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Diana Fridd,
2004

Dianna Frid's work includes drawing, sculpture, installation, and artist’s books. Her works are both corporeal and philosophical reflections on the ways in which materials—physical and lexical—produce aesthetic and contemplative experiences and, by doing so, shape our sense of reality. Frid has received major awards from the Canada Council of the Arts and the Artadia Foundation. She has exhibited her work nationally and internationally at institutions such as PS1-MOMA, in New York, the Drawing Center in New York City, The Museum of Contemporary Art, Chicago, and the Neues Kunstforum in Cologne. Her work has been recently exhibited at Bravin Lee Programs in New York, and is housed in public collections such as the Art Institute of Chicago and the Cleveland Clinic. Dianna Frid was born in Mexico City and migrated to Canada with her family when she was a teenager. She currently lives in Chicago where she teaches in the School of Art and Art History at the University of Illinois at Chicago.  In addition to her studio work, Frid started to make artist’s books in 1993 in Vancouver, and has used “The Artery Archives” as her imprint.



DIANNA FRID, “SPLIT COMPLEMENTARY”, 2016,
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DIANNA FRID, “AND DEATH DOES NOT DESTROY”, 1967,
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Sam Durant,
2004

Sam Durant is a multimedia artist whose works engage a variety of social, political, and cultural issues. Often referencing American history, his work explores the varying relationships between culture and politics, engaging subjects as diverse as the civil rights movement, southern rock music, and modernism. His work has been widely exhibited internationally and in the United States. He has had solo museum exhibitions at the Museum of Contemporary Art, Los Angeles, Kunstverein für die Rheinlande und Westfalen, Dusseldorf, S.M.A.K., Ghent, Belgium and the Govett-Brewster Art Gallery in New Zealand.

Durant's work has been included in the Panamá, Sydney, Venice and Whitney Biennales. His recent curatorial credits include Eat the Market at the Los Angeles County Museum of Art and Black Panther: the Revolutionary Art of Emory Douglas at The Museum of Contemporary Art in Los Angeles and the New Museum in New York. He was a finalist for the 2008 Hugo Boss Prize and has received a United States Artists Broad Fellowship and a City of Los Angeles Individual Artist Grant. His work can be found in many public collections including The Art Gallery of Western Australia in Perth, Tate Modern in London, Project Row Houses in Houston and the Museum of Modern Art in New York. Durant teaches art at the California Institute of the Arts in Valencia, California.



SAM DURANT, “END WHITE SUPREMACY”, 2008,
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SAM DURANT, “GALLOWS COMPOSITE A-E”, 2009,
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SAM DURANT, “WE ARE THE PEOPLE”, 2003,
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Sean Duffy,
2004

Sean Duffy's work stems from his intrigue into the phenomenon of repetition, recycling, sampling, and the cyclical reoccurrence of trends in pop-culture and art. These intrigues support Duffy’s work that seem to ceaselessly test the line drawn between the original and the copy, between the real-deal and the knock-off, and the “sense of detachment that occurs each time something is repeated or recycled.” Recent solo exhibitions have been mounted at such venues as the Susanne Vielmetter Berlin Projects, Berlin, Germany; Luckman Fine Arts Complex, California State University, Los Angeles; California 101 Building, San Francisco; Susanne Vielmetter Los Angeles Projects, Culver City, California. His work has been included in numerous group exhibitions such as: Greetings from the American Dream, Riverside Art Museum, Riverside, California; Realm of the Senses, James Cohan Gallery, New York; California Biennial, Orange County Museum of Art, Newport Beach, California; Black Belt, Studio Museum, Harlem; and Remix/Experimenter, Museum of Modern Art, San Salvador.



SEAN DUFFY, “UNTITLED (YELLOW)”, 2010,
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SEAN DUFFY, “LOCK IT UP”, 2010,
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SEAN DUFFY, “THE VOID”, 2009,
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Ben Butler,
2004

Ben Butler received his MFA from the School of the Art Institute of Chicago and his BA from Bowdoin College.  His work has been exhibited in solo shows in New York at Coleman Burke Gallery and Plane Space, as well as at Zg Gallery in Chicago, John Davis Gallery in Hudson, New York, and Davidson Galleries in Seattle, among others.  He is the recipient of a Pollock-Krasner Foundation Individual Artist Grant and numerous fellowships at residency programs including the MacDowell Colony, The Bemis Center for Contemporary Art, and the Ucross Foundation. He currently lives and works in Memphis, Tennessee and Quogue, New York.



