Justin Olerud

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Justin Olerud grew up on a farm outside the small town of Bricelyn, MN. He received his MFA from Columbia University School of the Arts and received his BFA from California College of the Arts in the Bay Area. Most recently he has shown work at Visitor Welcome Center in Los Angeles, Air mattress Gallery in New York and Tom of Finland Foundation in Los Angeles. He currently lives and works in Los Angeles, CA.

www.paintingsbyolerud.com

Elissa Osterland

Studio while working in residency at Shiro Oni in Onishi, Japan. The image shows work installed for the closing show, A Darker Body.

Studio while working in residency at Shiro Oni in Onishi, Japan. The image shows work installed for the closing show, A Darker Body.

Elissa Osterland is a Chicago-based artist currently exploring material, place and memory through site-specific methods of sourcing and firing clay. Elissa is a 2019 fellow at Theaster Gates Studio and a Center Program 8 artist at Hyde Park Art Center.

www.elissaosterland.com

Hà Ninh Pham

Ha Ninh Pham_E4.2 [Institute of Volume]_ Graphite, watercolor, pastel and acrylic marker on paper_2018_56x35in

Ha Ninh Pham_E4.2 [Institute of Volume]_ Graphite, watercolor, pastel and acrylic marker on paper_2018_56x35in

Hà Ninh Pham is an artist from Hanoi, Vietnam, who works primarily in drawing and sculpture. His work explores the way in which we construct an understanding of a territory from afar. Ha Ninh earned his BFA in painting form the Vietnam University of Fine Arts in 2014, and his MFA from the Pennsylvania Academy of the Fine Arts in 2018. He has been in residence at the Showhegan School of Painting and Sculpture and Wassaic Project. Ha Ninh received the Silver Medal in the Young Talents of Vietnamese Fine Arts Universities in 2015 and the Murray Dessner Travel Award in 2018. His work has been shown in New York, Philadelphia, and Hanoi, Vietnam. As a winner of the 2018 open call of the Passenger Pigeon Press, he will have his second solo show at the FRONT Art Space in New York in 2019.

www.haninh.com

Owyn Ruck

Shroud was woven as two separate panels, painted with foraged clay from the land I live on. The piece was a submission for a publication that explores the feminine as a principle of humanizing and repairing relationship, and whose proceeds support birthing justice. The piece was cut into 144 squares and distributed with the first round of printing, as an offering to unweave and unravel personal and collective conditioning.

Shroud was woven as two separate panels, painted with foraged clay from the land I live on. The piece was a submission for a publication that explores the feminine as a principle of humanizing and repairing relationship, and whose proceeds support birthing justice. The piece was cut into 144 squares and distributed with the first round of printing, as an offering to unweave and unravel personal and collective conditioning.

Owyn Ruck is a weaver and an unweaver. Her choice of medium lies in seeking liberation – moments where order lives within chaos, joy in pain, birth in death. Passing the shuttle, she is on a journey inside, attempting to return with language the body and spirit knowing. Her motivation for art is the same as healing or teaching -- to unweave, imbuing a love for humanity into the questioning of how things have come to be.

www.succurro.co  



André & Evan Lenox-Samour

Miami-Dutch, "A Peace Conference in the Desert" (2017), welded swords, 47” x 17” x 5”

Miami-Dutch, "A Peace Conference in the Desert" (2017), welded swords, 47” x 17” x 5”

André & Evan Lenox-Samour (b. Boston, MA) are an identical twin artist duo, and members of the 4-person collective Miami-Dutch, a collaborative that revisits sites of public assembly and memorial, and addresses the rise and fall of civic entities through fictional and ancestral narratives. The name utilizes a hyphenate of regional dialects to suggest a fabricated encounter during the colonization of the Americas, creating a satirical nation-state and imagined lingua franca. Informed by the collaborative’s inherited narratives of Cambodian, Iraqi-Jewish, and Palestinian diasporas, Miami-Dutch’s practice centers on the formation of new identities as borders and political climates shift. André & Evan attend the School of the Art Institute of Chicago, receiving their BFAs in Studio Art in 2012. Their work has been exhibited nationally and internationally at Honor Fraser (Los Angeles, CA), Club Pro Los Angeles (Los Angeles, CA), Shoot The Lobster (New York, NY), Interstate Projects (Brooklyn, NY), Rod Barton (London, UK), and Queer Thoughts (Chicago, IL), among others. Their work has been published in Post Internet Survival Guide (Ed. Katja Novitskova, Revolver Publishing, Berlin, Germany, 2010), with press including Art21, Artspace, Cultured Magazine, and Contemporary Art Review Los Angeles.

http://miami-dutch.org/

Kirsten Stolle

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Aerial Farmland collage, archival pigment print 23” x 32” 2018

Kirsten Stolle is a visual artist working in collage, drawing, and installation. Her research-based practice is grounded in the investigation of corporate propaganda, food politics, and biotechnology. Solo exhibitions include NOME (Berlin), Southeastern Center for Contemporary Art (NC), Turchin Center for Visual Arts (NC), Winthrop University Art Galleries (SC), Tracey Morgan Gallery (NC) and Dolby Chadwick Gallery (CA). Group exhibitions include Balzer Projects (Basel), Fridman Gallery (NYC), San Jose Museum of Art (CA), and The Billboard Creative (CA). She is a Pollock-Krasner Grant recipient and her work has been published in Photograph, Topic, Poetry, Burnaway, Widewalls, and New American Paintings. She has been awarded residencies at the Ucross Foundation, Millay Colony, Blue Mountain Center, Willapa Bay AiR, Oregon College of Arts & Crafts, Spiro Arts Center, Anderson Center, and Ballinglen Arts Foundation.

