The 10th Circle by Stephen Kelleher

the

10th Circle

C u r a t e d by D avi d Pagel

March 2- April 13, 201 3 V A S T space projects

Scott Anderson Erin Cosgrove Jimi Gleason Kyla Hansen 2

Brian Porray Jaime Scholnick Nicolas Shake Wayne White

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Contents

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Hell, 24/7 Begin Jimi Gleason Wayne White Kyla Hansen Brian Porray Jaime Scholnick Erin Cosgrove Scott Anderson Nicolas Shake End Exhibition Checklist Artistsâ&#x20AC;&#x2122; Resumes

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Hell, 24/7

The 10th Circle revisits Dante’s Inferno by way of This is Spinal Tap, sort of... Back in the fourteenth century, when Dante Alighieri took readers to hell and back, he invited us to descend through nine circles of increasingly intense punishments, where the souls of the damned reaped, in the afterlife, what they had sewed on Earth: the just rewards for straying, far and wide, from the path toward Divine goodness. The point of the wildly entertaining poem was to show readers—in graphic, often harrowing detail— the consequences of bad choices (known, in those days, as sin) in order to scare people into behaving like responsible citizens, fairly and justly and honestly, while still having a little fun watching others fall short of such sensible goals. Accompanied by the Roman poet Virgil, Dante’s roundtrip to the nether world was a one-time and one-time-only deal: a once-in-alifetime opportunity to observe, up-close and personally, the wages of sin, 8

with the express purpose of emerging on the other side of the nightmare, having left the shadowy underworld behind for a life of righteousness, integrity, and moral purpose: an Earthly existence which, by no means perfect, would lead, perhaps through Purgatorio, part two of The Divine Comedy, to Paradiso, the heavenly conclusion of Dante’s magnificently imaginative saga. In 1984, This is Spinal Tap did something similar, but different. Making hilarious fun of both the excesses of rock stars and the fawning nature of the popular press, the tongue-in-cheek movie laid bare the ridiculous pretentions of an industry that took itself too seriously, duping fans into thinking their heroes were larger-than-life, if not divine. Stupidity, not sin, is the driving force behind the story, which follows three dimwitted musicians on all sorts of misadventures as they go through the motions of recapturing the magic of their glory days, or what they wished those days might have been. Written (and ad-libbed) nearly 700 years after The Divine Comedy,

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David Pagel

which Dante worked on from 1308 until his death in 1321, Rob Reiner’s mockumentary blends fact and fiction like the Italian master—freely and fiendishly and with fun-loving aplomb—but steers clear of the moral absolutism that was the lingua franca of Medieval Italy. Rather than engaging in a straightforward discussion of the Beyond, whether heavenly or hellish, the modern movie suggests its presence in the scene when band-member, Nigel Tufnel, shows documentary filmmaker, Marty DiBergi, an amplifier whose dial “goes to eleven.” Oblivious to the arbitrariness of the markings on a 0-100% scale, Tufnel believes that he is in the presence of a great mystery and that he is revealing a significant secret behind his band’s capacity to play music just a little bit louder, and therefore just a little bit better, than its competitors. In other terms: sublime. But that’s not a word that rolls off Tufnel’s tongue.

Today, I invite you to think about the eight-artist exhibition I have organized for Shannon McMackin’s VAST space projects as a “dial goes to eleven” version of The Inferno—not, in any way, shape, or form, as an improvement upon Dante’s masterpiece: simply a riff that brings the vividness of its characters, scenarios, and storylines up to the moment and down to earth, into the digital phase of the Information Age, where 24/7 connectivity links just about everything out there to everything else—and then some. The 10th Circle adds a ring to Dante’s iconic, nine-circle version of the underworld not to suggest that the Italian poet missed something in his original vision, or that an addition to his carefully constructed architecture of hell is needed to house the legions of unrepentant sinners who have ended up there over the last seven centuries, but because, over that span of time, our beliefs about hell have changed.

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Unlike Dante and his very well-educated compatriots, people no longer believe that hell is an actual place, with its own geography, visiting hours, and GPS coordinates. While this makes journeys there impossible, it also prevents us from ever really leaving hell in the rearview mirror, as Dante and Virgil did when they scrambled down Satan’s shaggy hide, traveled through the Earth’s center, and emerged, through the maw of a cavern on the other side of the globe. Hell has, over the centuries, seeped out of the place Dante made for it, in a dark wood, at the base of a mountain, in a cave, beyond a river—and all the way down to the center of the Earth, where Satan is frozen, waist-deep, in a lake of ice. Today, hell is everywhere, as diffuse as an airborne pathogen, as deadly as a toxin, as intangible as a mood, as diabolical as a computer virus, and as pedestrian as a traffic jam. 10

A drifting, indistinct metaphor for adversity, injustice, and all manner of suffering, as well as just about anything that gets in the way of what many believe to be our birthright: instantaneous gratification, hell is part of our psychological landscape, a state of mind unmoored from its theological origins, and a fly in the ointment of secular society. Although no one has ever really been there, we often act as if we have brought hell with us, its baggage traipsing behind us and transforming the everyday world in which we live into the tenth circle. In a sense, hell has traveled through the looking glass; now it’s everywhere, all the time. While it lacks the precise borders, rationally planned layers, and absolute logic of Dante’s theistic rendition, it is all the more horrifying for being inescapable and hard to pin down. I have brought together the paintings, sculptures, collages, and photographs by Scott Anderson, Erin Cosgrove, Jimi Gleason, Kyla Hansen, Brian Porray, Jaime Scholnick, Nicolas Shake, and Wayne White to suggest that hell has

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not disappeared into the mists of ancient history—or classical literature—but is still very much with us, as much a part of our everyday, technologically enhanced lives as it was a part of Dante’s cosmology, which was nothing if not divine. Unlike Dante, who goes straight to hell to discover what all good souls are up against, all the better to resist it, we are banished from the world in which such singular, authoritative visions have currency, or kick. But just because we have been 86’d from hell, we have not received free passes to heaven. Modern life is more indeterminate, chaotic, ambiguous, and confusing than the world neatly laid out in Dante’s three-part poem. What takes shape in The 10th Circle is the sense that hell is everywhere, that it has come home to roost, for better and for worse, in a world of relativism run amok. To get a feel for the hellishness that takes shape in The 10th Circle, think of it not as a noun but as an adjective, less a place than a frame of mind or state of being. Where Jean Paul Sartre asserted that “hell is other people,” this eightartist exhibition dials up the drama (one little number) to suggest that hell is all that and more, a part of each of us that makes us who we are and cannot be escaped quite so easily as other people. Most of the works in the exhibition look as if they’ve been to hell and back and have emerged from the journey more battered and beautiful than ever before: more fierce, even ferocious, in their pieced-together defiance, their mutant beauty more unsettling and potent than anything like business as usual. In them, creation and destruction go hand in hand. They show that art’s everlasting power resides in that complex dynamic, particularly as it is borne out in Jimi Gleason’s icy hot paintings that seem, simultaneously, to be molten and frozen, and Brian Porray’s mongrel mandalas, across whose fractured surfaces the battle between building a system and breaking free of its structure rages

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with abandon and menace. Desert detritus provides Kyla Hansen and Nicolas Shake with the points of departure for their assemblage-style sculptures, whose cobbled-together scrappiness makes Frankenstein look like a Beverly Hills trophy wife. Hansen’s mobile totems and wobbly stacks of stuff are ad hoc talismans for renegades on the run and Shake’s nighttime photographs of rearranged garbage piles bring a whiff of Vegas glamour to fugitive encampments. Scott Anderson’s pair of paintings force’s history to collapse upon itself, as if the weight of the past were too great a burden for the present and time, itself, had suddenly given way—as if sucked into a black hole. Each of Anderson’s abstract still lifes looks as if it would be at home in the early twentieth century or in the early twenty-first, until you look closely and feel the queasiness of its palette and format, which reveals each of these paintings to be a 12

dyed-in-the-wool misfit, uncomfortably out of place in every context. Such logic-defying time-travel likewise animates the figures in the exhibition, which run the gamut from Wayne White’s down-home roadside attractions to Jaime Scholnick’s glammed-up cabinet members and Erin Cosgrove’s Founding Fathers, whose formal features include a radically democratic slew of styles, from Ancient Assyrian carvings to Japanese woodblock prints, as well as colonial crafts, medieval etchings, Tibetan totems, and Chinese icons. Cosgrove’s multi-sourced portraits, like White’s rebel marionette and mechanical pig and Scholnick’s rogue’s gallery of political henchmen (and -women) do double duty as Virgil-style guides to the works around them and as stand-alone stars of The 10th Circle, where sorry souls of all shapes and stripes haunt the present, our otherworldly visions no match for the outlandish madness of the real thing.

