New American Paintings: Pacific Coast Issue #151 by newamericanpaintings

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December/January

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151 December/January 2021 Volume 25, Issue 6 ISSN 1066-2235 $20

Recent Jurors: Nora Burnett Abrams

Arnold Kemp

Museum of Contemporary Art Denver

School of the Art Institute of Chicago

Bill Arning

Miranda Lash

Contemporary Arts Museum Houston

New Orleans Museum of Art

Janet Bishop

Al Miner

San Francisco Museum of Modern Art

Museum of Fine Arts, Boston

Staci Boris

Dominic Molon

Elmhurst Art Museum

RISD Museum of Art

Nina Bozicnik

Sarah Montross

Henry Art Gallery

deCordova Sculpture Park and Museum

Steven L. Bridges

René Morales

Eli and Edythe Broad Art Museum

Pérez Art Museum Miami

Dan Cameron

Barbara O’Brien

Orange County Museum of Art

Kemper Museum of Contemporary Art

Cassandra Coblentz

Valerie Cassel Oliver

Independent curator

Virginia Museum of Fine Arts

Eric Crosby

Katie Pfohl

Walker Art Center

New Orleans Museum of Art

Susan Cross

Raphaela Platow

MASS MoCA

Contemporary Arts Center, Cincinnati

Dina Deitsch

Monica Ramirez-Montagut

deCordova Sculpture Park and Museum

San Jose Museum of Art

Lisa Dorin

Veronica Roberts

Williams College Museum of Art

Blanton Museum of Art

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Michael Rooks

The Open Studios Press

Hammer Museum

High Museum of Art

Lisa D. Freiman

Alma Ruiz

Institute for Contemporary Art,

Museum of Contemporary Art, Los Angeles

Virginia Commonwealth University

Kelly Shindler

Evan Garza

Contemporary Art Museum St. Louis

Blanton Museum of Art

Anna Stothart

Rita Gonzalez

The Institute of Contemporary Art/Boston

Los Angeles County Museum of Art

Catherine Taft

Alison Hearst

LA><ART

Modern Art Museum of Forth Worth

Julie Rodriguez Widholm

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Laura Hoptman

Museum of Contemporary Art Chicago

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Contents 8

Editor’s Note

Noteworthy

12 16

Steven Zevitas

Juror’s and Editor’s Picks

Spotlight Kimberly Brooks

Pacific Coast Competition 2020

161

Pacific Coast Competition 2020

182

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

Juror’s Comments Anna Katz, Curator, The Museum of Contemporary Art, Los Angeles, CA

151 December/January 2021

Editor’s Note

One of the most difficult parts of the COVID-19 crisis for me has

handful of notable galleries.) Efforts like this will ensure that LA’s

been the inability to travel; indeed, I have only ventured more than

art scene continues to thrive.

a few hundred miles from Boston a handful of times over the past year. Before March 2020, I was “up in the air” quite a bit, mostly

I am thrilled that Anna Katz, Curator at the Museum of

to Los Angeles, where I opened a second gallery, Zevitas Marcus,

Contemporary Art in Los Angeles, agreed to serve a juror for this

in late 2015. Due to a lease implosion, we were forced to move

issue of New American Paintings. Anna has been with MOCA since

out of our space just before the pandemic hit, which, for obvious

2015 and has a deep knowledge of the city’s art-historical roots.

reasons, turned out to be a blessing in disguise, and we are only

Her major exhibition Pipilotti Rist: Big Heartedness, Be My Neighbor

now exploring new potential locations. I miss LA. I miss the sun,

is scheduled to open at the Geffen Contemporary later this year.

the air, my coastal drive to where I often stayed in Topanga Canyon,

Her selections for this issue cover a lot of aesthetic range, from

the people, and the energy of the city’s burgeoning art scene – as

the quasi-traditional still-lifes of Seattle native Jim Phalen to the

dispersed as it might be – which is, without a doubt, still ascendant.

conceptually grounded paintings of Juventino Aranda. There are a number of featured artists who, even in the middle of COVID,

New York City may still be the most important city when it comes

have been making a big splash over the past year. As I write this,

to contemporary art, but LA has made huge strides over the past

Kate Barbee has a stellar solo at Kohn Gallery in LA and Nasim

decade as more and more artists call the city their home and more

Hantehzadeh just closed a well-regarded exhibition at Nina Johnson

and more galleries, museums, and other ventures that support

in Miami. Keep an eye on cover artist Molly A. Greene, as she has

the ecosystem emerge. The film and music industries still largely

several solo exhibitions coming up. n

define LA’s cultural climate, but contemporary art is in the air, and during my time there I witnessed an ever-increasing interest in it

Enjoy the issue!

that bodes well for the future. Frieze’s decision to put the city on their annual art fair calendar in 2019, coupled with collector Dean

Respectfully,

Valentine’s launching of the Felix Art Fair, sent a strong message to the art world: things are happening here and you need to pay

Steven Zevitas

attention. Over the past year, I was happy to see LA’s galleries band

Editor & Publisher

together to form galleryplatformla.com, a collective project that promotes the efforts of its eighty-plus gallery members. (When I first started frequenting LA in the early 2000s, there were only a

New Art Dealers Alliance (NADA) newartdealers.org

Noteworthy:

Nasim Hantehzadeh

Juror’s Pick p64

In Nasim Hantehzadeh’s paintings, I see Odilon Redon, the Nabis, Klee, Hilma af Klint, and numerous decorative and non-Western traditions, such as Aboriginal dot painting, that Europeans appropriated in the course of the so-called “invention” of abstraction. Hantehzadeh’s graphic fields take us under the sea, through the microscope lens, or into the night sky. There, anuses, eyeballs, teeth, stigma and stamen, fingers, and penises buzz and clatter, thrumming nervously. I interpret this twitchy, ecstatic energy as a side effect of the paintings’ rawness and striking sincerity. n

Kate Barbee

Editor’s Pick p24

In Barbee’s chaotic paintings, bodies wrestle with each other—and the picture plane—for dominance. An obvious touchstone for these paintings might be Willem de Kooning’s 1950 Excavation, and, indeed, Barbee’s meshing of churning imagery and abstraction recalls the Dutch master’s work of this period. Other art-historical references abound in her paintings, as does sex, personal references, and a myriad of other visual information. There is a lot going on, but I am impressed with Barbee’s ability to tame her subjects and arrive at paintings that are somehow intimate and expansive, highly personal and universal both in terms of their pictorial architecture and meaning. n

Winners: Pacific Coast Competition 2020 Juror: Anna Katz, Curator, The Museum of Contemporary Art, Los Angeles, CA

Juror’s Selections: Juventino Aranda | Kate

Barbee | Matt Belk | Kelly Bjork | Iván Carmona

Spotlight

Kimberly Brooks

(Editions #79, #103) Written by Michael Wilson

The sky fades from a deep red-brown down to a dusty pink above an indistinct horizon. Mountains slope down to a valley, their surfaces muted shades of orange and ochre marked by patches of more strident mustard yellow and wine red. Areas of dirty blue-green denote a river flowing between them—or perhaps this is nothing more than a mirage, a side effect of the crepuscular light. In the center of the scene, a broad, diagonal stroke in shades of vegetal green sweeps up and to the right before coming to an abrupt halt. Occupied by its own distinct scene, it suggests a portal into another landscape altogether—or perhaps the same site at a different point in time. The mysterious interruption pulls the rug from under the onlooker’s feet, disrupting the comfortable illusion of a single, unified subject and reminding us of the confusions and conflations that painting necessarily entails. We’re looking at something that is at once modest and expansive, materially real and an absolute illusion, figurative and abstract. The painting is Kimberly Brooks’s Red Canyon (2021), part of a new body of work in which the Los Angeles painter breaks new ground while expanding on elements of her other, more pictorial work. Brooks has been flirting with abstraction for the past decade, but finally took the plunge when asked to design a cover for her book, The New Oil Painting (published in May by Chronicle Books).

tion and planned experiment, a strategic mix of cool rationality and

Her original plan to use a detail from an existing work was aban-

deskilled, counterintuitive gesture that evokes Gerhard Richter’s

doned in favor of an attempt to capture the essence of painting in

early painting Table (1962) in which the artist obscures a neat rendering

a more direct form. Bluewave (2020), the eventual choice, features

of the titular piece with a chaotic swirl of gray.

an agglomeration of variegated strokes of blue hovering above a

smoother gradation of the same color, cloudlike, but ultimately

Other works in Brooks’s online exhibition “New Abstractions,”

amorphous and unnamed. The work suggests both raw improvisa-

presented this summer by Artsy for Los Angeles gallery Zevitas

Marcus, also hinge on the blending and juxtaposition

again here, in this case for his use of a diffuser brush to

of stylized environmental settings and purely gestural

soften his images and thereby visualize their technical and

elements. In Storm (2021), for example, broad strokes of

conceptual relationship with a photographic source.)

green and yellow arc around and over a loosely configured environment not dissimilar to Red Canyon’s, while

The variety of abstraction that Brooks’s new works exemplify is

Midnight (2021) is a more ambiguous and complex

amongst the most challenging of all; superficially casual,

arrangement of dabbed and brushed paint in a range

it is fiendishly difficult not to over– or undercook. A useful

of hues that vibrate against one another. Hwy 101 (2021)

point of reference in considering this difficulty is British

again takes landscape as its starting point, turning the

painter Howard Hodgkin (1932–2007), whose composi-

view from the window of a speeding car into a blurred

tions are frequently centered on a small number of broad,

sweep of distant trees and sky. (Richter comes to mind

modulated brushstrokes, yet still manage to achieve a

Red Canyon 2021 oil on panel 20 x 16 inches

Bluewave 2020 oil on panel 20 x 16 inches

coruscating visual and emotional intensity. Hodgkin’s late

material restraint allows more space for psychological

work in particular focuses on the intangibility of thoughts,

nuance.

feelings, and fleeting private moments, using layered color to evoke specific but unstated memories. Brooks’s

In The New Oil Painting, Brooks goes deep into her

paintings share something of this intimate intensity;

medium in a different way, outlining and illuminating

there’s an emotional weight to them that gives the lie

the fundamentals of painting as a craft. She emphasizes

to their light touch and modest scale. As in her previous

in particular the replacement of harmful solvents with

work, the brushwork is never too dense and detail is kept

healthier and more environmentally friendly but equally

in check. Yet far from emptying the work of content, this

effective alternatives, rooting her advice in a mix of hard

Storm 2021 oil on panel 20 x 16 inchea

Kimberly Brooks in studio Photo: Stebs Schinnerer

“[Brooks] succeeds in reinvesting the substance of paint with an uncanny beauty and quiet power.” science and personal anecdote—Brooks herself suffered bad reactions

on the social, the familial, and the historical to arrive at a destination

to solvents in the past—while an engaging style makes it accessible to

that is outwardly more enigmatic, but which succeeds in reinvesting

the beginner. However, as the author explains, The New Oil Painting

the substance of paint with an uncanny beauty and quiet power.

is not simply a technical manual, it is about “all the things we use to

Where her earlier works often moved through grand interiors peopled

make the magic happen.” Her core subject is the artist’s relationship

by glamorous individuals, sometimes reflecting on wealth and influence,

with materials; she looks at how they were first adopted and which

her newest explore a destination at one remove from the noise of

are the most useful today, countering in the process the myth that

human competition. Here, all ideas of status fall away, leaving only

painting requires a vast array of specialist products.

color, shape, and onward, outward motion. n

Throughout her artistic evolution, Brooks has wielded this technical

—Michael Wilson

knowledge and experience to pursue an almost hallucinatory disassociation from real time and readily identifiable place. The landscapes and interiors that dominate her work prior to its shift into abstraction, and which continue to exercise a clear influence over it today, take memory—its unreliability, its capacity to transport us beyond the lived moment— as their primary subject. Even when the figures depicted are those of her own family, or when the locations belong to shared narratives, they retain an air of fantasy. There are thematic and formal through lines too; a love for the decorative and the architectural, for nature both wild and manicured, and for images within images, frames within frames. In her new paintings, Brooks continues to pursue these strategies and atmospheres, pushing beyond her earlier emphasis

Juror’s Comments

Anna Katz

Curator, The Museum of Contemporary Art, Los Angeles, CA

It may come as no surprise that throughout the selection of paintings I

electric green highlights contouring the face, a turquoise wall, blue-

had the pleasure and honor of choosing for this issue of New American

and-white polka-dot socks, and the purple stripes of a careening car

Paintings, there is an abundance of color—bright,

as affirmations of life, joy, and play.

garish, dazzling, joyous, irreverent, lovely color.

