 x 52 inches overall

146

Dylan Wilde Nipomo, CA dylanlwilde@gmail.com / www.dylanwilde.com / @dylanwilde

Education 2020

BFA, University of California, San Diego, San Diego, CA Professional Experience

2018-20 Cofounder and Art Director, Love Affair, San Diego, CA

Dylan Wilde blends dreamlike landscapes and domestic motifs, exploring intimacy and distance through experimentation, process and painting. Observing peripheral phenomena along California’s coast, Wilde documents the mundane, imagining an idealized landscape amongst a crumbling world—navigating queer life with intentionality, dreaming of utopia and finding beauty in quiet moments.

Solo Exhibition 202

Dreaming of Home, Kamil Gallery, San Diego, CA 1

2022

Flower Shop, Smoke the Moon, Santa Fe, NM

Group Exhibitions Telescoping, False Cast, Santa Monica, CA (in collaboration w/ Good Naked, New York, NY) 2019

Out of the Blue, Bonita Museum, Bonita, CA Plus/Minus, Lux Art Institute, Encinitas, CA

2018

LGBTQ+ San Diego, San Diego History Center,

2017

Millennial Pink, San Diego Art Institute, San Diego, CA

San Diego, CA

Publications 2022

“Next in show,” Artsy, July (online) “Daily Inspiration: Meet Dylan Wilde,” SD Voyager, January (online)

2021

NEWSONG, inaugural issue (online)

147

Wilde

b. 1987 Orange County, CA

Karla Wozniak 10+2=12 | acrylic and oil on canvas, 48 x 38 inches

148

Karla Wozniak Spring Tangle | acrylic and oil on canvas, 48 x 38 inches

149

Karla Wozniak So This is Outer Space? | oil and acrylic on canvas, 84 x 68 inches

150

Karla Wozniak Alameda, CA www.karlawozniak.com / @karla_wozniak

Education 2005

MFA, Yale School of Art, New Haven, CT

2000

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

2011

Artist in the Marketplace Program, The Bronx Museum of the Arts, Bronx, NY

2009

Marie Walsh Sharpe Art Foundation Space Program, Brooklyn, NY

2007

The MacDowell Colony, Peterborough, NH

2003

Skowhegan School of Painting and Sculpture, Skowhegan, ME Solo Exhibitions

2018

I Often Dream of Mountains, Schneider Museum of Art, Ashland, OR Living Room Days, Gregory Lind Gallery, San Francisco, CA

2015

My new work was born from my experience as a parent to a young child during the pandemic. In early 2020, my professional and domestic lives collapsed into each other. My home studio now became the classroom where I taught college students. The TV room was my daughter’s school. Against this was a backdrop of California wildfires that created days of smoky air that kept us all indoors. With my time in studio severely limited, I developed a nightly drawing practice to process my experiences, recording memory fragments and developing a kind of personal symbology. When I was able to start painting again, the work was based on these drawings. The paintings are mind maps of sorts—a knittogether constellation of images and abstract forms. Connections are drawn, and stories told in a nonlinear way. Each painting becomes a topographic record built through improvisation, mistakes, and resolution. Through a reduced palette and this process-driven approach, the paintings evoke a sense of time passing, memory, loss, and physical transformation.

The Valley Electric, Gregory Lind Gallery, San Francisco, CA Group Exhibitions

2021

A Stiller Life, Deanna Evans Projects, Queens, NY

2019

Highway Blues, Underdonk Gallery, Brooklyn, NY Surreal Sublime, San Jose Institute of Contemporary Art, San Jose, CA Awards

2019

Finalist, SECA Art Award, San Francisco Museum of Modern Art

2011

Fellowship, New York Foundation for the Arts Collections Knoxville Museum of Art, Knoxville, TN Museum of Fine Arts, Boston, Boston, MA 151

Wozniak

b. 1978 Oakland, CA

Shingo Shaun Yamazaki Gatekeepers | oil and acrylic on canvas, 60 x 78 inches

152

Shingo Shaun Yamazaki Home Is Where the Heart Is | oil and acrylic on canvas, 48.5 x 68.5 inches

153

Shingo Shaun Yamazaki For Lack of Better Words | oil and acrylic on canvas, 60 x 48 inches

154

Shingo Shaun Yamazaki Los Angeles, CA shinyamazakiart@gmail.com / www.shinyamazaki.com / @shinnyzak