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Exhibition Checklist

Scott Anderson

XIV • Summer House, 2012, oil on linen, 60 x 48 inches XV • The Cosmopolitans, 2013 oil on linen 60 x 48 inches

Erin Cosgrove

Urfather Washington, 2012, polychrome basswood, 73½ x 55 x 3 inches XII • Urfather Franklin, 2012, polychrome basswood, 73 x 61 x 3 inches XIII • Urfather Jefferson, 2012, polychrome basswood, 72½ x 46 x 3 inches Urfather Lincoln, 2012, polychrome basswood, 73½ x 67 x 3 inches

Jimi Gleason

II • Jage of Spades, 2013, silver deposit, acrylic on canvas, 72 x 60 inches III • Ace of Spades, 2013, silver deposit, acrylic on canvas, 72 x 60 inches

Kyla Hansen

Glitter Gulch 1, 2013, found objects, papier mache, foam, bondo, yarn, resin, glitter, and paint, 40 x 18 x 18 inches VI • Glitter Gulch 2, 2013, found objects, foam, bondo, resin, lace, tape, wood, casters, glitter, and Astroturf, 20 x 20 x 12 inches VII • An Old Family Tradition, 2013, foam, contact paper, resin, found objects, and paint, 96 x 30 x 30 inches Tumbler Set, 2013, foam, contact paper, glitter, resin, found objects, papier mache, and paint, 48 x 18 x 18 inches

Brian Porray

IX • Seahorse Sea Hell, 2012, synthetic polymer, spray paint, paper, marker, and ballpoint pen on canvas, 96 x 96 inches VIII • 4Nti EV1L-EY3, 2013, synthetic polymer, spray paint, paper, fabric, and colored pencil on canvas, 80 x 136 inches (2 panels)

Jaime Scholnick

X • Condi (from the Chuckles Series), 2008, acrylic and glitter on Mylar, 29 x 24 inches Gonzo (from the Chuckles Series), 2008, acrylic and glitter on Mylar, 29 x 24 inches Ashie (from the Chuckles Series), 2008, acrylic and glitter on Mylar, 29 x 24 inches XI • Cheney (from the Chuckles Series), 2008, acrylic and glitter on Mylar, 29 x 24 inches Rummy (from the Chuckles Series), 2008, acrylic and glitter on Mylar, 29 x 24 inches Rove (from the Chuckles Series), 2008, acrylic and glitter on Mylar, 29 x 24 inches G.W. (from the Chuckles Series), 2008, acrylic and glitter on Mylar, 29 x 24 inches

Nicolas Shake

XVI • Epitaph of the Former Feast, 2013, oil on canvas, 82 x 72 inches XVII • Still Life of Tread, Wood and Twine, 2012, friendly plastic, acquired dirt, found wood, spray enamel, masonry twine, staples, wire, coins, copper and zinc hardware, marker, concrete, and wood, 33 X 42 X 44 Still Life of Two 16’s, 24, + 28, 2012, friendly plastic, acquired dirt, string, found wood, wood, paint, marker, and coins, 68½ x 22 x 27¾ inches Collected Wreckage Colliding with a Constellation, 2012, archival inkjet print mounted on dibond, 32 x 48 inches I • Throne, 2012, C-print mount on dibond, 32 x 48 inches

Wayne White

IV • Rebel Soldier, 2011, mixed media, 114 x 37 x 49 inches V • Chickamauga Hog, 2011, mixed media, 76½ x 32 x 25 inches

Artists’ Resumes David Pagel David Pagel is an art critic who writes regularly for the Los Angeles Times. He is an associate professor of art theory and history at Claremont Graduate University and an adjunct curator at the Parrish Art Museum in Water Mill, NY. He has a long history of lecturing and curating in Las Vegas at both the Las Vegas Art Museum and University of Nevada, Las Vegas. His personal art collection reflects his affinity for Las Vegas artists. An avid cyclist, Pagel is a four-time winner of the California Trip Crown.

SELECTED SOLO / TWO-PERSON EXHIBITIONS 2013 Future Perfect Tense, Biggin Gallery, Auburn University, Auburn, AL 2011 Mythic Futures, Eggman and Walrus Gallery, Santa Fe, NM 2009 Join or Die, Stux Gallery, New York, NY (Catalog) 2008 Rendezvous Point, Light and Sie Gallery, Dallas, TX (Catalog) Misiisto, Kavi Gupta Gallery, Chicago, IL 2007 Guru, Kavi Gupta Gallery, Leipzig, Germany 2005 Re Krei, Kavi Gupta Gallery, Chicago, IL Aneksi, Mark Moore Gallery, Santa Monica, CA Neo Pejzago, Galerie Jean-Luc and Takako Richard, Paris, France (Catalog) 2003 12x12, New Artists New Work, Museum of Contemporary Art, Chicago, IL Chicago Cultural Center, Chicago, IL Miami University of Ohio, Oxford, OH. 2001 Esperanto for Forage, Peter Miller Gallery, Chicago, IL

Curator: Aaron Baker Cut, Shuffle, Draw, Columbus State University Galleries, Columbus, GA Guerrero Gallery, San Francisco, CA Tethered to My World, Highland Park Art Center, Highland Park, IL, Curator: Phyllis Bramson 2010+1 Young Painters: The Miami University’s 21rst Century Painting Collection, Heistand Galleries, Miami University of Ohio, Oxford, OH 2009 Low Blow, Stux Gallery, New York, NY Beatutiful/Decay A to Z, Kopeikin Gallery, Los Angeles, CA Landscape Affected, Haggerty University Gallery, University of Dallas, Dallas, TX 2008 Future Tense: Reshaping the Landsdape, Neuberger Museum, Purchase, NY,Curators: Dede Young and Avis Larson Wild Kingdom, Nerman Museum of Contemporary Art, Overland Park, KS Wintergarten, Kavi Gupta Gallery, Berlin, Germany West, Wester, Westest, Fecalface Dot Gallery, San Francisco, CA, Curator: Ryan Christian Apocalypse Yesterday, Claremont Graduate University, Los Angeles, CA, Curator: David Pagel Cultivating Instability, Cliff Dwellers, Chicago, IL, Curator: Iain Muirhead New Work From Chicago, Road Agent Gallery, Dallas, TX 2007 Me and My Katamari, Lisa Boyle Gallery, Chicago, IL 2006 Mutiny!, Happy Lion Gallery, Los Angeles, CA, Curator: David Hunt Homecoming, Epstein Gallery, Leawood, KS/ Johnson County Community College, Overland Park, KS, Curators: Bruce Hartman and Kent Smith Après moi, le deluge, exhibition with Angelina Gualdoni, Adam Civanovic, Steve Kroner, FA Projects, London, U.K. We Build the Worlds Inside Our Heads, Freight & Volume Gallery, New York, NY 2005 Strange Fictions, Tarble Art Center, Eastern Illinois University, Charleston, IL Curator: Chris Kahler. (Brochure) 2004 Architecture Untethered, Numark Gallery, Washington, D.C. (Brochure) Two-person exhibition with Aaron Baker, Community College of Southern Nevada, Las Vegas, NV (Brochure) The Babble of Towers, Columbus State University, Columbus, GA, Curator: Orion Wertz. (Brochure) Mental Space, Wendy Cooper Gallery, Madison, Wisconsin. Curator: JJ Murphy 2003 Post-Digital Painting, Cranbrook Art Museum, Cranbrook Academy, Bloomfield Hills, MI. Curator: Joe Houston. (Catalog) Painting!, University Art Galleries, Central Michigan University, Mt. Pleasant, MI. Curator: Julia Morrisroe. (Catalog) 2002 Painting and Illustration, Luckman Gallery, California State University at L.A., Los Angeles, CA. Curator: Adam Ross Social Landscape, P.P.O.W. Gallery, New York, NY. Nubo Wave Map Space Bubble, University Galleries, Illinois State University, Normal, IL. Curator: Barry Blinderman. (Brochure)

SELECTED GROUP EXHIBITIONS 2013 The 10th Circle, Vast Space Projects, Henderson, NV, Curator: David Pagel Reverb: Current Abstraction in Painting, University of Northern Iowa Gallery of Art, Cedar Falls, IA 2011 Streams of Consciousness, Salina Art Center, Salina, KS, Curator: Christopher Cook Always Nowadays, SCA Contemporary, Albuquerque, NM, Curators: Larry Bob Phillips, and Karl Hoffman 2010 Underground Pop, Parrish Art Museum, Southampton, NY, Curator: David Pagel (Catalog) Bunny Redux, Warhol Museum, Pittsburgh, PA,

BIBLIOGRAPHY Artner, Alan G., Chicago Tribune, March 21, 2008 (image) Artner, Alan G., “Scott Anderson’s Odd Beauty,” Chicago Tribune April 18, 2003 (image) Artner, Alan G., “Gallery Season Guide,” Chicago Tribune, September 2001 Artner, Alan G., “Visions by four. The theme is apocalypse, the art, Inventive.” Chicago Tribune, August 10, 2001, p.32 Azizian, Carol, “Cranbrook exhibit driven by technology,” Flint Journal,