After all, the entries were submitted and the

A corollary to the luscious colors of paintings that

jurying undertaken in the summer of 2020.

portray people of color is the apparent pleasure

Under the cloud of possible reelection of an

taken in laying paint to canvas in images of—

authoritarian, antidemocratic, nativist, white-

variously—fulsome, indeterminate, multiplying,

supremacist, and contemptuous president, it was

erotic nudes (cis- and transgendered and

a season of illness, death, and grief stemming

gender-nonconforming, mostly white, it seems).

from the global pandemic, and of international

We see tangled bodies, touching and grabbing, in

uprisings against racism and police brutality and

a verdant landscape (Kate Barbee, Talk Is Cheap);

for justice and the defense of Black life. Color,

transparent, layered, fecund female forms in

then.

pastel shades (Tahnee Lonsdale, The Joy of Life); apparitions cleaving together or cleaving apart in an ambient brushy field of reds and

We find color in two primary senses: first, in figurative paintings,

greens (Ari Salka, The Manic Residence: To The Past—Who Wants to

in the depiction of people of color. Indicative less of a new tendency

Say Goodbye First?); a fleshy body nearly filling the frame, modeled

than one receiving overdue recognition by the market, the academy,

in black shadows, pinks, and creamy highlights (Molly Jae Vaughn,

and the museum, these paintings contribute to an ongoing remedial

Self-Portrait on the Bed). In these examples, we might perceive how for

and self-determined project of repopulating the museum and

folks of marginalized genders (here, too, I can only presume), to lavish

world of art with images of Black and brown people. In a number

color on the skin of nudes is to celebrate them, and to take pleasure

of paintings here, artists paint faces and places in their own image

in forming these bodies that have long been denied or shamed for

(I can only presume): a portrait of a group assembled for a birthday

pleasure is, if even only at the level of surface, to build the world anew.

party snapshot—one person’s eyes are closed—a terrific, tender detail (Edward Cushenberry, Someone’s birthday brought them all

The second current of color running through the selected paintings

together); a quiet, intimate moment shared by a couple and observed

is more traditionally formal. Ranging from emotive to optical, there

from a respectful distance (Corey Pemberton, You could taste the love);

is unmodulated, deeply saturated golden yellow blanketing an

a dynamic street scene featuring the Watts Towers (Oscar Garay,

abstract sculptural surface (Iván Carmona, Sol y Arena); boldly

Ghetto Bird); and a traditional studio portrait of a young woman with

contrasting colors endowing a painting with the effect of jitters (Nasim

a fierce stare (Sung Jik Yang, Angel). In these figurative paintings, I

Hantehzadeh, Is that a shooting star?); hot, pop-y, commercial colors

detect a politics of pleasure, which surfaces in color. I interpret the

framing an evocatively panting tongue (Peter Ko, Built-Up Pattern of

Pemberton p92

Yang p154

Lonsdale p81

Vaughn p144

Kim p68

Zur p157

“To lavish color on the skin of nudes is to celebrate them, and to take pleasure in forming these bodies that have long been denied or shamed for pleasure is, if even only at the level of surface, to build the world anew.” Habitual Conduct #1); and dyed linen yarns lending color a structural

There’s no accounting for taste, they say. Perhaps these and indeed all

feature in meditative woven grids (Susie Taylor, Rainbow Gradient).

of the above instances of color show us an accounting for taste, and

Here, color and its attendant pleasure politics are notably different

perhaps within that we can determine an ethos of accountability. n

from those of the previously described figurative paintings and their representational stakes, and certainly the urgency is different as well. The significance of these instances of color may be accessed by way of a subset of these formal color explorations, namely works that pursue color as a cipher of taste and specifically of “bad taste” (a phrase I deploy entirely respectfully). “Lowly” craft traditions and craft materials abound in this issue, seen in grids of patterned squares mimicking a quilt (Billy Frolov, Quilt Painting); sloppy clumps of modeling clay in heart-like forms (Calvin Somang Kim, Delayed Affects); intensely kitschy reliefs recalling tourist souvenirs (Colin Roberts, Flamingo Waterfall Sunset); and symbolic domestic dioramas combining plaster, spray paint, and patterned fabric (Rachael Zur, Matriarchs’ Living Rooms Commingle). Thumbing their noses at the long-standing hierarchy of art above craft, otherwise formulated as fine art/decoration or fine arts/applied arts, and effectively reducible to men/women, White/non-White, Western/non-Western, these artworks overturn established regimes of value (taste, quality, greatness). Their emphatically bright, exuberant, vulgar colors are evidence of the pleasure taken in calling for and asserting new aesthetic values, which ultimately are social values.

Juror’s Selections

The following section is presented in alphabetical order. Biographical information has been edited. Prices for available work may be found on p182.

Juventino Aranda You Get These Words Wrong . . . Every Time (I Just Smile) | bronze, acrylic polyurethane, UV pigment print, oil stick, and vinyl on birch panel, 55.5 x 46 x 1.5 inches

Juventino Aranda Terracotta Posey Still Life (La Maceta) | bronze, acrylic polyurethane, velveteen, Mouliné stranded cotton embroidery floss, and corrugated cardboard, 60 x 40 x 2 inches

Juventino Aranda Carry Yourself with the Confidence of Mediocre White Man (Mar-a-Lago) | bronze, etched mirror, and corrugated cardboard , 68 × 54 × 2 inches

Juventino Aranda Walla Walla, WA 206.624.0770 (Greg Kucera Gallery, Seattle, WA) www.juventinoaranda.com / @juventinoaranda

b. 1984 Walla Walla, WA

Education

2010

BFA, Eastern Washington University, Cheney, WA

Solo Exhibitions

2021

Greg Kucera Gallery, Seattle, WA

2019

In Dreams I Once Believed There Was a Future,

Greg Kucera Gallery, Seattle, WA

2018

Pocket Full of Posies, Frye Art Museum, Seattle, WA

2017

Weed the Lawn and Feed the Roses, Greg Kucera Gallery, Seattle, WA

2020

Group Exhibitions Making a Better Painting: Thinking Through Practice, Ronna and Eric Hoffman Gallery of Contemporary Art,

Lewis & Clark College, Portland, OR 2017

¡Cuidado!, Greg Kucera Gallery, Seattle, WA

Out of Sight 2017, Vital 5 Productions, Seattle, WA

2016

NW Art Now @ TAM, Tacoma Art Museum, Tacoma, WA

Out of Sight 2016, Vital 5 Productions, Seattle, WA

Award

2016

My status as an “other” puts me outside of traditional notions of an artist, working within systems that are not created for me. I combine traditional and nontraditional media that result in a reverse trompe l’oeil. One example of this is my use of textiles like Pendleton blankets and velveteen as a substitute for canvas. In Western painting, canvas is a support and often a forgotten or overlooked aspect of a painting. By using textiles as the canvas and embroidery as the paint, I am mirroring my attempt to uncover and celebrate those cultures and communities who are the foundation of a society but are often covered up or whitewashed by mainstream narratives. My wall-works are simultaneously paintings and sculptures. They include and combine paint, urethane resin, oil sticks, bronze, mirror, birch panel, and corrugated cardboard. This media mixing is both high and low, native and foreign, other and accepted. This interplay mimics the complex entanglements of kitsch and modernity that is the pastiche of Latinx experiences.

James W. Ray Venture Project Award, Raynier Institute & Foundation, Seattle, WA

2018

Publications Brendan Kiley, “Juventino Aranda’s Gallows Humor Lands with the Crushing Force of Grief at Seattle’s Frye Art

Museum,” Seattle Times, July 6 2016

Erin Langner, “Considering What Art Can (and Can’t) Do in a Survey of Northwest Artists,” Hyperallergic, August 31

Collections

Frye Art Museum, Seattle, WA

Tacoma Art Museum, Tacoma, WA

Microsoft Art Collection, Seattle, WA

Represented by

Greg Kucera Gallery, Seattle, WA

Aranda

Kate Barbee I’m Coming Over to Smoke | oil paint, acrylic paint, painted scraps, and thread, 60 x 50 inches

Kate Barbee Talk Is Cheap | oil paint, acrylic paint, painted scraps, and thread, 60 x 50 inches

Kate Barbee Knee Jerk | oil paint, acrylic paint, cold wax, painted scraps, and thread, 72 x 72 inches

Kate Barbee Los Angeles, CA 323.461.3311 (Kohn Gallery) katebarbeeart@gmail.com / www.katebarbeeart.com / @katebarbeee

b. 1994 Dallas, TX

Education

2017

BFA, University of Texas at Austin, Austin, TX

Professional Experience

2019

Curator, Hygiene & Other Surplus, gallery ALSO,

Los Angeles, CA

Curator, Sensible Ecstasy, gallery ALSO, Los Angeles, CA

Group Exhibitions

2020

Frieze Art Fair, w/ Kohn Gallery, New York, NY

Armory Art Fair, w/ Kohn Gallery, New York, NY

myselves, Kohn Gallery, Los Angeles, CA

Wylde Classic, O’ Project Space, Los Angeles, CA

2019

Sweet Primal Things, James Wright Gallery,

Los Angeles, CA

Labyrinth of Language, wәrkärtz, Los Angeles, CA

Publications

2020

The palpable tension in my work is born from a flurried, dysmorphic relationship to my body and the visceral power within it. Each painting is comprised of fragments of art-historical symbols, acts of raw sexuality, archival scraps of textural fabrics, and clippings from my own reality. I see every piece as a singular autobiographical moment depicted through a perspective that is removed from the actual experience—floating somewhere in proximity. I begin with either a light color wash on the canvas, or no treatment at all, abstaining from any preparatory sketching. Instead, I dive into improvisational outlining, taking acrylic directly to the surface to lay a foundation. I search for the rhythm of the painting by rummaging through a big box of dismembered pieces, then sew in the scraps, often revitalizing the color of their new surface. This process is a way to remain private, presenting a disorientation of forms snatched from personal experiences. Each visual and conceptual fragment included within the work reflects aspects of memories both detached and intimate.

Balasz Takac, “Identity, Structured or Fabricated: Notable Contemporary Artists Gather at Kohn Gallery,” Widewalls,

September 11 (online)

Barry Samaha, “State of the Art Industry in the Time of Coronavirus,” Harpers Bazaar, May 7 (online)

Represented by

Kohn Gallery, Los Angeles, CA

Barbee

Kate Barbee | Talk is Cheap (detail)

Matt Belk Holding Momentum | pencil and acrylic airbrush on paper, 28 x 22 inches

Matt Belk Bad Dog | pencil and acrylic airbrush on paper, 28 x 22 inches

Matt Belk Smoking Joints and Driving to Drive | mixed media on paper, 36 x 60 inches

Matt Belk Portland, OR m.13elk@gmail.com / www.becausedraw.com / @battmelk

b. 1988 Omaha, NE

Education

2010

BFA, University of Nebraska, Lincoln, NE

Solo Exhibitions

2019

Stumptown Coffee, Belmont, Portland, OR

2017-19 Whiteaker Block Party, Eugene, OR 2013

Installation, Bare Bones Café and Bar, Portland, OR

2011

Entrance mural, Goldsmith Building, Portland, OR

2010

Vicarious Encounters, Parallax Space, Lincoln, NE

Group Exhibitions

2018

First Friday, New Zone Gallery, Eugene, OR

2016

I create an intricate system of open-ended narratives that lodge themselves in a myriad of conceptual drawing and painting techniques. My goal is to use unusual things to shed an unusual light on the way we live. I’m going to make a picture, then I have all these tools and ideas built up and I harvest them. Like a chameleon, I change my skin based upon my atmosphere. I allow for outside forces and source material to enter my work by setting myself up to be in a flow state that allows me to discover different portals through which to enter and explore new thoughts. These methods can be maddening, but for the split second that everything turns on, the lights get brighter and the body and mind tingle, you realize that the struggle is necessary to reach nirvana. Rinse and repeat.

