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Simon Grennan,
2002

Simon Grennan and Chris Sperandio are noted for their fusion of High and Low Art. Simon Grennan and Christopher Sperandio have built a career creating interactive, collaborative community portraits ranging from comic books that tell the stories of social groups to a candy bar designed with the Chicago Confectioner's Union. They are currently collaborating on artworks for media internationally, including such diverse venues as WIRED magazine, London's Channel Four and DC Comics, as well as for such museums as the Museum of Modern Art/PS1, the Museum of Fine Arts, Boston, New York's Public Art Fund, the BALTIC Centre in Gateshead, England, and London's Institute of Contemporary Art. A survey of their work, titled "The Greatest Hits of Grennan and Sperandio," was recently mounted by the Gallery of Modern Art in Glasgow, Scotland. They have also exhibited at American Fine Arts in New York, and their last TV venture was a pair of pilots for MTV Animation.Grennan and Sperandio both received MFAs at the University of Illinois, Chicago. After teaching briefly at Princeton University, Sperandio joined the faculty at the School of the Art Institute in Chicago, where he still teaches as a visiting artist. Grennan is currently completing his Ph.D. in Art History and lives in the south of England. Sperandio is based in Manhattan.



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Michael Corris,
2002

Corris began working in late-1971 with the Conceptual art group, Art & Language, in New York; his work was published in 1973 in the group’s journal, Art-Language. With Mel Ramsden, Ian Burn, Joseph Kosuth, Sarah Charlesworth and others, Corris was a founding editor of The Fox; an artists-run journal that addressed the political and social dimensions of contemporary artistic practice. Following the dissolution of Art & Language in New York in late-1976, Corris continued to pursue his artistic practice, dividing his energies between the production of artist's books inspired by typographic design and lecturing and writing on contemporary art and art theory. As a member of Art & Language and as an individual artist, Corris's work has been widely exhibited internationally and is part of the permanent collection of, among others, the Museum of Modern Art (New York City), the Whitney Museum of American Art (New York City), the Victoria and Albert Museum(London), Le Consortium (Dijon) and the J. P. Getty Museum (Los Angeles).

 



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Gregg Bordowitz,
2002

Gregg Bordowitz is an artist and writer. For the past three years, Bordowitz turned his attention to performance. Testing Some Beliefs is an improvisational lecture that he delivered at Iceberg Projects (Chicago), Murray Guy (New York), Temple Gallery (Philadelphia), and the Modern Art Museum of Fort Worth (Texas). He wrote and directed Sex Mitigating Death: On Discourse and Drives: A Meditative Poem, presented March 18th, 2011, at the Tate Modern, London. He also directed and wrote an opera titled The History of Sexuality Volume One By Michel Foucault: An Opera, which premiered October 1 and 2, 2010 at Tanzquartier Wien, Austria.  His most recent book, General Idea: Imagevirus, was published by Afterall Books in 2010. A collection of his writings — titled The AIDS Crisis Is Ridiculous and Other Writings 1986-2003 — was published by MIT Press in the fall of 2004. For this book, Bordowitz received the 2006 Frank Jewitt Mather Award from the College Art Association.  

In addition, he has received a Rockefeller Intercultural Arts Fellowship and a John Simon Guggenheim Memorial Fellowship, among other grants and awards. His films, including Fast Trip Long Drop (1993), A Cloud In Trousers (1995), The Suicide  (1996), and Habit (2001) have been widely shown in festivals, museums, movie theaters, and broadcast internationally.  Professor Bordowitz teaches in the Film, Video, New Media, and Animation Department at the School of the Art Institute of Chicago, and he is on the faculty of the Whitney Museum Independent Study Program.



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Christopher Wool,
2003

Christopher Wool is best known for his paintings of large, black, stenciled letters on white canvases. However, Wool possesses a wide range of style—using a combined array of painterly techniques, including spray paint, silkscreen, and hand painting. Wool provides tension between painting and erasing, gesture and removal, depth and flatness. By painting layer upon layer of whites and off–whites over silkscreened elements used in previous works—monochrome forms taken from reproductions, enlargements of details of photographs, screens, and polaroids of his own paintings—he accretes the surface of his pressurized paintings while apparently voiding their very substance.

