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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.



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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.



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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.



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Sara Black,
2006

Sara Black presents and discusses both her individual work and that of her collaborative project, Material Exchange. Black’s performances, sculpture, installation, and col- laborative works evolve around an interest in how materials move through the world and the shifting designation of values in American culture. Black received her MFA from The University of Chicago. She has given talks and presented workshops at the Massachusetts College of Art and Design, Harvard University, SAIC, DePaul University, Columbia College, and more. Her work has been exhibited nationally in a variety of spaces including Chicago’s Museum of Contemporary Art, The Smart Museum of Art, Gallery 400, Hyde Park Art Center, ThreewallsSOLO; Portland’s Museum of Contemporary Craft; New York’s Park Avenue Armory, and Eyebeam; Boston’s Tuft University Gallery; and Minneapolis’ Soap Factory.

 



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Scott Reeder,
2006

Scott Reeder's paintings are irreverent parodies yet his painting are classical in a sense. He mines art history for different styles and each style gives him the context for a new joke. The list of his parodies include Caravaggio, Picasso, Duchamp, Jasper Johns, Rothko, Matisse, Twombly, Lewitt and others. Then there are the uniquely Scott Reeder paintings – the smoking fruit, the Christian Calculator, the Symmetrical Pirate. But as Reeder's Untitled 14 x 25 foot piece that occupied the lobby of the Museum of Contemporary Art in Chicago demonstrates, he is not only interested in the surface joke. The “spaghetti” series delves into the the abstract both as a visual experience and a type of problem of social value. 

Reeder’s work has been shown widely including exhibitions at Saatchi Gallery, Gavin Brown’s enterprise, Daniel Reich Gallery, Museum of Contemporary Art Chicago, Los Angeles Contemporary Exhibitions, Jack Hanley, China Art Objects, and Pat Hearn. His recent projects also include a soon to be completed feature film entitled Moon Dust; set 100 years in the future and tells the tragic story of a failing resort located on the moon. Reeder recently had a solo show at the Museum of Contemporary Art in Chicago.



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Coco Fusco,
2006

Coco Fusco is an interdisciplinary artist and writer and the Andrew Banks Endowed Professor of Art at the University of Florida. She is a recipient of a 2014 Cintas Fellowship, a 2013 Guggenheim Fellowship, a 2013 Absolut Art Writing Award, a 2013 Fulbright Fellowship, a 2012 US Artists Fellowship and a 2003 Herb Alpert Award in the Arts. Fusco's performances and videos have been presented in the 56th Venice Biennale, two Whitney Biennials (2008 and 1993), BAM’s Next Wave Festival, the Sydney Biennale, The Johannesburg Biennial, The Kwangju Biennale, The Shanghai Biennale, InSite O5, Mercosul, Transmediale, The London International Theatre Festival, VideoBrasil and Performa05.

Fusco's works have also been shown at the Tate Liverpool, The Museum of Modern Art, The Walker Art Center and the Museum of Contemporary Art in Barcelona. She is represented by Alexander Gray Associates in New York. Fusco is the author of English is Broken Here: Notes on Cultural Fusion in the Americas (1995) and The Bodies that Were Not Ours and Other Writings (2001), and A Field Guide for Female Interrogators (2008). She is also the editor of Corpus Delecti: Performance Art of the Americas (1999) and Only Skin Deep: Changing Visions of the American Self (2003). Her new book entitled Dangerous Moves: Performance and Politics in Cuba was recently issued by Tate Publications in London. Fusco received her B.A. in Semiotics from Brown University (1982), her M.A. in Modern Thought and Literature from Stanford University (1985) and her Ph.D. in Art and Visual Culture from Middlesex University (2007).



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Pedro Lasch,
2006

Pedro Lasch was born and raised in Mexico City. He divides his time between North Carolina, where he teaches art, art theory, and visual studies at Duke University since 2002, and New York (NY), where he leads on-going projects with immigrant communities and art collectives, such as 16 Beaver Group since 1999. His solo exhibitions and projects include Open Routines (Queens Museum of Art, 2006), Black Mirror (Nasher Museum of Art, 2008), and Abstract Nationalism & National Abstraction (The Phillips Collection, 2014); he has also participated in group exhibitions at MoMA PS1, MASS MoCA, Walker Art Center, CAC New Orleans (U.S.A.); Royal College of Art, Hayward Gallery, Baltic (U.K.); Centro Nacional de las Artes, MUAC (Mexico); the Gwangju Biennial (South Korea), the 12th Havana Biennial (Cuba), and Documenta 13 (AND AND AND), among many others.  The author of two books, his art and writings have also appeared in numerous catalogues and edited collections, as well as journals across disciplines like October Magazine, Saber Ver, Art Forum, ARTnews, Cultural Studies, and Rethinking Marxism,and international news like The New York Times, The Philadelphia Weekly, El Universal, and La Jornada.