Design Conference, Oso Bay XIX, Texas A&M University, Corpus Christi, TX

2014

Last Thursday, Steele Door Gallery, Portland, OR

Last Thursday, Streetcar Bistro, Portland, OR

2013

Circus Show, People’s Art of Portland Gallery,

Portland, OR

2011

BFA Final Show, Eisentrager-Howard Gallery, Lincoln, NE

Belk

Kelly Bjork Don’t Interrupt the Sorrow | gouache, high load acrylic, and pencil on paper, 22.5 x 30 inches

Kelly Bjork Anima Rising | gouache, high load acrylic, wax pastel, and pencil on paper, 22.5 x 30 inches

Kelly Bjork Lift Yourself Out | gouache and pencil on paper, 22.5 x 30 inches

Kelly Bjork Seattle, WA 212.242.3013 (Nancy Margolis Gallery) www.kellybjork.com / @kelly_bjork

b. 1984 Tacoma, WA

Education

2009

BFA, Western Washington University, Bellingham, WA

Residencies

2020

The Fellow Ship Artist Residency, Guemes Island, WA

2019

Facebook Artist in Residence, Seattle, WA

Professional Experience

2019

Member, Advisory Committee, Victorian Radicals: From the Pre-Raphaelites to the Arts & Crafts Movement,

Seattle Art Museum, Seattle, WA

Solo Exhibitions

2019

Kelly Bjork, Nancy Margolis Gallery, New York, NY

2018

Gentle Cravings, Zinc Contemporary, Seattle, WA

Group Exhibitions

2020

Wallpaper Diaries, Chautauqua Institution,

Chautauqua, NY (online)

2019

Winter Salon, Koplin Del Rio Gallery, Seattle, WA

Soft Sound Quiet Package, Seattle Freezer, Seattle, WA

2018

Bellwether, Bellevue Arts Museum, Bellevue, WA

Creating quiet moments of emotional well-being in my art is how I work to soothe and comfort others. I depict a world of tenderness, acceptance, and vulnerability in order to share the sensations of emotional well-being that I aim to foster in my life and in my community. I often create vignettes of people close to me, specifically in my queer community. Narratives of intimate relationships are important for displaying the peace and support that everyone strives for in their homes and in their heads—peace and support that so often we are lacking. My paintings intend to bring that support in our surroundings. I consider my work both manifestation and documentation. It’s a means of advocating for mental wellness by acknowledging my own struggles with it. I hope a viewer sees the image of a space I’ve created as a place where they can rest and will be taken care of.

I say: RADICAL you say: FEMINIST, Archer Gallery, Vancouver, WA

2017

Drawing Practice, Whatcom Museum, Bellingham, WA

Award

2018

Helen Frankenthaler Fellowship, Vermont Studio Center, Johnson, VT

2019

Publications “Kelly Bjork Debuts @ Nancy Margolis Gallery NYC,” Juxtapoz, August 20 (online)

2018

“Kelly Bjork’s ‘Gentle Cravings’ in Seattle,” Juxtapoz,

May 3 (online)

Represented by

Nancy Margolis Gallery, New York, NY

J. Rinehart Gallery, Seattle, WA

Bjork

Kelly Bjork | Lift Yourself Out (detail)

Iván Carmona Aire | Flashe, pumice, gel medium, and ceramic on panel, 20 x 16 inches

Iván Carmona Paisaje Sublime | Flashe, pumice, gel medium, and ceramic on panel, 22.5 x 16 inches

Iván Carmona Sol y Arena | Flashe, pumice, gel medium, and ceramic on panel, 18 x 20 inches

Iván Carmona Portland, OR 503.222.0063 (PDX CONTEMPORARY ART) info@ivancarmona@gmail.com / www.pdxcontemporaryart.com/iván-carmona / @ivancarmonarosario

b. 1973 Philadelphia, PA

Education

2015

BFA, Oregon College of Art and Craft, Portland, OR

Solo Exhibitions

2019

SUBLIME, PDX CONTEMPORARY ART, Portland, OR

2018

Topografía, Oregon College of Art and Craft, Portland, OR

ISLA, Eutectic Gallery, Portland, OR

Two-Person Exhibition

2019

The forms and colors found in my works are based on long-held memories and represent both physical and tactile experiences. Each piece represents a fragment of those experiences through landscape.

Iván Carmona & Jeffry Mitchell, Trackside Studio Ceramic Art Gallery, Spokane, WA

Group Exhibitions

2020

River, PDX CONTEMPORARY ART, Portland, OR

Within the Distance, Johansson Projects, Oakland, CA

At the edge of both, SPAC Gallery, Seattle Pacific University, Seattle, WA

2019

Seattle Art Fair, w/ PDX CONTEMPORARY ART,

Seattle, WA

Awards

2020

Hallie Ford Fellowship, The Ford Family Foundation

2014

Huntley-Tidwell Scholarship, Penland School of Craft, Penland, NC

Publication

2014

Nan Smith, 500 Figures in Clay, Volume 2 (Lark Crafts)

Collections

Boise Art Museum, Boise, ID

King County Public Art Collection, King County, WA

Museo de Arte Contemporáneo de Puerto Rico, Santurce, Puerto Rico

Represented by

PDX CONTEMPORARY ART 39

Carmona

Edward Cushenberry She calls herself my “O.G.” muse | acrylic, Prismacolor, ink, and graphite on paper, 4.5 x 3.5 inches

Edward Cushenberry He was so young and unaware of what was to come | acrylic, Prismacolor, ink, and graphite on paper, 4.5 x 3.5 inches

Edward Cushenberry Someone’s birthday brought them all together | acrylic, ink, and graphite on wood panel, 24 x 36 inches

Edward Cushenberry Los Angeles, CA @edwardcushenberry

b. 1983, Huntington Beach, CA

Solo Exhibitions

2019

All He Had Was His Friends, The Standard Hotel,

Los Angeles, CA

2017

These Are the Moments That Keep Me up at Night, USC

Roski School of Art and Design, University of Southern

California, Los Angeles, CA

Group Exhibition

2019

In Waves, The Weekend Gallery, Los Angeles, CA

Award

2020

Black Artist Grant

Publication

2017

Edward Cushenberry was born and raised in Orange County, California, which was cool for a moment. Now he lives in Los Angeles, where he splits his time between photographing his life and drawing/painting everything else that’s going on in his world, in an attempt to merge real life with romanticism.

“Photographer Edward Cushenberry Wants To Know What’s Going On Inside Your Head,” Fader

Cushenberry

Emma Fineman Buckeyed Bride | oil and charcoal on canvas, 18 x 14 inches

Emma Fineman Dora | oil and charcoal on canvas, 73 x 61 inches

Emma Fineman Shelter in Place | oil, charcoal, wax, and sand on canvas, 95 x 230 inches

Emma Fineman Oakland, CA emmafineman@yahoo.com / www.emmafineman.com / @emmafineman

b. 1991 Berkeley, CA

Education

2018

MA, Royal College of Art, London, England

2013

BFA, Maryland Institute College of Art, Baltimore, MD

Residencies

2020

Porthmeor Short Let Studio, St Ives, England

2019

Palazzo Monti, Brescia, Italy

2013

Vermont Studio Center, Johnson, VT

Solo Exhibitions

2019

May I Have Your Attention Please?, BEERS London,

London, England

REALMS OF THE [UN]REAL, PUBLIC, London, England

2017

Fin Bow, Eleven Spitalfields Gallery, London, England

Group Exhibitions

2018

SURGE, East Wing Biennial 13, Somerset House,

London, England

2017

SUPERnatural / Survey of the “Figurative” in

Contemporary Art, AUREUS Contemporary, New York, NY

Awards

2020

London Bronze Editions, London Bronze Casting,

London, England

2018

Bloomberg New Contemporaries, Bloomberg Philanthropies, London, England

Shortlisted, John Moores Painting Prize, National Museums Liverpool, Liverpool, England

2017

The Harley Open Judges Prize Winner, Welbeck Estates, Harley Museum and Foundation, Nottingham, England

2013

Presidential Fellowship Grant, Anderson Ranch Arts Center, Snowmass Village, CO

2019

In my practice, I explore methods to fracture and reconfigure pictorial space as a means to describe and digest the dense compression and spatialization of time in contemporary culture. In our moment, we are inundated with visual information that renders our ability to understand and process experience—as well as our sense of time and perspective—haphazard, if not indeed skewed. My paintings begin here and assert the idea of looking at and through such a fractured pictorial space. I then begin to question how figural information might exist within this frame. My research manifests itself in a series of gestural marks that sit somewhere between drawing and painting; between the quick note-to-self one makes in order to jot down an idea and the more prolonged meditation on the parts of daily life that, for some unknowable reason, affix themselves to the back of one’s mind and kick about with an unnerving permanence. This, a mix of the personal and the shared, provides an experiential basis and context for my paintings.

Publication “REALMS OF THE (UN) REAL,” Wall Street International, February 47

Fineman

Billy Frolov Donna’s Life Was Saved by Me | laminated childhood drawings and acrylic on fabric, 36 x 36 inches

Billy Frolov Art School Bedroom | studio scrap, old projects and carpet on canvas, 36 x 36 inches

Billy Frolov Quilt Painting | acrylic, Flashe, graphite, and dryer lint on canvas, 65 x 48 inches

Billy Frolov Burbank, CA frolovbilly@gmail.com / www.billyfrolov.com / @billyfrolov

b. 1992 Buffalo, NY

Education

2018

BFA, ArtCenter College of Design, Pasadena, CA

Solo Exhibition

2020

Everyone and Their Mother, Monte Vista Projects,

Los Angeles, CA

Two-Person Exhibition

2018

Cool Fun Show, with Cassie Zhang, Weekend Gallery,

Los Angeles, CA

The last few years I have been pursuing painting as a means to understand the skills and processes of various craftspeople and hobbyists, in order to build more visceral evidence of my life. My work is autobiographical and in turn heavy with sentiment. I have been focused on understanding the psychic nature of objects and building replicas of my experience.

Frolov

Oscar Garay Vendedor de Flores | acrylic on panel, 60 x 48 inches

Oscar Garay Catch of the Day | acrylic on panel, 72 x 48 inches

Oscar Garay Ghetto Bird | acrylic on panel, 12 x 10 inches

Oscar Garay Los Angeles, CA oscarjrgaray@gmail.com / www.oscarjrgaray.com / @oscarjrgaray

b. 2001 Los Angeles, CA

Education

2024

BFA, New York University, New York, NY

Group Exhibition

2020

National YoungArts Week Exhibition, National YoungArts Foundation Gallery, Miami, FL

Throughout my life, I have lived in the predominantly Latinx city of Los Angeles. However, growing up, I attended private schools with few students of color and even fewer Latinx members. Every morning, the school bus ride teleported me from familiar cityscapes to foreign suburbia. As a consequence, I was ostracized and misrepresented, because my peers’ perceptions of Mexicans were misguided by the media and their limited authentic experiences with people of Mexican descent. In order to cope with the pain of ignorant slander and racism, I turned to art as a tool of expression. Each one of my works is attached to a memory of the commentary I received about my culture: “Is your dad a cholo?” or “You must come from a farming family, huh?” Messages like these fueled my drive to educate my school community on the true experiences and realities of being a Mexican American. Therefore, my work is an examination and critique of the implicit biases and stereotypes surrounding Mexicans in Los Angeles and in America at large.

Garay

Nickolas R. Garcia Moving: Through, Out, Away, From, and To | oil, oil stick, and drawing collage on custom panel, 72 x 72 inches

Nickolas R. Garcia Brain Snap (Holy F***!?) | oil, oil stick, acrylic, and drawing collage on panel, 40 x 40 inches

Nickolas R. Garcia Birding | oil and oil stick on canvas, 20 x 16 inches

Nickolas R. Garcia King City, CA nickolasrgarcia@gmail.com / www.nickolasrgarcia.com

b. 1994 King City, CA

Education

2019

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

Group Exhibitions

2019

Spring Undergraduate Exhibition, Sullivan Galleries,

School of the Art Institute of Chicago, Chicago, IL

SAIC Fashion Show, Venue SIX10, Chicago, IL

2018

This Place Has Everything, free range, Chicago, IL

2015

SAVE THE ANGELS, Museum of Monterey, Monterey, CA

Award

2019

Nickolas Garcia is a multidisciplinary artist born in King City, California. The pictures in this series of oil paintings present emblems of the good, awkward, and enthralled moments of his time living and working in Chicago.

Semi-honorable Mention, Art Olympia International Open Art Competition, Saitama, Japan

Publication

2018

Xerox Candy Bar, no. 30

Collections

Joan Flasch Artists’ Book Collection, School of the

Art Institute of Chicago, Chicago, IL

John M. Flaxman Library, School of the Art Institute of Chicago, Chicago, IL

Garcia

Nickolas R. Garcia | Moving: Through, Out, Away, From, and To (detail)

Molly A. Greene Dogged Habit | acrylic on canvas, 30 x 40 inches

Molly A. Greene Animal + | acrylic on canvas, 20 x 20 inches

Molly A. Greene Tight Junction | acrylic on canvas, 36 x 48 inches

Molly A. Greene Los Angeles, CA molly.a.greene@gmail.com / www.mollyagreene.com / @mollyagreene

b. 1986 Cornwall, VT

Education

2019

PhD, Yale University, New Haven, CT

2016

MPhil, Yale University, New Haven, CT

2015

MA, Yale University, New Haven, CT

2013

MESc, Yale University, New Haven, CT

2010

BS, University of Vermont, Burlington, VT

Group Exhibitions

2020

This Sacred Vessel (Still Life), Arsenal Contemporary,

New York, NY

Drawn Together, Unit London, London, England

Fair, w/ Kapp Kapp, New Art Dealers Alliance (online)

Second Smile, The Hole, New York, NY

2019

Enter Art Fair, The Hole, Copenhagen, Denmark

Paper View, The Hole, New York, NY

Celestial Seasons, 0-0 LA, Los Angeles, CA

The Fourth Street Show, New York, NY

2018

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

In my current body of work, I am interested in the process by which definitions of the human are triangulated, using reference points from the categories of the plant, the animal, and the machine. I am especially interested in the way human subjects are raced and gendered through their relative proximity to particular elements within this matrix. I see these paintings as proposals for mutations that attempt to identify and refigure the assumed naturalness or unnaturalness of established correlations.

