https://www.anonymouswasawoman.org/new-blog daily 0.75 2018-07-08 https://www.anonymouswasawoman.org/news daily 0.75 2018-11-07 https://www.anonymouswasawoman.org/events-1 daily 0.75 2021-01-11 https://www.anonymouswasawoman.org/events-1/2021/1/11/the-reality-of-making-art-as-a-woman monthly 0.5 2021-01-11 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1610378497198-8B7I7VPS9FBMZ934PVKE/image001.jpg Events - The Reality of Making Art as A Woman https://www.anonymouswasawoman.org/events-1/2021/1/11/women-making-art-in-an-unequal-art-world monthly 0.5 2021-01-11 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1610378687431-O6J9RZ4QYX4A8281EYTG/unnamed-1.jpg Events - Women Making Art in an Unequal (Art) World https://www.anonymouswasawoman.org/events-1/2019/2/13/the-political-act-of-art-making-as-a-woman-judith-bernstein-betty-tompkins-susan-unterberg-and-cecilia-vicua monthly 0.5 2021-01-11 https://www.anonymouswasawoman.org/new-gallery-1 daily 0.75 2024-11-19 https://www.anonymouswasawoman.org/previous-recipients daily 0.75 2026-02-24 https://www.anonymouswasawoman.org/2017 daily 0.75 2018-07-23 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531111312826-TMLA90X4HGP2KK2LIH3Z/bowen-image_1_orig.jpg 2017 Nancy Bowen is a mixed media artist known for her eclectic mixtures of imagery and materials in both two and three dimensions. Her sculpture and drawing exists in an in -between zone of form and idea, of abstraction and representation. Her work offers a poetic commentary on our quickly changing material culture. Like an artistic archeologist in this age of globalization and post-industrialization, she salvages (often disappearing) ornament and craft traditions and incorporates them into pieces that are shaped by the past while imagining the future. Her work has been exhibited in over a dozen solo and a hundred group exhibitions in the United States and Europe. She is represented in various public and private collections including the Corning Museum of Glass, The Neuberger Museum and DePauw University Galleries. Bowen has won awards from the National Endowment for the Arts, the New York Foundation for the Arts, and the Westchester Arts Council. She has had residencies at The MacDowell Colony, Yaddo, The Jentel Foundation, the European Ceramic Work Center and the Brown Foundation at the Dora Maar House in France. She received a BFA from the School of the Art Institute of Chicago and an MFA from Hunter College (CUNY). She is currently an Associate Professor of Sculpture at Purchase College, S.U.N.Y. She maintains a studio in the Brooklyn Navy Yard. Image: Artemis' Dilemma https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531112257496-0IOV7T6VM4Y7PLMIH6UM/diamond-cityscapewithblueshadow1994_1_orig.jpg 2017 Martha Diamond was born and raised in New York City. She received her BA from Carleton College in Minnesota in 1964 and spent the following year in Paris. She returned to New York to receive an MA from New York University in 1969. She has been based in New York ever since. She has had solo shows at the Brooke Alexander Gallery and the Robert Miller Gallery in New York, at the New York Studio School and at the Bowdoin College Museum of Art and the Portland Museum of Art in Maine. She has participated in group shows at such places as the American Academy of Arts and Letters (which honored her with an Academy Award in 2001), the American Center in Paris, the Brooklyn Museum, the Detroit Institute of Fine Arts, Harvard University, the Kuznetsky Most Exhibition Hall in Moscow, the Mary Ryan Gallery and the Sidney Janis Gallery in New York, the University of Chicago, and the Whitney Museum of American Art (which included her in its 1989 Biennial). Her work is in the permanent collection of many institutions, including Colby College Museum, the Australian National Gallery, the Brooklyn Museum, the Fogg Museum at Harvard, the Museum of Fine Arts in Boston, the Museum of Fine Arts in Houston, the Museum of Modern Art in New York, the North Carolina Museum of Art, the Staatliche Museum in Berlin, and the Whitney Museum. She has taught at the Cooper Union, at Harvard, and at the Skowhegan School of Painting and Sculpture. Image: City Scape with Blue Shadow, 1994 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531689400243-MKY1Q8HUFP7QN44EQKRG/jackson-8-what-s-going-on-wgo-series-dyptich-painting-2010-6ftx8ft_1_orig.jpg 2017 Stefanie Jackson grew up in Detroit where she attended Cass Technical High School majoring in art. In the mid-seventies, she moved to NYC to study at Parson’s School of Design, the New School and Parson’s in Paris. She moved to New Orleans in the mid-eighties where she maintained a studio and continued her art practice. She eventually returned to New York where she received an MFA in painting and printmaking from Cornell University. In 1994 she received her first major grant from the Jackson Pollock and Lee Krasner foundation. Stefanie has lived and worked in Athens, Georgia since the nineties, maintaining a studio at her home. In 2002, she was a recipient of the Adolph and Esther Gottlieb Foundation Award in recognition of twenty years of sustained art making. The Detroit Institute of Arts recently acquired a painting on view in the galleries devoted to African American art. Stefanie Jackson had a solo exhibition “La Sombuca y el Espiritu” at the Robert and Sallie Brown Museum University of North Carolina, Sonja Haynes Stone Center 2016. The artist participated in a group exhibition Shifting African American Women Artists and the Power of their Gaze at the David C. Driskell Center Gallery, University of Maryland in March 2017. She has attended artist in residence programs including several in France and the United States. Her work is in the collection of Georgia Museum of Art, Birmingham Museum of Art, Larry and Brenda Thompson Collection of African America Art and the Kerry and C. Betty Davis Collection and the Clarke Atlanta University Art Galleries. Image: What's Going On, 2010, WGO Series #8, Diptych Painting, 6' x 8' https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531690295126-RKTVSU5V407325AZC1UT/jahn-driver-photobymjahn-lowres_orig.jpg 2017 Of Chinese and Ecuadorian descent, Marisa Morán Jahn is an artist and the founder of Studio REV-, a non-profit organization whose public art and creative media impacts the lives of low-wage workers, immigrants, women, and youth. Key projects include El Bibliobandido (a masked bandit who EATS stories), Video Slink Uganda (experimental films slipped or “slinked” into Uganda’s bootleg cinemas),Contratados (a Yelp! for migrant workers), an app for domestic workers named by CNN as “one of 5 apps to change the world”, and the CareForce (a public art project, PBS docu-series co-produced with Oscar and Emmy-winning filmmaker Yael Melamede, and two mobile studios — the NannyVan and the CareForce One — amplifying the voices of America’s fastest growing workforce, caregivers). A graduate of MIT, she has taught thousands of k-12 youth from historically underserved communities since 1999 at venues such as the American Museum of Natural History, Stanford University’s Cantor Art Museum, Seattle Public Libraries, and the Boys and Girls Clubs of America. She regularly teaches college-level students at MIT, Teachers College at Columbia University, and The New School. Jahn has presented her work at The White House in DC under the Obama administration, museums (Museum of Modern Art, Yerba Buena Center for the Arts, Studio Museum of Harlem, Walker Art Center, Brooklyn Museum); festivals/fairs (ArtBrussels, Zero One, Tribeca Film Festival); and worker spaces, transit hubs, libraries, and more. She has received grants and awards from Creative Capital, Sundance Institute New Frontier Labs, Rockefeller Foundation, Tribeca Film Institute, MAP Fund, NEA and received reviews in The New York Times, Art Forum, Art in America, BBC, Univision, Los Angeles Times, Wall Street Journal, Hyperallergic, and more. Image: Mirrored Masks. Photo by Marisa Morán Jahn of Darlyne Komukama, 2017 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531721159530-6Z8PTU1EZ0RRRZ4MP1UX/jones-red-measure_1_orig.jpeg 2017 Jennie C. Jones  practice mines the territory of Modernism—abstraction and minimalism; experimental jazz; and seminal political and social shifts—to reveal the complex and often parallel legacies of the mid-20th century’s social, cultural, and political experimentations.  Jones brings to light the unlikely alliances that emerged between the visual arts and modes of black avant-garde modes of music, highlighting the way they became and continue to exist as tangible markers of social evolution and political strivings.  These notions are manifested through multi-disciplinary pieces that incorporate audio, acoustic sound absorbing panels, found object sculpture, works on paper, and site based projects.  Born in Cincinnati, Ohio, in 1968, she attended Rutgers University’s Mason Gross School of the Arts where she received her Master of Fine Art degree in 1996. Prior to that she attended The School of the Art Institute of Chicago, receiving a Bachelor of Fine Art in 1991 with Fellowship. She is currently a visiting critic in the MFA Sculpture Department at Yale School of Art University.  In 2008 she received both The William H. Johnson Prize  (given to one promising African American artist a year) and a Creative Capital Foundation grant. She was the recipient of The Studio Museum in Harlem’s Wein Prize in 2012, followed by the honor of a Joan Mitchell Foundation Award in 2013 and a Foundation for Contemporary Art Award in 2016.  Jones has works in permanent collections of: The Studio Museum in Harlem, The Museum of Modern Art New York, BNY Mellon, Pittsburg, PA, Deutsche Bank, New York, NY, Solomon R. Guggenheim Museum, New York, NY, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C., Los Angeles County Museum of Art (LACMA), Los Angeles, CA,  and the Zimmerli Art Museum at Rutgers University, New Brunswick, NJ among others. Image: Red Measure, Muted and Clipped; acrylic on canvas, and acoustic panel on canvas; 2 parts: 12 x 60 inches (30.5 x 152.4 cm), overall https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531112055634-5UCV54AH0DTV9GAQU24X/mesa-bains-transparentmigrations-2001_1_orig.jpg 2017 Amalia Mesa-Bains born in Santa Clara, California, is a psychologist, curator, author and artist. She received a B.A. in painting from San Jose State University before earning a M.A. in interdisciplinary education from San Francisco State University and a Ph.D. in clinical psychology from the Wright Institute in Berkeley, California, and worked for the San Francisco Unified School District as a psychologist. During the period between 1965–1985 she was the regional committee chair (Northern California) for the exhibition Chicano Art: Resistance and Affirmation. She has written Ceremony of Spirit: Nature and Memory in Contemporary Latino Art. In 1989 she received the San Francisco Mission Cultural Center's Award of Honor, Association of American Cultures' Artist Award and the Chicana Foundation of Northern California's Distinguished Working Women Award in 1990, INTAR-Hispanic Arts Center's Golden Palm Award in 1991, and the MacArthur Fellowship award in 1992. Mesa-Bains's first exhibit was at the 1967 Phelan Awards show that took place in the Palace of the Legion of Honor in San Francisco. She began creating altar installations in 1975. Her artistic work is often autobiographical, relating to her Mexican Catholic heritage. Although these works take the form of an altar, they are not specifically intended for religious use. According to Kristin G. Congdon and Kara Kelley Hallmark, authors of Artists from Latin American Cultures: A Biographical Dictionary, "Mesa-Bains's altars often honor women who have broken social barriers." Using techniques related to found art, Mesa-Bains has incorporated "dried leaves, rocks, pre-Columbian ceramic fragments" and other unusual materials to construct artworks such as her 1987 work Grotto of the Virgins, which is dedicated to painter Frida Kahlo (1907–1954), actress Dolores del Río (1905–1983), and to the artist's grandmother. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531721488466-D2DO4W3PQ6R1EKGKEJLF/sherald-image_orig.jpg 2017 Amy Sherald (American b. Columbus, GA 1973, lives Baltimore) received her MFA in Painting from Maryland Institute College of Art (2004), BA in Painting from Clark-Atlanta University (1997), and was a Spelman College International Artist-in-Residence in Portobelo, Panama (1997). In 2016, Sherald was the first woman to win the Outwin Boochever Portrait Competition grand prize; an accompanying exhibition, The Outwin 2016, has been on tour since 2016 and will open at the Kemper Museum, Kansas City, MO in October 2017. Sherald has had solo shows at venues including Monique Meloche Gallery, Chicago (2016); Reginald F. Lewis Museum, Baltimore (2013); and University of North Carolina, Sonja Haynes Stone Center, Chapel Hill (2011). In May 2018, she will present a solo exhibition at Contemporary Art Museum, St. Louis, MO. Group exhibitions include Southern Accent, Nasher Museum of Art at Duke University, Durham, NC (2016); travelled to Speed Museum of Art, Louisville, KY (2017); Face to Face: Los Angeles Collects Portraiture, California African American Museum, Los Angeles (opens July 2017). Residencies include Odd Nerdrum Private Study, Larvik, Norway (2005); Tong Xion Art Center, Beijing, China (2008); Creative Art Alliance, Baltimore (2016); and Joan Mitchell Foundation, New Orleans (2017). Public collections include Smithsonian National Museum of Women in the Arts, Washington, D.C.; Smithsonian National Museum of African American Art and Culture, Washington, D.C.; Smithsonian National Portrait Gallery, Washington, D.C.; Columbus Museum, GA; Kemper Museum of Contemporary Art, Kansas City; and Nasher Museum of Art, Durham, NC. Sherald is represented by Monique Meloche Gallery, Chicago.   Image: All Things Bright and Beautiful, Oil on Canvas, 54" x 43", 2016 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531721656855-UVKNN10G7O7UFW6LGJYD/stuart-2010-ring-of-fire_1_orig.jpg 2017 Since the 1970s, Michelle Stuart has been internationally recognized for innovative works that synthesize Land Art, drawing, and sculpture. Stuart’s original approach to material and process has seen her create large-scale site-specific works in the landscape, sculptural installations incorporating objects, drawings, and audio-visual elements, as well as photographs, drawings and sculptures that bring the material of landscape – earth and rock – into the gallery. Photography, which has been present in her work both literally and conceptually since that time, has been her primary medium since 2009. In her recent work, Stuart uses the vast archive of analog and digital photographs that she has taken and collected for almost half a century, activating their aesthetic potential by re-contextualizing them in groups, and often altering them to weave personal stories. These dreamlike recollections of her past not only continue her life-long artistic engagement with specific locations but affirm the significance of place as a unique source of memory. Stuart has been included in documenta 6, Kassel and biennials in both Asia and the Middle East, most recently in the 57th Venice Biennale (2017). Some important exhibitions are: On Line: Drawing Through the Twentieth Century at The Museum of Modern Art, New York, 2010; Ends of the Earth: Land Art to 1974 at the Museum of Contemporary Art, Los Angeles; and Haus der Kunst, Munich, DE, 2012; Alice in Wonderland at Tate Liverpool, UK, 2012; FORTY at MoMA P.S. 1, 2016. Recent important traveling exhibitions include Michelle Stuart: Drawn From Nature in Nottingham, UK, the Parrish Art Museum, Watermill, NY, and the Santa Barbara Museum of Art, 2013–2014; and Apparitions: Frottages and Rubbings from 1860 to Now, Hammer Museum, Los Angeles; and the Menil Collection, Houston, 2015–2016. Stuart is also included in the exhibition Revolution in the Making: Abstract Sculpture by Women, 1947–2016 at Hauser Wirth & Schimmel, Los Angeles, 2016. Stuart’s work is in major museum collections, including Dia Art Foundation, New York, The Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; the Whitney Museum of American Art, New York; the Museum of Contemporary Art, Los Angeles; the Los Angeles County Museum of Art; San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis; the Hammer Museum, Los Angeles; Santa Barbara Museum of Art; Parrish Art Museum, Water Mill, New York; Museum of Contemporary Art, Chicago; Art Institute of Chicago; the National Gallery of Art, Washington D.C.; and internationally at the Haags Gemeentemuseum, Netherlands; Kunstmuseen, Krefeld, DE; Musee d’Art de Toulon, FR; the National Gallery of Australia, Canberra; Moderna Museet, Stockholm; and Tate Modern, London. Stuart is represented by Leslie Tonkonow Artworks + Projects in New York; Marc Selwyn Fine Art in Los Angeles; and Alison Jacques Gallery in London. Image: Ring of Fire; Wall: archival inkjet photographs; metal table: stones and stone tools, container, seeds, basket, reeds, Polynesian tapa cloth, cotton cloth ;Wall: 58 x 118"; Table: 28.5 x 40 x 18.25"; 2008-10 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531721388734-8FU0F6JI3SBT8I2IHBX7/westerlund_1_orig.jpg 2017 Mia Westerlund Roosen was born in 1942 in NYC. She has been represented by Willard Gallery, Leo Castelli Gallery, Lennon Weinberg Gallery, and the Betty Cuningham Gallery. She has been awarded an N E A Grant, a Guggenheim, and a Fulbright and she is in the collections of the Yale Art Museum, the Allbright Knox, the National Gallery of Canada, the Metropolitan Museum and the Guggenheim among others. She lives and works in NYC and Buskirk, NY. Image: Foam Head II, Concrete and Foam, 20"x 21.5"x 15.75", 2016 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531721785773-NO29T2KY6LNRDQX6MEAB/yamaoka-crawl-bend_1_orig.jpg 2017 Carrie Yamaoka is a New York-based visual artist working in the expanded field of painting. Her works emerge out of a negotiation with materials and materiality. Using a ground of reflective silver mylar, the works occupy a physical and perceptual space, rife with surface incident, ripples and air bubbles created by process, along with other evidence of their facture. Yamaoka uses materials and processes in ways that allow a window to open between chance and intention. She breaks the rules to arrive at that intersection, engaging with chance, error and defect: the lifting off of paint, the peeling and cracking and crawling of resin. She works with the topography of surfaces, the tactility of the barely visible, making the invisible perceptible. The viewer is placed at the intersection between the record of chemical action/reaction and the desire to apprehend a picture emerging in fleeting and unstable states of transformation. The picture arrived at, in any given moment, is in flux, and is contingent upon the viewer’s stance in relation to the work, and their navigation through the space that the painting occupies and reflects. Exhibiting in the US and Europe since the 1980s, Yamaoka’s work has been featured in twenty solo gallery exhibitions and numerous group shows– at Greater New York 2015 at MoMA/PS1, the Mannheimer Kunstverein, CAN Neuchatel, MMKA, the Wexner Center, the Albright-Knox, MassMOCA and Artists Space, among other venues. Roberta Smith of the New York Times has written: “her efforts intimate a rejuvenation of Minimalism, spurred by new materials, more refined techniques and fresh ideas.” Ken Johnson, also in the New York Times, called her work “ a seductive marriage of voluptuous materialism and rigorous formalism.” Yamaoka is a founding member of the queer art collective fierce pussy. Image: Crawl/Bend; Urethane Resin and Mixed Media on Reflective Mylar; 29" x 41" x 10"; 2007/2015 | https://www.anonymouswasawoman.org/contact-us daily 0.75 2020-03-29 https://www.anonymouswasawoman.org/the-award daily 0.75 2019-02-15 https://www.anonymouswasawoman.org/2017-1 daily 0.75 2018-07-16 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531724503115-2RTVCKVJDAV5ONJ1VISG/image-asset.jpeg 2016 Shiva Ahmadi was born in Tehran, Iran in 1975 and currently lives and works in Bay area, California. She received her BFA from Azad University, Tehran, in 1998; and MFA's from Cranbrook Academy of Arts and Wayne State University. Her paintings explore the powerful intersection of religion and politics, examining the corrupt and cancerous link between East and West. She creates fantastical realms, suggestive of her own experiences of the destruction and chaos wrought by war. Her faceless abstract figures inhabit war-ridden territory, and her watercolor paint bloodies the canvas. Ahmadi has worked across a variety of two-dimensional and three-dimensional media, including oil drums, paper, Aquaboard, and most recently video animation. Consistent throughout her pieces are ornate patterns, rendered in vibrant golds and reds and influenced by Persian, Indian and Turkish traditions. She both celebrates and commemorates the raw beauty and turmoil of these cultures’ histories. Ahmadi has participated in many significant exhibitions in recent years, which include: Global/Local 1960-2015: Six Artists from Iran at NYU’s Grey Art Gallery in 2016; Iran Inside Out at the Chelsea Art Museum in 2009; and The Fertile Crescent: Gender, Art and Society in the Middle East Diaspora at Rutgers University in 2012. In 2014 she had her first museum solo exhibition at The Asia Society in New York. Her work is in the permanent collections of the Metropolitan Museum of Art, New York, NY; The Asia Society Museum, New York, NY; Museum of Contemporary Art (MOCA), Los Angeles, CA; the Detroit Institute of Arts, Detroit, MI; the DePaul Art Museum, Chicago, IL; the Herbert F. Johnson Museum of Art at Cornell University, Ithaca, NY; the TDIC Corporate Collection, Abu Dhabi, UAE; and the Farjam Collection, Dubai, UAE. Image: Safe Haven; Watercolor on aqua board; 120 X 60 in.; Permanent collection of Museum of Contemporary Arts, LA https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531724654210-F13UVDB3VJAJZ3VEC9LF/barbata-image_orig.jpg 2016 Born in Mexico City and based in New York. Since 1992 she has worked primarily in the social realm, and has initiated projects in the Amazon of Venezuela, Trinidad and Tobago, Mexico, Norway and the USA. Among them is her ongoing project The Repatriation of Julia Pastrana, initiated in 2004, which resulted in the successful removal of the body of Julia Pastrana from the Schreiner Collection in Oslo to be repatriated and buried in Sinaloa, Mexico, Pastrana´s birth state. The project continues with an upcoming publication and Opera. She is also known for her project Transcommunality (ongoing since 2001), with traditional stilt dancers: The Brooklyn Jumbies from New York, West Africa and the Caribbean, and los Zancudos de Zaachila, from Oaxaca, Mexico. This project has been presented at various museums, public schools and avenues, among them The Museum of Modern Art New York; The Modern Museum Fort Worth Texas; Museo Textil de Oaxaca, México; Museo de la Ciudad de México; BRIC, New York and Rutgers University, among others. Her drawings, photographs, and projects have received awards by the Institute of Bellas Artes FONCA, The Lindbergh Foundation, The Carnival Comission of Trinidad and Tobago and The New York Foundation for the Arts. Her work is included in various collections private and public, among them: The Metropolitan Museum of Art, New York; el Museo de Arte Moderno, México D.F.; Landesbank Baden-Württemberg Gallery, Stuttgart, Germany; The Sprint Nextel Collection, Overland Park; Fundación Cisneros, American Express Co. México; Museo Carrillo Gil, México; Museum of Contemporary Art, San Diego, CA; Museo Jaureguía, Navarra, España. And has been featured in: The New York Times, Sculpture Today by Phaidon Press, Kunstforum Germany, ARTnews, Art in America, ArtNexus, 160 Años de Fotografía en México-INBA, among others. Currently is: The Estelle Lebowitz Endowed Visiting Artist 2016-2017, Center for Women and Humanities, CWAH, Rutgers University; Honorary Fellow: Latin American, Caribbean and Iberian Studies Program, LACIS, University of Wisconsin, Madison; Fellow: Thyssen Bornemisza Art Contemporary TBA21: The Current and Miembro del Sistema Nacional para Creadores del Fondo Nacional para la Cultura y las Artes, CONACULTA, México. Image: Intervention: Wall Street, 2011; Laura Anderson Barbata in collaboration with the Brooklyn Jumbies; Performance, New York financial district; Photo: Frank Veronsky https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531724733243-SUPGDNP7IJEGA1ZIPISQ/bruguera-tatlin-6-medres-videostill_1_orig.jpg 2016 Tania Bruguera researches ways in which art can be applied to the everyday political life; focusing on the transformation of social affect into political effectiveness. Her long-term projects have been intensive interventions on the institutional structure of collective memory, education and politics. Awarded an Honoris Causa by The School of the Art Institute of Chicago, selected one of the 100 Leading Global Thinkers by Foreign Policy magazine, shortlisted for the #Index100 Freedom of Expression Award, a Herb Alpert Award winner, a Hugo Boss Prize finalist, a Yale World Fellow and the first artist-in-residence in the New York City Mayor’s Office of Immigrant Affairs (MOIA). In 2013 was part of the team creating the first document on artistic freedom and cultural rights with the United Nation’s Human Rights Council. Tania’s work has explored both the promise and failings of the Cuban Revolution in performances that provoke