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Claire Sherman,
2007

Claire Sherman is a painter currently living and working in New York City. Her work is in the collection of the Nerman Museum of Contemporary Art (Overland Park, Kansas), the Margulies Collection (Miami), and other noteworthy public and private collections. She has had solo exhibitions in New York's DC Moore Gallery and DCKT Contemporary, Amsterdam's Galerie Hof & Huyser, London's Houldsworth Gallery, and Chicago's Kavi Gupta Gallery.

Sherman's main body of work consists of landscapes painted with oil on canvas. Their subject matter, more specifically described as icy glaciers, ominous islands, rocky terrain, and foliage, is in line with philosophical discourse on the sublime. Sherman is influenced by the writings of Edmund Burke, Immanuel Kant, and Jean-François Lyotard who discussed the sublime and the beauty of the natural world.

clairesherman.com,


CLAIRE SHERMAN, “BUTTE”, 2011,
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CLAIRE SHERMAN, “CAVE AND SKY”, 2015,
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CLAIRE SHERMAN, “CAVE AND SKY”, 2015,
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CLAIRE SHERMAN, “ROCK WALL”, 2015,
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Hamza Walker,
2007

Hamza Walker was born in 1966 in New York City, has spent 22 years as the Director of Education and Associate Curator for the Renaissance Society at the University of Chicago. He was also on the faculty of The School of The Art Institute of Chicago. He has written for TransNew Art ExaminerParkett, and Artforum, and penned catalogue essays on Darren Almond, Rebecca Morris, Giovanni Anselmo, Thomas Hirschhorn, Moshekwa Langa, and Katharina Grosse. He hasl also organized the first United States exhibition of works by Antwerp native Anne-Mie van Kerckhoven in 2010. At the Ren, Hamza has curated numerous group exhibitions that speak to the contemporary moment, including Teen Paranormal Romance (2014); Suicide Narcissus 2013); Black Is, Black Ain’t (2008); and New Video, New Europe (2004). He also worked closely with individual artists on many solo exhibitions, including William J. O’Brien (2011); Kateřina Šedá, It Doesn’t Matter (2008); Mai-Thu Perret, “And every woman will be a walking synthesis of the universe” (2006); and Simparch and Kevin Drumm, Spec: An Electro-Acoustic Investigation (2001). Prior to his work at the Renaissance Society, Walker was the Public Art Coordinator for the City of Chicago, Department of Cultural Affairs. Walker is the Executive Director of Los Angeles nonprofit art space LAXART since late 2016.



HAMZA WALKER, PHOTO BY DAWOUD BEY,
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Amanda Ross-Ho,
2008

Ross-Ho’s work brings together seemingly oppositional languages and spaces: personal imagery and autobiographical artifacts are mined for formal qualities; traces and residues from studio practices are meticulously re-created as deliberate gestures; boundaries between private work and public display are collapsed. She revisits images and forms in multiple iterations, creating scale shifts, moving among different media, or using positive and negative structures.

Amanda Ross-Ho was born in Chicago in 1975.  She currently lives and works in Los Angeles.  Ross-Ho has exhibited widely in museums and galleries worldwide.  She has had solo exhibitions at the Museum of Contemporary Art, Los Angeles (2012); The Museum of Contemporary Art, Cleveland, OH (2014); and Praz-Delavallade, Paris (2015). Her work has been included in group exhibitions at the 2008 Whitney Biennal, New York; the Museum of Modern Art, New York (2010); Henry Art Gallery, Seattle (2010); and Orange County Museum of Art, Newport Beach (2011); among many other institutions. 



AMANDA ROSS-HO, “GONE TOMORROW“ AT MITCHEL-INNES & NASH, NY, 2013,
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AMANDA ROSS-HO, “GONE TOMORROW“ AT MITCHEL-INNES & NASH, NY, 2013,
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AMANDA ROSS-HO, “CRADLE OF FILTH”, 2013,
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William J. O’Brien,
2008

The raw, often attitudinal sculptures and paintings of William J. O'Brien reject the sentimentality and preciousness generally associated with the handmade. Working extensively in ceramic, the artist creates highly tactile surfaces—some with bulbous, quasi-organic protrusions, others with hand-carved hatchings or the occasional sardonic grin—and further heightens these grotesque topographies with gestural applications of color and glaze.  O'Brien's mixed-media canvases show a similar interest in textural interplay and an almost obsessive pursuit of pattern; the result is a dense cacophony of disparate elements, conveying a studied messiness. O'Brien's work has been exhibited widely, including at the University of Chicago's Renaissance Society (2011), the Detroit Museum of Contemporary Art (2007), the Chicago Museum of Contemporary Art (2005), and Artists Space in New York (2004).