Highlights Sush Machida Gaikotsu, Las Vegas Art Museum, Las Vegas, Nevada, April 2007 L.A. Now, Las Vegas Art Museum, Las Vegas, NV, Dec. 11, 2008-Feb. 28, 2009 Some Dumb Fun (Ingrid Calame, Casey Cook, Steven Criqui, Max Jansons, Keith Mayerson, and Monique Prieto), University of Nevada, Las Vegas, November 1996 “Doing It Their Way: The Independence of Art Criticism in the Commercial World,” panelist, University of Nevada, Las Vegas, Nov. 1996 “Art and Talk and Discourse,” undergraduate workshop, University of Nevada, Las Vegas, Las Vegas, NV, Oct. 19, 2012 “Criticism, Art and Democracy: Monique Prieto Over the Years,” lecture, University of Nevada, Las Vegas, Las Vegas, NV, Oct. 18, 2012 “L.A. Now,” lecture, Las Vegas Art Museum, Las Vegas, Nevada, Dec. 11, 2008 “Lots of Fish, No Stories: Sush Machida Gaikotsus Pop Pictures,” lecture, Las Vegas Art Museum, Las Vegas, Nevada, May 2007 “Nouveau Populism: Current Art in Los Angeles and Las Vegas,” lecture, Melbourne University, Melbourne, Australia, Oct. 2002 SCOTT ANDERSON EDUCATION 2003 University of Illinois at Urbana-Champaign m.f.a. 1997 Kansas State University b.f.a.

January 3, 2003 Beautiful/Decay, Issue X, featured artist, (Cover image and interior images) Beautiful/Decay, Issue Z, (image) Beautiful/Decay, Book 6, “Future Perfect”, (image) Biro, Matthew, Contemporary, issue #69, 2004, p.77 Blinderman, Barry, “Painting in the Digital Age,” essay for 4th Annual Miami University Young Painters exhibition, January 2003 Blinderman, Barry, essay from “Nubo Wave Map Space Bubble,” brochure, January 2002 (image) Bon Magazine, “Young Masters,” Fall 2007, pp. 57, 60, 64, (images) Brunetti, John, “Scott Anderson and Cyber-Landscape,” The C.A.C.A. Review, October 2003, p. 3 Camper, Fred, “Imperfect Worlds,” Chicago Reader, April 11, 2003, pp. 26 – 27 Champaign-Urbana Octopus, April 13-19, 2001 (cover image) Chomin, Linda Ann, “Post-Digital exhibit captures painting ‘of the moment’,” Observer & Eccentric, March 6, 2003 Cohen, Keri Guten, “Artists use technology in paintings,” Detroit Free Press, January 5, 2003 Colby, Joy Hakanson, “’Post-Digital Painting’ pumps new technology into aging art form.” Detroit News, January 30, 2003 Cook, Christopher, catalog essay for Revolucio, on the occasion of Join or Die, Stux Gallery, New York, NY Dawson, Jessica, “Design and Structure in 3-D,” Washington Post, Thursday, October 21, 2004 DiMichele, David, “Painting and Illustration at the Luckman Gallery,” Artweek, December 02/January 03 Droitcour, Brian, “Publish or Parrish,” Artforum.com, Scene and Heard, August 22, 2010 Ellegood, Anne, essay for “Architecture Untethered” exhibition, September 2004 Ernst, Eric, “Between Pop and Postmodern,” 27 East, East Hampton Press + Southampton Press, September 27, 2010 Farstad, Julie, Mouth to Mouth, Spring 2003, pp. 43-44 (image) Finch, Leah, “Scott Anderson”, New Art Examiner, March-April 2002, pp. 78-79 (image) Finch, Leah, “Apocalypse Next Week,” Dialogue, September 2001, pp. 31-35 (cover image) Genocchio, Benjamin, “Today’s Landscapes, Tomorrow’s Dystopia,” New York Times, June 1, 2008 Green, Tyler, art blog entry, Mondernartnotes. com, October 2004 Haddad, Natalie, “Digital Simulation,” Real Detroit Weekly, March 12-18, 2003 Hannum, Terence, interview in Beautiful/Decay, issue “X,” pp. 44-53 (images and cover image) Houston, Joe, essay from “Post-Digital Painting” exhibition catalog, 2003, pp. 11-13, (image) Johnson, Ken, “The Allure of the Homespun in the Maw of the Digital Age,” The New York Times.com, September 2, 2010 Jones, Richard O, “Future looks bright for digital painting,” Journal News, Hamilton, Ohio, January 24, 2003, (image) Joyce, Julie, catalog essay, Light and Sie Gallery, Dallas, TX Knight, Gregory and Silverman, Lanny, essay for exhibition at Chicago Cultural Center, September 2003 Landes, Jennifer, “Pop Goes Underground,” The East Hampton Star, December 31, 2010 Moffett, Nancy, “30 and Below,” Chicago SunTimes, March 29, 2003 Mouth to Mouth, “Word for Word,” collaborative interview with Aaron Baker, winter 2004, pp. 15-21 (image) Murphy, J.J., essay accompanying “Mental Space” exhibition, January 2004 Neuhoff, Tony, “Apocalypse Next Week,” New Art Examiner, NovemberDecember 2001, pp. 93-94 New American Paintings, Volume #35, September 2001 (image)

New American Paintings, Volume #53, Fall 2004 (image) Pagel, David, catalog essay, Galerie Jean-Luc and Takako Richard, Paris France Pagel, David, “Dramatic in any language,” Los Angeles Times, April 8, 2005 (image) Park, Steve, “No Soup Cans in This Pop Art,” Newsday, 2010 Playboy Magazine, reproduction of painting used to illustrate article, “What is the Meaning of it All?” May 2005, pp. 64-65 (image) Ross, Adam, essay accompanying the exhibition, “Painting and Illustration,” September 2002 Spector, Buzz, catalog essay from “Painting!,” Central Michigan University, Mt. Pleasant, MI, October 2003 (cover image) Spector, Buzz, essay from “Apocalypse Next Week” exhibition brochure, July 2001 (image) Champaign-Urbana Octopus, “Today in Eight Parts graces I-Space,” March 16-22, 2001 (image) Tysh, George, “Art 1010101010101010, Cranbrook’s ‘Post-Digital Painting’ boots up wild new worlds,” Metro Times, January 29, 2003 Wertz, Orion, exhibition brochure essay from “The Babbel of Towers”, October 2004 The Wolf Magazine for New Poetry, artist in residence, issue no. 23, June 2010 Wolff, Rachel, “Pop Goes Mighty Mouse,” Art News, Summer 2010, p.33 SELECTED AWARDS 2006 Pollock-Krasner Foundation Grant 2003 William and Dorothy Yeck Award 2001 Kate Neal Kinley Memorial Fellowship LECTURES AND RESIDENCIES 2012 University of Northern Iowa, Cedar Falls, IA, February 23 2011 University of Arizona, Tucson AZ, September 7 Indiana University, Bloomington IN, January 21-22 2010 Atlantic Lecturer, Claremont Graduate University, Claremont CA, February 15-19 2005 Art Center, Pasadena CA, April 4 2004 University of Notre Dame, South Bend IN, October 14-15 Community College of Southern Nevada, Las Vegas NV, October 21 2003 Illinois State University, Normal IL, August 24-September 20 Eastern Illinois University, Charleston IL, March 19 University of Wisconsin, Madison WI, February 3-28 School of the Art Institute of Chicago, December 13 ERIN COSGROVE Education MFA, University of California, Los Angeles, 2001 BFA, University of Minnesota, Minneapolis, Summa Cum Laude, 1996 Solo Exhibitions In Defense of Ghosts, Angles Gallery, Los Angeles (solo) 2012 What Manner Of Person Art Thou?, installation, Carl Berg Gallery, Los Angeles, CA 2009 What Manner Of Person Art Thou?, Armand Hammer Museum, Los Angeles, CA, 2008 A Heart Lies Beneath, Espace Croisé Centre d’art Contemporain, Roubaix, France 2008 Capitalism Must Fund Its Own Demise!, Carl Berg Gallery, Los Angeles, CA 2008 The Baader-Meinhof Affair, Installation, Printed Matter Inc., New York, NY 2008 Selected Grants and Awards Contemporary Collectors Artist Fellowship 2010 Creative Capital Film and Video Grant, Muriel