Your Website

www.kirstenstolle.com



Ian Trask

Ian Trask Spores 2017 waste materials sizes range from 5” to 13” in diameter

Ian Trask Spores 2017 waste materials sizes range from 5” to 13” in diameter

I am a scientist-turned-artist who received a degree in biology from Bowdoin College in 2005. I worked many years in research labs, but eventually left the world of science to pursue a career in fine art. While transitioning away from lab work I got a job as a hospital groundskeeper cleaning up trash daily, an experience that proved to be formative in my artistic development. I learned to see the potential in garbage and gradually built a creative practice that drew inspiration from the waste streams around me. I choose to create my art from things that are either discarded (or donated by others) in the deliberate effort to let scarcity and access dictate the direction of my work.

www.iantrask.com

Luisa Valderrama

Luisa Valderrama, Hato, Installation, 2018, Dimensions Variable. A 12 ft. high pillar (middle) made out of compressed dirt, responded to the architecture of the space; it had the same dimensions as the columns that held it. Two 4 x 4 ft. boxes (left) with compost emulating the land I grew up in, had a water and a heating system inside that kept the dirt mixture generating smell in the gallery.

Luisa Valderrama, Hato, Installation, 2018, Dimensions Variable. A 12 ft. high pillar (middle) made out of compressed dirt, responded to the architecture of the space; it had the same dimensions as the columns that held it. Two 4 x 4 ft. boxes (left) with compost emulating the land I grew up in, had a water and a heating system inside that kept the dirt mixture generating smell in the gallery.

Luisa Valderrama was born in Colombia and lives in Brooklyn, New York. She holds an MFA in Sculpture from Pratt Institute with honors (2018), a BFA in Painting and Drawing and a BA in Art History from Los Andes University, Colombia (2014). Her work draws on her autobiographical experience of growing up between the rural region and the urban life in the city of Bogota. She is a recipient of the NYFA 2019 Mentoring Program for Immigrant Artists (NYC) and a 2019 thematic residency at RU-Residency Unlimited (NYC). In 2015 she partook in the itinerant residencies of 4-18 (COL) a nonprofit community-based art organization. She has participated in numerous exhibitions in Colombia and New York and collaborated with 4-18 in Colombia. Solo exhibitions: Hato [’a.to] in Steuben Gallery at Pratt Institute, 2018. Selected projects and group exhibitions include Boiling Point at The Boiler Pierogi in 2018 curated by Regine Basha. Half a Wave at the Pfizer Building in Brooklyn curated by Christine Rebhuhn, 2018; The Latin American Contemporary Fine Art Competition, at Agora Gallery, New York, 2018. Crossing, at El Sótano Art Space, Brooklyn, 2018. And Entramado at Espacio Alterno Gallery curated by Lorenzo Freydell Vanstaseghem., Bogota, Colombia, 2016.

www.luisa-valderrama.com

Jina Valentine

Memoranda (NYSE:GEO) 2018 iron gall ink, oxidant on handmade paper (from hand sewn quilt) 3 panels 30x22 inches each This work examines the government memo as a seemingly innocuous missive, and reproduces three such memoranda issued by the current administration. One of the works in this series reproduces Attorney General Jeff Sessions’ memo written to the Acting Director of the Federal Bureau of Prisons on February 21, 2017, raising a painful issue that disproportionately affects people of color--incarceration. The memo reversed the Obama administration’s plan to phase out federal use of private prisons, a plan that responded to an audit finding more safety and security problems in privately versus publicly run institutions.

Memoranda (NYSE:GEO) 2018 iron gall ink, oxidant on handmade paper (from hand sewn quilt) 3 panels 30x22 inches each This work examines the government memo as a seemingly innocuous missive, and reproduces three such memoranda issued by the current administration. One of the works in this series reproduces Attorney General Jeff Sessions’ memo written to the Acting Director of the Federal Bureau of Prisons on February 21, 2017, raising a painful issue that disproportionately affects people of color--incarceration. The memo reversed the Obama administration’s plan to phase out federal use of private prisons, a plan that responded to an audit finding more safety and security problems in privately versus publicly run institutions.

Based in Chicago, Jina Valentine is an Associate Professor of Printmedia at the School of the Art Institute of Chicago. Her interdisciplinary practice is informed by the intuitive strategies of American folk artists and traditional craft techniques, and interweaves histories latent within found texts, objects, narratives, and spaces. She has exhibited at venues including The Drawing Center, The Studio Museum in Harlem, the CUE Foundation, MCA Chicago, the DiRosa Preserve, Southern Exposure, and Marlborough Gallery. She has participated in residencies which include the Atlantic Center for the Arts, the Skowhegan School of Painting and Sculpture, the Cité Internationale des Arts in Paris, Joan Mitchell Center in New Orleans, and Banff Centre in Alberta. Her work has received recognition and support from the North Carolina Arts Council, Art Matters Foundation, and the Institute for Arts and Humanities at UNC. Jina is also a cofounder of The Black Lunch Table (BLT), which is an ongoing collaboration with New York-based artist, Heather Hart. The project was first staged in 2005 at the artist residency Skowhegan School of Painting and Sculpture. The BLT has since taken the form of oral archiving sessions, salons, peer teaching workshops, meet-ups and Wikipedia edit-a-thons. BLT has been hosted by cultural and academic institutions around the country and internationally, and has received support from Creative Capital, the Institute for Arts and Humanities at UNC Chapel Hill, and the Rema Hort Foundation, and has been featured in Art21 Magazine, Artsy.net, and Hyperallergic. Jina received her BFA from Carnegie Mellon University and her MFA from Stanford University.

www.jinavalentine.com