WILLIAM J. O'BRIEN, “BLOOD FACE”, 2012,
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WILLIAM J. O'BRIEN, “BLUES”, 2012,
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WILLIAM J. O'BRIEN, “UNTITLED”, 2015,
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WILLIAM J. O'BRIEN, “UNTITLED”, 2011,
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Deborah Stratman,
2008

Stratman's work has been exhibited internationally at venues including the 2004 Whitney Biennial, Museum of Modern Art, the Centre Georges Pompidou, Hammer Museum, Witte de With, Walker Art Center, Yerba Buena Center, ICA London, MCA Chicago, Walker Art Center, Wexner Center for the Arts, Museum of the Moving Image NY, Robert Flaherty Film Seminar, Anthology Film Archives, Pacific Film Archives, Los Angeles Film Forum, San Francisco Cinemateque, REDCAT Los Angeles, Gene Siskel Film Center, Harvard Film Archives, Her work has screened extensively at Film Festivals such as Rotterdam Int’l Film Festival, Oberhausen Short Film Festival, Ann Arbor Film Festival, Images Festival, Toronto Int’l Film Festival, New York Film Festival, and the Sundance Film Festival, and many others. Deborah Stratman is currently an Associate Professor in the School of Art & Art History at the University of Illinois at Chicago. She earned her MFA from California Institute of the Arts (1995), and her BFA from The School of the Art Institute of Chicago (1990).



DEBORAH STRATMAN, “IN ORDER NOT TO BE HERE”, 2002,
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DEBORAH STRATMAN, “IN ORDER NOT TO BE HERE”, 2002,
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DEBORAH STRATMAN, “IN ORDER NOT TO BE HERE”, 2002,
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Gaylen Gerber,
2008

Gaylen Gerber is an artist and educator known primarily for his gray monochrome paintings, which he refers to as “backdrops” and “supports.” Often foregrounding the works of other artists with his own painted backgrounds, he challenges viewer perceptions of art’s context and neutrality. Gerber has exhibited at Musee d'Art Moderne Grand-Duc Jean, Luxembourg; FRAC-Bourgogne, Dijon, France; Neues Meuseum Weserburg Bremen, Germany; Kunsthaus Bregenz, Austria; Kunsthalle Bern, Switzerland; Art Institute of Chicago; Charlottenborg Exhibition Hall, Copenhagen; Contemporary Arts Center, Cincinnati; Renaissance Society, University of Chicago; Lisson Gallery, London; Galerie Nachst St. Stephan/Rosemarie Schwarzwalder, Vienna; Galerie Susanna Kulli, Zurich; Daniel Hug Gallery, Los Angeles; and Donald Young Gallery, Chicago.



GAYLEN GERBER, “UNTITLED”, 1980,
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GAYLEN GERBER, INSTALLATION VIEW, 2010,
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GAYLEN GERBER, INSTALLATION VIEW, 2010,
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Andrea Bowers,
2008

Born in 1965 in Wilmington, OH, Andrea Bowers lives and works in Los Angeles. Bowers’ work has been featured in solo exhibitions at the Wiener Secession, Vienna; The Power Plant, Toronto; Pitzer College Art Galleries and Pomona College Museum of Art, Claremont, CA; Tang Museum, Skidmore College, Saratoga Springs, NY; REDCAT, Los Angeles; Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany; and National Museum of Contemporary Art, Athens, Greece. She recently collaborated with Suzanne Lacy on a 10-day performance and installation at the Drawing Center, New York. 

Bowers’ work was selected for the SITE.lines Biennial 2014 at SITE Santa Fe, Santa Fe, NM; 2014 Gwangju Biennial, Gwangju, South Korea; and 2004 Whitney Biennial, New York. Her work has been included in group exhibitions at the Louisiana Museum of Modern Art, Humlebaek, Denmark; Stedeljik Museum voor Actuele Kunst, Ghent, Belgium; Museum of Modern Art, New York; New Museum, New York; Museum of Contemporary Art, Los Angeles; Walker Art Center, Minneapolis, MN; Hammer Museum, Los Angeles; Yerba Buena Center for the Arts, San Francisco; Museum of Contemporary Art, Detroit, MI; Museum of Contemporary Art, San Diego, CA; and Museum of Contemporary Art, Sydney, Australia. She is represented by Susanne Vielmetter Los Angeles Projects and Andrew Kreps Gallery, New York. 



