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Ken Fandell,
2005

Through photography and video Ken Fandell “examines the breakdown of thought, language, representation, and inspiration. Through his investigations Fandell has discovered a peculiar place containing both humor and earnestness, between rigorous investigation and sweet sentimentality, encompassing heroic triumph and tragic defeat.” In 2005 he had solo exhibitions at Chicago's Bodybuilder & Sportsman and the Howard House in Seattle. Currently he is Assistant Professor at The School of the Art Institute of Chicago.



KEN FANDELL, “162 SKIES”, 2005,
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KEN FANDELL, “EVERMORE”, 2008,
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KEN FANDELL, “LASER 62”, 2012,
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Patty Cheng,
2005

Patty Chang is an American film director and performance artist living in New York. Her performative works deal with themes of gender, language and empathy. She was described as "one of our most consistently exciting young artists" by The New York Times in 2006. Originally trained as a painter, she is primarily known for her short films and videos and her performance art. She often plays a central role in her own work (to the point that a New York Times critic once described it as "hair-raisingly narcissistic"), which is often seen as testing the acceptable boundaries of taste and endurance. Some of her work contains scatological elements (such as Gong Li With The Wind, a short film), and others critique perceptions of female sexual roles (For Paradise, also a short film). She has staged solo shows in major cities such as Madrid at the Museo National de Reina Sofia in 2000, in Visby at the Baltic Art Center in 2001, in Los Angeles at the Hammer Museum in 2005, in New York at the Jack Tilton Gallery in 1999 and at the New Museum of Contemporary Art in 2005.



PATTY CHENG, “IN LOVE”, 2001,
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PATTY CHENG, “MELONS AT A LOSS”, 1998,
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PATTY CHENG, “SHANGRI-LA”, 2006,
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Paul Chan,
2005

Paul Chan is an American artist, writer and publisher. His single channel videos, projections, animations and multimedia projects are influenced by outsider artists, playwrights, and philosophers such as Henry Darger, Samuel Beckett, Theodor W. Adorno, and Marquis de Sade. Paul Chan’s work concerns topics including geopolitics, globalization, and their responding political climates, war documentation, violence, deviance, and pornography, language, and new media. Chan has exhibited his work at the Venice Biennale, the Whitney Biennial, documenta, the Serpentine Gallery, the Museum of Modern Art, the New Museum, and other institutions. Chan has also engaged in a variety of publishing projects, and, in 2010, founded the art and ebook publishing company Badlands Unlimited, based in New York. Chan’s essays and interviews have appeared in Artforum, Frieze, Flash Art, October, Tate, Parkett, Texte Zur Kunst, Bomb, and other magazines and journals.



PAUL CHAN, “MY BIRDS . . . TRASH . . . THE FUTURE“, 2004
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PAUL CHAN, “NONPROJECTIONS FOR NEW LOVERS“, 2014
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PAUL CHAN, “SELECTED WORKS
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Mequitta Ahuja,
2005

Mequitta Ahuja is a contemporary American painter of African American and Asian Indian descent who resides in Baltimore, Maryland. To create her paintings, Ahuja relies on a three-step process that involves performance, photography, and drawing/painting. Ahuja begins by developing a series of performances involving costumes, props, and poses. With the aid of a remote shutter, she then photographs her performances and documents them as "non-fictional source material." Finally, she incorporates these photographs into her invented material, resulting in her completed self-portraits. In 2007, Ahuja was included in the exhibition Global Feminisms at the Brooklyn Museum of Art, and in 2009 her painting Dream Region was featured as the cover of the book War Baby/Love Child: Mixed Race Asian American Art in which the artist was featured. Her work has been exhibited throughout the United States as well as in Paris, Brussels, Berlin, India and Dubai, and she has been the recipient of multiple awards for her art, including the Tiffany Foundation Award in 2007, a 2009 Joan Mitchell Award, and a 2008 Houston Artadia Prize. 



MEQUITTA AHUJA, 'FINGERING VANITAS', 2015
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MEQUITTA AHUJA, 'KITE', 2013
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MEQUITTA AHUJA, 'SEESAW', 2014
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Amy Adler,
2005

Amy Adler was born and raised in New York City. She graduated from Cooper Union and received an MFA in Visual Art from UCLA and an MFA in Cinematic Arts from USC. She has had one person shows at the Museum of Contemporary Art Los Angeles, the Museum of Contemporary Art San Diego and The Aspen Art Museum as well as galleries worldwide. Her project, Amy Adler Photographs Leonardo DiCaprio, was shown at the UCLA Hammer Museum in Los Angeles in 2002. In the spring of 2005 Twin Palms Press released a monograph of her work entitled, Amy Adler Young Photographer. Adler’s work is included in several permanent collections including The Broad Foundation, Los Angeles, The UCLA Hammer Museum, Los Angeles and The Museum of Contemporary Art Los Angeles. Amy Adler currently lives in Los Angeles and is Professor of Visual Art at the University of California San Diego.