Education 2014

BA, University of Hawai’i at Mānoa, Honolulu, HI Solo Exhibition

2022

Untitled exhibition, Sow and Tailor Annex Gallery, Los Angeles, CA Two-Person Exhibition

2022

Who Are You?, with Candice Gima, Hawai’i Pacific University Art Gallery, Kaneohe, HI Group Exhibitions

2022

Southland, Charlie James Gallery, Los Angeles, CA Straight Ahead and Pose to Pose, presented by Sow and Tailor, Japanese American Cultural Center, Los Angeles, CA

2021

Crocker Kingsley, Blue Line Arts, Roseville, CA

My work addresses the complexities of cultural hybridity, identity, and the meaning of “home.” I draw on a mixture of cultural nuances, iconography, and imagery inspired by my upbringing in Honolulu, Hawai’i, and more recently my migration to Los Angeles. As a second-generation Japanese/Korean American, my work navigates the experience of having a shallow pool of personal generational connection to place while also being part of communities of deep ancestral heritages. I speak on the specificity of place, and include subtle cues and nods to nuance with an intentionality through introspective research. The work oscillates between reality and the imaginary, in which subtle layers of multicultural iconography are uniquely juxtaposed to confront the viewer with an amalgamation specific to my personal and generational history. Within these narratives, various forms of interjections bury and uncover tableaus, resulting in a visual mediation of themes such as generational trauma, anxieties, and invisibility. This process of adding and subtracting simultaneously acts as a coping mechanism, imbuing a sense of vulnerability while in the comfort of being “home.”

Group Exhibitions 2019

Waterkeepers, Pauahi Tower, Honolulu, HI

2018

Contact 2018, Honolulu Museum of Art, Honolulu, HI Schaefer Portrait Challenge 2018, Schaefer International Gallery, Kahului, HI

2017

Talk Story, Hawai‘i Pacific University Art Gallery, Kaneohe, HI Urbanity, Aupuni Place, Honolulu, HI

2016

37th Annual Commitment to Excellence Exhibition, sponsored by Honolulu Japanese Chamber of Commerce, Honolulu Museum of Art, Honolulu, HI Publications

2022

CONTACT 2014–2019 (Pu’uhonua Society) Santa Clara Review, vol. 109, no. 1

2021

Tomorrow’s Talent, vol. 2 (BOOOOOOOM) Friend of the Artist, vol. 13 155

Yamazaki

b. 1985 Honolulu, HI

Editor’s Selections

The following section is presented in alphabetical order. Biographical information has been edited. Prices for available work may be found on p188.

Miguel Arzabe Para Humber | woven acrylic on canvas and linen, 60 x 78 inches

158

Miguel Arzabe Luzmila Canta | woven acrylic on canvas, 60 x 48 inches

159

Miguel Arzabe Gracias Pachamama | woven acrylic on canvas, 48 x 60 inches

160

Miguel Arzabe Oakland, CA studio@miguelarzabe.com / www.miguelarzabe.net / @miguel.arzabe

Education 2010

MFA, University of California, Berkeley, Berkeley, CA Solo Exhibitions

2021

Tejido Cultural, Shulamit Nazarian, Los Angeles, CA Cóndor de Cuatro Cabezas / Four-Headed Condor, Johansson Projects, Oakland, CA

2016 2013

Drawing from the textile tradition of his Latinx Bolivian heritage, Miguel Arzabe makes colorful woven paintings that are a remix of the European and the Indigenous traditions. Mining the Western canon of modernist painting, he creates acrylic paintings on canvas that are cut into strips and woven together by hand. His unique patterns are inspired by Andean motifs and symbology that are rooted in one of the oldest active textile traditions in the world. Arzabe’s woven paintings generate self-knowledge through the dismantling of hierarchy between racial identities.