Greene

Nasim Hantehzadeh Is that a shooting star? | oil pastel, color pencil, and graphite on paper, 108 x 150 inches

Nasim Hantehzadeh Inhale | oil pastel, color pencil, and graphite on paper, two parts: 72 × 36 inches; 72 × 84 inches

Nasim Hantehzadeh Watching the moon with binoculars | oil pastel and graphite on paper, 96 x 180 inches

Nasim Hantehzadeh Los Angeles, CA +52 33 1067 3533 (Páramo) Nasim.hanteh@gmail.com / www.nasimhantehzadeh.net / @nassiimm

b. 1988 Stillwater, OK

Education

2018

MFA, University of California, Los Angeles, CA

2013

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

2010

BFA, Islamic Azad University, Tehran, Iran

Residencies

2020

The Macedonia Institute, Chatham, NY

2019

MacDowell, Peterborough, NH

Skowhegan School of Painting and Sculpture,

Madison, ME

2017

Vermont Studio Center, Johnson, VT

2013

The International School of Painting, Drawing, and Sculpture, Montecastello di Vibio, Italy

Solo Exhibitions

2019

Páramo, Guadalajara, Mexico

2018

Ochi Projects, Los Angeles, CA

Group Exhibitions

2019

The Project Room, Shulamit Nazarian, Los Angeles, CA

nepantla, Gamma Galería, Guadalajara, Mexico

2018

New Suns, Páramo, Guadalajara, Mexico

Soft Pretzel, Vacation, New York, NY

Collections

Lynda and Stewart Resnick Collection

Frederick R. Weisman Art Foundation

Represented by

Páramo, Guadalajara, Mexico

My art practice has evolved through thinking about the conditions that social structures impose upon the movement of the human body in public and domestic spaces, and in nature. In particular, I am concerned with the violence that human civilization continues to perpetuate, whether consciously or subconsciously, and the way society normalizes this violence through the oppressive patriarchy that is concealed in systems such as nationalism, colonialism, race, gender, and religion. When I start making an artwork, I first look at the canvas/paper’s blank surface, and in my mind, I enter an empty space that belongs to forms. This empty space has been nurtured by a sense of in-betweenness, when an individual does not feel belonging towards social identities. If I think of the human body as an entity or a solid form in space, my inclination to categorize people as I have been categorized diminishes. Having that in mind, I use a specific visual language to allow my memories and experiences to live in the format of forms and gestures.

Hantehzadeh

Calvin Somang Kim Delayed Affects | Model Magic clay, acrylic, and paper pulp, 10 x 7.5 inches

Calvin Somang Kim I Wonder Where It Goes | mixed media on foamboard, 10 x 8.2 inches

Calvin Somang Kim Breakfast on the Moon | mixed media on foamboard, 16.5 x 11 inches

Calvin Somang Kim Canyon Country, CA c.k.somang@gmail.com / @midponder_cloud

b. 1992 Los Angeles, CA

Education

2015

BFA, BA, Cornell University, Ithaca, NY

2014

Yale Norfolk School of Art, Norfolk, CT

Solo Exhibitions

2020

Today’s Special, POWDERFREEVACUUMSEALED (online)

2019

If the moon is full, I’m just a fool, Proxy Place Gallery, Chatsworth, CA

Award

2015

Elsie Dinsmore Popkin Painting Award

I think of painting as daily sustenance for the artist, simultaneously an utterance the artist molds and shapes to share with others. My work offers intimacy through personal narratives laid out for communal reflection and engagement. For me, memory is a relic you carry, a seed you grow, a meal you share . . . It waxes and wanes. The process of excavating, embedding, and renewing past materials through painting parallels the psycho-emotional and spiritual journey I take when I am remembering something. I key in on a certain moment, and the fragmented image manifests tangibly into a familiar object. It becomes mundane, then strange again, and wondrous.

Kim

Peter Ko Built-Up Pattern of Habitual Conduct #1 | acrylic, velvet, and polypropylene on wood, 30.5 x 24 inches

Peter Ko Old Habits | acrylic, velvet, and polypropylene on wood, 33 x 32 inches

Peter Ko Monologues of Self-Delusion | acrylic, felt, cotton, velvet, and polypropylene on wood, 48 x 36 inches

Peter Ko Moorpark, CA peterko77@yahoo.com / www.peterko.xyz / @pko777

b. 1977 Seoul, South Korea

Education

2001

MFA, California Institute of the Arts, Valencia, CA

1999

BFA, California Institute of the Arts, Valencia, CA

Solo Exhibitions

2016

Schools of Thought, Gallery CLU, Los Angeles, CA

2013

13 Prints, Panavision, Hollywood, CA

2012

Pencil Mileage, Creative Arts Center Gallery, Burbank, CA

Group Exhibitions

2011

Art Director’s Guild Group Show, Gallery 800,

North Hollywood, CA

2006

Highlights from MoMA’s Tomorrowland, REDCAT/Walt

I use rope to deal with the unchecked emotional and psychological bondage that gives rise to our personal boogeymen and the toxic self we can project onto others. Our blind spots hold unspoken fears, insecurities, prejudices, guilt, resentments, traumas, and shame. This is the unappealing landscape I explore to find lighterhearted ways to access and address the roots of our darkest and ugliest selves. My purpose is to initiate dialogue and reconciliation that can lead to personal growth, proper suffering, increased selfawareness, psychological well-being, and freedom from fear.

Disney Concert Hall, Los Angeles, CA

Tomorrowland: CalArts in Moving Pictures, The Museum of Modern Art, New York, NY

2003

Animation Spotlight Program, Sundance Film Festival,

Park City, UT

2002

Experimental Animation Showcase, Academy of TV Arts &

Sciences, Hollywood, CA

Publications

2019

New American Paintings, no. 139

2016

“Meet Valley Artist Peter Ko,” VoyageLA,

December 2 (online)

2012

“Magician with a Pencil,” Vergil America, no. 3

Peter Ko | Monologues of Self-Delusion (detail)

Elizabeth Loftus Rehearsed Alibi | mixed media on canvas, 80 x 96 inches

Elizabeth Loftus Refuse | mixed media on canvas, 93 x 115 inches

Elizabeth Loftus Sugarcoated | mixed media on canvas, 95 x 88 inches

Elizabeth Loftus Los Angeles, CA 312.282.2412 eloftus@saic.com / www.elizabethloftus.com / @elizabethloftusart

b. Chicago, IL

Education

2020

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

2003

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

Group Exhibitions

2019

With a Capital P: Selections by Six Painters, Elmhurst

Museum, Elmhurst, IL

The Turf, Research House for Asian Art, Chicago, IL SAIC MFA Thesis Exhibition, School of the Art Institute of

My work is a representation of our shared frustration and perceived inability to effect desired change. I intend to provoke a sense of disorientation and imbalance as a way to highlight uncertainty about the future. Seemingly benign colors and paint application quickly yield to an emotional shift born out of a profusion of tightly bound shapes and images. This often causes a tension, or even claustrophobia. Everything appears stable but with an underlying feeling of impending collapse. As I paint, things tumble out— color, form, personal grief, and a larger anxiety about the world. Simultaneously self-protective and revelatory, the work is an expression of gross accumulation and our fragile situation today.

Chicago, Chicago, IL 2018

Graduate Open Studios, School of the Art Institute of Chicago, Chicago, IL

2006

International School of Art Exhibition, Montecastello di Vibio, Italy

2003

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

2019

Awards Lotte Grellnar Scholarship, Ox-Bow School of Art, Saugatuck, MI

Student Leadership Award, School of the Art Institute of Chicago, Chicago, IL

Publication

2019

SAIC Continuing Education, brochure, Chicago, IL

Loftus

Tahnee Lonsdale The Conversation | spray paint and oil on canvas, 63 x 67 inches

Tahnee Lonsdale The Joy of Life | spray paint and oil on canvas, 55 x 50 inches

Tahnee Lonsdale The Feminine | spray paint and oil on canvas, 55 x 50 inches

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

b. 1982 Reading, England

Education

2007

Byam Shaw School of Art, University of the Arts,

London, England

Solo Exhibitions

2020

Something Other Than, De Buck Gallery, New York, NY

(online)

Knots and Flowers, pt.2:, Oakland, CA

2019

Tender Loin, Dellasposa, London, England

Group Exhibitions

2020

A Show of Hands, September, Hudson, NY

Oranges and Sardines, Foam Corp, Los Angeles, CA

Star Goddess Island, Wonzimer, Los Angeles, CA

Publication

2020

Dovetail, no. 1, June

Represented by

De Buck Gallery, New York, NY

Dellasposa, London, England

My paintings explore identity, sexuality, independence, and the digitized methods of human connection. My compositions reveal abstracted autobiographical narratives that investigate the dichotomies of contemporary womanhood. I explore the push-and-pull between the roles of my public and private life, specifically the contrasting desires of women to be mother figures as well as sexual creatures, strong and powerful as well as soft and nurturing. I challenge viewers to see women as complex and full humans that evade the flattening of one identity and instead morph, shift, and spill into many roles simultaneously.

Lonsdale

Matt Momchilov How to Cure a Receding Hairline | oil on canvas, 36 x 48 inches

Matt Momchilov A Perfect Gentleman | oil on canvas, 50 x 68 inches

Matt Momchilov A Very Happy Couple | oil on canvas, 28 x 22 inches

Matt Momchilov Los Angeles, CA www.mattmomchilov.com

b. 1986 Kettering, OH

Education

2008

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

Solo Exhibitions

2021

Hair + Nails, Minneapolis, MN

2016

Unspeakable Projects, New York, NY

2011

Hayrides, Live With Animals Gallery, Brooklyn, NY

They Really Want You, Unspeakable Projects,

San Francisco, CA

2008

Flagtown Coyote, California College of the Arts,

San Francisco, CA

Group Exhibitions

2015

Painting Expelled, California College of the Arts,

San Francisco, CA

2011

Elegance of Refusal, Gensler, San Francisco, CA

2010

How do you arrange sticks for a gay wedding? What does a very strong man who will never need calf implants look like? Will cheap magic work as well as the expensive kind? I have many opinions.

We Are the World, Roots and Culture Contemporary Art Center, Chicago, IL

2009

Always Is Always Forever, Eleanor Harwood Gallery,

San Francisco, CA

Represented by

Hair + Nails, Minneapolis, MN

Momchilov

Jenene Nagy mass 17 | artist-made graphite paint and torn paper mounted on paper, 33 x 33 inches

Jenene Nagy mass 20 | artist-made graphite paint and torn paper mounted on paper, 33 x 33 inches

Jenene Nagy mass 16 | artist-made graphite paint and torn paper mounted on paper, 33 x 33 inches

Jenene Nagy Riverside, CA 503.222.0063 (PDX CONTEMPORARY ART) jenenenagy@gmail.com / www.jenenenagy.com

b. 1975 The Bronx, NY

Education

2004

MFA, University of Oregon, Eugene, OR

1998

BFA, University of Arizona, Tucson, AZ

Residency

2017

Watershed Center for Fine Art Publishing and Research, Pacific Northwest College of Art, Portland, OR

2016-

Professional Experience

2012-15 Artistic Director of Painting and Printmaking and Chair of

Artist Residency Program, Anderson Ranch Art Center,

Snowmass Village, CO

Solo Exhibitions

2020

flags + monuments, University of Wisconsin–Stout, Menomonie, WI

2019

box breathing, PDX CONTEMPORARY ART, Portland, OR

The future does not exist, Iris Project, Venice, CA

2018

I am interested in the transformative potential of repetition. How simple materials, actions, and forms can produce something greater than the component parts. My investment in the fundamentals extends to my desire for the viewer to experience the works through the simple act of looking, to acknowledge their place in time as they contemplate an accrual. There is a slowness here, both in the making and in the viewing, with both having quiet rewards.

Professor of Art and Gallery Director, Los Angeles Valley College, Los Angeles, CA

The mark, the mantra, the repeated act: all this accumulates to form something greater, a mass.