AMY ADLER, “THE PROBLEM CHILD”, 1995,
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AMY ADDLER, “CENTERFOLD (BLACK WITH CAT)”, 2001,
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AMY ADDLER, “LOCATION (PLAYGROUND NO.4)”, 2014,
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OUt of Sight,
2006

OUT OF SIGHT was a Conference on the Abolition of Slavery 1807–2007, organized by Professors Huey Copeland and Krista Thomson and sponsored by the Departments of Art History and African American Studies, Northwestern University. Presenting artists include Fred Wilson (keynote speaker), Keith Piper, Hank Willis Thomas and Chris Cozier. The conference addresses the inherent difficulties involved in crafting a visual language capable of representing slavery, abolition, and emancipation—experiences that numerous thinkers have described as unrepresentable, visual blind spots in the memory of the African diaspora.



Mendi and Keith Obadike,

Mendi + Keith Obadike make music, art and literature. Their works include The Sour Thunder, an Internet opera (Bridge Records), Crosstalk: American Speech Music (Bridge Records), Black.Net.Art Actions, a suite of new media artworks (published in re:skin on M.I.T Press), Big House / Disclosure, a 200 hour public sound installation (Northwestern University), Phonotype, a book & CD of media artworks, and a poetry collection, Armor and Flesh (Lotus Press). They have contributed sounds/music to projects by wide range of artists including loops for soul singer D'Angelo's first album and a score for playwright Anna Deavere Smith at the Lincoln Center Institute. They were invited to develop their first "opera-masquerade" by writer Toni Morrison at her Princeton Atelier. Their other honors include a Rockefeller New Media Arts Fellowship, Pick Laudati Award for Digital Art, a New York Foundation for the Arts Fellowship in Fiction, and a Vectors Fellowship from USC. Their intermedia work has been commissioned by The NY African Film Festival and Electronic Arts Intermix, The Yale Cabaret, Whitechapel Art Gallery (London), and The Whitney Museum of Art, among other institutions. Their music has been featured on New York and Chicago public radio, as well as on Juniradio (104.5) in Berlin. 



Marc Fischer,
2006

Temporary Services is Brett Bloom and Marc Fischer. They started working together in Chicago in 1998 as a larger group. In 2008, they started Half Letter Press, a publishing imprint and online store. They are currently based in Chicago and Auburn (IN) and  produce exhibitions, events, projects, and publications. The distinction between art practice and other creative human endeavors is irrelevant to them.



MARC FISCHER, TEMPORRARY SERVICES, “PUBLISHING IN THE REALM OF PLANT FIBERS AND ELECTRONS”, 2016,
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MARC FISCHER, TEMPORRARY SERVICES, “ART WORK- A NATIONAL CONVERSATION ABOUT ART, LABOR, AND ECONOMICS”, 2009,
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MARC FISCHER, TEMPORRARY SERVICES, “PUBLIC CLEARING HOUSE” INSTALLATION, 2015,
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Salem Collo-Julin,
2006

Salem Collo-Julin & Marc Fischer belong to the three person artist collective Temporary Services, which produces exhibitions, public events and publications. Collaborating with individuals and communities within and outside of the art world, Temporary Services creates spaces of dialogue in various exhibitions styles. The group has been collaborating since 1998 and has exhibited at the Contemporary Art Center in Cincinnati, Ohio; Mass MoCA in North Adams, Massachusetts, and Haus de Kulturen der Welt in Berlin.



SALEM COLLO-JULIN, TEMPORRARY SERVICES, “THE FIRST 71 BOOKLETS (1998-2006)”, 2014,
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SALEM COLLO-JULIN, TEMPORRARY SERVICES, “PUBLISHING IN THE REALM OF PLANT FIBERS AND ELECTRONS”, 2016,
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Stan Shellabarger,
2006

Stan Shellabarger's performances, works on paper, prints and artist books employ alternative drawing methods, addressing the body and the Earth to create minimal abstract objects. He takes everyday activities— walking and writing, sometimes breathing —to extreme measures in endurance-based performance work.The repetition of the activity leads to massive accumulations of marks, recording discrete units of time and space that amplify traces humans leave on the Earth; repetition is necessary so that these extremely subtle marks emerge as visible artistic interventions. 

Shellabarger has work in the permanent collections of The Art Institute of Chicago, Museum of Contemporary Art Chicago, The Baltimore Museum of Art, The Minneapolis Institute of Art, The National Gallery of Canada and the Newark Public Library. His work has been written about in Art in America, Artforum.com, The Chicago Tribune, Art in Print, Chicago Magazine and ArtSlant. His work has been shown at Museum of Modern and Contemporary Art (MAMAC) in Nice, France; MCA Chicago; Contemporary Art Museum Raleigh, North Carolina; Madison Museum of Contemporary Art, Wisconsin; Hyde Park Art Center, Chicago; and he’s been invited to perform at the VOLTA show in Basel, Switzerland; the Time-Based Art Festival in Portland, Oregon; Macy’s downtown department store window during the Looptopia festival in Chicago; Millennium Park in Chicago; Illinois State University in Bloomington, Illinois; The Suburban in Oak Park; and the Center of Contemporary Art in St. Louis.



STAN SHELLABARGER AT WESTERN EXHIBITIONS,
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STAN SHELLABARGER, “UNTITLED WALKING BOOK (SQUARE)”, 2013,
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STAN SHELLABARGER, “UNTITLED WALKING BOOK (DIAMOND TREAD, WHITE HELIX)”, 2012,
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