Cultural Fabric, de Young Museum, San Francisco, CA El otoño mío es tu primavera, Center for Contemporary Art, Santa Fe, NM Group Exhibitions

2022

Resonance of Place, CCA Wattis Institute for Contemporary Arts, San Francisco, CA Tikkun, Contemporary Jewish Museum, San Francisco, CA

2020

Geumgang Nature Art Biennale, Gongju, South Korea

2019

Resonance: Lyon Biennial, Musée d’art contemporain de Lyon, Lyon, France Award

2022

San Francisco Bay Area Award, Artadia Collections de Young Museum, San Francisco, CA Oakland Museum of California, Oakland, CA Albuquerque Museum, Albuquerque, NM State of California San Francisco International Airport Beth Rudin DeWoody Represented by Johansson Projects, Oakland, CA

161

Arzabe

b. 1975 St. Louis, MO

Miguel Arzabe | Luzmila Canta (detail)

Kara Joslyn Don’t be a Stranger / No Future | acrylic and polymer automotive paint on canvas, 33 x 23 x 2 inches

162

Kara Joslyn I had a slight diversion but I’m back I’m back I’m back I’m back (the present) | acrylic and polymer automotive paint on canvas panel, 72 x 60 inches

163

Kara Joslyn The Truth Is Like a Stranger (L’Étranger) | acrylic and polymer automotive paint on canvas panel, 72 x 60 inches

164

Kara Joslyn Los Angeles, CA 310.550.0050 (M+B) www.karajoslyn.com / @karavaggio

Education 2016 2011

MFA, University of California, San Diego, San Diego, CA Post-baccalaureate Painting Program, Columbia University School of the Arts, New York, NY

2008

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

2022

This Is Hardcore, Perrotin, New York, NY

2021

Mirror Window Door, M+B, Los Angeles, CA

2019

Tragic Kingdom, M+B, Los Angeles, CA

2018

Dandy in the Underworld, BOZOMAG, Los Angeles, CA

Solo Exhibitions

Two-Person Exhibition 2022

Art Brussels, with Nick Doyle, w/ Stems Gallery, Brussels, Belgium

Kara Joslyn explores themes of storytelling and illusion through her multidimensional paintings. The artist’s moonlit spaces merge fantasy and reality, creating allegories of her own that are at once unsettling and inviting. Using 1950s instructional craft books and mythology as source material, she relocates domestic and decorative figures into timeless and uncanny scenes. As appropriator, forager, and translator, Joslyn engages the viewer’s eye as trickster. Interested in illusion, she uses a mixture of powdered optical automotive paint pigments that appear holographic. Her airbrush technique—historically used in graphic design before the invention of computers—heightens the atmosphere by creating a digital-like image, combined with Caravaggio-inspired lighting. Altogether, the artist’s tableaux allow us to travel back and forth in time, intertwining historical symbolism with futuristic dimensionality, as well as our own unconscious. As Joslyn says, “If photography is the false index— the truth that tells a lie, I like to think of painting as the trick—the lie that tells the truth.”

Group Exhibitions 2021

Stockholm Sessions, Carl Kostyal, Stockholm, Sweden BOZO FAMILY HOEDOWN, M+B, Los Angeles, CA Publications

2022

Kara Joslyn, “Art as an Act of Deception,” interview by Eve McIntosh, Metal Magazine

2021

“Mirror Window Door: New paintings by Kara Joslyn @ M+B, Los Angeles,” Juxtapoz, September 27

2019

Jessica Simmons, “Kara Joslyn at M+B,” Critic’s Pick, Artforum, December Lindsay Preston Zappas, “Art Insider: Playing with perception, off-kilter balance, and LA on fire,” KCRW, December 10 Collections Marjorie Barrick Museum of Art, Las Vegas, NV Museum of Contemporary Art San Diego, San Diego, CA Represented by M+B, Los Angeles, CA Perrotin, New York, NY

165

Joslyn

b. 1983 San Diego, CA

Yoora Lee Haunted by the ghost of you | oil on canvas, 18 x 18 inches

166

Yoora Lee The night we met | oil on linen, 16 x 21 inches

167

Yoora Lee Anemone | oil on linen, 40 x 44 inches

168

Yoora Lee Los Angeles, CA yooraleestudio@gmail.com / www.yooralee.com / @yooralee

Education 2020

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

2022

Anemone, Another Place, New York, NY

2021

BURN IN, Jude Gallery Chicago, Chicago, IL

2021

A Missed Encounter, with Richard Burton, Galerie Mighela

Two-Person Exhibition Shama, Geneva, Switzerland Group Exhibitions 2022

YOU ME ME YOU, Nicodim Gallery, Los Angeles, CA Holly Coulis, Jackie Gendel, Pamela Jorden, Yoora Lee, Philip Martin Gallery, Los Angeles, CA At the Table, Christie’s, New York, NY

