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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.”

owenslaura.com,


LAURA OWENS, “PAVEMENT KARAOKE/ALPHABET” AT SADIE COLES, LONDON,  2012
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LAURA OWENS, “UNTITLED”, 2012,
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LAURA OWENS, “UNTITLED”, 2016,
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LAURA OWENS, “UNTITLED”, 2015,
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LAURA OWENS, “UNTITLED”, 2014,
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LAURA OWENS, “UNTITLED”, 2013,
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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.



MICHELLE GRABNER, “UNTITLED”, 2014
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MICHELLE GRABNER, “UNTITLED”, 2009,
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MICHELLE GRABNER, “UNTITLED”, 1998,
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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.



ANDREA FRASER, “MEN ON THE LINE - MEN COMMITTED TO FEMINISIM, KPFK 1972”, 2012,
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ANDREA FRASER, “NOT JUST A FEW OF US”, 2014,
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ANDREA FRASER, “LITTLE FRANK AND HIS CARP”, 2001,
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Cindy Bernard,
2003

Cindy Bernard’s career spans nearly three decades and she is best known for photographs and projections that explore the relationship between cinema, memory, and landscape including the widely exhibited series Ask the Dust (1988-92), now in the collections of the Museum of Contemporary Art, Los Angeles (21 part set), the Pompidou and MOMA. She is a recipient of grants and fellowships from the J. Paul Getty Trust Fund for the Visual Arts, California Arts Council, Creative Capital, Anonymous Was a Woman, the Harpo Foundation, California Community Foundation, the John Simon Guggenheim Memorial Foundation and the MacDowell Colony. Her work has been exhibited in museums and galleries in the US, Canada, Mexico, Europe, and Japan, and was included in the Whitney and Lyon Biennials.



CINDY BERNARD, “STRUCTURE 1:26, BEACHES, NEWFOUNDLAND”, 2014,
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CINDY BERNARD, “THE FAR COUNTRY”, PART OF THE SERIES “ASK THE DUST”, 1955 - 1991,
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CINDY BERNARD, “THE INQUISITIVE MUSICIAN”, 2011,
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Mel Ziegler,
2004

Austin-based Mel Ziegler received his BFA from the Kansas City Art Institute and his MFA in sculpture from CalArts. From the late 1970s until her death in 1995, Ziegler collaborated with his partner, Kate Ericson. Their projects created new vocabularies for making art in public spaces, by involving community, examining history and responding to specific sites. The works or Ericson and Ziegler have been exhibited in a range of venues, including the Museum of Modern Art, New York, NY; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Real Art Ways, Hartford, CT; and Capp Street Project, San Francisco, CA. Their works were included in the 1989 Whitney Biennial; the 1991 “Places With A Past” public art component at the Spoleto Festival in Charleston, SC; Sculpture Chicago’s 1993 “Culture in Action” project; and the 1999 Museum of Modern Art exhibit, “The Museum is Muse.”

The public nature of Ziegler’s work continues the themes and forms established with Ericson over the course of their collaboration. Sites and histories are methodically researched, as in the case of Camouflaged History for the Spoleto Festival, in which a house was painted in a camouflage pattern in 72 paint colors designated as the “authentic colors of historic Charleston” by the Charleston Historic Society. Projects generally involved public space: in San Francisco, the artists inscribed roofing shingles with San Francisco’s street names and then re-roofed a neighborhood house with the transformed materials.



KATE ERICSON AND MEL ZIEGLER, “CAMOUFLAGED HISTORY”, 1991,
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KATE ERICSON AND MEL ZIEGLER, “PEAS, CARROTS, POTATOES”, 1994,
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KATE ERICSON AND MEL ZIEGLER, “PASTELLUS”, 1983,
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Shirley Tse,
2004

Shirley Tse is an American contemporary artist born in Hong Kong (now a US citizen residing in Los Angeles). Tse's work is often installation based and incorporates sculpture, photography and video, and explores sculptural processes as models of multi-dimensional thinking and negotiation. She is faculty in the School of Art at California Institute of the Arts, and was the Co-Director of the Program in Art from 2011-2014. 