My hope is that through the relationship between my making and active viewership something enhanced, other, enlightened, will form. At the center of this process lies a claim to a new reality or truth. In my studio, I practice what I consider a simple alchemy. I engage in an act that is similar to an incantation. Each mark I make builds on the one previous, culminating in something that is greater than our physical understanding of this world.

conditioning + practice, Minneapolis College of Art and Design, Minneapolis, MN

2019

Group Exhibitions Santo Foundation 10th Anniversary Invitational Exhibition, The Santo Foundation, St. Louis, MO

Somebody Told Me You People Were Crazy, Hathaway Gallery, Atlanta, GA

2018

Carbon, Fellows of Contemporary Art, Los Angeles, CA

Award

2016

Nominee, United States Artists Fellowship, Chicago, IL

Collection

Portland Art Museum, Portland, OR

Represented by

PDX CONTEMPORARY ART, Portland, OR

Nagy

Corey Pemberton You could taste the love | mixed media on panel, 36 x 48 inches

Corey Pemberton She was raised white | mixed media on panel, 36 x 48 inches

Corey Pemberton 6:00 at Morgan Hall | mixed media on panel, 36 x 48 inches

Corey Pemberton Los Angeles, CA pemberton.corey@gmail.com / www.coreypemberton.com / @instantglassic

b. 1990 Reston, VA

Education

2012

BFA, Virginia Commonwealth University, Richmond, VA

Residencies

2019

SmART Kinston, Kinston, NC

2017-19 Penland School of Craft Core Fellowship, Penland, NC 2016

Pittsburgh Glass Center, Pittsburgh, PA

2015

BRUKET, Bødo, Norway

Professional Experience

2019-

Executive Director, Crafting the Future, Los Angeles, CA

Glass blower, Cariati Industries, El Segundo, CA

Solo Exhibitions

2020

Quirk Gallery, Richmond, VA

Contemporary Art Museum, Raleigh, NC

2019

Blue Spiral, Asheville, NC

Group Exhibitions

2018

Winter Show, Green Hill Art Center, Greensboro, NC

PERSONAL | Universal, Penland Gallery, Penland, NC

2017

As humans we make assumptions about people based on things like race, gender expression, socioeconomic status, etc., but preconceived notions can be one-dimensional and ultimately quite harmful. When you feel the world wants to “other” you or put you in a certain box, home is often the only place where you feel safe and can truly be yourself. I challenge stereotypes by depicting my subjects as everyday people doing everyday things: eating, visiting, resting, drinking coffee, lounging. I want the viewer to see themselves in the work. And to remind the viewer what a privilege it is to fit in and to feel a sense of belonging. People are never just one thing, and individuality ought to be celebrated. However it is important to make space for the othered to feel ordinary and relatable. To feel ordinary is a luxury. I examine the depth of information we can learn about a person by being welcomed and present in their home. The objects we surround ourselves with are rich with personality and meaning.

Fire & Form: North Carolina Glass, Blowing Rock Art and History Museum, Blowing Rock, NC

Pemberton

Corey Pemberton | You could taste the love (detail)

Jim Phalen Golden Trout | oil on panel, 32 x 42 inches

Jim Phalen Kitchen Still Life | oil on panel, 26 x 32 inches

Jim Phalen Sink | oil on panel, 30 x 40 inches

Jim Phalen Seattle, WA 415.956.3560 (Dolby Chadwick Gallery) phalenstudio@gmail.com / www.jimphalen.com

b. 1957 Phoenix, AZ

Education

1985

MA, MFA, University of New Mexico, Albuquerque, NM

1980

BFA, San Francisco Art Institute, San Francisco, CA

Residencies

2021

I Tatti Residential Fellowship, Florence, Italy

2005

Ballinglen Artist Fellowship, Ballycastle, Ireland

Professional Experience

Wise is the person who contents themselves with the spectacle of the world. –Jose Saramago But you and I, we’ve been through that, and this is not our fate So let us not talk falsely now, the hour is getting late. –Bob Dylan, “All Along the Watchtower”

2003-7 Visiting Professor, University of Puget Sound, Tacoma, WA 2002-3 Visiting Professor, Cornish College of the Arts,

Seattle, WA

2000-1 Visiting Professor, Bowdoin College, Brunswick, ME 1999

Visiting Professor, University of Washington, Seattle, WA

Solo Exhibitions

2015

Linda Hodges Gallery, Seattle, WA

2008

Cumberland Gallery, Nashville, TN

2004

Undercurrents of the Commonplace, Frye Art Museum,

Seattle, WA 1999

Dolby Chadwick Gallery, San Francisco, CA

Group Exhibitions

2005

The Perception of Appearance, A Decade of Contemporary American Figure Drawing, Frye Art Museum, Seattle, WA

1995

45th New York Exhibition, Albright-Knox Art Gallery, Buffalo, NY

Represented by

Dolby Chadwick Gallery, San Francisco, CA

Phalen

Max Presneill MiT#132 (Panem et Circenses—magenta) | oil, acrylic, tea, coffee, wine, motor oil, and collaged objects, 72 x 96 inches

100

Max Presneill MiT#11 | oil, enamel, and collaged objects, 68 x 92 inches

101

Max Presneill MiT#119 | oil, acrylic, spray paint, and collaged objects, 96 x 84 inches

102

Max Presneill Los Angeles, CA 310.804.4647 maxpresneill@gmail.com / www.maxpresneill.com / @maxpresneill b. 1963 London, England

Solo Exhibitions

2020

This. Here. Now., Patrick Painter Inc., Los Angeles, CA

Moments in Time, TWFineArt, Brisbane, Australia

In Case of Emergency, Rio Hondo College Gallery,

Los Angeles, CA

Group Exhibitions

2020

Searching for Freedom, Stadtgalerie Bad Soden,

Taunus, Germany

How long do you mean to be, Laundromat Art Space,

Miami, FL

Return to Aus, Galerie pompom, Sydney, Australia

My paintings are essentially about mortality, as seen through the merging contradictions of disparate elements of my life. This interpenetration occurs where histories of abstract markmaking, developing iconography, and subcultural motifs are placed in relationships on the picture plane. Colloquialisms and urban vernacular appear alongside art history, references to Brutalist architecture, comix, sk8, 1% MC life, dance cultures— to explore masculine identity, vanitas, memory, and nostalgia, allowing for an extended and negotiated dialogue between ideas of the political/class division, race, subcultural resistance, and tribalism, in the context of a transient experience.

Take Your Conscience to the Pawnshop, Terrace Gallery, London, England

QiPO Art Fair, Mexico City, Mexico

2019

New Gallery Artists, GCC Arte Contemporáneo,

Mérida, Mexico

Set Today / Set Future, Galeri MOD, Istanbul, Turkey

Matters of Size, Durden and Ray, Los Angeles, CA

STEP, 9 Art Center Museum, Beijing, China

Almost Sparkling, Axel Obiger, Berlin, Germany

West by East Coast, hangmenProjects,

Stockholm, Sweden

Notes from LA, Kalashnikovv Gallery, Johannesburg,

South Africa

Alptraum, La Estación Gallery, Chihuahua, Mexico

Represented by

Patrick Painter Inc., Los Angeles, CA

TWFineArt, Brisbane, Australia

GCC Arte Contemporáneo, Mérida, Mexico

103

Presneill

Jason Alan Ramos Inverted Death Valley Driver (Burning Hammer) | oil on canvas, 36 x 48 inches

104

Jason Alan Ramos Flip Piledriver (Canadian Destroyer) | oil on canvas, 36 x 48 inches

105

Jason Alan Ramos Blading Portrait (The Rock) | oil on linen, 12 x 9 inches

106

Jason Alan Ramos Los Angeles, CA Jason.alan.ramos@gmail.com / www.jasonramos.com / @thejasonramos

b. 1978 San Antonio, TX

Education

2007

MFA, California State University, Fullerton, CA

Solo Exhibition

2007

Transmundane Entities, MFA thesis exhibition, West Gallery, California State University, Fullerton, CA

Two-Person Exhibitions

2012

We’re All Sensitive People: Jorin Bossen & Jason Ramos,

Autonomie, Los Angeles, CA 2010

A Scattered Thought: Max Presneill and Jason Ramos, PØST, Los Angeles, CA

2007

Cyborg: Robert Arieas and Jason Ramos, Bronco Student Center, California State Polytechnic University,

Pomona, CA

Group Exhibitions

2019

The Five Facets of Humanity, Fellows of Contemporary Art,

The paintings derived from imagery associated with the world of professional wrestling are inspired by a particular notion within the sports entertainment industry known as kayfabe. Kayfabe is defined by Wikipedia as “the portrayal of staged events within the industry as ‘real’ or ‘true,’ specifically the portrayal of competition, rivalries, and relationships between participants as being genuine and not of a staged or predetermined nature of any kind.” A variant of this concept has corrupted the current political and cultural climate, as conspiracy theories are insisted and acted upon, and social media “influencers” present fake real lives. The titular works under the necromasculinity banner are imagined personifications of death, pointing towards a more traditional vanitas style, but nonetheless still a visceral and unrefined reaction to the current political and cultural climate. Veering into abject and uncanny territory, these skulls/heads/faces/old men are raw, immediate indictments, laying bare a reality that can no longer hide behind kayfabe, bad faith propaganda, or sponsored posts.

Los Angeles, CA

Death Cult, Torrance Art Museum, Torrance, CA

Useless Man, Highways Performance Space,

Santa Monica, CA

Re:Union, Durden and Ray, Los Angeles, CA

2015

Dragnet, Manhattan Beach Art Center,

Manhattan Beach, CA

Savage Sentimentality, Cerritos College Gallery, Norwalk,

CA, and Wignall Museum of Contemporary Art,

Rancho Cucamonga, CA

2014

The Status of Portraiture, Autonomie, Los Angeles, CA

2013

Boy’s Club, Marine Contemporary Art Salon,

Santa Monica, CA

2012

(C)overt, w/ 5790projects, Synchronicity Space,

Los Angeles, CA (pop-up)

Publications

2018

Featured artist, Maake Magazine, no. 7

2017

Full Blede, no. 4

107

Ramos

Colin Roberts Flamingo Waterfall Sunset | clay, plaster, and paint, 32 x 30 x 2 inches

108

Colin Roberts Banana Volcano Sunset | clay, plaster, and paint, 30 x 28 x 3 inches

109

Colin Roberts Mountain God | clay, plaster, and paint, 38 x 26 x 10 inches

110

Colin Roberts Los Angeles, CA colinrobertsart@gmail.com / www.colinrobertsart.com / @colinrobertsart

b. 1974 Fullerton, CA

Education

2001

Otis College of Art and Design, Los Angeles, CA

Solo Exhibitions

2020

Launch LA, Los Angeles, CA

2008

Steve Turner Gallery, Los Angeles, CA

Group Exhibitions

2020

Five Facets of Humanity 2020, Fellows of Contemporary

Art, Los Angeles, CA 2019

Offal, Los Angeles Municipal Art Gallery, Los Angeles, CA Neo Pop, with Rob Pruitt, June Lee’s Contemporary Art, Corona Del Mar Beach, CA

Palm Springs Art Fair, Palm Springs, CA

The Nothing That Is, Brand Library, Glendale, CA

Spring/Break Art Fair, Los Angeles, CA

2018

Sea Sick in Paradise, Depart Foundation, Malibu, CA

2017

Seattle Art Fair, Seattle, WA

All The Small Things, Steve Turner Gallery,

Los Angeles, CA

2016

San Francisco Art Fair, San Francisco, CA

Collections

Beth DeWoody

Marlene Picard

My sculpture paintings are untraditional in every way. I don’t use a canvas. I start out with a few light sketches of an idea and some cardboard. I cut the cardboard into shapes, then add burlap and plaster for a base. From there I add clay and, later, paint. Many times, I will break and cut apart the painting to reconfigure it later, as I never have anything fully planned out. I try to go with what the piece is meant to end up as. I don’t know what that is until I’m there. The clay becomes thin long coils or thick and lumpy rocks or animals. The paintings are naïf-style landscape compositions within larger facial portraits. They reference my own explorations in nature and other cultures, and are influenced by many different naïf painters. For me, this creates a careful balance of uncanny humor and sentimental seriousness. Through this, the works have the ability to cross significant cultural, social, and psychic boundaries.