Pollia Award 2008 Center for Cultural Innovation Investing in Artists Grant 2008 John Simon Guggenheim Fellowship Selected Screenings, Festivals, and Television Video Shorts Screening by Erin Cosgrove, Art Night Pasadena, Pasadena City College, 2004 Creative Capital Screening, Museum of Modern Art, New York 2010 Pulse Miami 2010, with Catharine Clark Gallery and Artist Pension Tust 2010 First Thursdays Screenings, Santa Barbara Museum of Art, California 2010 Dallas VideoFest, Dallas, Texas 2010 What Manner of Person Art Thou?, Pleasure Dome, Toronto, Canada; Blanton Museum of Art, Austin, Texas; Wexner Center for the Arts, Columbus, Ohio; What Manner of Person Art Thou?, Santa Barbara Museum of Art, California; 2010 Migrating Forms Film Festival, New York, NY 2010 Saison Video; École Regionale Superieure D’expression Plastique, Espace Croisé Centre d’art Contemporain, Tourcoing, France 2008 City Beat, Internet Video Exhibition, Espace Croisé Centre d’art Contemporain, Roubaix, France 2008 Videoformes 2006 XXIe, Videoformes, Auvergne, France 2005 Bommen en Granaten: Nacht Podium, VPRO (Netherlands TV), 11/6, Amsterdam Impakt Film Festival, Utrecht, The Netherlands 2005 Nocturnal Video: stuff from LA and other places, Christine Koenig Gallery, Vienna, Austria 2003 Selected Group Exhibitions, Readings, and Performances Pieceable Kingdom, Beacon Arts Building, (curated by David Pagel), LA, CA 2011 Baker’s Dozen, The Torrance Art Museum, Torrance, CA 2011 Stranger Than Fiction, Santa Barbara Museum of Art, Santa Barbara, CA 2010 Decalogue: Films You Can Count on Two Hands, Winkleman Gallery (curated by Eve Sussman), New York 2010 Rogue Wave ’09, LA Louver, Los Angeles, CA, (catalogue) 2009 Learn To Read Art: A History of Printed Matter (1976-2009), Badischer Kunstverein, Karlsruhe, Germany, P.S.1 Contemporary Art Center, Long Island 2009 Cola Fellowship Exhibition, Los Angeles Municipal Art Gallery, California, (catalogue) 2008 Los Angeles Art Now, Galleri S.E International Contemporary Art, Bergen, Norway 2006 The Armory Show, Specific Object/Susan Inglett, NY, NY 2006 Life. A User’s Manuel, Haus der Kunst, Munich, Germany 2005 van RAF tot Hofstad, Kunste en Terrorisme, Impakt, Utrecht, The Netherlands 2005 On Imagining Terror: The RAF. An Exhibition, Kunst-Werke, Berlin, Landesmuseum Joanneum in Graz, Austria (catalogue) 2005 100 Artists See God, Laguna Art Museum, Laguna Beach, CA, The Contemporary Jewish Museum, San Francisco, CA, The Institute of Contemporary Arts, London, England; Contemporary Art Center of Virginia, Virginia Beach, VA, Albright College Freedman Gallery, Reading, PN, Cheekwood Museum of Art, Nashville, TN 2004 catalogue Pulp Art, Brooklyn Museum of Art, Brooklyn, NY An Interest in Life, Apexart Gallery, New York, NY, (brochure) Nocturnal Video: stuff from LA and other places, Christine Koenig Gallery, Vienna, Austria Selected Publications Rogue Wave 07/09 Catalogue, L.A. Louver, 64 pp 2010

Hammer Projects (1999-2009), Hammer Museum, 432 pp 2009 Blood and Irony, Hammer Museum exhibition brochure essay, by Julian Gough 2008 Die Baader-Meinhof-Affäre, German translation of The Baader-Meinhof Affair, Blumenbar publishing, Munich, Germany Co-editor and contributor to Heartways: The Exploits of Genny O, Printed Matter, Arsenal Press and The Whitney Museum A Hundred Flowers Have Bloomed: A Reader’s Guide to The Baader-Meinhof Affair, Carl Berg Gallery, Los Angeles, CA, exhibition catalogue The Baader-Meinhof Affair, Printed Matter Inc. Publishing initiative for Emerging Artists, New York, NY Night Nurse, collaboration with John Baldessari in Naked Came the **** a publication for Rita McBride, Germany Jimi Gleason EDUCATION 1985-86 San Francisco Art Institute, San Francisco, CA 1985 BFA, University of California, Berkeley, CA SOLO EXHIBITIONS Peter Blake Gallery, Laguna Beach, CA 2013 RB Stevenson Gallery, La Jolla, CA 2012 Bentley Gallery, Scottsdale, AZ 2011 Peter Blake Gallery, Laguna Beach, CA 2011 Toomey-Tourell Fine Art, San Francisco, CA 2011 Samuel Freeman, Los Angeles, CA 2011 Peter Blake Gallery, Laguna Beach, CA 2010 Works on Paper, Philadelphia, PA 2010 LewAllen Contemporary, Santa Fe, NM 2010 Peter Blake Gallery, Laguna Beach, CA 2009 Toomey-Tourell Fine Art, San Francisco, CA 2009 Samuel Freeman, Los Angeles, CA 2009 Peter Blake Gallery, Laguna Beach, CA 2008 Patricia Faure Gallery, Los Angeles, CA 2007 Toomey-Tourell Fine Art, San Francisco, CA 2007 Peter Blake Gallery, Laguna Beach, CA 2007 R.B. Stevenson Gallery, La Jolla, CA 2006 LewAllen Contemporary, Santa Fe, NM 2006 Peter Blake Gallery, Laguna Beach, CA 2006 Kidder-Smith Gallery, Boston, MA 2006 Patricia Faure Gallery, Los Angeles, CA 2005 Peter Blake Gallery, Laguna Beach, CA 2005 Works on Paper, Philadelphia, PA 2005 LewAllen Contemporary, Santa Fe, NM 2005 Ruth Bachofner Gallery, Los Angeles, CA 2005 Toomey-Tourell Fine Art, San Francisco, CA 2005 Peter Blake Gallery, Laguna Beach, CA 2004 Kidder-Smith Gallery, Boston, MA 2004 Peter Blake Gallery, Laguna Beach, CA 2004 Ruth Bachofner Gallery, Los Angeles, CA 2003 Ruth Bachofner Gallery, Los Angeles, CA 2002 Dakota Studio, New York, NY 1994 The World, New York, NY 1988 SELECTED GROUP EXHIBITIONS ”The 10th Circle,” Vast Space Projects, Henderson, NV 2013 “Liquid Pop,” Koki Fine Arts, Tokyo, Japan 2013 “Mixed Media,” RB Stevenson Gallery, La Jolla, CA 2012 “Color Queries,” LewAllen Contemporay, Santa Fe, NM 2012 “Transcending Abstraction-Perspectives in Reductive Art,” Peter Blake Gallery, Laguna Beach, CA 2012 ”Silver Lining,” SeeLine Gallery, Los Angeles, CA 2011 “Winter Group Show,” Peter Blake Gallery, Laguna Beach, CA 2011 “Elements of Nature,” Selections from the Frederick Weisman Art Foundation, Contemporary Art Center, New Orleans, LA 2010 “Just Enough,” RB Stevenson Gallery, La Jolla, CA 2010 ”Elements of Nature,” Selections from the Fred-