He studied at Sarah Lawrence College, New York, and The New York Studio School, New York. Wool's work has been exhibited extensively around the world in many solo and group exhibitions. Recent solo shows include the San Francisco Museum of Modern Art, California (1989); Museum Boymans–van Beuningen, The Netherlands (1991, traveled to Kunsthalle Bern, Switzerland; and Kölnischer Kunstverein, Germany); Eli Broad Family Foundation, Los Angeles (1992); Ophiuchus Collection, The Hydra Workshop, Greece (1998); Museum of Contemporary Art, Los Angeles (1998, traveled to Carnegie Museum of Art, Pittsburgh; and Kunsthalle Basel, Switzerland); Centre d’Art Contemporain Geneve, Switzerland (1999); Le Consortium, France (2002, traveled to Dundee Contemporary Arts, Scotland, through 2003); Camden Arts Centre, London (2004); Instituto Valenciano de Arte Moderno, Spain (2006); ETH (Swiss Federal Institute of Technology), Zurich (2006); Museum de Arte Contemporanea de Serralves, Portugal (2008, traveled to Museum Ludwig, Germany); Musée d’Art Moderne de la Ville de Paris, France (2012); and The Solomon R. Guggenheim Museum, New York (2013, traveled to The Art Institute of Chicago, Illinois).



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Howard Singerman,
2003

Howard Singerman is an Associate Professor of Contemporary Art and Art Theory at the University of Virginia. Singerman began writing on contemporary art in the late 1970s, publishing regularly in Artweek and Artforum. He was museum editor for the Museum of Contemporary Art in Los Angeles from 1985 to 1988, and has contributed to numerous exhibition catalogues for contemporary exhibitions nationally and internationally. His ongoing research interest, and the subject of his book Art Subjects: Making Artists in the American University (1999), has been the institutions in which modern and contemporary artists have been trained and professionalized. Other notable publications (among many) include: Public Offerings, editor and contributor, Museum of Contemporary Art. Los Angeles, and Thames and Hudson, 2001; "Charting Monkey Island with Levi-Strauss and Freud" contribution to Mike Kelley: Catholic Tastes, Whitney Museum of American Art and Harry N. Abrams, 1993; and "In the Text" contribution to A Forest of Signs: Art in the Crisis of Representation, Museum of Contemporary Art, Los Angeles and MIT Press, 1989.



Richard Rezac,
2003

Richard Rezac is an artist whose geometric, quasi-minimalist sculpture has enjoyed, since the mid 80s, wide exhibition throughout the United States. Recent one person shows have been mounted at Marc Foxx, Los Angeles; James Harris Gallery, Seattle, and Feature Inc., New York; Rhona Hoffman Gallery, Chicago; and Galerie Isabella Bortolozzi. Richard Rezac’s sculpture has been shown nationally and internationally, most notably in a 2006 survey of his work at the Portland Art Museum. Other venues include Yale University Art Gallery, the Art Institute of Chicago and Museum of Contemporary Art in Chicago, and the Corcoran Gallery of Art, Washington D.C. Rezac has received Fellowship Grants from the Guggenheim Foundation, the Joan Mitchell Foundation and the Tiffany Foundation and in 2006, the coveted Rome Prize from the American Academy in Rome. He lives and works in Chicago.

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Dan Perjovschi,
2003

Dan Perjovschi is an artist, writer and cartoonist born in 1961 in Sibiu, Romania. Perjovschi has over the past decade created drawings in museum spaces, most recently in the Museum of Modern Art in New York City in which he created the drawing during business hours for patrons to see. The drawings present a political commentary in response to current events. Another exhibition of Perjovschi's within a Portuguese bank consists of several comic strip style drawings which address more European issues such as Romania's acceptance to the EU and abortion legalization in Portugal. Dan and Lia Perjovschi had their first retrospective exhibition at the Nasher Museum of Art at Duke University in fall 2007. In 2009 Dan Perjovschi created his first permanent realisation in Prague National Technical Library. It consists of 200 monumental drawings on the concrete walls of main atrium of the building. In 2010, Dan Perjovschi served as an International Artist in Residence at the University of Kansas Spencer Museum of Art in Lawrence, Kansas. In March 2013, Dan and Lia Perjovschi were awarded with the European Cultural Foundation's Princess Margriet Award.