111

Roberts

Kimberly Rowe Be in the Ecstatic Present (Where All the Mystical Stuff Is) | oil, acrylic, acrylic ink, and Flashe on canvas, 118 x 105 inches

112

Kimberly Rowe Boundless | acrylic and mixed media on polyester, 94.5 x 76 inches

113

Kimberly Rowe Fantasy and Faith | acrylic and mixed media on canvas, 86 x 94 inches

114

Kimberly Rowe Berkeley, CA 510.847.8735 kimberlypaints@gmail.com / www.kimberlyrowe.net / @krowepaints / @kimberlyrowepaints

b. 1976 Oakland, CA

Education

2009

MFA, San Francisco Art Institute, San Francisco, CA

Residencies

2010-12 Affiliate Artists Program, Headlands Center for the Arts,

Sausalito, CA 2008

Painting’s Edge, Idyllwild Arts Center, Idyllwild, CA

Solo Exhibition

2018

Finding Grace, TWFineArt, Brisbane, Australia

Two-Person Exhibition

2017

In the Balance, with Paul Weiner, TWFineArt,

Brisbane, Australia

Group Exhibitions

2019

All That Glitters, Berkeley Art Center, Berkeley, CA

2017

Detritus, San Jose Institute of Contemporary Art,

San Jose, CA

2016

Grafforists, Torrance Art Museum, Torrance, CA

What Cannot Be Said, Berkeley Art Center, Berkeley, CA

2014

25th Annual International Juried Exhibition, Viridian

Artists Gallery, New York, NY

2013

24th Annual International Juried Exhibition, Viridian Artists

For me, painting is an act of engaging deeply with life. I move fluidly between abstraction and representation, depending on the challenge I’ve chosen to set for myself. While I am doing it or thinking about it or dreaming of it, I am making sense of the world. I am excavating feelings and knowledge; I’m talking with myself and hearing opinions that sometimes I didn’t know existed before; I am inventing new things. I explore music, color, rhythm, poetry, even math. I become more sensitive and compassionate. I grow in ways that take me beyond the borders of my expectations. I tend to make big paintings, because I am interested in being immersed in the experience, using my body to build a space to enter any time I want. But I also make smaller work. I’m delighted by how easily I can change the scale. There is a sense of deep intimacy that comes from downshifting. It’s almost like knitting or crocheting or sewing, or even writing in a journal. It’s a quiet moment of meditation.

Gallery, New York, NY 2012

Random Acts of Time, Orange County Center for Contemporary Art, Santa Ana, CA

2008

Painting’s Edge, Riverside Art Museum, Riverside, CA

Publications

2017

Carrie McCarthy, “In the Balance—Kimberly Rowe and Paul Owen Weiner at TW Fine Art,” Cultural Flanerie,

February 18 (online) 2012

Kenneth Baker, “Review: ‘Beauty’ at Berkeley Art Center,” San Francisco Chronicle/SF Gate, September 5 (online)

Represented by

TWFineArt, Brisbane, Australia

115

Rowe

Sidney MacDonald Russell Chinese Vegetables | oil paint on silk, 102 x 114 inches

116

Sidney MacDonald Russell Fishing Trophy Shirt | oil paint on sewn canvas, 88 x 95 inches

117

Sidney MacDonald Russell Cargo Shorts | acrylic paint on sewn canvas, 84 x 78 inches

118

Sidney MacDonald Russell San Francisco, CA sbmrussell@gmail.com / www.sidneyrussell.com

b. 1948 San Francisco, CA

Education

1995

University of California, Davis, CA

1978

MDesign, University of California, Berkeley, CA

1973

California College of the Arts, Oakland, CA

1971

BA, University of California, Berkeley, CA

1966

Art Institute of San Francisco, San Francisco, CA

Professional Experience

1972-84 Scenic artist, San Francisco Opera and San Francisco

Ballet 1974

Designed, built, and painted set for La Bohème, Merola

I make outsized clothing that I then paint. It is, at the same time, general and specific. Public and intimate. Common and also unique. Clothes are ordinary objects in our lives. Clothing is attached to a specific time, day, or time of your life, or memory. Clothing is something that can bring up deep associations between the wearer and the past, or the present. It is a cartoon, a template, a pattern without meaning until it is worn. The goal for me is to give these art pieces ambiguity, context, and mystery. Clues to the artist’s purpose are in the scale and the imagery. Clothing is the march of time. It is taking stock of our days as they progress, one after another. The clothing pieces are portraits of people I know and also self-portraits.

Opera at Stern Grove, San Francisco, CA

Solo Exhibitions

2016

Sidney Russell: New Work, Rena Bransten Gallery,

San Francisco, CA

2015

Devices and Desires, Atlantic Gallery, New York,

2013

Black Bass, Atlantic Gallery, New York, NY

2012

The Lake House, Atlantic Gallery, New York, NY

2009

Superheroes, Atlantic Gallery, New York, NY

2008

Popes and Fishermen, Atlantic Gallery, New York, NY

1999

The Shopping Mall, Emmie Smock Gallery,

San Francisco, CA

1998

Shirts, Bradford Smock Gallery, San Francisco, CA

119

Russell

Ari Salka Self One Meets Self Two: First Inside, Then Out | acrylic and oil on paper and wood, 22.5 x 29.5 inches

120

Ari Salka The Manic Residence: To The Past–Who Wants to Say Goodbye First? | acrylic and pastel on wood, 47.5 x 36 inches

121

Ari Salka Holding, Sometimes Holding Too Long | acrylic on glass and wood frame, 31 x 26 inches

122

Ari Salka Los Angeles, CA contact@arisalka.com / www.arisalka.com / @drawingwithpaint

b. 1993 Seattle, WA

Education

2019

MFA, University of California, Los Angeles, CA

2016

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

Residencies

2015

Yale Norfolk School of Art, Norfolk, CT

Ox-Bow School of Art, Saugatuck, MI

Professional Experience

2020

Artist talk, Advanced Painting Summer Session,

University of California, Los Angeles, CA

Group Exhibitions

2020

Looking Forward // Queer Futures, SaveArtSpace,

Los Angeles, CA

2019

SLIPPERS, QUEENS LA Gallery, Los Angeles, CA

UCLA ART MFA Exhibition #4, New Wight Gallery,

Los Angeles, CA

SoCal MFA Juried Exhibition, Millard Sheets Art Center,

I paint self-portraits of my trans body, representing current and past selves. I transcend a singular experience into cycles of selfrepresentation. In painting these bodies, I explore a sense of freedom by creating a personal iconography. My imagery depicts bodies constantly shifting, through rebirths, enmeshments, while also differentiating themselves from one another. Ghosts from the past emerge from earthly forms, signifying dysphoric rebirth and resurrection. The presence of sutures binds fragility and strength. The self is oftentimes lost in translation, shifting in and out of differentiation from oneself to another version of self. I combine a multiplicity of portraits, which allows me to deconstruct and discover new depictions of the self and others. Through repetition, expansiveness, and reclusiveness, my work conflates distinctions between celebration and dismay.

Pomona, CA 2018

Vibrant Matter, Beacon Arts Building, Inglewood, CA

2017

Animal Farm, Dalton Warehouse, Los Angeles, CA

Awards

2016-19 UCLA Graduate Art Department Scholarship

UCLA Regents Stipend Scholarship

UC Regents Grant, UCLA Arts Council Stipend

Publication

2020

Julie Schulte, “Ari Salka: On Bodies (Be)held,” Artillery, September 8 (online)

123

Salka

Ari Salka | The Manic Residence: To The Past–Who Wants to Say Goodbye First? (detail)

Marty Schnapf Sleight of Hand | oil on canvas, 78 x 60 inches

124

Marty Schnapf Portico | oil on canvas, 78 x 60 inches

125

Marty Schnapf Throne (viridian) | oil on canvas, 64.5 x 58 inches

126

Marty Schnapf Los Angeles, CA www.martyschnapf.com / @marty_schnapf

b. 1977 Newburgh, IN

Education

1999

BFA, Wittenberg University, Springfield, OH

Residencies

2018

Soulangh Cultural Park, Tainan, Taiwan

2009

Kaaistudio’s, Brussels, Belgium

Neon Gallery, Brösarp, Sweden

Solo Exhibitions

2019

Loves and Lovers, Diane Rosenstein Gallery,

Los Angeles, CA

2018

Santa Ana Winds, Alice Black Gallery, London, England

Fissures in the Fold, Wilding Cran Gallery,

Los Angeles, CA

In Situ, Soulangh Cultural Park, Tainan, Taiwan

2016

The Night Brightens, MaRS Gallery, Los Angeles, CA

2015

Coquet Quiet, Permanently Closed, Los Angeles, CA

Sculpture Drawing Sculpture, The Property Gallery,

Los Angeles, CA

2014

Disco Ruin, The A_Space, Los Angeles, CA

2009

Loss Release, Working Title Festival, Brussels, Belgium

Group Exhibitions

2020

Drive-By-Art, Los Angeles, CA (public installation)

The Four Stages of Love, The Street and the Shop,

Los Angeles, CA

Award

2017

Rema Hort Mann Community Engagement Grant,

Los Angeles, CA

Each aspect of my paintings—color, form, content, style, historical influence—operates in an ongoing state of flux. If the logic of a work becomes predictable, I alter it. I make and partially unmake each painting over and over until the work achieves a kind of uncanny harmony. Frequently, two or more figures overlap, or a single figure assumes numerous irreconcilable positions. Structurally discontinuous and at times dematerialized environments surround and penetrate these figures. Such compositional dislocation and dissolution is not a formal exercise in abstraction. Rather, it is a conscious strategy by which I attempt to weave a sense of psychological embodiment within manifold, simultaneous potentialities. Simply put, I aim to capture a moment not only as it is, but also as it could be; not only as it appears, but also as it feels. By so doing, I celebrate, as foundational, the poetic uncertainty underlying human experience.

127

Schnapf

Marty Schnapf | Sleight of Hand (detail)

Marnie Spencer Sweet Nothings 2 | acrylic on canvas, 60 x 40 inches

128

Marnie Spencer Sweet Nothings 1 | acrylic on canvas, 60 x 40 inches

129

Marnie Spencer Sweet Nothings | acrylic on canvas, 60 x 120 inches

130

Marnie Spencer Bolinas, CA 415.385.3728 marniespen@cs.com / www.marniespencer.com / @spencer_marnie / @marnieSpencer9563

b. 1951 Oakland, CA

Education

1981

BFA, University of California, Santa Barbara, CA

Solo Exhibitions

2010

Yet Another Roadside Attraction, Nelson Macker Fine Art, New York, NY

2007

On the Wall, Julie Baker Fine Art, Nevada City, CA

2005

Marnie Spencer Paintings, Bolinas Museum, Bolinas, CA

Group Exhibitions

2020

Hardly Strictly Mini, Bolinas Museum, Bolinas, CA

2019

Below the Surface, Studio Gallery, San Francisco, CA

2018

I paint with acrylic on canvas or wood panels. Stylistically, the work is quite representational, with a perpetual focus on the past. I like to explore the flora and fauna of antediluvian locales and other bygone allures; I’m captivated by démodé genres and intrigued by anachronistic faces. I’m fascinated by the world’s big topics: Time, Love, Intrigue, Desire, Ambition, and What does it all mean? I’m always playing for a bit of nostalgia to trigger a viewer’s memory. Kind of a Proustian thing: a prescient remembrance of how it all began, way back, when “riverrun, past Eve and Adam’s.”

32nd Annual Laluzapalooza, La Luz de Jesus Gallery, Hollywood, CA

2017

Publications Cover, Dean Rader, Self-Portrait as Wikipedia Entry (Copper Canyon Press)

2012

Cover, West Marin Review, vol. 4

2010

Patricia B. Santora, Margaret L. Dowell, and Jack E.

Henningfield, eds., Addiction and Art (John Hopkins University Press)

Collections

Ritz Carlton, Lake Tahoe, CA

Chronicle Books, San Francisco, CA

Howard and Judith Tullman, Chicago IL

Mark Parker, Nike

131

Spencer

Erik Shane Swanson Waves | oil on canvas, 10 x 8 inches

132

Erik Shane Swanson Side ache | oil on canvas, 12 x 17.5 inches

133

Erik Shane Swanson Neck Pillow | oil on panel, 6 x 8.5 inches

134

Erik Shane Swanson Los Angeles, CA erikshaneswanson@gmail.com / www.erikshaneswanson.com

b. 1983 Santa Barbara, CA

Education

2014

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

2013

Skowhegan School of Painting and Sculpture,

Skowhegan, ME

2005

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

Residencies

2015 2012

Vermont Studio Center, Johnson, VT

Solo Exhibition

2014

sub, Farewell Books, Austin, TX

Group Exhibitions

2017

body building, practice, New York, NY

2016

A Body Has No Center, Tiger Strikes Asteroid,

Philadelphia, PA

Traded, Lawndale Art Center, Houston, TX

2015

Bronx Calling: The Third AIM Biennial, The Bronx Museum of the Arts, The Bronx, NY

6 × 6, Transmitter, Brooklyn, NY

Pitch, SOIL Gallery, Seattle, WA

2014

POOL, Visual Arts Center, The University of Texas at Austin, Austin, TX

2013

Something Lost, Trinity University, San Antonio, Texas, and Co-Lab N Space, Austin, TX

2013

Artists in the Marketplace, The Bronx Museum of the Arts, The Bronx, NY

The world map on the wall of my living room is gridded with creases. Folded lines, alternately raised and depressed, give the graphic image of Earth a sense of dimension and emphasize the atmospheric light in which it hangs. It once reflected the dim glow from a courtyard in Brooklyn and was later raked by light from above a lane house in Shanghai. In my current work, I am interested in the shifting significance an object or image undertakes as it changes locations. My paintings depict scenes and forms related to travel that are familiar everywhere I’ve lived yet specific in the places they signify. While this series started as still lifes of items designed for mobility, it has shifted towards the visual language of the unfolded map. In my representations of photographic prints, I address their objecthood both through surface texture and cut-out drawings that offer further connections to ideas about home, travel, and exchange.