erick R. Weismann Art Foundation, Carnegie Art Museum, Oxnard, CA 2010 “Well-Tempered,” RB Stevenson Gallery, La Jolla, CA 2009 “A Three Legged Table,” Samuel Freeman Gallery, Los Angeles, CA 2009 “The New Irascibles,”AC Projects, Pomona, CA 2009 “East/West,” Royale Projects, Palm Desert, CA 2009 “Gallery Artists,” Peter Blake Gallery, Laguna Beach, CA 2009 “The Surface of Space II,” Phantom Galleries, Long Beach, CA 2009 ”2332,” Huntington Bach Art Center, Huntington Beach, CA 2008 “Ten,” Toomey-Tourell Fine Art, San Francisco, CA 2008 “Liquid Light,” MODAA, Culver City, CA. 2008 ”Supermarket,” Peter Blake Gallery, Laguna Beach, CA. 2008 “The Surface of Space, ” Pharmaka Gallery, Los Angeles, CA 2008 ”In Focus,” Seattle Art Museum, Seattle, WA 2007 “Reprise,” RB Stevenson Gallery, La Jolla, CA 2007 “Liquid Light,” dba Gallery 256, Pomona, CA 2007 “An Eclectic Eye: Selections from the Dan Leach Collection,” Tucson Museum of Art, Tucson, AZ 2007 “West Coast Abstraction,” Peter Blake Gallery, Laguna Beach, CA 2007 “Selected Works,” RB Stevenson Gallery, La Jolla, CA 2007 “Pink,” Soho Myriad, Atlanta GA 2007 “Palette to Palate,” Laguna Art Museum, Laguna Beach, CA 2007 “Abstraction Reduced to White,” Peter Blake Gallery, Laguna Beach, CA 2006 “One Shot,” LA X ART, Los Angeles, CA 2006 “Summer Group Show,” Peter Blake Gallery, Laguna Beach, CA 2006 “Nice Work if You Can Get It,” Mandarin Gallery, Los Angeles, CA 2006 “Pink III,” Arena One Gallery, Santa Monica, CA 2006 “Jimi Gleason and Thomas Zitwitz,” RB Stevenson Gallery, La Jolla, CA 2006 “Grey Scale,” Peter Blake Gallery, Laguna Beach, CA 2006 “Incognito,” Santa Monica Museum of Art, Santa Monica, CA 2005 “Abstract Los Angeles,” Louisiana Tech University, Ruston, LA 2005 “Mass {RE}Production,” College of Santa Fe, NM 2005 “20/20 Visions,” I-5 Gallery, Los Angeles, CA 2005 “Pink,” Patricia Faure Gallery, Los Angeles, CA 2005 “Small Works Exhibit,” LewAllen Contemporary, NM 2005 “Big & Holy,” Cartelle Gallery, Los Angeles, CA 2004 “BIG,” Toomey-Tourell Fine Art, 511 Harrison, San Francisco, CA 2004 “The OsCene,” Laguna Art Museum, Laguna Beach, CA 2004 “Twentieth Anniversary Show,” Ruth Bachofner Gallery, Los Angeles, CA 2004 “Ed Moses and Jimi Gleason,” HB Art Center, Huntington Beach, CA 2004 “Abstract Los Angeles,” Soho Myriad Gallery, Atlanta, GA 2004 “Heavens Gonna Burn Your Eyes,” Cartelle Gallery, Los Angeles, CA 2004 “Modes and Methods,” Contemporary Art Museum, Amarillo, Texas 2004 “Pink,” Cartelle Gallery, Los Angeles, CA 2004 “White on White,” Patricia Faure Gallery, Los Angeles, CA 2004 “Painting Today,” The Art Institute of California Orange County, Santa Ana, CA 2003 “Black and White,” Ruth Bachofner Gallery, Los Angeles, CA 2003 “SOULdiers,” SCA Gallery, Pomona, CA 2003 “Art X,” Long Beach Museum of Art, Long Beach, CA 2003

“No Pictures Here-Non-Objective Painting from LA.,” dA Center For The Arts, Pomona, CA 2002 “California Dream,” Museum I Magli, Sarezzo (Brescia), Italy 2002 “California Dream,” Museum Forno Fusoria, Tavernole (Brescia), Italy 2002 “Rising Tide, Southern California Abstraction 2001,” Orange County Center for Contemporary Art, Santa Ana, CA 2001 “ 10 Degrees of Abstraction,” Biola University Gallery, La Mirada, CA 2000 “Emulsion,” POST, Los Angeles, CA 2000 “Black and White,” Splendid, Brooklyn, NY “Nice work if you can get it,” Holly Matter Contemporary Art, Los Angeles, CA 2000 “Drawings,” Chimeat Gallery, Brooklyn, NY 1998 “L.A. Current View: New View, Art Rental and Sales Gallery, ArmandHammer Museum, Los Angeles, CA 1998 “Tres Colores,” The Apartment House, Los Angeles, CA 1993 “Alphabet City Drawings,” SFA, New York, NY 1992 “New Paintings,” Dakota Studio, New York, NY 1991 “Two from New York,” West End Gallery, Portland, ME 1989 “Oaktown Drawings,” Tony Venegas Gallery, Oakland, CA 1987 “Fort Point,” Diego Rivera Gallery, San Francisco Art Institute, SF, CA 1986 “Student Show,” Worth Ryder Gallery, U.C. Berkeley, CA 1984 SELECTED BIBLIOGRAPHY Square Cylinder, “Jimi Gleason at ToomeyTourell,” David Roth,September 2011 San Francisco Chronicle, “Gleason tilts between fresh, flash,” Kenneth Baker, September 2011 Los Angeles Times, “A Cornucopia of Delights,” David Pagel, April 2011 OC Arts & Culture, “The Art of Chromatics,” Roxana Vosough, November 2010 Riviera Magazine, “Chromatics,” Daniella Walsh, November 2010 OC Arts & Culture,”Artist Spotlight: Jimi Gleason,” Roxana Vosough, November 2010 Pasatiempo, “Visions that vary by Vantage,” Michael Abatemarco, February 2010 Orange Coast Magazine, “Artist Spotlight,” Anastacia Grenda, January 2010 San Diego Union-Tribune,”Quartet of soloists at La Jolla gallery, ”Robert Pincus,November 2009 San Francisco Chronicle,” Jimi Gleason at Toomey-Tourell,” Kenneth Baker, October 2009 ArtSlant, Los Angeles.”West/East,” Stacy Davies, April 2009 ArtScene, “2332,”Daniella Walsh, Vol. 28, No. 3, November 2008 San Francisco Chronicle, ”Rough around the Edges, ”Kenneth Baker, September 2007 Art Ltd. Magazine, “Artist Profile,” September 2007 Orange County Register, “Shades of Grey, ”Daniella Walsh, January 2007 Boston Globe, “Centering techniques,” January 2007 Riviera Magazine, “No Colors Anymore,” January 2007 Orange County Register, “Bold reflections of nature and light,” September 2006 San Diego Union-Tribune, “Daydreamers,” June 2006 Los Angeles Times, “Liquid Light, ”David Pagel, December 2005 Orange County Register, “Artist see white,” December 2005 Coast Magazine, “OC’s Blue Chip Artists,” October 2005 The Philadelphia Inquirer, “The Layered Look comes to Color Field Painting,” August, 2005 Catalog, “Big & Holy,” Cartelle Gallery, Los Angeles, CA, 2004 Orange County Register, “Elegance in the Abstract,” Visual Art, Show, October 1, 2004 Los Angeles Times, “Inaugural Exhibition,”

Calendar, May 2004 Artweek, “Jimi Gleason at Ruth Bachofner,” November 2003, Volume 34, Issue 9 STILE arte, Anno VII N. 62, 15 Ottobre-15 Novembre 2002 Catalog, “California Dream,” Museum Forno Fusoria, Tavernole (Brescia), Italy, 2002 Phoenix New Times, “Los Angeles Painter at New Urban Art,” March 2003 Appearances, “Collective Painters,” Number 27,2001 Maine Times, “New York Painting,” Calendar, November 1981

Education 2010 MFA University of Nevada, Las Vegas 2005 BFA University of Nevada, Reno

Kyla Hansen

Selected Group Exhibitions The Tenth Circle, curated by David Pagel at V A S T space projects, Henderson, NV March 2, 2013 Daylight Saving Time, Peggy Phelps Gallery, Claremont Graduate University, Claremont, California 2012 Joan Mitchell MFA Grant Award Winners, CUE Foundation, New York, NY 2011 Spectrum, W. Keith and Janet Kellogg University Art Gallery, Pomona, CA 2011 Drawing, Tompkins Projects, Brooklyn, NY Construction Zone, Western Project, Los Angeles, CA 2010 Free Range, Marjorie Barrick Museum, Las Vegas, NV 2010 Significantly Other, Sierra Arts, Reno, NV 2010 Sush Machida Gaikotsu and Brian Porray, Trifecta Gallery, Las Vegas, NV 2009 Podium Results, Sheppard Fine Arts Gallery, Reno, NV 2009 Contemporary Art Center, Las Vegas, NV, juror: Shana Nys Dambrot 2009 Greater L.A. Masters of Fine Art (GLAMFA), CSU, Long Beach, CA (catalog) 2008 Michael Sarich Tribute Exhibition, Nevada Museum of Art, Reno, NV 2008 Culture Scrounge: The Return of Social Waste, Epicenter Gallery, Las Vegas, NV 2007 Peripheral Vision, Sheppard Fine Arts Gallery, Reno, NV 2006 Nevada Museum of Art, Nightingale Rooftop Sculpture Gallery, Reno, NV 2006 Buff Culture, University of Huddersfield, Huddersfield, UK 2006 BFA Thesis Exhibition, Sheppard Fine Arts Gallery, Reno, NV 2005 Sheppard Fine Arts Gallery, Reno, NV, juror: Marcia Tanner 2005 Zero,Bleu Lion, Reno, NV 2004 Jeff Griffin and Brian Porray, McNamara Gallery, Reno, NV 2004 Sheppard Fine Arts Gallery, Reno, NV, juror: Lawrence Rinder, (Juror’s Award) 2004