viewers to consider the political realities masked by government propaganda and mass-media interpretation. In 2014, she was detained and had her passport confiscated by the Cuban government for attempting to stage a performance about free speech in Havana’s Revolution Square. She had planned to set up a microphone and invite people to express their visions for Cuba. In May 2015, she opened the Institute of Artivism Hannah Arendt, in Havana. Her work was exhibited at Documenta 11, Venice Biennale, Tate Modern, Guggenheim and Van Abbemuseum, among others. She lives and works in New York and Havana. Image: Tatlin's Whisper #6 (Havana version); Decontextualization of an action, Behavior Art Materials: Stage, Podium, Microphones, 1 Loudspeaker inside and one outside of the building, 2 persons on a military outfit, White dove, 1 minute free of censorship per speaker, 200 disposable cameras with flash; Photo: Courtesy of Studio Bruguera, Yo Tambien Exijo Platform, Solomon R. Guggenheim, New York, Guggenheim UBS MAP Purchase Fund, 2014. © Tania Bruguera https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531724858605-G35UBTFB6FYMOSPCZAFM/image-asset.jpeg 2016 (Born Washington, DC, 1967) Sonya Clark’s work draws from the legacy of crafted objects and the embodiment of skill. As an African American artist, craft is a means to honor her lineage and expand notions of both Americanness and art. She uses materials as wide ranging as textiles, hair, beads, combs, and sound to address issues of nationhood, identity, and racial constructs. She has been a full professor and Chair of the Craft and Material Studies Department at Virginia Commonwealth University School of the Arts in Richmond, Virginia for over a decade. Formerly she was Baldwin-Bascom Professor of Creative Arts at the University of Wisconsin-Madison. She holds an MFA from Cranbrook Academy of Art and she was awarded their first Mid-Career Distinguished Alumni Award in 2011. She also holds a BFA from the School of the Art Institute of Chicago. In 2015 she was awarded an honorary doctorate from her alma mater Amherst College where she received a BA. She has exhibited her work in over 300 museums and galleries in Europe, Africa, Asia, Australia, and the Americas. She is the recipient of several awards including an Art Prize Grand Jurors co-prize, a Pollock-Krasner Grant, a Smithsonian Artist Research Fellowship, a Rockefeller Foundation Bellagio Fellowship in Italy, a BAU Camargo Fellowship in France, a Red Gate Residency in China, a Civitella Ranieri Residency in Italy, an 1858 Prize for Contemporary Southern Art, a United States Artist Fellowship, and an Art Matters Grant. Her work is in the collections of the Philadelphia Museum of Art, National Museum of Women in the Arts, Indianapolis Museum of Art, Virginia Museum of Fine Art, Musees d'Angers in France among several other institutions. Several publications have reviewed her work including the New York Times, Philadelphia Inquirer, Italian Vogue, Los Angeles Times, Hyperallergic, and Huffington Post.   Image: Unraveling, 2015 (edition of 5); cotton Confederate Battle Flag; 5ft x 3ft; image from performance on June 11, 2015 in NYC; photo credits Taylor Dabney and Holly Hansen https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531724957522-KH0OCAMRHRUG5W4ISCSF/image-asset.jpeg 2016 Leigh’s practice incorporates sculpture, video, and installation; all are informed by her ongoing exploration of black female subjectivity and ethnography. Her objects often employ materials and forms traditionally associated with African art; her performance-influenced installations create spaces where historical precedent and self-determination comingle. Through her investigations of visual overlaps between cultures, time periods, and geographies, she confronts and examines ideas of the female body, race, beauty, and community. In 2016, Leigh received a John Simon Guggenheim Fellowship, the Herb Alpert Award for Visual Art, and A Blade of Grass Fellowship for Socially Engaged Art. She has also been the recipient of the 2013 Louis Comfort Tiffany Foundation Biennial Award, a 2012 Creative Capital Grant, the 2012 LMCC Michael Richards Award, and the 2011 Joan Mitchel Foundation Grant for Sculpture. Recent exhibitions include The Waiting Room (2 016) at the New Museum of Contemporary Art in New York, The Free People’s Medical Clinic (2014) a project commissioned by Creative Time, and solo presentations at The Fowler Museum at UCLA, The Atlanta Contemporary Art Center, and The Kitchen in New York. Current projects include inHarlem, a public installation presented by The Studio Museum in Harlem in Marcus Garvey Park, New York, and a solo exhibition at the Hammer Museum in Los Angeles. In November, she will present Psychic Friends Network at Tate Modern in London.   Image: Althea, 2016; Terracotta, India ink, porcelain, cobalt and epoxy; 26 x 24 x 15 inches (66 x 61 x 38.1 cm) https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531725313756-TWCS0DB6N9EHUR3B0O44/macphee-image-pocket-change_orig.jpg 2016 MacPhee’s work has been a reflection on the alien, the unknown, the absent. A meditation on survival both personal and as part of a species. A visual anthropologist whose sources include art history as well as literature, technology and natural history depending on different bodies of work over the years. Currently she is combining painted structures, collaged elements and uses of large flat acrylic transfers relating to the architecture of language. An arena where the “real” doesn’t overwhelm the imagined and verbal/visual language is malleable. The pauses and gaps, the symbiotic relationship between the present and absent, the subterranean level of feeling and instinct that lies under words, and the force of their undertow are reflected in the paintings. Her work has been exhibited in over thirty solo and seventy group exhibitions in North America and Europe. She is represented in various private and public collections including: the National Gallery of Canada; the Metropolitan Museum of Art, New York; the Musée d’art contemporain de Montréal; the Art Gallery of Ontario and The Palmer Museum of Art of Pennsylvania State University. The artist is a recipient of a John Simon Guggenheim Grant, a National Endowment for the Arts Grant , New York Foundation for the Arts Grants, the Elizabeth Greenshields Award, and Canada Council Established-Artist Grants. Most recently she participated in the 2015 American Academy of Arts and Letters Invitational Exhibition of Visual Arts. MacPhee (b. Edmonton, Alberta) has a BFA from Nova Scotia College of Art, lives and works in NYC and currently is the Sherri Burt Hennessey Artist-In-Residence at Bard College in Annandale-on-Hudson, New York. Image: "Out of Pocket" | Oil and collaged materials on canvas | 90"x 78" 2016 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531725382660-YU3ZJZ7FX2WIPWWMROPW/otake-eiko-a-body-in-a-station-at-fulton-st-dsc2299-photo-by-william-johnston_orig.jpg 2016 Born and raised in Japan, Eiko Otake is a New York-based interdisciplinary artist, performer, and choreographer. Her solo project A Body in Places started with a 12-hour performance at Philadelphia’s 30th Street Station in 2014. Since then Eiko has presented its numerous iterations in cities around the world. The project also includes A Body in Fukushima, a series of photographs by William Johnston of Eiko performing in desolate and irradiated Fukushima, Japan. Using archival footage and photographs of her performances as source material, Eiko also creates media works and video installations. In the spring of 2016, Eiko was the subject of Danspace Project’s Platform, a month-long curated program. In addition to performing a daily solo, Eiko led a book club, a film series, an exhibition, weekly installations, workshops, and performing events with other invited artists. Prior to her solo career, Eiko worked as one half of Eiko & Koma for more than 40 years. Performing worldwide their own works, Eiko & Koma collaborated in creating choreography, sets, costumes, text, media work, and sound. Eiko & Koma’s multi-faceted, multi-site Retrospective Project (2009-2012) included the premiere of new performance works, installations, museum exhibitions, and media works; restaging old works; and presenting film showings, panels and lectures. In 2011 The Walker Art Center published Eiko & Koma: Time is Not Even, Space is Not Empty, a comprehensive monograph of their works. Eiko & Koma were honored with double Guggenheim Fellowships (1984), a MacArthur Fellowship (1996), the Samuel H. Scripps American Dance Festival Award (2004), the first United States Artists Fellowship (2006), and a Dance Magazine Award (2006). In 2012 both Eiko and Koma individually were honored with an inaugural Doris Duke Performing Artist Award. As visiting artist of Wesleyan University, Eiko teaches interdisciplinary college courses on the Atomic Bomb and other environmental disasters using movement as means of inquiry. She has also taught Colorado Collage, the New School, and NYU. Image: A Body in a Station; Eiko performed her solo at Fulton Center, New York City as part of 2015 River To River Festival; photo by William Johnston; June 22, 2015 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531725472421-QAQ4XTGND5A35EXBCCBR/pondick-fox-1998-99-image_orig.jpg 2016 Born in Brooklyn, New York, in 1952, Pondick studied at Queens College (B.A. 1974) and at Yale University School of Art (M.F.A. 1977). Pondick’s work has been the subject of exhibitions at the Galleria d’Arte Moderna Bologna, Italy; Groninger Museum, Groningen, Netherlands; Rupertinum Museum für moderne und zeitgenössische Kunst, Salbzburg, Austria; Cleveland Art Museum; Cincinnati Art Museum; Worcester Art Museum, Massachusetts; DeCordova Museum and Sculpture Park, Lincoln, Massachusetts; Cranbrook Art Museum, Bloomfield Hills, Michigan; and the Israel Museum, Jerusalem, among others. Her sculptures have been included in numerous biennales worldwide, including the Whitney Biennial, Lyon Biennale, Johannesburg Biennale, Sonsbeek, and Venice Biennale. Pondick has participated in group exhibitions at museums internationally including the Mori Art Museum, Tokyo; Peggy Guggenheim Foundation, Venice; Museo de Arte Contemporânea de Serralves, Porto, Portugal; Ca’Pesaro, Galleria Internazionale d’Arte Moderna, Venice; Centre Pompidou, Paris; Palais des Beaux-Arts de Lille, France; Pera Museum, Istanbul; MIT List Visual Arts Center, Cambridge, Massachusetts; and the Philadelphia Museum among many others. Pondick has been the recipient of a number of awards, grants, and fellowships from the Guggenheim, Rockefeller, Bogliasco, Ludwig Vogelstein, and Mid-Atlantic Arts Foundations, the Cultural Department of the city of Salzburg, Art Matters, and New York State Council on the Arts. Her work is in the collection of many prominent public collections internationally, including the Whitney Museum of American Art, New York; The Metropolitan Museum of Art, New York; Brooklyn Museum of Art; Philadelphia Museum of Art; Yale University Art Gallery, New Haven; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; Nasher Sculpture Center, Dallas; San Francisco Museum of Art; New Orleans Museum of Art (Sculpture Garden); The Nelson-Atkins Museum, Kansas City; Carnegie Museum of Art, Pittsburgh; Centre Pompidou, Paris, and Israel Museum, Jerusalem. Pondick lives and works in New York. Image: Fox; Stainless Steel. | Edition of 6 + 1 AP; 14 ½ x 8 x 38 inches; Courtesy Galerie Thaddaeus Ropac, London/Paris/Salzburg; Sonnabend Gallery, New York; Zevitas/Marcus Gallery, Los Angeles; and the artist; 1998-99 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531725579221-12A0WHTZPK2K235FAVZ5/image-asset.jpeg 2016 Born in Chihuahua, Mexico, and raised in Los Angeles, Lourdes Portillo has been making award-winning films about Latin American, Mexican, and Chicano/a experiences and social justice issues for nearly thirty years. Since her first film, After the Earthquake/ Despues del Terremoto (1979), she has produced and directed over a dozen works that reveal her signature hybrid style as a visual artist, investigative journalist, and activist. Portillo’s fourteen completed films include the Academy Award® and Emmy® Award nominated Las Madres: The Mothers of the Plaza de Mayo (1986), La Ofrenda: The Days of the Dead (1988), Columbus on Trial (1992), The Devil Never Sleeps (1994), Corpus: A Home Movie for Selena (1999), My McQueen (2004), and her new short film, Al Más Allá (2008). Her most recent feature-length film, Señorita Extraviada(2001), a documentary about the disappearance and death of young women in Ciudad Juárez, Mexico, received a Special Jury Prize at the Sundance Film Festival, Best Documentary at the Havana International Film Festival, the Nestor Almendros Award at the Human Rights Watch Film Festival, and an Ariel, the