BEN BUTLER, “ROUNDS“, 2013
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BEN BUTLER, “CLOUD MORPHOLOGY“, 2014
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BEN BUTLER, “INVENTION 60“, 2013
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Post Post Studio,
2005

Reconsidering Sites of Artistic Production & Intervention. Panelists: Amy Adler, Conrad Bakker, Michelle Grabner, Gareth James & Dave McKenzie; moderated by Lane Relyea. Often readymade and site-specific, produced on the grounds of and in collaboration with some sponsoring institution, post-studio has become such a dominant approach that questions have been leveled at its presumed status as inherently critical and progressive. Has post-studio art developed too complimentary a relationship with a much expanded institutional art world, replacing criticality with affirmation? Is it time to rethink the strategic possibilities of the studio, as holding out the potential for reclaiming some critical vantage? Could it be that such critical distance only owes to the fact that the studio has been rendered increasingly obsolete, now that value and authority reside more in information than in objects, in circulations than in sites, and now that production and exhibition, private and public no longer correspond to physical spaces and states but are increasingly defined within disembodied, virtual realms? Have we entered a post-post-studio age?



Mai-Thu Perret,
2005

Mai-Thu Perret, born 1976, is a Swiss artist based in Geneva and a graduate of the Whitney Museum of American Art and Cambridge University (BA). Selected solo exhibitions include Slow Wave at Simon Lee in Hong Kong (2014), Astral Plane at David Kordansky Gallery in Los Angeles (2014), The Prairie at Galerie Francesca Pia in Zurich (2013) and Beast of Burden at Galerie Barbara Weiss in Berlin (2012). Selected group shows include B/W at Timothy Taylor Gallery in London (2014), the Biennial of Moving Images at the Center d’Art Contemporain in Geneva (2014),*Decorum at the Musée d’Art Moderne de la Ville de Paris (2014), Mingei: Are You Here? at Pace Gallery in New York (2014), At Work at the Museum of Contemporary Art in Siegen (2013), La Demeure Joyeuse II at Galerie Francesca Pia in Zurich (2012) and The Old, the New, the Different at Kunsthalle Bern (2012). Perret has received several awards including the Zurich Art Prize (2011), Manor Cultural Prize (2011), Prize of the Swiss Foundation for Graphic Arts (2008), Kiefer-Hablitzel Prize (2006) and the Swiss Federal Prize for Fine Arts (2004, 2006). 



MAI-THU PERRET AT LE MAGASIN, 2011–2012,
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MAI-THU PERRET AT LE MAGASIN, 2011–2012,
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MAI-THU PERRET AT LE MAGASIN, 2011–2012,
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MAI-THU PERRET AT LE MAGASIN, 2011–2012,
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Ernesto Neto,
2005

Since the mid-1990s, Ernesto Neto has produced an influential body of work that explores constructions of social space and the natural world by inviting physical interaction and sensory experience. Drawing from Biomorphism and minimalist sculpture, along with Neo-concretism and other Brazilian vanguard movements of the 1960s & 70s, the artist both references and incorporates organic shapes and materials – spices, spices, sand and shells among them—that engage all five senses, producing a new type of sensory perception that renegotiates boundaries between artwork and viewer, the organic and manmade, the natural, spiritual and social worlds.

In 2011, Museo de Arte Contemporáneo de Monterrey in Mexico opened the artist’s first survey exhibition, La lengua de ernesto: retrospectiva 1987-2011, which travelled to Antiguo Colegio de San Ildefonso in Mexico City in 2013. The artist also presented important solo exhibitions at the Aspen Art Museum in Colorado (2014), Guggenheim Bilbao in Spain (2013), Nasher Sculpture Center in Dallas (2012), Faena Arts Center in Buenos Aires, which traveled to Estação Leopoldina in Rio de Janeiro (2011-2012), Hayward Gallery, Southbank Centre in London (2010) Museum of Modern Art in New York (2010); Fearnley Museum of Modern Art in Oslo (2010), Sao Paulo Museum of Modern Art (2010), Museo d'Arte Contemporanea Roma in Italy (2008), Museum of Contemporary Art, Sydney, Australia (2002), and the Hirshhorn Museum and Sculpture Garden in Washington, D.C. (2002), among others. In 2001, he represented Brazil at the 49th Venice Biennale.