Born 1983, Las Vegas, NV Lives and works in Claremont, CA Selected Exhibitions 2013 The 10th Circle: Curated by David Pagel. VAST Space Projects. Henderson, NV (upcoming) The End and Shit. Kleven Contemporary. Las Vegas, NV Tripod: Kyla Hansen & Dion Johnson. Curated by David Pagel. Peggy Phelps Gallery. Claremont Graduate University. Claremont, CA 2012 GLAMFA: Greater Los Angeles Master of Fine Arts 2012. University of California, Long Beach. Long Beach, CA BOOM: 2012 Southern California MFA Invitational Group Exhibition. Pacific Design Center. West Hollywood, CA Line Dancing. Presented by 5790 Projects. RAID Projects. Los Angeles, CA HEAP. Temple Ad Hoc. Los Angeles, CA Heaps Street. MFA Thesis Exhibition. East Gallery. Claremont Graduate University. Claremont, CA (solo) 2011 Circulate Exchange: Nugget & Gravy. New Wight Gallery. University of California, Los Angeles, Los Angeles. CA (catalogue) Split Second Split. Gallery F2, Bergamot Station. Santa Monica, CA Projections on Lake, City of Pasadena Public Arts Program. Pasadena, CA 2010 Traces. East & Peggy Phelps Galleries, Claremont Graduate University. Claremont, CA Significantly Other. Sierra Arts Gallery. Reno, NV 2009 BFA Thesis Exhibition. Donna Beam Fine Art Gallery. University of Nevada, Las Vegas. Las Vegas, NV 2007 Las Vegas Art Round Up. Las Vegas Art Museum. Las Vegas, NV Public Projects 2010 Zap3! In Historic West Las Vegas. Clark County Parks and Recreation. Las Vegas, NV Press: 2012 “24 Artists to Watch in 2013.” (Cover) Modern Painters Magazine. December 2012 Awards 2011 Friedman Artist Grant. Claremont Graduate University. 2011 2009 Outstanding Sculpture Student. University of Nevada, Las Vegas 2007 Best In Show. Las Vegas Art Round Up. Las Vegas Art Museum. Education 2012 MFA. Claremont Graduate University. Claremont, CA 2009 BFA. University of Nevada, Las Vegas. Las Vegas, NV BRIAN PORRAY Born in 1979 Las Vegas, NV Lives and works in Claremont, CA

Solo Exhibitions: Western Project, Los Angeles, California 2012 Supersymmetry for SP33D FR34KS, Western Project, Los Angeles, California 2011 Moon Zero X-M, Donna Beam Fine Art, Las Vegas, NV 2010 Compound Fracture, Trifecta Gallery, Las Vegas, NV 2009 The Paisley War, Grant Hall Gallery, Las Vegas, NV 2009

Awards Joan Mitchell Foundation MFA Grant, 2010 Outstanding Graduate Student, Dept. of Art, University of Nevada, Las Vegas, 2010 Marjorie Francis Laird Scholarship, University of Nevada, Las Vegas, 2008-2010 Selected Press: New American Paintings, #87 MFA Annual – juror: Raphaela Platow New American Paintings, #84 – juror: Terrie Sultan NPR Desert Companion, September/October 2009 (cover/feature) Candid Magazine UK, Issue 5, Spring 2009 JAIME GWEN SCHOLNICK Lives and works in Los Angeles, CA SELECTED SOLO EXHIBITIONS 2012 Artifacts, CB1 Gallery, Los Angeles, CA Greetings from Earth and Other Places, PØST, Los Angeles, CA 2011 Art Exhibits Program at LAX, Los Angeles, CA (upcoming) 2006 John Wayne Drawings, Angles Gallery, Los Angeles, CA

2005 Phallicies Series, Part 1, Tall, Wall Space, The University of La Verne, La Verne, CA Shoot a Mouth on Hello Ki!y, project room, BANK Gallery, L.A. 2004 Hello Ki!y Gets A Mouth, Kobo Chika Gallery, Tokyo, Japan Hello Ki!y Gets A Mouth, POST, Los Angeles, CA Smear, POST, Los Angeles, CA City, POST, Los Angeles, CA Packaged, Miller Durazo Contemporary Artists Projects, Los Angeles, CA Shiborareru, Whi!ier College Gallery, Whi!ier, CA 1997 You Can’t See the Forest for the Trees, Installation with photo projections Sakesume Gallery, Imadate, Japan (catalogue available) Kawaii/Kowai, Gallery Kobo Chika, Tokyo, Japan Jaime Scholnick, The East Gallery, The Claremont Graduate School, Claremont, CA SELECTED GROUP EXHIBITIONS 2012 Edge, Da Vinci Gallery, Los Angeles Community College, Los Angeles, CA 2011 CB1 + Colburn, The Colburn School, Los Angeles, CA Art at The Andaz, The Andaz Hotel, West Hollywood, CA (curated by Merry Norris) 2010 Axis Mundi, Nolan, Scholnick, Trujillo, CB1 Gallery, Los Angeles, 2009 12 Gauge;Rapid Fire Study of Art in Los Angeles Today, Torrance Art Museum, Torrance, CA Sustainability, Woodbury Hollywood Exhibitions, Los Angeles, CA Black, White and Gray All Over, 643 APROJECTSPACE, Ventura, CA 2008 What’s the Ma!er with Mommy?, Salon Oblique, Los Angeles, CA Projecto, MUPI, Valencia, Spain Darkness Will Find You, Jail Gallery, Los Angeles, CA 2007 Downtown Artist Grant Recipient Exhibition, Dangerous Curve, L.A. CA 2006 Defamation of Character, PS1/MOMA, Long Island City, New York See Jane Run, Bedford Art Gallery, Walnut Creek, CA 2005 Quickening, Museum of Contemporary Art, Tuscon, Az 2004 Group Show, Media Works, Sony Somido Bldg. Ginza, Tokyo, Japan Women In The Directors Chair Film Festival, Chicago, Illinois Kansas City Filmmakers Jubilee, Kansas City, Missouri Network, de Parel Gallery, Amsterdam, Netherlands Guns and Knives, Fahrenheit Gallery, Kansas City, MO Scope-NY, Gansevoort Hotel, NYC, NY 2003 Santa Fe Film Festival, Santa Fe, New Mexico Scope-Miami, TownHouse Hotel, Miami, FLA. Midas, POST, L.A., CA Silver Lake Film Festival Screening of “Hello Ki!y Gets A Mouth”, L.A., CA The Stray Show 2003, Chicago, Il Contemporary 10: L.A., Judy Saslow Gallery, Chicago, Il 2002 Stray Show 2002, Chicago, Illinois Be!er Look Twice, Pasadena City College Art Gallery, Pasadena, CA 207 W. 5t h Street, Los Angeles, CA 90013 213.806.7889 www.cb1gallery.com 2001 Big Plastic, The Armory Center for the Arts, Pasadena, CA Cross-Cuts, Otis College of Art & Design, Los Angeles, CA Frankfurt Art Fair, Frankfurt, Germany 3Material Ma!ers, Glendale College, Glendale, CA 1999 Kami-ten: The 17th Annual Contemporary Paper Artworks Exhibition Excellence Award recipient, Imadate, Japan (catalogue available) 1998 Yama Sato Ni De Bijutsuten, site specific installation, Okayama, Japan 1997 Kami-ten: The 16th Annual Contemporary Paper Artworks Exhibition Imadate, Japan 1995 In the Black, Luckman Fine Arts Gallery, Cal

State University Los Angeles, Los Angeles, CA (catalogue available) In the Black, Irvine Fine Arts Center, Irvine, CA (catalogue available) 1992 Women Artists 1992, Matrix Gallery, Sacramento, CA National Sculpture Exhibition, The Deland Museum, Deland, Florida Wallworks, Los Angeles Artcore Gallery, Los Angeles, CA BIBLIOGRAPHY Shana Nys Dambrot, Modern Painters, JulyAugust 2006, p. 110 Bijutsu Techno, 11/2004,Vol. 56 #857, p. 198, p. 206, Gallery Review Thomas McGovern, ARTWEEK, Volume 35, Issue 1, February, 2004, p. 24 Meyers, Holly, Los Angeles Times Calendar, Friday, December 5, 2003 p. E40 Belson, Ken, Bremner, Brian, Hello Ki!y: The Remarkable Story of Sanrio and the Billion Dollar Feline Phenomenon, John Wiley & Sons, Isbn: 0470820942 Artnet, Art Fair Futures, The Stray Show, Chicago, Illinois ArtScene, Volume 22, No. 3, November 2002, p.19 Meyers, Holly, Los Angeles Times Calendar, Friday, October 25, 2002, E p. 22 Cheng, Scarlet, Los Angeles Times Calendar, Sunday, August 18, 2002, p. 56-57 McGovern, Thomas, Art Papers, January/February, 2002, p. 52 Cheng, Scarlet, Los Angeles Times, Thursday, October 11, 2001, E2 Frank, Peter, L.A.Weekly, “Pick of the Week”, November 2-8, 2001 Harvey, Doug, L.A.Weekly, November 1622,2001 Pagel, David, Los Angeles Times, Tuesday October 16, 2001, F9 Miyatake, Miki, The Japan Times, June 14, 1997, Arts/FM Radio, p.15 SELECTED HONORS AND AWARDS 2007 Downtown Artists Grant Recipient 1997 Imadate Art Field, Artist in Residence, “Experimental Project in Washi, Imadate, Japan 1991 Travel/Research Grant, Graduate Student Council, The Claremont Graduate School 1990 Travel/Research Grant, Graduate Student Council,The Claremont Graduate School 1988 California Arts Council, Video Documentation Grant, Sacramento, CA. California Arts Council, Artist in-Residence Grant, Sacramento, CA 1987-8 California Arts Council, Artist in Residence Grant, Sacramento, CA BROADCASTS “LIFE”, Reuters Television, 10/30/02 “Weekend Joy”, NHK Television, 6/14/97 “Yoicocchi”, Fuji Television, 6/20/97 “What’s Happening Around Tokyo”, radio interview, FM 89, Tokyo, Japan 207 W. 5t h Street, Los Angeles, CA 90013 213.806.7889 www.cb1gallery.com EDUCATION MFA, The Claremont Graduate University, Claremont, CA BA, California State University, Sacramento Nicolas Shake Born 1981, Raised in Palmdale, California Lives and works in Los Angeles EDUCATION MFA, Claremont Graduatre University, 2011 BFA,Rhode Island School of Design, 2008 SOLO EXHIBITIONS “Flotsam & Jetsam” Peggy Phelps Gallery,