ANDREA BOWERS, “MEMORIAL TO ARCADIA WOODLANDS CLEAR-CUT“, 2013,
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ANDREA BOWERS, “NI UNA MUERTE MAS“, 2011,
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ANDREA BOWERS, “THE TRIUMPH OF LABOR“, 2016,
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Dan Graham,
2008

Since the mid-1960s, Dan Graham has produced an important body of art and theory that engages in a highly analytical discourse on the historical, social and ideological functions of contemporary cultural systems. Architecture, popular music, video and television are among the focuses of his provocative investigations, which are articulated in essays, performances, installations, videotapes and architectural/sculptural designs. Graham has published numerous critical essays, and is the author of Video-Architecture-Television (1980).

Graham's work is represented in the collections of numerous major institutions in the United States and Europe, including Moderna Museet, Stockholm; Centre Pompidou, Paris; and Tate Gallery, London. He has had solo exhibitions at the Museum of Contemporary Art, Los Angeles; Castello di Rivoli, Museo d' Arte Contemporanea, Turin, Italy; Whitney Museum of American Art, New York; Walker Art Center, Minneapolis, Minnesota; Van Abbemuseum, Eindhoven, Holland; Museum of Modern Art, Oxford, England; The Renaissance Society, University of Chicago; Kunsthalle, Berne, Switzerland; and the Art Gallery of Western Australia, Perth; and has been represented internationally in group exhibitions at Documenta 7, Kassel, Germany; Art Institute of Chicago; Stedelijk Museum, Amsterdam; P.S. 1, New York; Marion Goodman Gallery, and The Museum of Modern Art, New York, among other institutions.



DAN GRAHAM, “TWO WAY MIRROR: HEDGE ARABESQUE”, 2014,
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DAN GRAHAM, “TWO WAY MIRROR: LABYRINTH 2”, 2002,
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DAN GRAHAM, “NEW WORK WITH CURVES, 15”,
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DAN GRAHAM, “NEW WORK WITH CURVES, 15”,
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DAN GRAHAM, “SAGITARIAN GIRLS”, 2008,
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DAN GRAHAM, “SAGITARIAN GIRLS, MOSTRA GLASS STRESS”, 2009,
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Tom Marioni,
2008

Marioni was born in 1937 in Cincinnati, Ohio, attended the Cincinnati Art Academy, and in 1959 moved to San Francisco where he still lives. His first sound work, One Second Sculpture (1969) was celebrated in the 2005 Lyon Biennial as presaging the work of many artists today who use sound and duration as subjects. His first museum show was in 1970 at the Oakland Museum of California. Titled The Act of Drinking Beer with Friends Is the Highest Form of Art, it was an early example of social activity as art. Over the years, Marioni has been invited to repeat the work in various contexts around the world. 

Marioni was included in important sound art shows: For Eyes and Ears (1980) at the Academy of Fine Arts in Berlin, Live to Air (1982) at the Tate Gallery in London, and From Sound to Image (1985) at the Stuttgart Staatsgalerie in Germany. His work was shown in Out of Actions: Between Performance and the Object in 1998, organized by the Museum of Contemporary Art in Los Angeles. Drawing is central to Marioni’s art, and in 1999 he had a drawing retrospective at the Mills College Art Museum in Oakland. His prints have been published by Crown Point Press since 1974. In 2006 the Contemporary Arts Center in Cincinnati presented a survey exhibition of his work since 1968. Marioni was included in The Art of Participation: 1950 to Now, in 2008 at the San Francisco Museum of Modern Art and The Third Mind: American Artists Contemplate Asia, 1860-1989 in 2009 at the Guggenheim Museum, New York. His work is in the collections of the San Francisco Museum of Modern Art, the Museum of Modern Art in New York, the Stadtische Kunsthalle in Mannheim, Germany, and other museums. He is represented by Anglim Gilbert Gallery in San Francisco and Margarete Roeder Gallery in New York.



TOM MARIONI, “THE ACT OF DRINKING BEER WITH FRIENDS IS THE HIGHEST FORM OF ART”, 1970 – ONGOING,
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TOM MARIONI, “BIRDS IN FLIGHT”, 1969 – 2016,
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TOM MARIONI, “BODY FREE HAND CIRCLE”, 2007,
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Fritz Haeg,
2008

Fritz Haeg applies his skills as an architect to diverse artistic and curatorial practices that include designing houses, leading a peripatetic educational center, facilitating grassroots political activism, and experimenting in radical gardening. Rejecting categorization and specialization, Haeg is attracted to multidisciplinary projects that manifest as social opportunities, benevolent gestures, or inspirational models. Haeg takes a collective approach to his work, viewing its outcomes as organic culminations of multiple individual inputs rather than the result of directorial cues.



FRITZ HAEG, “EDIBLE ESTATES”, 2009,
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FRITZ HAEG, “EVERTON PARK” BASECAMP, 2012,
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FRITZ HAEG, “SUNDOWN”, 2006,
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