My paintings are filled with analogous color relationships and wavering horizontal marks that imagine an impressionism derived from video tape distortion. My brushstrokes blur the picture like an analog TV glitch, undulating the image as though from an obsolete technology. The unreal color provokes a sense of fantasy, reminding people of brief moments when life felt like a movie or drama. Compositionally, the repetition of reflected spaces and screens creates subnarratives that are open-ended and incomplete. The picture plane opens outward toward the viewer, inviting them into an awareness of a between-space where the painting is a stage and they are the theater. Fiction needs characters, and so all of my paintings are figurative. Time is warped, however, and figures of the present are juxtaposed with those from the past. Through walls, windows, and screens viewers can look back and forth through. Nonetheless, the figures feel blank, inviting the viewer project themselves into their points of view. Their postures and environments mix feelings of emptiness, isolation and ennui.

Harmonious Arrangement, Half Gallery, Los Angeles, CA Escape from New York, Another Gallery LA, Los Angeles, CA Exodus, Gallery Ascend at K11 Musea, Hong Kong 2021

Home Alone 2: Lost in Miami, Surface Area, Miami, FL Lucky Charm, Moosey Art, London, England Award

2020

Finalist, Hopper Prize Publications

2022

“Art and film collide in Yoora Lee’s cinematic oil paintings,” It’s Nice That

2021

Artist Spotlight, Booooooom ArtMaze Magazine, no. 21 (Winter)

169

Lee

b. 1990 Los Angeles, CA

Lee | The night we met (detail)

Rachel Simon Marino A Hard Time at the Beach | oil on canvas, 50 x 40 inches

170

Rachel Simon Marino From the Tower Window | oil on canvas, 80 x 72 inches

171

Rachel Simon Marino Overall Great View | oil on canvas, 36 x 36 inches

172

Rachel Simon Marino San Francisco, CA 212.980.0700 (Venus Over Manhattan) www.rachelsimonmarino.com / @rachelsimonmarino

Residency 2020

Recology Artist Residency, San Francisco, CA

2022

Foul Play, Venus Over Manhattan, New York, NY

2019

What a Treat, Hit Gallery, San Francisco, CA

2021

The Interior, Venus Over Manhattan, New York, NY

2020

The de Young Open, de Young Museum, San Francisco, CA

Solo Exhibitions

Group Exhibitions

Shocking displays of what appears to be a moment just unfolded, the curtains still swaying, wet footsteps tracked out of a room mere seconds before this moment you have been invited to witness in the technicolor magic of Marino’s dizzying, ever-inmotion, large-scale oil paintings. Each piece starts out with the potential for a happy ending but gets caught in tumult and skewed along the way into something mysterious and shrouded as all of the chaotic, yet playful elements of each painting pile on top one another. There is too much evidence to ignore, sinister and noirish, something lurks behind every corner, enticing with the implications that you’re better off not knowing what lies in wait but you just can’t help but look.

Bay Area Visual Artist Exhibition, Ever Gold [Projects] and The Internet Archive, San Francisco, CA 2019

Wild Flowers, Good Mother Gallery, Oakland, CA Secret Santa, Guerrero Gallery, San Francisco, CA

2018

Spring/Break Art Fair, New York, NY

2016

Small Paintings Wall, Rena Bransten Gallery, San Francisco, CA Screening for Lightning, Vogue Theater, San Francisco, CA

2014

Expo Chicago, w/ Rena Bransten Gallery, Chicago, IL Represented by Venus Over Manhattan, New York, NY

173

Marino

b. 1989 San Francisco, CA

Lauren Reynolds I’m Sorry about That Night | oil on canvas, 60 x 48 inches

174

Lauren Reynolds How Long Will You Hold My Pain? | oil on canvas, 70 x 58 inches

175

Lauren Reynolds Run the Mile | oil on canvas, 70 x 58 inches

176

Lauren Reynolds Los Angeles, CA www.laurenareynolds.com / @odorless.mineral.spirits

Education 2020

Certificate, New York Studio School of Painting, Drawing, and Sculpture, New York, NY