Claremont CA 2011 SELECTED GROUP EXHIBITIONS “Case Study Los Angeles II: On the Perimeter” Jaus Gallery, Los Angeles CA 2012 “Oasis” curated by Durden and Ray, Joshua Tree CA 2012 “Against the Grain” curated by Amir Fallah, Mark Moore Gallery, Los Angeles CA 2012 “Heap” Temple / Ad Hoc Gallery, Los Angeles CA 2012 “Medicine Chest (a survey of emerging LA artists)” Sun Valley CA 2012 “Trilateral Exchange” Claremont Graduate University, Claremont CA 2012 “Spread the Word” Mark Moore Gallery, Los Angeles CA 2011 “Get Lucid” by 5790projects The R&R Gallery, Los Angeles CA 2011 “Split Second Split: Part 2” Bergamot Station, Santa Monica CA 2011 “Split Second Split: Part 1” Claremont Graduate University, Claremont CA 2011 “GLAMFA” California Sate University Long Beach, Long Beach CA 2011 “Chain Letter”, Shoshana Wayne Gallery, Santa Monica CA 2011 “Friction” East Gallery, Claremont CA 2010 “4<40: Four Artists Under Forty” Lancaster Museum Art Gallery, Lancaster CA 2009 “Reduxture” New Puppy Gallery, Los Angeles CA 2009 “All Of The Above” New Puppy Gallery, Los Angeles CA 2009 “Imprint” Antelope Valley College, Lancaster CA 2009 AWARDS & HONORS Joe Sonneman Prize in Photograph 2011 Claremont Graduate University, Fellowship, 2010-2011 Rhode Island School of Design, Scholarship Award, 2005-2008 Wayne White Born in 1957 in Chattanooga, Tennessee. Lives and works in Los Angeles. Education B.F.A. Middle Tennessee State University, Murfreesboro, Tennessee Selected Solo Exhibitions Oklahoma City Museum of Art, Oklahoma City, Oklahoma 2013 Wayne White: Masterworks 2000 – 2009, Western Project, Los Angeles, California 2013 Spark in the Void , Packer Schopf Gallery, Chicago, Illinois 2012 BIG LICK BOOM, Taubman Museum of Art, Roanoke, Virginia 2012 I Say A Lot Of Things, Marty Walker Gallery, Dallas, Texas 2012 Sand Mountain Tractor , Western Project, Los Angeles, California 2011 Campus Gate Art Gallery, Young Harris College, Young Harris, Georgia 2011 New Paintings, Zeitgeist, Nashville, Tennessee 2011 I Fell 37 Miles to Earth 100 Years Ago, Marty Walker Gallery, Dallas, Texas 2010 Big Lectric Fan to Keep Me Cool While I Sleep, Rice University, Houston, Texas 2009 Way To Go Mr. Subtle, Mireille Mosler Ltd., New York, New York 2009 Drop the Country Boy Act, Western Project, Culver City, California 2008 I’m Lost in a Spaceship Mamma, Clementine Gallery, New York, New York 2006 Organic Remains of a Former World, Western Project, Culver City, California 2005 The Wrong Question Asker:New Work by Wayne White, Cheekwood Museum of Art, Nashville, Tennessee 2004 Changing Role Gallery, Naples, Italy 2004

Solo Exhibit, Art Barn Gallery, Middle Tennessee State University, Murfreesboro, Tennessee 2004 Southern Daddy Shame Ray, Clementine Gallery, New York, New York 2004 Inman Gallery, Houston, Texas 2003 Mark Moore Gallery, Santa Monica, California 2003 I’m Not Goin Around Advertising Surrealism, Clementine Gallery, New York, New York 2002 Inman Gallery, Houston, Texas 2002 Single Head Occupancy, Mark Moore Gallery, Santa Monica, California 2001 Painting Show, Fred 62, Los Angeles, California 1998 Painting Show, Kantor Gallery, Los Angeles, California 1995 One Man Show, Art Barn Gallery, Middle Tennessee State University, Murfreesboro, Tennessee 1991 Selected Group Exhibitions Commodores, Coastline College Art Gallery, Coastline College, Newport Beach, California 2012 Text- Message, Bleicher Gallery, Los Angeles, California 2012 Space/Form, Breeze Block Gallery, Portland, Oregon 2012 Grey Full: A Group Exhibition curated by Geoffrey Young, Bailey Gallery, New York 2012 Bad For You, Shizaru Gallery, London, England. Curated by Beth Dewoody 2012 Wild Kingdom, Texas State University, San Marcos, Texas 2011 A Torrent of Words: Contemporary Art and Language, John Michael Kohler Arts Center, Sheboygan, Wisconsin 2010 Small Works: Art and Object, Marty Walker Gallery, Dallas, Texas 2010 Sarah Emerson, Casey Millard, Wayne White, Herron School of Art and Design, Indianapolis, Indiana 2010 there’s something I’ve been meaning to tell you..., Marty Walker Gallery, Dallas, Texas 2010 Pictures of Words, Galerie Schmidt Maczollek, Cologne, Germany 2010 We’re Not the Jet Set, Western Project, Culver City, California 2010 Rich Text, Fleisher/Ollman Gallery, Philadelphia, Pennsylvania 2010 Just What Are They Saying…, Jonathan Ferrara Gallery, New Orleans, Louisiana 2010 Rebecca Ibel Gallery, Columbus, Ohio Collected Works, Inman Gallery, Houston, Texas 2009 The First Six Years, Western Project, Culver City, California 2009 New Voices on The Wolfsonian, Wolfsonian Museum, Miami Beach, Florida, curated by Todd Oldham 2009 L.A. Now, Las Vegas Art Museum, Las Vegas, Nevada 2008 Funny Not Funny, Bellwether Gallery, New York, New York 2008 Sculpture Part II, Western Project, Culver City, California 2008 Reflections from the Artist’s Eye: Contemporary Art from the Frederick R. Weisman Art Foundation, Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, California 2008 Build up, The Ottawa Art Gallery, Ottawa, Ontario, Canada 2008 Six from L.A., Seiler + Mosseri-Marlio Galerie, Zurich, Switzerland 2008 Beauty is Embarrassing, Western Project, Culver City, California 2007 Word: Language in Contemporary Art, Platform Gallery, Seattle,Washington 2006 Art Rock 2006, Rockefeller Center, New York, New York 2006 In This House That I Call Home, Western Project, Culver City, California 2006 In-A-Gadda-Da-Vida, Baby, Western Project, Culver City, California 2004 Wetterling Gallery, Stockholm, Sweden 2004 Word Works, Adam Baumgold Gallery, New York, New York 2003