Award Art Ball Graduate Student Prize, Dallas Museum of Art, Dallas, TX

135

Swanson

Susie Taylor Texture Study Blue | weaving (linen), 17 x 23 inches

136

Susie Taylor Texture Study Red | weaving (linen), 17 x 23 inches

137

Susie Taylor Rainbow Gradient | weaving (linen), 17 x 23 inches

138

Susie Taylor San Jose, CA 415.495.2090 (Andrea Schwartz Gallery) susietaylor007@gmail.com / www.susietaylorart.com / @weaving.origami

b. 1967 Fort Collins, CO

Education

1994

MFA, University of California, Los Angeles, CA

1991

BFA, Kansas City Art Institute, Kansas City, MO

Solo Exhibitions

2021

Weaving Origami, Japanese Consulate, San Francisco, CA

2019

Crane Wife, Hakone Gardens, Saratoga, CA

2018

Poetic Geometry, Textile Center, Minneapolis, MN

Group Exhibitions

2020

Stitch, Andrea Schwartz Gallery, San Francisco, CA

2019

Material Meaning: A Living Legacy of Anni Albers, Craft in

My work explores geometric abstraction through the medium of weaving, which requires a creative and technical mindset to solve visual and structural puzzles. Unlike painting, where pigments are applied to the surface of a canvas, weaving brings visual (and dimensional) elements to life imbedded in the very structure of the cloth. Using an intuitive sense of geometry, I compose using basic shapes such as blocks and lines that are held together by and generate from a physical grid. Images surface when colored yarns cross over and under each other, resulting in discernible tones that mix in the eye. Working this way presents unique limitations but also allows for unique possibilities to explore translucency, opacity, saturation, dimension, and texture.

America Center, Los Angeles, CA

Fiber Art: 100 Years of Bauhaus, Art Ventures Gallery, Menlo Park, CA

2018

Materials Hard and Soft, Greater Denton Arts Center,

Through a formalistic lens, my work addresses pattern, symmetry, color interaction, and the notion that ordered systems can still flirt with chaos and improvisation.

Denton, TX 2016

From Lausanne to Beijing: 9th International FiberArt

Biennale, Shenzhen, China

Award

2014

Innovation Award, Erie Art Museum, Erie, PA

Publications

2019

Cameron Taylor-Brown, Material Meaning: A Living Legacy of Anni Albers (Craft in America Center)

Leah Ollman, “Long Live Anni Albers: LA Show Pays Homage to an Overshadowed Bauhaus Artist,” Los Angeles

Times, August 5

Stacey Harvey-Brown, “Weaving Origami and Abstract Doubleweave: An Interview with Susie Taylor,” The Journal for Weavers, Spinners and Dyers, no. 271, Autumn

2017

Anne Lee and E. Ashley Rooney, Artistry in Fiber, Volume 1: Wall Art (Schiffer Publishing)

Represented by

Andrea Schwartz Gallery, San Francisco, CA

139

Taylor

Aaron Troyer Nocturnal Scuffle | acrylic and ink on canvas, 30 x 24 inches

140

Aaron Troyer Lead the Way | acrylic and ink on canvas, 30 x 24 inches

141

Aaron Troyer Hang in There! | acrylic and ink on canvas, 30 x 24 inches

142

Aaron Troyer Santa Ana, CA aarontroyer82@gmail.com / www.aarontroyer.com / @aaron.troyer.art

b. 1982 Mansfield, OH

Education

2014

MA, Grand Canyon University, Phoenix, AZ

2006

BFA, Ohio State University, Columbus, OH

Solo Exhibitions

2019

Golden Myth, Teros Gallery, San Diego, CA

2017

Untitled, It Looks Like It’s Open, Columbus, OH

2016

Fractured Horizons, Jewelweed, Columbus, OH

Group Exhibitions

2020

Group Show, Telefónica, Tijuana, Mexico

2018

Homecoming, ROY G BIV Gallery, Columbus, OH

2016

Anthropocene, 934 Gallery, Columbus, OJ

2015

Journey into the Other, Flat Color Gallery, Seattle, WA

I’ve recently gone through a drastic shift, from creating intimate abstract work on paper to larger representational paintings on canvas. This transition started as a means of stepping out of the “comfort zone” that I had created in developing a specific process over the course of a decade or so. Initially, I was focused on paintings of plants and animals, primarily as a means of reacquainting myself with the academic painting techniques of my formative years. My recent paintings have depicted ambiguous characters in compromising situations. Currently, I am interested in exploring themes of desperation and existential dread through a playful and slightly humorous lens.

143

Troyer

Molly Jae Vaughan Reaching Self-Portrait | oil on linen board, 16 x 20 inches

144

Molly Jae Vaughan Self-Portrait on the Bed | oil on linen, 20 x 16 inches

145

Molly Jae Vaughan Fixing My Suit | oil on canvas, 48 x 36 inches

146

Molly Jae Vaughan Seattle, WA www.fineartvaughan.com

b. 1977 London, England

Education

2009

MFA, University of South Florida, Tampa, FL

1999

BFA, School of Visual Arts, New York, NY

Professional Experience

2015-

Associate Professor of Art, Bellevue College,

Bellevue, WA

2006-9 Production Assistant, Graphic Studio, University of South

Over the past decade, there has been a necessary social and cultural demand for the diversification of represented identities within the arts. However, I continue to see a lack of bodies like my own represented in most of our visual culture beyond photography and film-based media. For a community that continues to experience deep discrimination and violence, it seems more important now than ever to create a heightened level of visibility for bodies like my own. These paintings challenge my own understanding of my body as well as the viewers. They are protest and they are validation.

Florida, Tampa, FL

Solo Exhibitions

2021

Project 42, Bainbridge Island Museum of Art,

Bainbridge Island, WA

2020

Molly Vaughan: My Trans Life and History, King Street

Station, Seattle, WA 2018

Betty Bowen Award Exhibition; Project 42 by Molly

Vaughan, Seattle Art Museum, Seattle, WA

Group Exhibitions

2017

We the People, Minnesota Museum of American Art,

St. Paul, MN

2016

MOTHA and Chris E. Vargas present Trans Hirstory in 99

Objects, Henry Art Gallery, University of Washington,

Seattle, WA

Awards

2017

Betty Bowen Award, Seattle Art Museum, Seattle, WA

2012

Visual Artist Grant, Art Matters Foundation, New York, NY

Publications

2018

“On Display: Seattle Art Museum,” Surface Design Journal, Summer

2010

New American Paintings, no. 88

Collections

Seattle Art Museum, Seattle, WA

Henry Art Gallery, University of Washington, Seattle, WA

147

Vaughan

Erin Wright Spirit | ink, gouache, acrylic, and model-train clouds on paper, 19 x 15 inches

148

Erin Wright Highway Memorial | acrylic, gouache, ink, Flashe, and pastel on paper, 16 x 20 inches

149

Erin Wright Lucky Strike | acrylic, ink, Flashe, and pastel on canvas, 8 x 20 inches

150

Erin Wright Los Angeles, CA erinkwright1@gmail.com / www.erinkwright.com / @erin.k.wright

b. 1990 Memphis, TN

Education

2012

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

2016

MArch, University of California, Los Angeles, CA

Professional Experience

2019-20 Adjunct Faculty, Woodbury University, Burbank, CA 2018-20 Curator and Director of Binder Projects, Memphis, TN

Solo Exhibitions

2019

Wall Assembly II, Wedge Gallery, Los Angeles, CA

2018

Wall Assembly, Maple Street Construct, Omaha, NE

Group Exhibitions

2020

Home Bound, Trestle Gallery, Brooklyn, NY

Hot Paper, GIFC (online)

2019

House Museum, Livermore, Los Angeles, CA

Microtools, Milan Design Week, Milan, Italy

2017

Souvenirs, Storefront for Art and Architecture,

New York, NY

Publications

2020

Volume 11 (Friend of the Artist)

2018

Studio Visit Magazine, vol. 42

The recent work rearranges architectural features and facades to build playful and clever mise-en-scènes that exist around the everyday landscape. The pieces exist as a sort of paper architecture. Painting and sculpture are the arms and legs of the practice. The paintings mimic the machine-made quality of an architectural rendering through the isometric position and applied textures. In the paintings, the absence of scale renders the architecture as miniature or toylike figures. In the models, that playful quality is achieved through materiality. The models are made through the construction of found objects: plastic, tools, paper, toys, etc. The works challenge the often sober visual code that exists in architecture by exploring the surreal through materiality and composition.

Neil Denari, Tower_Complex: Multi-Authored Towers for a Diverse Los Angeles (University of California,

Los Angeles)

Collection

NexAir, Memphis, TN

151

Wright

Sung Jik Yang Joanne in Chicago | oil on Masonite, 26 x 21 inches

152

Sung Jik Yang Boy with Green Background | oil on Masonite, 18 x 14 inches

153

Sung Jik Yang Angel | oil on canvas, 48 x 30 inches

154

Sung Jik Yang Arcadia, CA syang6242@gmail.com / www.sungjikyang.com / @francis_sungjik

b. 1989 Suwon, South Korea

Education

2018

BFA, ArtCenter College of Design, Pasadena, CA

Professional Experience

2020

Instructor, ArtCenter College of Design, Pasadena, CA

Solo Exhibitions

2020

A Closer Look, Friends Indeed Gallery, San Francisco, CA

2019

Portraits, Eastern Projects, Los Angeles, CA

Group Exhibitions

2020

The Summer Spectacular, Hey There Projects,

Joshua Tree, CA

2018

Universe Is in US, sp[a]ce at Ayzenberg, Pasadena, CA

My Dream of the American Dream, Lemin Space,

Los Angeles, CA

2017

Funsized, Lemin Space, Los Angeles, CA

Clear Gaze, Hutto-Patterson Gallery, Pasadena, CA

My subjects for paintings are people I know quite well. I enjoy the process of making images of people I have met. I feel like I am making a visual diary that reflects the relatum. Their individual life stories and my interpretation/perception of them, along with the chemistry and bond between my subjects and me, are essential for me to conceptualize and visualize when I portray them. In that sense, drawing and painting are processes for me to get to know them better. My works demonstrate physical, emotional, and psychological structures of people around me. I think that the most rewarding aspect of being an artist is when my artistic creation helps people to express their sense of identity. I look for people who bring out an energy and beauty that cannot be explained in words, and I wish to show it through my paintings. I work with oil, and I typically make a painting in one or two days, because I like the effect of working in wet oil paint.

155

Yang

Rachael Zur Immemorial Couch | plaster, wood, netting, acrylic, spray paint, and resin on fabric, 46 x 23.5 inches

156

Rachael Zur Matriarchs’ Living Rooms Commingle | plaster, corrugated plastic, acrylic, spray paint, and resin on fabric, 40 x 30 inches

157

Rachael Zur Memory Prioritizes | plaster, corrugated plastic, acrylic, spray paint, and resin, 30 x 17 inches

158

Rachael Zur West Linn, OR rzur@saic.edu / www.rachaelzur.com / @rachaelzur

b. 1980 Albany, OR

Education

2019

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

2002

BA, College of Creative Studies, University of California, Santa Barbara, CA

Solo Exhibitions

2020 Artifacts of Affection, Gallery 114, Portland, OR

Parlor Room, 26Twenty Gallery, Cape Girardeau, MO

2017

Chimeras & Underdogs, Gallery 114, Portland, OR

2016

Hydrophilic, Black Pine, Woodland, CA

Two-Person Exhibition

2018

In Your Absence, with Gary Zur, Gallery 114, Portland, OR

Group Exhibitions

2020

Everything Is Different Now, Stay Home Gallery,

Paris, TN (online)

All Together, One Grand Gallery, Portland, OR

Aqua Art Fair, w/ KA Projects, Miami Beach, FL

2017

PSA, Ford Gallery, Portland, OR

2016

Gala Art Auction 2016, Pence Gallery, Davis, CA

Award

2018

Traces of us linger in the physical world, even in our absence. There is an evocative nature to domestic objects and spaces, which hold the residual energy of lives lived, long after people are gone. My work depicts ordinary objects from living rooms belonging to people I have loved and lost. However, it is not grief that I am interested in conveying but the residue of the affection that is left behind. I blend sculptural physicality with traditional painting techniques. Supports for the works are made of wood and then wrapped in plaster gauze. I paint into the plaster while it is still wet. Sometimes I add fabric and ceramic components to the work. Texture becomes a way of communicating touch—my own touch held in my work, and what my viewer imagines feeling with their own hand. In this way, my work holds my touch similarly to how a room or an object holds the essence of a person when that person is no longer present.