Her sculptures, installations and photographs have been included in numerous museum exhibitions worldwide, among them are The Biennale of Sydney (including Polymathistyrene 2000), Bienal Ceara America, Brazil, Kaohshiung Museum of Fine Arts, Taiwan, Art Gallery of Ontario, Canada, Museum of Modern Art, Bologna, Italy, San Francsico Museum of Modern Art, New Museum of Contemporary Art, New York, P.S.1 Contemporary Art Center, New York, Kettle's Yard, UK, and Govett-Brewster Art Gallery, New Zealand. Tse is represented by Shoshana Wayne Gallery in Los Angeles. Her work has been included in numerous articles, catalogues and publications including Sculpture Today by Phaidon (2007) and Akademie X - Lessons in Art + Life (2015).Tse's work is in public collections such as Rhode Island School of Design Museum, RI, M+, Hong Kong and Hong Kong Heritage Museum, Hong Kong.

 



SHIRLEY TSE, “SQUARING THE CIRCLE”, 2007,
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SHIRLEY TSE, “AUDIO”, 2012,
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SHIRLEY TSE, “VITAL ORGAN”, 2011,
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Tony Tasset,
2004

Tony Tasset was born in Cincinnati in 1960. He received his B.F.A. at the Art Academy of Cincinnati in 1983 and his M.F.A. at The School of the Art Institute of Chicago in 1985. Tasset works with video, photography, bronze, wax, fiberglass, film and even taxidermy. His work, employing wisdom and wit, continuously contends with the trappings of Modernism, Postmodern theory, pop culture and the universal human emotions associated with love, loss, frailty and beauty. Tasset's work is in the permanent collections of prestigious museums, including the Art Institute of Chicago and the Museum of Contemporary Art, Chicago; the Museum of Contemporary Art, Los Angeles; the Museum Fur Moderne Kunst, Frankfurt; and the San Francisco Museum of Art. In addition, he has been featured in numerous solo and group exhibitions around the world, including Canada, Ecuador, Germany, Italy and the United Kingdom. In 2007, Tasset was the subject of a solo show at Laumeier, Tony Tasset: All Things Must Pass.



TONY TASSET, “ARROW PAINTING 11”, 2015,
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TONY TASSET, “ME AND MY ARROW 9”, 2015,
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TONY TASSET, “HOT DOG MAN”, 2014,
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TONY TASSET, “DEER”, 2015,
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Stephanie Snider,
2004

Stephanie Snider’s work namely takes the form of drawings, paintings and sculpture dealing with personal memory and history as well as social and cultural space through the lens of fictional architecture and design. She received her MFA from the Yale School of Art, and her BFA from Rhode Island School of Design. She was the recipient of a Guggenheim Fellowship in 2009-2010 and was a MacDowell Colony Fellow in 2009. In 2000-2001, she was the recipient of the Berlin Prize/Emerging Artist Prize in cooperation with the American Academy in Berlin. Her work has been exhibited widely, including multiple exhibitions in New York and Germany.



STEPHANIE SNIDER, “UNTITLED (DOLLHOUSE)”, 2015,
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STEPHANIE SNIDER, “UNTITLED (RUBBER KNOT)”, 2015,
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STEPHANIE SNIDER, “GEOMETRIC LANDSCAPE”, 2015,
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Katy Siegel,
2004

Katy Siegel is Associate Professor of Art History and Criticism at Hunter College, CUNY, and a contributing editor to Artforum. Her publications include sidney tillim: art after ideologyart works: money (co-authored with paul mattick) and the forthcoming abstract expressionism (phaidon, 2006). Siegel has written many essays about modern and contemporary art, most recently on Takashi Murakami's exhibition at the Japan Society, and Richard Tuttle's retrospective at sfmoma.



Damir Niksic,
2004

Damir Nikšić is also the co-founder of Maxumim art group together with Anur Hadžiomerspahić, Anela Šabić, Ajna Zlatar, Eldina Begić, Dejan Vekić, Almir Kurt, Samir Plasto, Hamdija Pašić, Rachel Rossner, Nebojša Šerić, Suzana Cerić, Alma Fazlić, Zlatan Filipović. In 1997, the group has its first exhibition Maxumim I, Collegium Artisticum, Sarajevo, which would be followed up in 1998 with Maxumim II, and in 1999-2000 with Maximum III, at Collegium Artisticum, Sarajevo; Pavarotti Music Center, Mostar; Bosnian Cultural Center, Tuzla; City Gallery, Zenica; City Gallery, Bihać. In 2011, he protested the closing of the Art Gallery of Bosnia and Herzegovina setting up daily video updates.



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