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Sergio Torres-Torres,
2010

Sergio Torres-Torres received his MFA from the University of California, Los Angeles, and was awarded a post-graduate residency at the Core Program in Houston. He has exhibited work in solo and group exhibitions at venues such as Sixteen:One Gallery, Santa Monica, CA; Atelier als Supermedium, The Hague, Netherlands; Phantom Galleries, Los Angeles, CA; MAK Center, Los Angeles, CA; Postartum, Long Beach, CA; and Charim Klocker Gallery, Vienna, Austria.



SERGIO-TORRES-TORRES, “HISTORY TRANSFORMED (DETAIL)”, 2015,
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SERGIO-TORRES-TORRES, “HISTORY TRANSFORMED”, 2015,
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SERGIO TORRES-TORRES, “YOU AND ME”, 2014,
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Paul Ramirez Jonas,
2011

Paul Ramírez Jonas’ selected solo exhibitions include Pinacoteca do Estado, Sao Paulo, Brazil; The Aldrich Contemporary Art Museum, Ridgefield, Connecticut; The Jack S. Blanton Museum of Art, Austin, Texas; a survey at Ikon Gallery (UK) and Cornerhouse (UK); Alexander Gray Gallery (NYC); Roger Björkholmen (Sweden); Nara Roesler Gallery (Brazil); and Postmasters Gallery (NYC). He has been included in group exhibitions at P.S.1 (NYC); The Whitechapel (UK); Irish Museum of Modern Art (Ireland); The New Museum (NYC); and Kunsthaus Zurich (Switzerland). He has participated in the Johannesburg Biennale; the Seoul Biennial, the Shanghai Biennial; the 28th Sao Paulo Biennial; the 53rd Venice Biennial and the 7th Bienal do Mercosul, Porto Alegre, Brazil. In 2010 his Key to the City project was presented by Creative Timewith cooperation with the City of New York.

http://www.paulramirezjonas.com/selected/new_index.php,


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PAUL RAMIREZ-JONAS, “ANOTHER DAY”, 2003,
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PAUL RAMIREZ-JONAS, “ASSEMBLY (GHAZI STADIUM)”, 2013,
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PAUL RAMIREZ-JONAS, “DECLARATION”, 2007,
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Elijah Burgher,
2011

Elijah Burgher makes colored pencil drawings that utilize ideas from magick and the occult to address sexuality, sub-cultural formation and the history of abstraction. He has exhibited in solo and two-person exhibitions at Western Exhibitions in Chicago, IL, 2nd Floor Projects in San Francisco, Shane Campbell Gallery in Oak Park, IL, and Lump in Raleigh, NC. Burgher received his MFA from the School of the Art Institute of Chicago and BA from Sarah Lawrence College in Bronxeville, NY. He lives and works in Chicago.



ELIJAH BURGHER, “BUILD BETTER HUMAN BEINGS”, 2012,
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ELIJAH BURGHER, “EMERALD TABLET, SMASHED”, 2011,
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ELIJAH BURGHER, “DON'T CONFUSE TRUST AND CONTROL”, 2013,
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ELIJAH BURGHER, “IF I CAN'T HAVE YOU I CAN LOVE YOU JUST THE SAME (AFTER B. DEE)”,  2010,
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Judd Morrissey,
2011

Mark Jeffery and Judd Morrissey are a collaboration merging live performance and digital literary practices. The work, which is visual, textual and choreographic, evolves through context-specific research and practice and always considers the constraints of a given venue or occasion. Site-responsive concerns extend beyond the exhibition space to include local communities and online textual activity happening in proximity to an event. A given piece is a body of material that may have no singular fixed form but is alternately or simultaneously presented as large-scale public projection, internet art, durational live installation, or a performance of fixed length.