 



ERNESTO NETO, “SIMPLE AND LIGHT AS A DREAM...THE GRAVITY DON’T LIE...JUST LOVES THE TIME”, 2006,
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ERNESTO NETO, “FLOWER CRYSTAL POWER”, 2014,
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ERNESTO NETO, “EGG BED CRYSTAL SHELL”, 2014,
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Virgil Marti,
2005

Virgil Marti creates hybrid objects and environments informed by a wide range of art-historical and pop-cultural references. Known for inserting high décor into fine art contexts, his installations are rich in humor, and shrewd observation. After attending Skowhegan in 1990, he worked for many years as a master printer and project coordinator at The Fabric Workshop and Museum. His work was included in the The Jewel Thief at The Frances Young Tang Teaching Museum (2010), La Biennale de Montréal (2007), Whitney Biennial 2004, and Apocalyptic Wallpaper at the Wexner Center for the Arts, Columbus, Ohio (1997). Recent collaborative projects and solo shows include Set Pieces at the Institute of Contemporary Art, Philadelphia (2010), Ah! Sunflower at the Visual Art Center, Richmond, VA (2008), and Directions: Virgil Marti/Pae White at the Hirshhorn Museum, Washington, D.C. (2007). 



VIRGIL MARTI, “FIVE STANDARDS (DAZZLE)”, 2013,
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VIRGIL MARTI, “LOOKING GLASSES”, 2013,
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VIRGIL MARTI, “PILLS”, 1999,
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Gareth James,
2005

Gareth James works at the intersection of theory and practice in the form of objects, images, writing, and pedagogy. His work often reacts to ideas of economy and production, while also displaying humor and inventiveness in outcomes that deal with the objective nature of art. Gareth is a co-founder of the Scorched Earth publication and was one of the founding members of the cooperatively organized Orchard Gallery. He currently teaches at the University of British Columbia in Vancouver. 

James’s work is constituted through his abiding interest in histories of iconoclasm in which the social divisions and inequities that mark and delimit artistic practice are registered most emphatically. In James’ practice as an artist and as a writer, conventional aesthetic discourse is lost and rediscovered in neighboring fields such as topology or psychoanalysis; capitalist property relations are seen to exert as much determinative force on the visual field as phenomenological bodies; and theoretical materials are indistinct from physical ones in an incipient philosophy of materials. In his teaching, James incorporates a wide base of theoretical paradigms and experimental methodologies in order to examine the fullest extension of the field of art.



GARETH JAMES, “1., 2., 3., 4.”, 2008,
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GARETH JAMES, “1.”, 2008,
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GARETH JAMES, “SPIRAL BIND – THE HISTORY AND USES OF CHROME AND THE DISCOVERY OF THE NEW, THE HIDDEN, THE STRANGE.”, 2008,
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GARETH JAMES, “BRITTLE MATERIALS FAIL IN TENSION. CRACKS PROPAGATE WHEN THEY ARE PULLED OPEN...”, 2008,
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Pamela Fraser,
2005

Pamela Fraser works experimentally in a variety of materials and formats, primarily engaged with painting. Her work often explores the language of abstraction, and the relationship of abstraction to place. When do abstract shapes and forms convey meaning(s), and when do they disintegrate into illegibility? What happens when they are placed in contexts alien to customary reception? Fraser has made and exhibited work for 20 years. Past solo exhibitions include at Galerie Schmidt Maczolleck in Cologne, Germany; Galleria Il Capricorno in Venice, Italy; asprey jacques in London, England; Casey Kaplan in New York, NY; and The Blaffer Museum in Houston, TX.

Select group exhibitions include galleries and institutions such as GAD in Oslo, Norway; The Albright-Knox Art Gallery in Buffalo, NY; Wurttembergischer Kunstverein in Stuttgart, Germany; Dundee Center of Contemporary Art in Scotland; and The Crayon Miscellany, at Art Omi in Ghent, NY. Fraser lives in Barnard, Vermont, and is a professor at The University of Vermont. In addition to her studio practice, she writes about art and organizes exhibitions. Her book How Color Works: Color Theory in the 21st Century will be published by Oxford University Press in 2017.

 



PAMELA FRASER, “SMITH HILL”, 2015,
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PAMELA FRASER, “UNTITLED (INSTALLATION)”, 2010,
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PAMELA FRASER, “UNTITLED (WITH TRAILS)”, 2009,
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