Mexican Academy of Film Award. Portillo’s work has screened at premiere cultural institutions and events around the world such as the Venice Biennale, Toronto International Film Festival, London Film Festival, the São Paulo International Film Festival, the Walker Art Center, the Whitney Museum for American Art, the Guggenheim Museum, Metropolitan Museum of Art, and in the New Directors/New Films program presented by the Film Society at Lincoln Center and the New York Museum of Modern Art. She has been honored with eight mid-career retrospectives, including exhibitions at the Buenos Aires Museum of Modern Art, the Pacific Film Archive of the Berkeley Art Museum, and the Cineteca Nacional de Mexico, and she is the subject of the critical anthology, Lourdes Portillo: The Devil Never Sleeps and Other Films edited by Rosa Linda Fregoso (University of Texas Press, 2001). On July 2012 she was honored at NYMoMA with a full retrospective of her works. Image: Guillermina Gonzales holds the picture of her disappeared sister Sagrario Gonzales https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531725648842-SZF1UCJ519189ZSD4WYX/smith-quickening-image_orig.jpg 2016 Shinique Smith (B.1971 in Baltimore, MD), is a New York based artist known for her mixed media painting, sculptural, and installation works, of fabric, calligraphy and collage, inspired by the vast nature of ‘things’ that we consume and discard, which resonate on a personal and social scale. The Graffiti of her youth, Japanese calligraphy, and Abstraction are among the influences from which she extracts “the graceful and spiritual qualities in written word & the everyday.” Her work has also been exhibited at the Brooklyn Museum of Art, Corcoran Gallery of Art (Washington DC), Denver Art Museum, The Detroit Institute of Arts, Los Angeles County Museum of Art, Madison MOCA, The Bronx Museum of the Arts, MOCA (North Miami), The Museum of Fine Arts (Boston), National Portrait Gallery (Washington DC), The New Museum (New York), MOMA/PS1 (New York), The Rubell Family Collection (Miami), and Studio Museum in Harlem (New York). Smith’s work is in the permanent collections of The Museum of Fine Arts (Boston), LACMA, Brooklyn Museum of Art, Denver Art Museum, and the Whitney Museum of American Art, among others, as well as in numerous private collections worldwide. The artist has had more than 20 solo exhibitions, most recently at MOCA Jacksonville (Florida) and at The Frist Center for the Arts in Nashville, who released a comprehensive exhibition catalogue with Vanderbilt Press in October of 2016. Presentations of her work have recently been exhibitied in the 8th Busan Biennale in Korea (2016) and the 13th Bienal de Cuenca in Ecuador (2016). She has received awards and fellowships from the Louis Comfort Tiffany Foundation, the Joan Mitchell Foundation, New York Foundation for the Arts, Skowhegan School of Painting and Sculpture, Vermont Studio Center, the Headlands Center for the Arts and the Lower Manhattan Cultural Council. Smith earned an MFA from Maryland Institute College of Art (2003), an MAT from Tufts University & The Museum School (2000) and a BFA (1992) from Maryland Institute College of Art, where she also served on the Board of Trustees (2013-2016). Her work is represented by Brand New Gallery, Milan and David Castillo Gallery in Miami. Image: Quickening; Mirror, acrylic, collage, fabric, objects, ribbon and rope; Aerialist performance collaboration with Bittersweet Studios for her Project Atrium installation | Quickening at MOCA Jacksonville. |Image courtesy of Thomas Hager; 2016 https://www.anonymouswasawoman.org/home-2 daily 0.75 2018-12-11 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531687724872-DDN6R6FMCTLW4YU4J8NE/sherald-image_orig.jpg Copy of Home - Copy of Amy Sherald | All Things Bright and Beautiful; 2016 Oil on Canvas; 54" x 43" https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531112414660-ABIEZUBNQJNCUVXBIEXJ/jackson-8-what-s-going-on-wgo-series-dyptich-painting-2010-6ftx8ft_1_orig.jpg Copy of Home - Copy of Stefanie Jackson | What's Going On, WGO Series #8, 2010 Dyptich Painting; 6'x8' https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531112414764-G3UAW766HQ9VZZR9IR2I/jahn-driver-photobymjahn-lowres_orig.jpg Copy of Home - Copy of Marisa Moran Jahn | Mirrored Masks, 2017 Photograph by Marisa Morán Jahn of Darlyne Komukama https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531112415228-XD545Z3N7V3D1JTQET8I/jones-red-measure_1_orig.jpeg Copy of Home - Copy of Jennie C. Jones | Red Measure, Muted and Clipped Acrylic on canvas, and acoustic panel on canvas; 2 parts: 12 x 60 inches (30.5 x 152.4 cm) overall https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531112415338-MCFE3ACZCZLWLB7FYYMN/mesa-bains-transparentmigrations-2001_1_orig.jpg Copy of Home - Copy of Amalia Mesa Bains | Transparent Migrations, 2001 Mixed Media Installation; 20' x 8' x 10'; Collection of Richard L. Bains https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531112415935-XFELWP43AA3Z71Z0J0H8/stuart-2010-ring-of-fire_1_orig.jpg Copy of Home - Copy of Michelle Stuart | Ring of Fire, 2008-2010 Wall: Archival inkjet photographs; Table: stones and stone tools, container, seeds, basket, reeds, Polynesian tapa cloth, cotton cloth | Wall: 58 x 118"; Table: 28.5 x 40 x 18.25" https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531112416220-TZXAZ272YSM85W8LY3BP/westerlund_1_orig.jpg Copy of Home - Copy of Mia Westerlund | Foam Head II, 2016 Concrete and foam; 20"x 21.5"x 15.75" https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1531112416269-0L6T3F3TC7H6JPP2DSU7/yamaoka-crawl-bend_1_orig.jpg Copy of Home - Copy of Carrie Yamaoka | Crawl/Bend, 2007/2015 Urethane Resin and Mixed Media on Reflective Mylar; 29" x 41" x 10" https://www.anonymouswasawoman.org/2018 daily 0.75 2018-12-11 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1544505977113-4624E9EY52DZ7H44L89F/The+Golden+Age+of+Radio+L+web+edit.jpeg 2018 Dotty Attie (b. 1938, Pennsauken, New Jersey) is a painter who lives and works in New York City, utilizing images from the art of the past in her work and social commentary. In 1971 she helped found AIR Gallery, at that time the sole gallery in New York to show only the art of women. Since 1972 she has been making small works (first, 2-½-inch square drawings and, since 1985, six-inch by six-inch paintings). Several of these paintings are combined, and then combined again with a text, sometimes taken from other sources, sometimes written by her, to make one work that has an ambiguous narrative. She has exhibited widely in the United States and internationally, including Paris, Osaka, Cairo, London, Venice, and Berlin. Attie’s work is represented in the permanent collections of the Museum of Modern Art, the Whitney Museum, Brooklyn Museum, and the National Museum of Women in the Arts. Yale Museum, the Wadsworth Atheneum, the Walker Art Center, and the National Art Gallery, London, among many others. She has received several awards, including two CAPS grants, two NEA grants, and a US/Japan Fellowship. Attie earned her BA at the Philadelphia College of Art. Image: The Golden Age of Radio (L), 2018. Oil on linen. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1544506117939-4KZ4PIQQVW5XRLBCRWK8/MMCP0005+Finding+Balance+%281%29.JPG 2018 María Magdalena Campos-Pons (American, b. 1959, Cuba) is a Cuban-born artist who works in photography, performance, painting, sculpture, film, and video. She grew up on a sugar plantation in a family with Nigerian, Hispanic and Chinese roots. Her Nigerian ancestors were brought to Cuba as slaves in the 19th century and passed on traditions, rituals, and beliefs. Her polyglot heritage profoundly influenced her practice, which is often autobiographical, investigating themes of history, memory, gender and religion and how they inform identity. She has had solo exhibitions at the Museum of Modern Art, the Indianapolis Museum of Art, the Peabody Essex Museum, and the National Gallery of Canada, among other institutions. She has presented over 30 solo commissioned performances and has participated in the Venice Biennale, the Dakar Biennale, Johannesburg Biennial, Documenta14, the Guangzhou Triennial, and Prospect.4 Triennial. Campos- Pons’ works are in over 30 museum collections including the Smithsonian Institution, The Whitney, the Art Institute of Chicago, the National Gallery of Canada, the Victoria and Albert Museum, the Museum of Modern Art, The Museum of Fine Arts, Boston, the Perez Art Museum, Miami and the Fogg Art Museum. She currently is the endowed Cornelius Vanderbilt Chair at Vanderbilt University. In 2019, she will also serve as Artist-Curator for the Havana Art Biennial in Cuba. Image: Finding Balance , 2018. 28 Polaroid prints, each mounted on aluminum. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1544506359620-8J36FHGZ2K5RZTT5ZU6C/Patty+Chang%2C+Glass+Urinary+Device%2C+2017.jpg 2018 Patty Chang (b. 1972, San Leandro, California) is an artist working in performance, video, writing, and installation. Her work has a capacity to explore complex subjects nearly simultaneously, as does life. Her work has been exhibited nationwide and internationally at such institutions as the Museum of Modern Art, Solomon R. Guggenheim Museum, New Museum, BAK, Basis voor actuele Kunst, Utrecht, the Hammer Museum, Fri Art Centre d’Art de Freibourg, Chinese Arts Centre, the Museum of Contemporary Art, Chicago, the M+ Museum, the San Francisco Museum of Modern Art, and the Moderna Museet, Stockholm. Her work received a 2003 award from the Rockefeller Foundation and a 2012 Creative Capital award. In 2008, she was a finalist for the Hugo Boss Prize and a Guna S. Mundheim Fellow in the Visual Arts at the American Academy in Berlin. In 2014, Chang was a John Simon Guggenheim Memorial Foundation Fellow. Her acclaimed exhibition “Patty Chang: The Wandering Lake 2009–2017” will travel to the Institute of Contemporary Art, Los Angeles in 2019. Chang received her BA from the University of California, San Diego. She lives and works in Los Angeles. Image: Glass Urinary Device, 2017. Boroscilicate glass. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1544506509125-1PBB0RO5RXR3A8F01IBG/Beverly+Fishman%2C+Untitled+%28Opioid+Addiction%2C+ADHD%2C+Depression%2C+Depression%29%2C+2018.jpg 2018 Beverly Fishman (b. 1955, Philadelphia) is a painter and sculptor who adopts the language of abstraction to explore the body, issues of identity, and contemporary culture. For more than three decades, she has used imagery drawn from science, medicine, and the pharmaceutical industry to promote inquiry into the effects of these institutions on both individuals and societies. Fishman’s work has been the subject of over thirty solo exhibitions at galleries in New York, London, Paris, Berlin, Thessaloniki, Chicago, St. Louis, Los Angeles, and Detroit. Her work has also been shown at the Chrysler Museum, the Detroit Institute of Arts, the Toledo Museum of Art, and the Columbus Museum of Art, among other institutions. Her work is included in many public and private collections including Chrysler Museum of Art, Columbus Museum of Art, Borusan Contemporary Istanbul, Cranbrook Art Museum, Detroit Institute of Arts, Hallmark Art Collection, MacArthur Foundation Collection, Nerman Museum of Contemporary Art, Pizzuti Collection, Progressive Art Collection, Toledo Museum of Art, United Nations Embassy in Istanbul,, and University of Michigan Museum of Art. She is the recipient of awards including the Hassam, Speicher, Betts, and Symons Purchase Award, American Academy of Arts and Letters; a John Simon Guggenheim Memorial Foundation Fellowship; a Louis Comfort Tiffany Foundation Award; an Artist Space Exhibition Grant; and an NEA Fellowship Grant, among others. Fishman received her Bachelor of Fine Arts degree in 1977 from the Philadelphia College of Art, and her Master of Fine Arts degree in 1980 from Yale University. She has been the Artist-in-Residence and Head of Painting at Cranbrook Academy of Art in Bloomfield Hills, MI since 1992. Fishman is represented by Miles McEnery Gallery, New York; Kavi Gupta Gallery, Chicago; and Library Street Collective, Detroit. Image: Untitled (Opioid Addiction, ADHD, Depression, Depression) , 2018. Urethane paint on wood. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1544506738060-8EHW1XHX8GOI7W9YSWTS/image2+%281%29.jpeg 2018 Kate Gilmore (b. 1975, Washington, D.C.) is a New York-based artist who works in installation, video, and performance, often imposing upon her own physicality in post-feminist critiques of sex and gender. Gilmore received her MFA from the School of Visual Arts and her BA from Bates College. She has participated in the Whitney Biennial (2010), the Moscow Biennial (2011), PS1 Greater New York, MoMA/PS1 (2005 and 2010) in addition to solo exhibitions at the Everson Museum, the Aldrich Contemporary Art Museum, MoCA Cleveland, Public Art Fund in Bryant Park, Institute of Contemporary Art, Philadelphia, and Contemporary Art Center, Cincinnati. She has been the recipient of several international awards and honors including the Guggenheim Fellowship, Art Prize/Art Juried Award, Rauschenberg Residency Award, Rome Prize from the American Academy in Rome, The Louis Comfort Tiffany Foundation Award, Art Matters Grant, Lower Manhattan Cultural Council Award for Artistic Excellence, the Franklin Furnace Fund for Performance, “In the Public Realm” from the Public Art Fund, The LMCC Workspace Residency, New York Foundation for The Arts Fellowship, and the Marie Walsh Sharpe Space Residency. Her work is in the collection of the Museum of Modern Art, Brooklyn Museum, Whitney Museum of American Art, Museum of Fine Arts, Boston, San Francisco Museum of Modern Art, Rose Art Museum, Indianapolis Museum of Art, and Museum of Contemporary Art, Chicago. Gilmore is an Associate Professor of Art and Design at Purchase College, SUNY. Image: Through the Claw, 2012. Performance, installation, clay, wood, performers. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1544506852807-TH0HNRKZ5TRKC02EBL2G/5+Hart_Oracle+of+Lacuna_2.JPG 2018 Heather Hart (b. 1975, Seattle) is a Brooklyn-based artist whose interdisciplinary practice explores nostalgic futurism, amalgams of distorted traditions and symbols, handed down and mashed-up to fit our prospective needs. Hart was an artist in residence at Joan Mitchell Center, McColl Center of Art + Innovation, Bemis Center for Art, LMCC Workspace, Skowhegan, Robert Blackburn Printmaking Workshop, Santa Fe Art Institute, Fine Arts Work Center and at the Whitney ISP. She received grants from Creative Capital, Joan Mitchell Foundation, Harpo Foundation, Jerome Foundation, and NYFA. Her work has been exhibited worldwide, including at Rodman Hall Art Center, Socrates Sculpture Park, Seattle Art Museum, Doris McCarthy Gallery, Greensboro, NC for Elsewhere, Studio Museum in Harlem, ICA Philadelphia, Art in General, The Drawing Center, Tarble Arts Center, and the Brooklyn Museum. She studied at Cornish College of the Arts in Seattle, Princeton University in New Jersey and received her MFA from Rutgers University. Image: The Oracle of Lacuna, 2017, Storm King Art Center. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1544506989054-OHL2ZVZ3NE5NHNC0TPKM/Deborah+Roberts%2C+My+body%2C+your+rules%2C+2018.jpg 2018 Deborah Roberts (b. 1962, Austin, Texas) is a mixed media artist whose work challenges the notion of ideal beauty. Her work has been exhibited internationally across the U.S. and Europe. Roberts’ work is in the collections of Whitney Museum of American Art, Brooklyn Museum, The Studio Museum in Harlem, LACMA, Block Museum of Art, Blanton Museum of Art, Spelman College Museum of Fine Art, Montclair Art Museum, and The Frances Young Tang Teaching Museum and Art Gallery. Roberts is the recipient of the Pollock-Krasner Foundation Grant (2016) and Ginsburg-Klaus Award Fellowship (2014). She received her MFA from Syracuse University, New York. She lives and works in Austin, Texas. Roberts is represented by Stephen Friedman Gallery, London. Image: My body, your rules , 2018. Mixed media collage on canvas. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1544507298858-EAKA9ME40ONTINYSH5VE/RocioRodriguez_Double+X_62x72inches_2017_acrylic+on+canvas_.jpg 2018 Rocío Rodríguez, (American, b. 1952, Cuba) is a painter living and working in Atlanta, Georgia. Rodríguez’s work encompasses drawings and paintings, and in the past decade she has incorporated large wall drawings into her oeuvre. She has exhibited widely in over thirty solo exhibitions and in numerous curated group exhibitions in the United States. Her work is in various permanent collections, among them the High Museum of Art, the Huntsville Museum of Art, the New Orleans Museum of Art, the Telfair Museum of Art, in addition to numerous private collections. Rodríguez has been the recipient of a number of awards and grants among them a Cintas Foundation Fellowship, a ‘Southern Regional’ Fellowship at the American Academy in Rome, an Artadia Award, and a residency at Marfa Contemporary, Marfa, TX. Her work has also been featured in two books, Out of the Rubble, and No-PLACENESS: Art in a Post-Urban Landscape. She received her BFA and MFA degrees from the University of Georgia. In 2019 Ms. Rodríguez will have a thirty-year retrospective of drawings at the Museum of Contemporary Art of Georgia in Atlanta. Image: Double X, 2017. Acrylic on canvas. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1544507865464-5ERDV6JN01HHSQFNERMM/Hispaniola-Kids+Run+among+Sugar+Cane.jpg 2018 Michèle Stephenson (American, b. 1965, Port au Prince, Haiti) is a filmmaker, artist, and author who pulls from her Haitian and Panamanian roots to tell her stories. Her work has appeared on a variety of broadcast and web platforms, including PBS, Showtime, and MTV. Her most recent feature documentary, American Promise, was nominated for three Emmys including Best Documentary and Best News Coverage of a Contemporary Issue. The film also won the Jury Prize at Sundance (2013), and was selected for the New York Film Festival's Main Slate Program (2013). Her collaborative film series with New York Times Op-Docs, A Conversation on Race, won the Online Journalism Award for Commentary (2016). Stephenson and her work have been honored with numerous awards including the inaugural Chicken & Egg Pictures Filmmaker Breakthrough Award (2016) and the PUMA BritDoc Impact Award for a Film with the Greatest Impact on Society (2014). She is also a Skoll Sundance Storytellers of Change Fellow and a Guggenheim Fellow (2016). Her recent book, Promises Kept, written along with co-authors Joe Brewster and Hilary Beard, won an NAACP Image Award for Outstanding Literary Work (2015). Image: still from documentary Hispaniola , 2018–present. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1544507981846-SS0JG31NOA0GV1WTA69M/Betty+Tompkins%2C+Women+Words+%28Watteau+%231%29%2C+2017.jpg 2018 Betty Tompkins (b. 1945, Washington, D.C.) is a painter who works in New York City and Wayne County, Pennsylvania. She works with the themes of realistically depicted sex and text meant to define or insult women.The language is either sent to her or she finds it in the news or on the internet. The themes are often intertwined. Her work is included in the permanent collections of the Centre Pompidou, the Pennsylvania Academy of Fine Arts, and the Brooklyn Museum. Image: Women Words #1 (Watteau), 2018. Acrylic on book page. https://www.anonymouswasawoman.org/2019 daily 0.75 2019-11-21 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1574053915513-CURXF3ZYI51USR8I8BTF/Portrait+of+a+Young+Girl.jpg 2019 Elia Alba (b. 1962, Brooklyn) received her Bachelor of Arts from Hunter College in 1994 and completed the Whitney Museum Independent Study Program in 2001. She has exhibited throughout the United States and abroad. Those include The Rhode Island School of Design Museum; Stedelijk Museum, Amsterdam; The Science Museum, London; ITAU Cultural Institute, Sao Paolo; National Museum of Art, Reina Sofía, Madrid and the 10th Havana Biennial. She is a recipient of numerous awards and residencies for example, Studio Museum in Harlem Artist-in Residence Program in 1999; New York Foundation for the Arts Grant, Crafts 2002 and Photography 2008; Pollack-Krasner Foundation Grant, 2002 and Joan Mitchell Foundation Grant 2002 and 2008; Lower Manhattan Cultural Council (LMCC) Workspace Program, 2009, and Recess Analog, 2012. Her work is in the collection of the Smithsonian Museum of Art, El Museo del Barrio, Lowe Art Museum to name a few. Her recent project, The Supper Club, brings together artists, scholars and performers of diasporic cultures, through photography, food and dialogue to examine race and culture in the United States. A book on The Supper Club, produced by The Shelley & Donald Rubin Foundation was published by Hirmer June of this year and critically acclaimed by The New York Times. She is currently Artist-in-Residence at The Andrew Freeman Home in the Bronx. Image: Portrait of a Young Girl, 2012. Phototransfers on fabric, synthetic hair, acrylic, 36” x 24” x 3” https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1574054658390-7P5L491OR57G9DBSJVOK/Cottrell_Aperture+Series+%2840%29_2016_laser+toner+on+paper%2C+unique_11.625+x+18.125.jpg 2019 Marsha Cottrell (b. 1964, Philadelphia) has for more than two decades expanded the definition of drawing by repurposing the functionality of an electrostatic office laser printer, computer and screen unplugged from online space. Her seemingly alchemical process gives material form to an open-ended exploration of nature and technology, exterior and interior, body and machine in luminous, carbon-black images that evoke visionary states, nature and the sublime. Cottrell’s work is in the public collections of The Art Institute of Chicago; Blanton Museum of Art, The University of Texas at Austin; The Morgan Library and Museum, New York; Museum Kunstpalast, Düsseldorf; The Museum of Modern Art, New York; National Gallery of Art, Washington, D.C.; North Carolina Museum of Art; Philadelphia Museum of Art; and San Francisco Museum of Modern Art. Cottrell is the recipient of numerous grants and awards, including a Louis Comfort Tiffany Foundation Biennial Award (2013), a Pollock-Krasner Foundation Fellowship Grant (2007), and a John Simon Guggenheim Memorial Foundation Fellowship (2001). Her work has been included in exhibitions at the The Morgan Library & Museum, New York, the San Francisco Museum of Modern Art, and the Wexner Center for the Arts, Columbus, Ohio, among others. Cottrell lives and works in Brooklyn, New York. Image: Aperture Series (40), 2016, Laser toner on paper, unique, 11.625” x 18.125” https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1574055204759-TGRQIJAQG1OR2PRHXOW6/IMG-6289.png 2019 Torkwase Dyson (b. 1973, Chicago) spent her developmental years between North Carolina and Mississippi. Traversing these geographies helped develop a fundamental interest in architecture, systems, and space. Dyson received a BA from Tougaloo College in 1996, a BFA from Virginia Commonwealth University in 1999 and MFA from Yale School of Art in painting/printmaking in 2003. Though working in multiple forms Dyson describes herself as a painter whose compositions address the continuity of movement, climate change, infrastructure, and architecture. For Dyson these subjects in relationship to each other produce abstractions that explore the history and future of black spatial liberation and environmental exploitation. Dyson's solo exhibitions and installations include Arthur Ross Architecture Gallery, New York; Graham Foundation for Advanced Studies in the Fine Arts, Chicago; Bennington College VAPA Usdan Gallery, Vermont; Cooper Union, New York; Colby College Museum of Art, Franconia Sculpture Park, Maine; Schuylkill Center for Environmental Education, Philadelphia; Rhona Hoffman Gallery, Chicago, and Davidson Contemporary, New York. Group exhibitions include Between the Waters, Whitney Museum of American Art; Plumb Line: Charles White and the Contemporary, California African American Museum; Look for Me All Around You, 2019 Sharjah Biennial; PopRally: Practice and Ritual, Museum of Modern Art. Torkwase has been awarded the The Joan Mitchell Painters and Sculptors Grant, Nancy Graves Grant for Visual Artists, The Lunder Institute of American Art Fellowship, Spelman College Art Fellowship, Brooklyn Arts Council grant, Yale University Barry Cohen Scholarship, the Yale University Paul Harper Residency at the Vermont Studio Center, Culture Push Fellowship for Utopian Practices, FSP/Jerome Fellowship and Yaddo. Torkwase Dyson’s work has also been supported by the Eyebeam Art and Technology Center, The Laundromat Project, the Green Festival of New York, Obsidian Arts and Public funds of the City of Minneapolis, Mural Arts Program of Philadelphia, The Kitchen, and Dorchester Projects in Chicago. Torkwase Dyson lives and works in New York and is a critic at the Yale School of Art. Image: Installation view, I Can Drink the Distance, 2019, 41 Cooper Square https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1574056161228-0C8SE5B20L7FA18H0D90/Fasnacht-Turbulence%28red%29-2019-48x60.jpg 2019 Heide Fasnacht (b. 1951, Cleveland) has shown an abiding interest in states of flux. She has returned to painting/collage after several decades. This return has ushered in a commensurate new area of interest: the depiction of neglected and long forgotten playgrounds. This work is more personal in nature than her previous sculptures. The bodily feelings evoked by climbing and swinging include vertigo, confusion, excitement, and mastery. These works limn vast and sublime spaces. All of this and more are explored