Jeffery and Morrissey have presented throughout the US, UK, and Europe with recent venues including the Cathedral Quarter in the city of Lincoln, UK (commissioned performance distributed throughout multiple outdoor sites), Hyde Park Art Center (Chicago), Museum of ContemporaryArt Chicago, Center of Contemporary Culture Barcelona, Bergen Art Museum, House of World Cultures (Berlin), Chicago Cultural Center, and the Ontological-Hysteric Theater in NYC. Both artists teach at the School of the Art Institute of Chicago and were members of the seminal international performance collective Goat Island.



JUDD MORRISSEY IN THE PRECESSION,
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JUDD MORRISSEY, “WORKMEN TONY SORACI KISSING MISS LIBERTY”, 1984,
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JUDD MORRISSEY AND MARK JEFFERY – ATOM-R, “PERFORMING THRESHOLDS- INVISIBILITY, VIRTUALITY & RITUAL”, 2016,
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Mark Jeffery,
2011

Mark Jeffery and Judd Morrissey are a collaboration merging live performance and digital literary practices. The work, which is visual, textual and choreographic, evolves through context-specific research and practice and always considers the constraints of a given venue or occasion. Site-responsive concerns extend beyond the exhibition space to include local communities and online textual activity happening in proximity to an event. A given piece is a body of material that may have no singular fixed form but is alternately or simultaneously presented as large-scale public projection, internet art, durational live installation, or a performance of fixed length.
Jeffery and Morrissey have presented throughout the US, UK, and Europe with recent venues including the Cathedral Quarter in the city of Lincoln, UK (commissioned performance distributed throughout multiple outdoor sites), Hyde Park Art Center (Chicago), Museum of ContemporaryArt Chicago, Center of Contemporary Culture Barcelona, Bergen ArtMuseum, House of World Cultures (Berlin), Chicago Cultural Center, andthe Ontological-Hysteric Theater in NYC. Both artists teach at the School of the Art Institute of Chicago and were members of the seminal international performance collective Goat Island.

http://www.markjefferyartist.org/collaboration.html,


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MARK JEFFEREY, “WORKMEN TONY SORACI KISSING MISS LIBERTY”, 1984,
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MARK JEFFERY AND JUDD MORRISSEY – ATOM-R, “PERFORMING THRESHOLDS- INVISIBILITY, VIRTUALITY & RITUAL”, 2016,
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Awkward x 2,
2011

Awkward x 2 is a collaboration between two painters, Rebecca Norton and Jeremy Gilbert-Rolfe. We began to work together in the summer of 2010 and our show at the Suburban, opening on October 29th, will be Awkward’s first solo show. Awkward’s chief interest is painting, but we also want to explore new ways in which to talk about art and further collaborations into areas outside of art as such that might nonetheless inform what we do. We’re interested in beauty, the involuntary, pleasure and complexity and in what results from two people working on the same thing in a field where works have traditionally been associated with individual subjectivities. Rebecca Norton received her MFA from Art Center College of Design in Pasadena in 2010, Jeremy Gilbert-Rolfe received his from Florida State University in 1970. She is from Kentucky, he is from Kent.



AWKWARD X 2, EXHIBITION AT THE SUBURBAN GALLERY, 2010,
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AWKWARD X 2, “THE OTHER SIDE OF A LIE”, 2011,
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AWKWARD X 2, “The First One”, 2010,
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Ana Prvacki,
2011

Ana Prvacki (b. 1976, Serbia) is an artist whose work draws on daily practices and social research. Her interventions are meant to transform the viewer’s perception and experience of daily life and routine, providing solutions to our everyday problems, worries, and fears. She explores social anxiety and the comedic potential of faux pas as well as the sociopolitical significance of welcoming the “other.” Prvacki was recently an Artist-in-Residence at the Hammer Museum (Los Angeles) where she developed “Greeting Committee” (2011), a participatory project about gestures of hospitality, civility, and etiquette. She has shown in numerous international venues including: Bloomberg (NY), Lombard-Freid Projects (NY), Art in General (NY), Isabella Stewart Gardner Museum (Boston), Centre Pompidou (Paris), Castello di Rivoli Museo d’Arte Contemporanea (Turin), Sydney Biennial, Singapore Biennial, and the Turin Triennale. Prvacki is based in Los Angeles and Singapore.