Ox-Bow Lorette Grellner Scholarship, Ox-Bow School of Art and Artist’s Residency, Saugatuck, MI

Publications

2020

Under the Bridge, Winter

2019

Ether: Volume 1 (In/Passing) (online)

159

Zur

Editor’s Selections

The following section is presented in alphabetical order. Biographical information has been edited. Prices for available work may be found on p182.

Katja Farin Playing with Ants | oil on canvas, 40 x 30 inches

162

Katja Farin Passion Flower | oil on canvas, 50.5 x 40 inches

163

Katja Farin The Beekeeper | oil on canvas, 60 x 48 inches

164

Katja Farin Los Angeles, CA 323.208.9087 (in lieu) farinkatja@gmail.com / www.katjafarin.com / @katjafarin

b. 1996 Fountain Valley, CA

Education

2018

BA, University of California, Los Angeles, CA

Residency

2018

Dumfriess House, Cumnock, Scotland

Solo Exhibitions

2020

Lines from Arguments, Lubov Gallery, New York, NY

2019

Carry, Carries, Carried, in lieu, Los Angeles, CA

Group Exhibition

2018

Give Plaza, in lieu, Los Angeles, CA

Award

2017

Hoyt Scholarship

Represented by

in lieu, Los Angeles, CA

The work attempts to explain relationships and their complexities. I paint alternate realities similar to ours to explain the emotional content of connection, dysphoria, euphoria, isolation, and collective consciousness. The paintings are bright, layered, and illustrative of our contemporary moment. The figures are anonymous, masked, and introspective. The characters are injected with a feeling of purgatory and precarity. Surfaces sustain this mode of creation, layered, scratchy, flat, glossy, and unpredictable. The paintings embody the “grammatical iterative (and often inexplicable) gestures, poses, and movements to make up the relational self.”

165

Farin

Scott Laufer Crow and Serpent in a Landscape | oil on linen, 52 x 52 inches

166

Scott Laufer NG6363 | oil on linen, 64 x 52 inches

167

Scott Laufer NG2967 | oil on linen, 63 x 52 inches

168

Scott Laufer Los Angeles, CA 323.790.4882 (MoskowitzBayse) www.thisisnotscott.com / @thisisnotscott

b. 1988 Philadelphia, PA

Education

2006

Bellefonte High School, Bellefonte, PA

Solo Exhibitions

2020

Recent Paintings, Moskowitz Bayse, Los Angeles, CA

2019

Here, Boy, 0-0 LA, Los Angeles, CA

2017

Mad Demons, Art Movement, Los Angeles, CA

Group Exhibitions

2020

Hollywood Babylon: A Re-Inauguration of the Pleasure

Dome, Jeffrey Deitch, Nicodim, and Autre Magazine,

Los Angeles, CA

2019

The Pure and the Damned, Kumu Kunstimuuseum,

Tallin, Estonia

2018

Soft Bodies, wӘrkärtz, Los Angeles, CA

Best in Show, That That Gallery, Los Angeles, CA

Publication

2017

“Mad Demon,” Autre Magazine, Winter

Represented by

Moskowitz Bayse, Los Angeles, CA

My recent works splice and reorganize histories of painting, presenting them as source material for pictures that probe time, painted historical narrative, and the museum’s changing role within contemporary society. I use digital mark-making strategies as preparation for my paintings, duplicating, truncating, enlarging, obscuring, and repositioning the essential trappings of preindustrial European painting to the point of near-abstraction. I initially learned to paint by candidly and faithfully copying Old Masters. Eventually, I came to seek the same inventiveness that distinguished those painters from their contemporaries. Typically employed as court painters, these artists were praised for their acute ability to render royalty, nobility, religious iconography, and the accompanying accoutrements thereof. Now, though, museum audiences seek out paintings by these painters, as opposed to those of their subjects. This distinction proves crucial, as I pull apart the act of painting from the sliding facts of subject matter and portraiture, focusing instead on the innate qualities of the paint and its underlying intentionality. Thus, rather than appropriate known images, my paintings—much like the museum itself—change their meaning.

169

Laufer

Scott Laufer | Crow and Serpent in a Landscape (detail)

Harris Martinson Thrust in for the View | oil on canvas, 16 x 20 inches

170

Harris Martinson A Pause for Now | oil on canvas, 11 x 14 inches

171

Harris Martinson The Life of the World to Come | oil on canvas, 20 x 16 inches

172

Harris Martinson Los Angeles, CA harrismartinson@gmail.com / www.harrismartinson.com / @harrismartinson

b. 1985 Rockville, MD

Education

2022

MFA candidate, Miami University, Oxford, OH

2018

The Art of Students League of New York, New York, NY

2007

BA, University of Iowa, Iowa City, IA

Martinson

I make paintings to better know the luminosity of things.

173

Lee Piechocki Day 03: Reflecting in the Window at Ms. Donuts | watercolor and gouache on paper, 9 x 12 inches

174

Lee Piechocki Day 15: The Insomniac | watercolor and gouache on paper, 9 x 12 inches

175

Lee Piechocki Day 09: Mercy Arrives in Los Angeles | watercolor and gouache on paper, 9 x 12 inches

176

Lee Piechocki Los Angeles, CA lee.piechocki@gmail.com / www.leepiechocki.com / @leepiechocki

b. 1980 South Bend, IN

Education

2015

MFA, Virginia Commonwealth University, Richmond, VA

Professional Experience

2019-

Art Faculty, California State University, Fullerton, CA

2019

Visiting Artist, Ball State University, Muncie, IN

2016-19 Painting Assistant, Mark Grotjahn Studio, Los Angeles, CA

Group Exhibitions

2021

In Crystalized Time, Museum of Museums, Seattle, WA

2020

36 Paintings, Harper’s Books, East Hampton, NY

GOT IT FOR CHEAP, The Hole, New York, NY

2018

Hidden Valley, 0-0 LA, Los Angeles, CA

2016

Olimpia’s Eyes, Zevitas Marcus, Los Angeles, CA

2013

Wally Show, Mass Gallery, Austin, TX

2012

This Weird Place, Lawndale Art Center, Houston, TX

Publications

2020

Fleur Helluin, “Passion Painting,” Kaltblut Magazine,

May 19 (online)

2018

Day 01: On Friday March 20th, 2020, I received word that I was furloughed from my full-time job. I went onto my balcony. The usual roar of the nearby highway was absent. I sat in this new eerie quiet observing the strangely lush and colorful landscape that is springtime Los Angeles and made a painting. I knew it would calm my nerves and focus my mind. Although it is not the mainstay of my studio practice, I have a long history with plein-air watercolor painting. Over the next three months, I continued to make these paintings, forming a record of my small personal experience within a global pandemic.

Jeff Hamada, “Artist Spotlight,” BOOOOOOOM, June 3 (online)

Collection

Nerman Museum of Contemporary Art, Overland Park, KS

177

Piechocki

Anna Teiche Marti | oil on canvas, 24 x 18 inches

178

Anna Teiche Malaika | oil on canvas, 30 x 25 inches

179

Anna Teiche Self-Portrait on the Lawn | oil on canvas, 48 x 72 inches

180

Anna Teiche Seattle, WA anna.teiche@gmail.com / www.teiche.art / @annateiche

b. 1995 Seattle, WA

Education

2018

BFA, California Polytechnic University,

San Luis Obispo, CA

Residencies

2019

NES Artist Residency, Skagaströnd, Iceland

KINTAI Arts Residence, Kintai, Lithuania

Group Exhibitions

2019

Liminal Budapest, RIFF Budapest, Budapest, Hungary

A Magic Wave, yngspc (Young Space) (online)

2018

Off Menu, Studio 2G, San Luis Obispo, CA

Awards

2019

Grant for Artist Project, Artist Trust, Seattle, WA

Individual Artist Grant, Arts & Humanities Bainbridge, Bainbridge Island, WA

Publications

2019

Volume 9 (Friend of The Artist)

Patterns migrate off of their native fabrics, forming incomplete and overlapping narratives as they recombine, fluidly creating new motifs. Body parts are deceptively recombined to create impossible figures that slowly reveal themselves out of chaotic folds of fabric. My painting process becomes an intricate puzzle, combining the layering of patterns with an illusion of shallow yet palpable depth. I am influenced by modernist formal reduction and studies of geometry. I collapse figure and ground, abstracting my images into geometric angles, lines, and shapes with occasional moments of defined rendering. In contrast to my reductive influences, I often use dramatic poses and lighting drawn from Baroque and early impressionist painters, creating chaotic images of moving patterns, clashing colors, and entangled limbs. Drawn to figurative painting by the human connection of working with models, I bring others’ stories and identities into my practice with a voyeuristic sense of curiosity.

Kate Syme-Lamont and Marti Sipos, eds., BARTR Anthology (Budapest Art Residency)

181

Teiche

Anna Teiche | Malaika (detail)

Pricing

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

Juventino Aranda p20 POR p21 POR p22 POR

Elizabeth Loftus p76 POR p77 POR p78 POR

Erik Shane Swanson p132 POR p133 POR p134 POR

Kate Barbee p24 NFS p25 NFS p26 NFS

Tahnee Lonsdale p80 $13,000 p81 $11,000 p82 $11,000

Susie Taylor p136 $3,200 p137 $3,200 p138 $3,200

Matt Belk p28 $2,000 p29 NFS p30 $9,000

Matt Momchilov p84 $7,500 p85 $8,500 p86 $3,500

Aaron Troyer p140 $1,200 p141 $1,200 p142 $1,200

Kelly Bjork p32 NFS p33 NFS p34 NFS

Jenene Nagy p88 $6,000 p89 $6,000 p90 $6,000

Molly Jae Vaughan p144 $1,500 p145 $4,000 p146 NFS

Iván Carmona p36 NFS p37 NFS p38 $1,200

Corey Pemberton p92 NFS p93 $4,500 p94 NFS

Erin Wright p148 NFS p149 $1,500 p150 $1,500

Edward Cushenberry p40 $100 p41 $100 p42 $2,000

Jim Phalen p96 $20,000 p97 $15,000 p98 $15,000

Sung Jik Yang p152 NFS p153 NFS p154 NFS

Emma Fineman p44 NFS p45 $5,500 p46 $25,000

Max Presneill p100 $13,000 p101 $12,500 p102 $14,000

Rachael Zur p156 NFS p157 NFS p158 NFS

Billy Frolov p48 $2,600 p49 $2,600 p50 NFS

Jason Alan Ramos p104 NFS p105 $3,500 p106 $950

Oscar Garay p52 NFS p53 NFS p54 NFS

Colin Roberts p108 $4,800 p109 $4,000 p110 $4,500

Katja Farin p162 NFS p163 NFS p164 NFS

Nickolas R. Garcia p56 $4,500 p57 $800 p58 $1,250

Kimberly Rowe p112 $22,000 p113 $15,000 p114 $16,000

Scott Laufer p166 $12,000 p167 $12,000 p168 $12,000

Molly A. Greene p60 $5,000 p61 $2,800 p62 $6,000

Sidney MacDonald Russell p116 $10,000 p117 $15,000 p118 $16,000

Harris Martinson p170 POR p171 POR p172 POR

Nasim Hantehzadeh p64 $18,000 p65 NFS p66 $20,000

Ari Salka p120 NFS p121 NFS p122 NFS

Lee Piechocki p174 $650 p175 $650 p176 $650

Calvin Somang Kim p68 NFS p69 NFS p70 NFS

Marty Schnapf p124 $13,600 p125 $13,600 p126 $12,100

Anna Teiche p178 NFS p179 $1,300 p180 $2,200

Peter Ko p72 NFS p73 NFS p74 NFS

Marnie Spencer p128 $6,500 p129 $6,500 p130 $17,000

182

$20