2018

BFA, School of Visual Arts, New York, NY Solo Exhibition

2019

My Mother Said, New York Studio School, New York, NY

2022

If It’s Not Baroque, Don’t Fix it, Tchotchke Gallery,

Group Exhibitions New York, NY Exit 26, Monti8, Latina, Italy 2020

Pride in Black, White, & Color, Revelation Gallery, New York, NY

In paintings that disrupt time and space, my work investigates trauma’s impact on memory and its effect on the psyche. Using the building blocks of my own experiences, I construct a new narrative in which I examine my relationships to myself, my memories, and my loved ones. Through motifs of missing limbs and abstracted spaces, forgotten dreams and confused identities find new life. In fractured constructions, objects and bodies fight to tell a truthful story, longing to be real, but their contradictions shatter the scene and reveal its imaginative origins. Like a tableau vivant, the sets are still and silent, objects used as props, characters perfectly posed, lighting implausible, with colors that are often assaulting to the eyes. The barrenness and absurdity of the paintings leaves room for projection, creating an uncomfortable confrontation of one’s own vulnerability, taking the deeply personal and creating something, at the same time, relatable. My work is first and foremost my own healing project, but through this excavation of my most vulnerable moments, I offer myself to you.

Awards 2019

Scholarship, Goldhammer Family Foundation

2017

Silas H. Rhodes Merit Scholarship

177

Reynolds

b. 2000 Saint Cloud, MN

Addendum Artists

The following section is presented in alphabetical order. Biographical information has been edited.

Kohshin Finley Portrait of the Artist, in Daylight | oil on canvas, 80 x 64 inches

180

Kohshin Finley Portrait of Cameron, in Sunrise | oil on canvas, 80 x 64 inches

181

Kohshin Finley Portrait of Ron, in His Menagerie | oil on canvas, 48 x 60 inches

182

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

Education 2012

Otis College of Art and Design, Los Angeles, CA Solo Exhibitions

2022

Eight Artworks, Various Small Fires, Dallas, TX A Whole New Light, Independent Art Fair, w/ Tilton Gallery, New York, NY

2021

Black American Portraits, Los Angeles County Museum of Art, Los Angeles, CA

My paintings document the life of my friends and family, portraying them as figures fully present in their own stories. When spending time with my peers, I will often have my camera in hand. I use the photographs I take as a template for my oil-based paintings. Painting in grisaille evens the visual playing field similarly to how black-and-white photography does, allowing the audience to clearly focus on the details and narratives within the artwork. I enliven the surface of the painting with written notes on our lives and history together. It is not important whether or not the words are legible. I’m more interested in these marks as a trace of my conversations with my peers and how they indicate the presence of me as the artist.

Group Exhibitions 2021

Portraits, Tilton Gallery, New York, NY Feedback, Jack Shainman: The School, Kinderhook, NY Shattered Glass, Jeffrey Deitch Gallery, Los Angeles, CA

2020

Black Voices/Black Microcosm, CFHILL,

2019

Plumb Line: Charles White and the Contemporary,

Stockholm, Sweden California African American Museum, Los Angeles, CA Centennial: 100 Years of Otis College Alumni, Ben Maltz Gallery, Los Angeles, CA 2018

Revolver, LA Louver, Los Angeles, CA

2017

Flourish, Mesa Contemporary Arts Museum, Mesa, AZ Publication

2021

“Five to Watch,” Fine Art Connoisseur Collections Los Angeles County Museum of Art, Los Angeles, CA Dallas Museum of Art, Dallas, TX Represented by Various Small Fires, Los Angeles, CA

183

Finley

b. 1989 Los Angeles, CA

Michael Haight When Choosing . . . | watercolor and gouache on canvas, 54 x 48 inches

184

Michael Haight A Parting of Land and Sea | watercolor and gouache on canvas, 42 x 48 inches

185

Michael Haight Not All Flowers Are Blessings, Not All Karmas Are Wars | watercolor and gouache on canvas, 54 x 42 inches

186

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

Solo Exhibitions 2022

Karmic Devices, One Trick Pony Gallery, Los Angeles, CA

2021

Paper-Thin Friends, Saint J, Los Angeles, CA Two-Person Exhibitions

2016

Being Present Mafia, Soze Gallery, West Hollywood, CA

2022

Once upon a Time in Mayfair, Phillips, London, England

Group Exhibitions

Haight’s primary body of work consists of transparent gestures of watercolor, gouache, tempera, and ink on canvas or board, the surfaces gessoed to evoke the texture of paper. Through the lens of intention, and its effects on the self, Haight focuses on relationships influenced by contemporary societal expectations, substance use, and the misunderstandings and failings of reaching enlightenment. The compositions are akin to the narrative nature of storybook images—balanced with a subtle abstraction—and often depict hands, teeth, tongues, bodies in the midst of action.