through the more direct and fluid medium of paint. Fasnacht has exhibited at MOMA, Socrates Sculpture Park, The Aldrich Contemporary Art Museum, Documenta 6, RAM Galerie in Rotterdam, Galeria Trama in Barcelona, QBox Galerie Athens, Kent Fine Art NYC, the Worcester Art Museum, PS1, and many others. She is in many permanent collections including: the MFA Boston, Philadelphia Museum of Art, the Fogg Art Museum at Harvard, The Brooklyn Museum, the High Museum of Art, the Dallas Museum of Art, The Walker Art Center, and the Yale University Art Gallery. Fasnacht is also the recipient of numerous awards, including: The Guggenheim Fellowship, several National Endowment for the Arts, New York Foundation for the Arts, The Gottlieb Foundation Grant, and two Pollock-Krasner Foundation Fellowships. She has taught at Harvard, Princeton, U Penn, UCLA, Parsons, and others. Further visiting lectures include: Yale, The Whitney Museum, RISD, and VCU. Image: Turbulence (red), 2019, Acrylic paint on manipulated photo mounted on wood panel, 48” x 60” https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1574055780948-QB2V3O1E3YCQYRBIDABZ/From+My+Body+I+Will+Make+Monuments+In+Your+Honor+copy+2.jpg 2019 Nona Faustine (b. 1969, Brooklyn) is an award winning photographer her work focuses on history, identity, representation, evoking a critical and emotional understanding of the past and proposes a deeper examination of contemporary racial and gender stereotypes. Faustine’s images have been published in a variety of national and international media outlets such as Artforum, New York Times, Huffington Post, Hyperallergic, The Guardian, New Yorker Magazine and the LA Times, among others. Faustine's work has been exhibited at Harvard University, Rutgers University, Maryland State University, Studio Museum of Harlem, Brooklyn Museum, African American Museum in Philadelphia, Schomburg Center for Black Research in Harlem, the International Center of Photography, Saint Johns Divine Cathedral, Tomie Ohtake Institute in Brazil and many others. Her work is in the collection of the David C. Driskell Center at Maryland State University, Studio Museum of Harlem, Brooklyn Museum and recently the Carnegie Museum. In 2019 she was recipient of NYSCA/NYFA Fellowship, Colene Brown Award, Finalist in the Outwinn Boochever Competition of the National Portrait Gallery and selected to be in the first inaugural class of Kehinde Wiley’s Black Rock Senegal Residency in 2019/2020. Image: From My Body I Will Make Monuments In Your Honor, 2015, Pre-revolutionary Cemetery, Brooklyn https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1574089161897-PRGXSDQYLSQ2JO0P47E8/Oddblue+dress.jpg 2019 Rhodessa Jones (b. 1948, Bunnell, FL) is Co-Artistic Director of the acclaimed San Francisco performance company Cultural Odyssey. She is an actress, teacher, director, and writer. Ms. Jones is also the Director of the award-winning Medea Project: Theater for Incarcerated Women and HIV Circle, a performance workshop designed to achieve personal and social transformation with incarcerated women and women living with HIV. Rhodessa received the Theater Practitioner Award presented by the Theater Communications Group in July 2015. The award recognizes “a living individual whose work in the American theater has evidenced exemplary achievement over time and who has contributed significantly to the development of the larger field.” Most recently, the Journal of the Association of Nurses in AIDS Care has published Rhodessa’s work with the Medea Project’s HIV Circle as an essay titled “An expressive therapy group disclosure intervention for HIV-positive women: a qualitative analysis.” BIRTHRIGHT? is the first in the Medea Project’s Rituals of Resilience performance series, exploring the capacity of women of all ages, hue,s and cultures to endure in these trying times against great odds, cruel backlash, and low expectations using dance, gesture, song, spoken word, and the stories from women who bounce back, stand strong, and survive! Image: BIRTHRIGHT?, 2015, The Medea Project in collaboration with Planned Parenthood of Northern California, Brava Theater, San Francisco, CA. Photo by David Wilson. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1574092155521-IASSQKX08MC0PEDRCBIX/JWM_Paradise_Interrupted_Macau_41.jpg 2019 Jennifer Wen Ma (b. 1973, Beijing, China) is a visual artist whose interdisciplinary practice bridges varied media of installation, drawing, video, public art, design, performance, and theatre; often bringing together unlikely elements in a single piece, creating sensitive, poetic and poignant works. Projects with international institutions include: Metropolitan Museum of Art, New York; Solomon R. Guggenheim Museum, New York; Guggenheim Bilbao, Spain; National Art Museum of China, Ullens Center For Contemporary Art, Beijing; Vancouver Art Gallery; Halsey Institute of Contemporary Art, Charleston; Seattle Art Museum; The Phillips Collection, Washington DC; Qatar Museums, Doha; Cass Sculpture Foundation, UK; Sydney Opera House, Art Gallery of New South Wales, Sydney; among others. She conceived, visually designed and directed installation opera Paradise Interrupted, performed around the world, including: MGM Cotai Theatre, 2019; National Kaohsiung Center for the Arts, Taipei National Theatre and Concert Hall, 2018, Singapore International Festival of Arts and Lincoln Center Festival, 2016, Spoleto Festival USA, 2015. In 2008, Ma was on the core creative team for the opening ceremony of the Beijing Olympics, and received an Emmy for its US broadcast. Image: Paradise Interrupted, 2015, installation opera https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1574093005775-P7NEU68MFOBGZLFXKIZY/1_AmieSiegel_TheNoonComplex_2016_ThomasDaneGallery_LowRes.jpg 2019 Amie Siegel (b. 1974, Chicago, IL) works variously between film, video, photography, performance and installation. She is known for layered, meticulously constructed works that trace and perform the undercurrents of systems of value, cultural ownership and image-making. The artist’s recent solo exhibitions include Medium Cool, Blaffer Art Museum, Houston, TX (2019); Winter, Guggenheim Museum Bilbao (2017) Strata, South London Gallery (2017); Double Negative, Museum Villa Stuck, Munich; Ricochet, Kunstmuseum Stuttgart; Imitation of Life, Temple Bar Gallery, Dublin (2016), Provenance, MAK- Museum für Angewandte Kunst, Vienna (2015) and The Metropolitan Museum of Art, New York (2014). Siegel has participated in group exhibitions including the 2018 Gwangju Biennial; Dhaka Art Summit; CAPC Bordeaux; Witte de With, Rottderdam; Vancouver Art Gallery; MuMA, Melbourne; Whitney Museum of American Art, NY; MAXXI Museum, Rome; Hayward Gallery, London; CCA Wattis, San Francisco; Walker Art Center, Minneapolis and Haus der Kulturen der Welt, Berlin among others. Her work is in public and private collections including The Museum of Modern Art, New York; Whitney Museum of American Art; The Metropolitan Museum of Art, New York; Tate Modern, Carnegie Museum of Art and the Solomon R. Guggenheim Museum. Her works have screened at the Cannes, Berlin, Toronto and New York Film Festivals. She has been a fellow of the DAAD Berliner-Künstlerprogramm and the Guggenheim Foundation, the Fulton Fellow at The Film Study Center at Harvard University, a recipient of the ICA Boston's Foster Prize, Sundance Institute and Creative Capital Awards. She lives and works in Brooklyn, New York. Image: The Noon Complex, 2016, 3-channel video installation, color/sound https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1574093520114-1HXVEC6XVO4BFV2OUI3J/ICA+Installation+AA+300.jpg 2019 Diane Simpson (b.1935, Joliet, IL) is a Chicago-based artist who for the past forty years has created sculptures and preparatory drawings that evolve from a diverse range of sources, including clothing, utilitarian objects, and architecture. The structures of clothing forms has continuously informed her work, serving as a vehicle for exploring their visually formal qualities, while also revealing their connections to the design and architecture of various cultures and periods in history. Her wide selection of materials (wood, perforated metals, linoleum, fabrics ) reflect her interest in the coexistence of the industrial/architectonic and domestic worlds. She has exhibited widely in the US and abroad; most recently in the 2019 Whitney Biennial. In 2010, a thirty-year retrospective was held at the Chicago Cultural Center, and she has had solo exhibitions at the Museum of Contemporary Art, Chicago, and the Institute of Contemporary Art, Boston. Simpson's work is in the permanent collections of the Whitney Museum of American Art, NY; Art Institute of Chicago; Institute of Contemporary Art, Boston; Museum of Contemporary Art, Chicago; Hessel Museum of Art, Annandale-on-Hudson, New York; Illinois State Museum, Springfield, IL; Perez Museum, Miami, FL; and the Kadist Art Foundation, San Francisco and Paris, FR. She received a BFA in 1971 and an MFA in 1978 from the Art Institute of Chicago. Simpson is represented by Corbett vs Dempsey Gallery, Chicago; JTT Gallery, NY; and Herald St Gallery, London. Image: Installation view, Diane Simpson, Institute of Contemporary Art, Boston. Photo by Charles Mayer https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1574093681320-GAO547LER9LOPLBSVSHO/Ingapirca_stone_09.jpg 2019 Karina Aguilera Skvirsky (b. 1967, Providence, RI) is a multidisciplinary artist that works mainly with photographs, video, and performance. She has exhibited widely in the United States and internationally. She participated in the Cuenca Biennial, which was curated by Dan Cameron in 2016 and the São Paulo Biennial in 2010. She has participated in numerous residencies and received multiple grants including LMCC Workspace (2003), NALAC, (National Association of Latino Arts and Culture 2018), Jerome Foundation (2015) and others. Currently, she is in the production phase of a new project, “How to build a wall and other ruin” that is being funded by a 2019 Creative Capital (NY, NY) grant. Her work can be seen in fairs such as ARCO Madrid, NADA Miami or PArc Lima, where she regularly exhibits with the galleries that represent her. Her work is included in the following collections: Urbes Mutantes, The Whitney Museum of American Art, the SFMOMA, the Art Institute of Chicago, as well as numerous private collections. Skvirsky is an Associate Professor in the Department of Art at Lafayette College, Easton PA. She lives and works in New York, NY and Ecuador. Image: Ingapirca: Rock #9, 2019, 17” x 22” x 1”, Courtesy of the Artist and Ponce & Robles Gallery, Madrid SP https://www.anonymouswasawoman.org/new-page daily 0.75 2025-09-01 https://www.anonymouswasawoman.org/2020 daily 0.75 2020-11-18 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1605711193135-T0E4R36K239PF3OY2222/PaletteOfCochineal.jpg 2020 D.Y. Begay (b. 1953, Tselani, AZ ) is a Navajo, and fifth-generation tapestry weaver. Begay’s unique weaving style combines using the traditional, Navajo upright loom with her nontraditional interpretation of the landscape that surrounds her. Begay’s passion is weaving, capturing intimate thoughts, and making colors from natural sources and fragments and threading forms and designs onto her loom. She collaborates with her weaving space every day, where she weaves beautiful impressions of undulating land and water formations. Begay’s weavings are deeply personal, encapsulating memories, Navajo land, and beauty. Begay has been the recipient of several awards and grants including United States Artists Fellow (2017) and Native American Art Studies Association (2013). D.Y. has exhibited her weavings in institutions including the Museum of Northern Arizona, Flagstaff; Minneapolis Institute of Art, Minneapolis; C.N. Gorman Museum University of California Davis; National Museum of the American Indian Smithsonian Institute, New York City; Wheelwright Museum of the American Indian, Santa Fe; Kennedy Museum of Art, Ohio University, Athens; and the National Museum of Scotland, Edinburgh. Begay received her B.A. from Arizona State University, Tempe, Arizona. She lives and works in Santa Fe. Image: Palette of Cochineal, 33" h x 48" w, February 2013 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1605713668139-6AMXDOPH937KQZSW9DAZ/PE+Wards%27s+Island+Farm+2020_photo+credit+Chloe+Lazarus.jpeg 2020 Linda Goode Bryant (b. 1949, Columbus, OH) creates functional spaces that she calls “living installations” that involve people in collaborative activities and creative actions capable of changing conditions where they live—art that is meant to be discovered, experienced, and lived during daily life. Art with real life consequences. Just Above Midtown Gallery (JAM) was her first initial space. Started in 1974, it was the first gallery to showcase work by African-American and other artists of color