Clementine @ Hallwalls, Hallwalls Contemporary Arts Center, Buffalo, New York 2003 The Fifth Annual Altoids Curiously Strong Collection, traveling exhibition, United States of America 2003 Trade Show, Guggenheim Gallery, Chapman University, Orange, California 2002 Clementine @ Bellwether, Bellwether Gallery, New York, New York 2002 Mixer02, Monique Meloche, Chicago, Illinois 2002 Angstrom Gallery, Dallas, Texas 2001 Inman Gallery, Houston, Texas 2001 Mark Moore Gallery, Santa Monica, California2001 Nashville Funnies, Cheekwood Museum of Art, Nashville, Tennessee 2001 Comic Power, Exit Art Gallery, New York, New York1993 Selected Bibliography Lewis, David,” ‘Beauty Is Embarrassing’: An artist remains playful/ 3 stars”, Kansas City, September 2012 Bartolone, Tony,”Wayne White Brings Humor into Fine Art in Beauty is Embarrassing”, The Huffington Post, Arts & Culture, August 2012 Thompson, Julie,”Wayne White”,….might be good, July 2012 Williamson, Caroline,”Wayne White”, DesignMilk, June 2012 Tidwell, Daniel,”A Converstation with Artist Wayne White”, Nashville Public Television, April 2012 “’Beauty Is Embarrassing’ Reveals Wayne White’s Wackiness”, The Huffington Post March 2012 “Home made success: Beauty Is Embarrassing is the quirky, uplifting story of artist Wayne White, true American hero”, Culture Map Austin, March 2012 2011 Pagel, David, “Art Review: Wayne White’s ‘Sand Mountain Tractor’ at Western Project,” Los Angeles Times, May 31, 2013 “Showing Wayne White”, Arrested Motion, March 8, 2010 Simek, Lucia,” Beyond White Space: Wayne White”, D Magazine Front Row, February 25, 2010 Meyers, Holly, Americana with an Urban Twist, Los Angeles Times, August 21, 2009, p. D23 Oldham, Todd, “Wayne White” (monograph), published by AMMO Books Kelly, Danielle, “Now we’re talkin’! Pagel brings the best of LA to town with magnificent results,” Las Vegas Weekly, p. 60 2010 Jonathan Ferrara Gallery, Just What Are They Saying. Curated by Beth Rudin DeWoody, catalogue 2010 Nys Damrot, Shana, On THE Radar: Seventeen Artists You Should Know About”, THE magazine, September 2010, p. 9. Dansby, Andrew, ’Wayne White Brings His Wild Imagination to Houston’, Houston Chronicle, September 30, 2009 Ridley, Jim,”After 25 Years…”, Nashville News, September 30, 2009 Stark, Jessica, “Ragged but right installation transforms Rice Gallery into puppet Show”, Rice News, September 9, 2009 Davenport, Bill,”Wayne White at Rice University”, Glasstire, September 29, 2009 James, Patrick, “The Magic Wordsmith”, Good Magazine, July 2, 2009 Dambrot, Shana Nys, “‘SCULPTURE: Part Two’ at Western Project,” Artweek, October 2008, p. 16 Pagel, David, “Rambunctious group energy,” Los Angeles Times, August 29, 2008, p. E17 Roberts, Kathleen, “Continental Divide: A Western State of Mind,” Illustration by Wayne White, The New York Times, Week in Review, September 14, 2008, pp. 1, 7 Sandals, Leah, “Snowball Effect,” National Post, Canada, March 24, 2008 “Wayne White: Los Angeles,” Flavorpill, Issue 260, February 19, 2008 Brooks, Kimberly, “First Person Artist: Wayne White,” Huffington Post,

November 24, 2008 Kite, Buddy, “The 2007 Esquire 100: No. 015, Wayne White Word Pictures,” Esquire, October 2007, pp. 170-171, 219. Ruble, Casey, “Wayne White at Clementine,” Art in America, February 2007, pp. 150-151. Safire, William, “On Language,” The New York Times Magazine, Illustration by Wayne White, November 4, 2007, p. 20. Kraus, Chris; Jane McFadden and Jan Tumlir, LA Artland: Contemporary Art in Los Angeles,” London: Black Dog Publishing. 2006. Reyes, Paul, “Secondhand Sublime; Junking with the Weirdest Landscape Painter in America,” The Oxford American, Winter 2006, pp. 106 – 115. Sonnenborn, Katie Stone, “Arcade Amusements at the Big Fair,” catalogue essay, Wayne White: Clementine, 2006 Roberts, Julie, “The Wrong Question Asker: New Works by Wayne White,” Nashville Scene, January 20, 2004, p. 1. Shulick, Hollie, “Out of the Jungle,” The Tennessean, January 14, 2004, pp. 1, 3. “Clementine @ Hallwalls,” exhibition catalogue, Hallwalls Contemporary Art Center, Buffalo, NY. February 15 – March 29, 2003 Huntington, Richard, “Art from Non-Art,” Gusto, Buffalo, NY, February 21, 2003 Dailey, Meghan, “Wayne White, Clementine Gallery,”Artforum, September 2002 E.N. “Wayne’s World,” New York Magazine, p. 134, June 10, 2002. Levin, Kim, “Wayne White,” Village Voice, New York, June 25, 2002 Newhall, Edith, “Wayne’s World,” New York Magazine, June 10, 2002 Schoenkpf, Rebecca, “Apocalypse Now,” OC Weekly, Vol.8, no. 05. October, 2002. Valdez, Sarah, “Gallery Reviews,” Paper, 2002, p. 134. Walsh, Daniella, “Scenery as Metaphor,” OCRegister.com, 2002 Klaasmeyer, Kelly, “The Not-So-Great Outdoors; Inman Exhibit Explores the Darker Side of Mother Nature,” Houston Press, August 16, 2001 Museum Collections Detroit Institute of Arts, Detroit, Michigan Frederick R. Weisman Art Foundation, Los Angeles, California New Museum of Contemporary, New York, New York Laguna Art Museum, Laguna Beach, California Guggenheim Gallery, Chapman University, Orange, California Taubman Museum of Art, Roanoke, Virginia Awards Rauschenberg Residency, Rauschenberg Foundation, Captiva Island, Florida 2013 Best Art Direction, Music Video, “Tonight Tonight”, MTV Music Video Awards. 1996 Three Emmys for production design, “Pee-Wee’s Playhouse.” 1986 Best Art Direction, Music Video, “Big Time”, Billboard Magazine. Cartoonist and Illustrator, 1987 “Fraturday” promos, WB Network. 2000 “Ask Shorty”, puppet segments for Show Time Network series, Twisted Puppet Theatre. 1994 “Bill and Willis”, a five-minute puppet film for MTV’s Liquid Television, Colossal Pictures.

Acknowledgements

To David Pagel, for your frame-worthy, good humor correspondences and the opportunity to work with the talented and professional artists: Scott Anderson, Erin Cosgrove, Jimi Gleason, Kyla Hansen, Brian Porray, Jaime Scholnick, Nicolas Shake, Wayne White. Thanks too for organizing another good reason to work with favorite Los Angeles dealers: Clyde Beswick, CB1 Gallery, Los Angeles, CA. Cliff Benjamin, Western Projects, Los Angeles, CA. Tim Christian, Angles Gallery, Los Angeles, CA. Exhibition Poster Embossed Print Design: Bobbie Ann Howell, Goldwell Open Air Printmaking Studio, Las Vegas, NV

Limited edition art press catalog was produced entirely by local, Las Vegas vendors: Thank you for taking the time to work on a limited edition art press: Christy Creel, Creel Printing Amber Glusica, Digital Lizard Printing Julian Cardona, Kelly Paper Greg Matiya, Desert Die Cutting Leslie Hollenbeck, Copy Cat Printing The Cosmopolitan Hotel & Casino: Katie Jo Sheey, Krista Salley, Brent Petit, Alyssa Anderson for Mr. Pagelâ&#x20AC;&#x2122;s accommodations. The Golden Nugget Hotel & Casino: Cindy Lataille, for artist accommodations. Gallery Preparators: Jason Adkins, Robert Palacio and Melissa Slater Intern: Jackson Tyler Ashanti McGee, Checko Salgado & Cayetano Ferrer This catalog would not be possible without the efforts of Smacksheets partners: Editor, Scott Dickensheets Art Director, Brent Holmes whose professional and personal support are unparalleled. The art community of Las Vegas would not be the same without you both. In memory of the Corbett Sisters & Catface

the

10th Circle

C u ra t e d by D av i d Page l M a rc h 2 - A p ri l 13 , 2 0 1 3 V A S T sp a c e p roj e c t s published on the occasion of the exhibit

Smacksheets publishing

Publisher Shannon Mc Mackin Editor Scott Dickensheets Designer Brent Holmes

Dante Dante is an old-style typeface designed by Giovanni Mardersteig and Charles Malin in 1954 at the Officina Bodoni in Italy. This press specialized in small editions, printed with meticulous care on an old-fashioned hand-press. He drew on his experience of using Monotype Bembo and Centaur to design a new book face. Special care was taken with the design of the serifs and top curves of the lowercase to create a subtle horizontal stress, which helps the eye move smoothly across the page. Following World War II and six years of work, [Dante] was first used in 1955 to publish Boccaccioâ&#x20AC;&#x2122;s Trattatello in Laude di Dante hence the typeface name. Originally hand-cut by Charles Malin, it was adapted for mechanical composition by Monotype in 1957. A digital version has been redrawn, by Monotypeâ&#x20AC;&#x2122;s Ron Carpenter, free from any restrictions imposed by hot metal technology. It was issued in 1993 in a range of three weights with a set of titling capitals.