Fluid Suns, G/ART/EN Gallery, Como, Italy 2021

The Skin I Live In, Lyles & King, New York, NY

2020

Every Day Is Sunday, UTA Artist Space, Beverly Hills, CA Into the Light, Orange County Center for Contemporary Art, Santa Ana, CA

2018

Limited Edition Custom Panels, Pretend Gallery,

2017

Open Show, Gallery 825, Los Angeles, CA

Los Angeles, CA Artist & Residence, Bernardo Hale Gallery, Los Angeles, CA 2016

Human Condition, Los Angeles Metropolitan Medical Center, Los Angeles, CA Group-a-Therapists, Kippenberger Beuys Gallery, Glendale, CA

2012

The Visitation, Cirrus Gallery, Los Angeles, CA Publications

2021

Tension:Rupture (Tupelo Press) Art Maze Magazine (London), no. 23

187

Haight

b. 1984 Fontana, CA

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.

Inga Bard p16 NFS p17 $3,400 p18 NFS

Kelly Lynn Jones p72 NFS p73 NFS p74 NFS

Kira Maria Shewfelt p128 NFS p129 NFS p130 NFS

Chase Biado p20 POR p21 POR p22 NFS

Amanda Rose Kachadoorian p76 $2,400 p77 $2,400 p78 $5,900

Madison Skriver p132 $2,300 p133 $2,000 p134 NFS

Heather Brown p24 $8,000 p25 $8,000 p26 $8,000

Koak p80 NFS p81 NFS p82 NFS

Yongqi Tang p136 NFS p137 NFS p138 $9,000

Gina M. Contreras p28 NFS p29 $1,400 p30 NFS

Alex Kupczyk p84 $3,500 p85 $3,500 p86 $1,200

Michael Ward p140 $3,200 p141 $2,200 p142 NFS

Jeremy Okai Davis p32 NFS p33 NFS p34 NFS

Terry Leness p88 NFS p89 $12,000 p90 $9,000

Dylan Wilde p144 $2,000 p145 $4,000 p146 NFS

Deidre DeFranceaux p36 $25,000 p37 $25,000 p38 $45,000

Jamie L. Luoto p92 NFS p93 NFS p94 NFS

Karla Wozniak p148 POR p149 POR p150 POR

Sally Deng p40 $3,200 p41 NFS p42 $1,350

Annie McCone Lopez p96 $1,000 p97 $1,000 p98 $1,100

Shingo Shaun Yamazaki p152 $10,250 p153 NFS p154 NFS

Gwynna Dille p44 $2,000 p45 $2,000 p46 $1,500

Richard-Jonathan Nelson p100 $10,000 p101 $10,000 p102 $12,000

Nancy Evans p48 $15,000 p49 $15,000 p50 $15,000

Kyle Perry p104 NFS p105 NFS p106 NFS

Miguel Arzabe p158 $25,000 p159 NFS p160 NFS

Katja Farin p52 NFS p53 NFS p54 NFS

Slate Quagmier p108 $4,490 p109 $3,980 p110 $7,400

Kara Joslyn p162 NFS p163 NFS p164 NFS

Maya Fuji p56 $6,000 p57 NFS p58 NFS

Julie Read p112 $1,500 p113 $2,500 p114 NFS

Yoora Lee p166 NFS p167 NFS p168 NFS

Daniela Garcia Hamilton p60 $3,500 p61 NFS p62 NFS

Hannah Lupton Reinhard p116 NFS p117 NFS p118 NFS

Rachel Simon Marino p170 NFS p171 NFS p172 NFS

Elias Hernandez p64 $1,500 p65 $3,500 p66 $1,500

Stephanie Sachs p120 $6,200 p121 $6,200 p122 $12,000

Lauren Reynolds p174 NFS p175 NFS p176 NFS

stephanie mei huang p68 POR p69 POR p70 POR

William Scott p124 NFS p125 NFS p126 NFS

188

$20