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Laura Owens,
2003

Laura Owens is a painter and installation artist very firmly practicing in the tradition of the post-conceptual art generation. Using bright, color-infused imagery that depicts landscapes, couples kissing, blooming flowers, and dogs howling at the moon, Owens is something of a modern day John William Waterhouse. Working mostly in paint, Owens’ compositions are often reminiscent of the wide, rolling emptiness of Song scholar-paintings, while sharing their tiny exactness with needlepoint. Portraying worlds that are full of mythology and bursting with possibility, Owens is a model for a generation of artists who embrace the constant reinvention of the medium of painting. Praising the artist, MOCA/LA curator Paul Schimmel has declared: “Hers is an art predicated on balancing intuition and intellect, encouraging multiple voices and leveling hierarchies.”

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Michelle Grabner,
2003

Grabner holds an MA in Art History and a BFA in Painting and Drawing from the University of Wisconsin–Milwaukee, and an MFA in Art Theory and Practice from Northwestern University. She joined the faculty of the School of the Art Institute of Chicago in 1996, and became Chair of its prestigious Painting and Drawing department in the fall of 2009. She is a senior critic at Yale University in the Department of Painting and Printmaking. Her writing has been published in Artforum, Modern Painters, Frieze, Art Press, and Art-Agenda, among others.

Grabner also runs The Suburban and The Poor Farm with her husband, artist Brad Killam. She co-curated the 2014 Whitney Biennial at the Whitney Museum of American Art along with Anthony Elms and Stuart Comer. Solo exhibitions of her work have also been held at INOVA, The University of Wisconsin, Milwaukee; Ulrich Museum, Wichita; and University Galleries, Illinois State University. She has been included in group exhibitions at Museum of Contemporary Art, Chicago; Walker Art Center, Minneapolis; Tate St. Ives, UK; and Kunsthalle Bern, Switzerland. Her work is included in the permanent collection of Walker Art Center, Minneapolis; MoCA, Chicago; MUDAM, Luxemburg; Milwaukee Art Museum, Wisconsin; Madison Museum of Contemporary Art, Wisconsin; Daimler Contemporary, Berlin; Smithsonian American Art Museum, Washington DC and the Victoria and Albert Museum, London.



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Andrea Fraser,
2003

Andrea Fraser’s work has been identified with performance, video, project-based art, context art, and institutional critique. Major projects include installations for the Berkeley Art Museum; the Kunstverein Munich; the Venice Biennale (Austrian Pavilion); the Whitney Biennial; the Generali Foundation, Vienna; the Kunsthalle Bern; the Sprengel Museum Hannover; the Bienal de São Paulo; the Tate Modern and the Whitney Museum of American Art. Surveys of her work have been presented by the Belkin Art Gallery, University of British Columbia; the Kunstverein Hamburg; the Kemper Art Museum, Washington University; the Franz Hals Museum in Haarlem; and the Carpenter Center, Harvard University.

Major retrospectives of her work have been organized by the Museum Ludwig Cologne (2013); the Museum der Moderne Kunst Salzburg (2015); the Museum of Contemporary Art Barcelona and the MUAC UNAM Mexico City (both 2016).Her essays and performance texts have appeared in Art in America, Afterimage, October, Texte zur Kunst, Social Text, Critical Quarterly, Documents, Artforum, and Grey Room. Books include Andrea Fraser: Works 1984-2003, Dumont, 2003; Museum Highlights: The Writings of Andrea Fraser, MIT Press, 2005; and Texts, Scripts, Transcripts, Museum Ludwig, 2013.



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