anaprvacki.com,


ANA PRVACKI, “STEALING SHADOWS”, 2015,
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ANA PRVACKI, “STEALING SHADOWS”, 2016,
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ANA PRVACKI, “TENT, QUARTET, BOWS AND ELBOWS”, 2007,
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Doug Ischar,
2012

Doug Ischar (b. 1948, Honolulu) received his MFA from California Institute of the Arts in 1987. Since 1990, he has taught in the School of Art and Art History at the University of Illinois at Chicago, where he is presently Associate Professor. Ischar has exhibited at White Columns, New York; Museum of Contemporary Art, Chicago; Photographers Gallery, London; Blum Helman Gallery, New York; Mercer Union, Toronto; List Venter for the Visual Arts, MIT, Cambridge; Göteborgs Konst Museum, Sweden; and Museo de Arte Moderna de São Paulo, Brazil. Ischar has received awards from both the Illinois Arts Council and the National Endowment for the Arts, and his work is included in the collections of the Museum of Fine Arts, Houston; Museum of Contemporary Art, Chicago; Museum of Contemporary Photography, Chicago; and the Norton Family Collection, Santa Monica. His video work has recently screened at Participant, NYC; the Seattle Gay and Lesbian Film Festival; Chicago Filmmakers; and the Siskel Center, Chicago. His videos are distributed by VTape, Toronto and the Video Data Bank, Chicago.



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DOUG ISCHAR, “ALONE WITH YOU”, 2011,
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DOUG ISCHAR, “HONOR AMONG 5”, 1987 – 2011,
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DOUG ISCHAR, “AL 5”, 2015,
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Laurel Nakadate,
2012

Laurel Nakadate is a photographer, video artist and filmmaker. She received a B.F.A. from Tufts University and The School of The Museum of Fine Arts, Boston and an M.F.A. in photography from Yale University. Her work has been exhibited at MoMA, The Yerba Buena, The Getty Museum, and The Reina Sofia. Her ten-year survey show, “Only the Lonely,” was on view at MoMA P.S.1 from January through August, 2011. Her work is in the collections of the Museum of Modern Art, the Whitney Museum of American Art, the Yale University Art gallery, the Hessel Museum of Art, Bard College, Princeton University Art Museum, the Saatchi Collection and other private collections in the US and abroad. She is represented by Leslie Tonkonow Artworks + Projects, in New York City, where her show, “The Searchers” will open in May 2013.



LAUREL NAKADATE, “LUCKY TIGER”, 2009,
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LAUREL NAKADATE, “LUCKY TIGER”, 2009,
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LAUREL NAKADATE, “LUCKY TIGER”, 2009,
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James Richards,
2012

James Richards an artist based in London. His work takes material culled from home videos, books, records, CDs, combined with his personal archive to trace unlikely rhythmic or gestural connections between heterogeneous materials. Recent solo shows have been held at CCA Kitakyushu (2012); Chisenhale Gallery, London and RODEO, Istanbul (both 2011). He has curated screenings for numerous venues including Light Industry, New York and the ICA, London. Recent collaborative projects include An Echo Button, with Ed Atkins and Haroon Mirza for Performa 11 (2011) and DISAMBIGUATION with Steve Reinke, Trinity Square Video, Toronto (2010). Richards has been selected for the DAAD Berliner Künstlerprogramm 2013 and Received the 2012 Jarman Award.



JAMES RICHARDS, “UNTITLED MERCHANDISE (LOVERS AND DEALERS)”, 2007,
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JAMES RICHARDS, “CRUMB MAHOGANY 1”, 2016,
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JAMES RICHARDS, “ROSEBUD”, 2013,
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JAMES RICHARDS, “RADIO AT NIGHT”, 2015,
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