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Kamrooz Aram,
2006

Kamrooz Aram's diverse artistic practice engages the complicated relationship between traditional non-Western art and Western Modernism. Through a variety of forms including painting, collage, drawing and installation, Aram has found the potential for image-making to function critically in its use as a tool for a certain renegotiation of history. He received his master's degree in Fine Arts from Columbia University in 2003. Solo and two-person exhibitions include Palimpsest: Unstable Paintings for Anxious Interiors at Green Art Gallery, Dubai, UAE (2014); Kamrooz Aram/Julie Weitz at Michelle Grabner's space The Suburban, Chicago, Illinois (2013); Brute Ornament: Kamrooz Aram and Seher Shah, curated by Murtaza Vali, at Green Art Gallery, Dubai, UAE (2012); Negotiations at Perry Rubenstein Gallery, New York, New York (2011); Generation After Generation, Revolution after Revelation at LAXART, Los Angeles, California (2010) and Kamrooz Aram: Realms and Reveries at the Massachusetts Museum of Contemporary Art (MASS MoCA), North Adams, Massachusetts (2006).

Aram has also been awarded grants from Art Matters (2014), the New York Foundation for the Arts (2004) and the Jacob K. Javits Fellowship Program (2001). Aram's work can be found in public collections including the Metropolitan Museum of Art, New York; the Cincinnati Art Museum, Cincinnati, Ohio; the Rose Art Museum] at Brandeis University, Waltham, MA; and M+, Hong Kong. He lives and works in Brooklyn, New York.



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Robert A. Pruitt,
2007

Robert A. Pruitt lives and works in Houston, Texas. He has had solo shows at ArtPace, Project Row Houses and the Contemporary Art Museum in Houston, as well as New York's Clementine Gallery. He participated in the 2006 Whitney Biennial.

The artist has written of his work: “I have been educated by the contemporary art system, but my neighborhood, and most of its residents, are unaware of this world, and that world is unaware of it. This is the dichotomy out of which I work. An inhabitant of two worlds, my work attempts to bridge the gap between African cultural traditions supposedly lost to African Amercans, and contemporary art making tactics. I fuse Hip-hop sensibilities, rewritten histories, and penchant for the found, (or cheaply bought) object. I romanticize the revolutionary ideologies of the seventies, the dope fresh styles of the eighties, and the conceptual art making practices of the nineties. I collect objects, quotes, and events from my stereotypically disenfranchised neighborhood, bring them back to my studio, and mix them up to make art. My materials are artifacts stained with memory and meaning. I use these artifacts to make objects and images that expound on the black condition in America, and I use a chitlin circuit style of humor to sneak it into the subconscious of my audience.”



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Cheryl Donegan,
2007

Cheryl Donegan received her B.F.A. in Painting at the Rhode Island School of Design and an M.F.A. at Hunter College in New York. Donegan's work integrates the time-based, gestural forms of performance and video with forms such as painting, drawing, and installation. Direct, irreverent, and infused with an ironic eroticism, Donegan's works put a subversive spin on issues relating to sex, gender, art-making and art history. Using her body as metaphor in her earlier works, Donegan's performative actions before the camera often resulted in or related to process paintings and drawings. Her work has been exhibited internationally including at the 1995 Whitney Biennial, The Museum of Modern Art, and the Tang Museum of Art; New York Film and Video Festival; 1993 Venice Biennale; and the Biennale d'Art Contemporain de Lyon, France. Donegan recently exhibited new work at Galerie VidalCuglietta, Brussels, and White Flag Library in St. Louis. Donegan was a faculty member in the Fine Arts Department at the School of Visual Art, New York from 1997-2013. She has been a frequent seminar leader and guest critic at Yale University, was a a faculty member at Skowhegan School of Drawing and Painting, Summer 2011 and a visiting artist/lecturer at numerous art programs in the United States. She lives in New York with her two sons and husband, writer Kenneth Goldsmith. 



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