in a major gallery district. After producing “The Business of Being an Artist” documentary, she shifted JAM’s focus to provide artists with space and money to experiment and create freely, away from market pressures. She began making films in the 1990s, and in 2003 co-produced “Flag Wars” with Laura Poitras, which received an Emmy nomination and numerous awards, including a Peabody. In 2004, she created Active Citizen Project (ACP) to involve disenfranchised and non-voting youth and adults around the country in creating and campaigning for local and national platforms that addressed issues and solutions that they want implemented. Her current “living installation” is Project EATS, which joins with residents in New York City’s low-income communities to create small plot, high-yield vegetable arms where fresh, healthy food is needed. Bryant has an M.B.A. from Columbia University and a B.A. from Spelman College. Image: PE Island’s Farm, 2020. Project EATS https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1605711654306-FBPKBOHYW5J7FYSQQEDX/BCR+The+Albino.jpg 2020 Barbara Chase-Riboud (b. 1939, Philadelphia, PA) has created abstract art with a deep and nuanced understanding of history, identity, and a sense of place over five decades. Her work operates on several dichotomies that have become central to her practice: hard/soft, male/female, flat/three-dimensional, Western/non-Western, stable/ fluid, figurative/abstract, powerful/delicate, brutal/beautiful, violence/harmony. Her work has been exhibited at numerous institutions worldwide and collected by institutions include the Berkeley Art Museum, University of California; The Metropolitan Museum of Art, New York; Ministry of Culture, France; The Museum of Modern Art, New York; National Collections of France; the Newark Museum, New Jersey; the New Orleans Museum of Art, Louisiana; the New-York Historical Society Museum; the Philadelphia Museum of Art; the Smithsonian African American Museum, Washington, D.C.; The Studio Museum in Harlem; the Baltimore Museum of Art; the Ludwig Museum, Cologne; the Serpentine Museum, London; the Phillips Collection, Washington, D.C.; and the Hermes Foundation, Brussels. Her work was featured in the new MoMA permanent collection exhibition in 2019. A recipient of numerous awards and honorary degrees, Chase-Riboud is also a prolific author of several historical novels and poetry collections. She lives in Paris, Rome, and Milan. Image: The Albino, 1972. Bronze with black patina, wool, and other fibers; 180” x 126” x 30”. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1605712576866-HFJFHBL9RH9TECUL17I5/Elena_del_Riverpo_2020_Letters_from_Home.jpg 2020 Elena del Rivero (b. 1949, Valencia, Spain) has dedicated her work to studying diverse written and visual forms for communicating personal experiences. While primarily creating paintings and works on paper, she also produces large-scale installations, performances and analog photographs. Her work is in the permanent collection of the Metropolitan Museum of Art, Museum of Modern Art, Yale University Art Gallery, Fogg Art Museum, National Gallery of Art, Baltimore Art Museum, Colby College Museum of Art, Pollock Gallery at Southern Methodist University, Birmingham Museum of Art, Institut Valenciá d’Art Modern, and the Reina Sofía, among other institutions. She has been the recipient of numerous awards and grants including the Prix de Rome (1988), Pollock-Krasner Foundation (1991, 1995), Creative Capital Foundation (2001), The New York Foundation for the Arts Fellowship (2001, 2002), the Rockefeller Foundation at The Bellagio Center, Italy (2005), the Joan Mitchell Foundation (2015), and the John S. Guggenheim Foundation Fellowship Award ( 2019). She lives and works in New York City. Image: Letters from Home installation view at Henrique Faria Gallery, February, 2020. Acrylic, dirt and stitching on canvas, each dishtowel 83 x 61.5”, 2018. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1605711963367-HBWSTIJ84SZK16MSAWYZ/Urgency+2020+small+rgb.jpg 2020 Chitra Ganesh (b. 1975, Brooklyn, NY) is an artist living and working in Brooklyn. For the past 20 years, Ganesh's drawing based practice has shed light on narrative representations of femininity, sexuality, and power typically absent from canons of literature and art. Ganesh’s installations, comics, animation, sculpture, and mixed media works on paper often take historical and mythic texts as inspiration and points of departure to complicate received ideas of iconic female forms. Her studies in literature, semiotics, and social theory have been critical to a steady engagement with narrative and deconstruction that animates her workHer work has been widely exhibited in the United States, Europe, and Asia, with solo exhibitions at MoMA P.S.1, The Warhol Museum, Göteborgs Konsthall, Brooklyn Museum, Rubin Museum, Kitchen, and the Leslie Lohman Museum of Art (currently on view through October 2021). Her work is held in prominent public collections including The Museum of Modern Art, The Smithsonian Museum of American Art, Pennsylvania Academy of Fine Art, Berkeley Museum of Art, San Jose Museum of Art, and the Whitney Museum . She is the recipient of numerous awards, including grants from the New York Foundation for the Arts; Printed Matter; Art Matters Foundation; John Simon Guggenheim Memorial Foundation; the Joan Mitchell Foundation; and the Hodder Fellowship at Princeton University, and the Pollock Krasner Foundation. She received her B.A. from Brown University and her M.F.A. from Columbia University. Image: Urgency, 2020 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1605713464790-QSBT4N9KWYNY2USZ4VNP/Oddblue+dress.jpg 2020 Karen Gunderson (b.1943 Racine, WI) is a painter who lives and works in the Village of Coxsackie, on the Hudson River, after forty years living and working in New York City. Gunderson makes paintings using only black paint, with her brush tracing the surface of the volume of her images and feeling them in space. The multiple textures from the paint catch the light and make the forms interact with the movement of the viewer. Images range from water, mountains, moons, constellations, and royal historical figures. She has had over fifty solo exhibitions, including at the Circulo de Bellas Artes in Madrid in 2004, and has been included in over 150 group shows, including art historian Barbara Rose’s 2016 exhibition “Painting After Postmodernism.” Her work is in over forty public collections. In 2001, Gunderson won the second prize for painting at the Florence Biennale in Italy. In 2005, the documentary film, “The Black Paintings by Karen Gunderson” was released. In 2010, she became the first American woman to have a one person show at theNational Museum of Bahrain. In 2016, Abbeville Press published a monograph on Gunderson's life’s work by Pulitzer Prize–winning author Elizabeth Frank. Gunderson is proud that she was mentored by Elaine de Kooning and Grace Hartigan. Image: Divergent Sea, 2011. Oil on linen, 75” x 75” https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1605713909344-56ENL0PPGSGQXZMP5RPI/Virginia+Jaramillo%2C+Site+No.+15+13.5099+S%2C+71.9817+W%2C+2018%2C+Acrylic+on+canvas%2C+182.9+x+182.9+cm%2C+V_JAR0213%2C+Photo+by+Stan+Narten.jpg 2020 Virginia Jaramillo (b. 1939, El Paso, TX) is an American artist who lives and works in New York. She studied at Otis Art Institute, Los Angeles from 1958 to 1961. Jaramillo’s work has been featured in numerous institutional exhibitions including the Los Angeles County Museum of Art; Whitney Museum of American Art, New York; A.I.R. Gallery, New York; Hammer Museum, Los Angeles; MoMA PS1, New York; and the Brooklyn Museum, New York. In 2020, Jaramillo’s first solo museum exhibition, The Curvilinear Paintings, 1969–1974 opened at The Menil Collection, Texas. Jaramillo’s work has featured in recent group exhibitions, including Tate Modern’s Soul of a Nation: Art in the Age of Black Power (toured to Crystal Bridges Museum of American Art, Arkasnas; the Brooklyn Museum, New York; The Broad, Los Angeles; the De Young, San Francisco; and the MFA, Houston) and We Wanted a Revolution: Black Radical Women 1965–85 at the Brooklyn Museum, New York (toured to California African American Museum, Los Angeles; Albright-Knox Art Gallery, Buffalo; and the Institute of Contemporary Art, Boston). Her work was included in Witness: Art and Civil Rights in the Sixties, Brooklyn Museum (toured to the Hood Museum of Art, Hanover and the Blanton Museum of Art, Austin) and Now Dig This! Art & Black Los Angeles, Hammer Museum, Los Angeles (toured to MoMA PS1, New York and the Williams College Museum of Art, Williamstown). Image: Site: No. 15 13.5099° S, 71.9817° W, 2018. Acrylic on canvas, 182.9 x 182.9 cm, 72 x 72 in https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1605712437293-P5B28LFNAT500GAWOBMN/Joskowicz_01.jpg 2020 Claudia Joskowicz (b. 1968, Bolivia) received her MFA from New York University and lives and works between Brooklyn, New York, and Santa Cruz de la Sierra, Bolivia. Her practice centers on history and its narrative, considering how popular media circulates and shapes collective memory, contemporary history, and social realities. Using long and slow video footage and oscillating between film and photography, she reproduces moments captured from global collective memories and personal stories (her own and others’) that have a historical dimension and are anchored in her native Latin American landscape. She has exhibited widely in the United States and internationally. Her works are in the permanent collections of the Guggenheim Museum, New York; the Kadist Foundation, San Francisco; the Cisneros Fontanals Foundation, Miami; and the Banco Central de la República, Bogotá. Joskowicz has been the recipient of numerous awards and grants including a NYFA Fellowship in film/video, a Cisneros Fontanals Foundation Mid Career Artist’s Commission, a Guggenheim Fellowship in film/video, and a Fulbright Scholar award. She has been a fellow at Yaddo; the Latin American Roaming Art Project, Oaxaca, Mexico; the Sacatar Institute, Bahia, Brazil; the AIM program at the Bronx Museum of the Arts; and the LMCC's Workspace and Paris residencies. Image: Still from Some Dead Don’t Make a Sound, 2015; 2K Single Channel Video; 10:30 minutes; color; sound. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1605713558437-MEFVQ1ATBLHGFCRBPUA5/Battle+is+joined+combo+new+ANONYMOUS.jpg 2020 Karyn Olivier (b. 1968, Trinidad and Tobago) is a Philadelphia-based artist who creates sculptures, installations and public art. Her work often intersects and collapses multiple histories and memories with present-day narratives. She has exhibited at the Gwangju and Busan Biennials, World Festival of Black Arts and Culture (Dakar, Senegal), The Studio Museum in Harlem, The Whitney Museum of Art, MoMA P.S.1, The Museum of Fine Arts Houston, Contemporary Art Museum Houston, The Mattress Factory and Sculpture Center (New York), among others. Olivier has created large-scale commissioned work for Monument Lab, Creative Time, and New York City and Philadelphia’s Percent for Art program. She received the 2018–19 Rome Prize and has been the recipient of the John Simon Guggenheim Memorial Foundation Fellowship, the Joan Mitchell Foundation Award, the New York Foundation for the Arts Award, a Pollock-Krasner Foundation grant, the William H. Johnson Prize, a Pew Fellowship, the Louis Comfort Tiffany Foundation Biennial Award and a Creative Capital Foundation grant. Olivier is currently an associate professor of sculpture at Tyler School of Art and Architecture. Image: The Battle is Joined, Monument Lab/Mural Arts, 2017. Mirrored acrylic, plywood, studs. h. 20 ft. w. 14 ft. d. 5.5 ft. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1605713150755-YSGV8QJOAD8L6GU819BZ/DSC05235_final.jpg 2020 Juana Valdés (b. 1963, Cuba) uses printmaking, photography, sculpture, ceramics, and site-specific video installations to explore issues of race, transnationalism, gender, labor, and class. Functioning as an archive, Valdes’s work analyzes and decodes experiences of migration as a person of Afro-Cuban heritage. Born in Pinar del Rio, Cuba, Valdes migrated to the United States in 1971; she is now a U.S. citizen. She has been the subject of solo exhibitions at institutions including Locust Projects, Miami; the Legacy Gallery, Miami Dade College Special Collections; the Herter Gallery at UMass Amherst; the Center for Cultural Analysis, Rutgers University, New Jersey; and the Thomas Hunter Project Space, Hunter College, CUNY. Her exhibition An Inherent View of the World was acquired in full by the Pérez Art Museum, Miami and was featured in the exhibitions Polyphonic: Celebrating PAMM’s Fund for African American Art and Abstracting History, Second Chapter in On the Horizon: Contemporary Cuban Art from the Jorge M. Pérez Collection. She has been featured in many group exhibitions, including Relational Undercurrents: Contemporary Art of the Caribbean Archipelago, at the Museum of Latin American Art, which was presented as part of the Getty Foundation's Pacific Standard Time: LA/LA, which traveled extensively throughout the U.S., and the Site Santa Fe Biennial “much wider than a line,” SITELINE: 2016 New Perspectives on Art of the Americas. Her work has also been included in group exhibitions at institutions including El Museo del Barrio, New York; MoMA PS1, New York; Project Row Houses, Houston; Museum of Contemporary Art, North Miami; Garillo Gil Museum, Mexico; Galerie Verein Berliner Künstler, Berlin; Newark Museum, New Jersey; Galerie Binnen, Amsterdam; and FreeSpace, Sydney. She is the recipient of the Joan Mitchell Foundation Grant, The Ellies Creator Award, The New York Foundation for the Arts, Sculpture/Craft, the National Association of Latinos Arts and Culture Visual Artists Grant and the Pollock-Krasner Foundation Grant. She received her BFA in Sculpture from the Parsons School of Design, her MFA in Fine Arts from the School of Visual Arts, and attended the Skowhegan School of Painting & Sculpture. She is currently an Associate Professor in the Art Department at the University of Massachusetts, Amherst. Image: Rest Ashore, 2020. K video, 12 min. Director/Producer: Juana Valdes. https://www.anonymouswasawoman.org/2021 daily 0.75 2021-11-09 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/008e4458-0a2d-407e-91f8-0e0126c6e781/___Cantilevered%2358.jpeg 2021 Nanette Carter (b. 1954, Columbus, OH) is known for her abstract paintings on sheaths of frosted Mylar. CIntangible ideas around contemporary issues are the motivating force for her art. Her works are in the permanent collections of Columbus Museum of Art, OH; Museo Nacional de Bellas Artes, Habana, Cuba; The Pennsylvania Academy of Arts, PA; Perez Art Museum, FL; Saint Louis Art Museum, MO; The Studio Museum in Harlem, NY; and Yale University Art Gallery, CT. Carter’s works have been exhibited across the U.S. and internationally in Damascus and Aleppo, Syria; Kyoto and Osaka, Japan; Habana, Cuba; Perugia, Italy; Lome, Togo; London, England; Sao Paulo, Brazil; and Hamilton, Bermuda. She has received numerous grants that include National Endowment for the Arts, Jerome Foundation, Gottlieb Foundation, The Pollock-Krasner Foundation, New York Foundation for the Arts, and The Mayer Foundation. She is an Emeritus Tenured Associate Professor at Pratt in Brooklyn. She received her BA from Oberlin College, Ohio, and studied abroad her junior year at the Accademia Belle Arte, Perugia, Italy. Her MFA was from Pratt Institute of Art. Carter lives and works in New York. Image: Cantilevered #58, 2020, 47" x 45”, oil on Mylar https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/b3339040-fecc-4b42-8d89-87fbb3d6f7ce/1.Woman+who+married+a+snake.jpg 2021 Oletha DeVane (b. 1950, Baltimore, MD) is a multidisciplinary artist who explores political narratives, social identities and cultural interpretations. Her work is in permanent museum collections at the Baltimore Museum of Art and the Reginald F. Lewis Museum, and she is the recipient of numerous awards, grants and commissions. In 2022, the artist will unveil two monument projects: “The Memorial to Those Enslaved and Freed” in Owings Mills, MD, and a public art memorial in Baltimore’s Lexington Market. Her familial and ancestral ties in Maryland, North Carolina, and the Caribbean influence a visual language imbued with Black culture and spirituality, while her social practice and residency engagements range from culturally diverse countries like Haiti, South Africa, Abu Dhabi, Italy, the EU, Israel and Thailand. Through the lens of these experiences, she calls upon a wide variety of mediums such as wood, glass, paint, beads, clay, found objects and video to reimagine the spiritual memory that came from Africa to the Americas. The artist states that, “in connecting to our past, places and cultures, I’m interested in repairing our fragile human kinships and want to encourage the oneness we share.” The work centers on the subliminal, fantastic realities of myth and memory, evoking a sense of awe from that which is familiar. Image: Woman Who Married a Snake, 2017, Fabric, sequins .glass, beads, wood, pebbles, 26” x9”x 9” https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/199250c4-4245-4cb0-a756-dc9de074afaa/_Passageways+%231%2C+Secrets%2C+Traditions%2C+Spoken+and+Unspoken+Truths+or+Not+copy.jpg 2021 Adama Delphine Fawundu (b. 1971, Brooklyn, NY) is a photographer and visual artist of Mende and Bubi descent. Her distinct visual language centered around themes of decolonization, and ancestral memory, enrichens and expands the photographic canon. Fawundu co-published the critically acclaimed book MFON: Women Photographers of the African Diaspora. For decades, she has exhibited both nationally and internationally. Her awards include a New York Foundation for The Arts Photography Fellowship (2016) and the Rema Hort Mann Artist Grant (2018), among others, and she is a 2022 Outwin Boochever Portrait Competition finalist. Fawundu was commissioned by the Park Avenue Armory to participate in the 100 Years | 100 Women Project / The Women’s Suffrage NYC Centennial Consortium (2019–2021). Her works are in the permanent collections of the Brooklyn Museum of Art; Princeton University Museum;, Bryn Mawr College; The Petrucci Family Foundation of African American Art, Asbury, NJ; The Brooklyn Historical Society; Norton Museum of Art, Palm Beach; The David C. Driskell Art Collection, College Park, MD; and number of private collections. She is an Assistant Professor of Visual Arts at Columbia University. Image: Passageways #1, Secrets, Traditions, Spoken and Unspoken Truths or Not, 2017, Archival Pigment on Cotton Rag Photo Paper, 30 x 40 in. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/846979b8-8d76-4a7b-8667-95c80c0a1b5f/1.+Movement+of+the+Sun+.jpg 2021 Anita Fields (b. 1951, Oklahoma) is a contemporary Native American multi-disciplinary artist of Osage heritage. She is known for works that combine clay and textile with Osage knowledge systems. Fields explores the intricacies of cultural influences at the intersections of balance and chaos found within our existence, including early Osage concepts of duality, such as earth and sky, male and female. Her sculptures have been featured in many solo and group exhibitions, including Weaving History Into Art; The Enduring Legacy of Shan Goshorn at the Gilcrease Museum (2020–21), Form and Relation: Contemporary Native Ceramics, the Hood Museum, Dartmouth College (2020–2021), Hearts of Our People at the Minneapolis Institute of Art (2018–2019), and A rt for A New Understanding: Native Voices, 1950’s to Now (2018) at the Crystal Bridges Museum of American Art. Her work was also included in Who Stole the Teepee? at the National Museum of the American Indian, Smithsonian, New York (2000), and Legacy of Generations: Pottery by American Indian Women at the National Museum of Women in the Arts, Washington, D.C. (1997).She has been published in Ms. Magazine, American Craft, and Southwest Art Magazine. Her work can be collections including the Museum of the American Indian, Smithsonian, Washington, D.C.; the Museum of Art and Design, New York; the Minneapolis Institute of Art;, the Crystal Bridges Museum of American Art, Bentonville, AR; the Hood Museum, Dartmouth College, Hanover, NH; and the Heard Museum, Phoenix. Fields was a 2017o2019 fellow with the Kaiser Foundation Tulsa Artist Fellowship program and is currently a 2020–-2021 Tulsa Artist Fellowship Integrated Arts Grant awardee. She is the invited artist for the 2021 Eiteljorg Museum of Contemporary Art Fellowship and was recently named a 2021 National Endowment of the Arts Heritage Fellow. Image: Movement of the Sun II, 2011, Clay, slips, gold luster glaze, 21” x 32” x 1 ½” Wall installation representing the cultural memory found within the terrain of Indigenous original homelands and sacred places. The daily path of the sun over the earth represents Osage beliefs and knowledge systems. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/bbfb5c5e-6f75-491e-98e0-a84c045f9d73/Fusco_Your+Eyes+Will+be+an+Empty+Word+4.jpeg 2021 Coco Fusco (b. 1960, New York City, NY) is an interdisciplinary artist and writer. She is a recipient of numerous awards, including a Guggenheim fellowship, an American Academy of Arts and Letters Award, a Fulbright fellowship and a Herb Alpert Award in the Arts. Fusco’s performances and videos have been presented in the 56th Venice Biennale, Frieze Special Projects, Basel Unlimited, two Whitney Biennials (2008 and 1993), and several other international exhibitions. Her works are in the permanent collections of the Museum of Modern Art, The Walker Art Center, the Centre Pompidou, the Imperial War Museum, and the Museum of Contemporary Art of Barcelona. She is the author of Dangerous Moves: Performance and Politics in Cuba (2015). She is a Professor of Art at Cooper Union. Fusco is currently preparing new works for the next Sharjah Biennial and a solo retrospective that will open in 2023. Image: Your Eyes Will Be an Empty Word, 2021, Video, 12 minutes https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/54d9c988-2575-4452-9078-b9f3141c70f8/03_RGreen_Endless_Dreams_YBCA.jpeg 2021 Renée Green (born 1959, Cleveland, OH) is an artist, writer, and filmmaker known for her highly layered and formally complex multimedia installations in which ideas, perception, and experience are examined from myriad perspectives. Green’s exhibitions, videos and films have been presented throughout the world in museums and art institutions, among them the Carpenter Center for Visual Arts at Harvard University; MAK Center for Art + Architecture at the Schindler House, West Hollywood; and the Museum of Modern Art, the Whitney Museum of American Art, and the New Museum, all in New York, as well as many others. Extensive surveys of her work have been organized by the Musée cantonal des Beaux Arts, Lausanne, Switzerland (2009), Yerba Buena Center for Visual Arts, San Francisco (2010), and KW Institute for Contemporary Art and daadgalerie, Berlin (2021). Green’s most recent books include Pacing (2020, CCVA, FAM, Cambridge, Mass.), Other Planes of There: Selected Writings (2014, Duke University Press, Durham), Endless Dreams and Time-Based Streams (2010, Yerba Buena Center for the Arts, San Francisco), and Ongoing Becomings (2009, Musée cantonal des Beaux-Arts, Lausanne). She is also the editor of the collection of essays Negotiations in the Contact Zone (2003, Assírio & Alvim, Lisbon) and a Professor at the MIT’s Art, Culture, and Technology Program, School of Architecture & Planning. Image: Endless Dreams and Time-Based Streams, 2010. Installation view. Yerba Buena Center for the Arts, San Francisco. Image: Phocasso / J.W. White All images courtesy of the artist and Free Agent Media https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/46738c93-4beb-4c9b-b391-a236ba2253b0/2.jpg 2021 Judithe Hernández (b. 1948, Los Angeles, CA) earned her BFA and MFA at Otis Art Institute. Her public art and studio practice have been dedicated to the social-political issues affecting Mexican Americans and the empowerment of Latinas. In the 1970s, as a founding member of the Chicano Art Movement, she received acclaim as a muralist during the Los Angeles Mural Renaissance. During this period, she was among the first Chicanx artists to break through the mainstream museum barrier when her work was included in major exhibitions at the Oakland Museum of Art, LACMA, the Los Angeles Institute of Contemporary Art, and the San Francisco Museum of Modern Art. The international significance of her work came in 1989 with the first exhibition of Chicano art in Europe, Les Démon des Anges. The exhibition traveled to major venues in Stockholm, Paris, Lyon, and Barcelona. In 2011 and 2017, the sweeping Getty-sponsored arts initiatives known as “Pacific Standard Time” included her work in multiple exhibitions. Over her 50-year career, she has established a significant record of exhibition and acquisition of her work by major public institutions and private collections which include: the Museum of Modern Art, the Smithsonian American Art Museum, the Pennsylvania Academy of Fine Art, the National Museum of Mexican Art, LACMA, and Bank of America. She has been the recipient of the prestigious University of Chicago Artist-in-Residence at the Center for the Study of Race, Politics, & Culture, and the C.O.L.A. Fellowship awarded by the City of Los Angeles. In 2020, after a 40 year absence, her artistic presence returned to downtown Los Angeles when her seven-story mural “La Nueva Reina de Los Angeles” was installed in the El Pueblo de Los Angeles Historical Monument District. Image: The Journey to Heaven’s Western Gate, 2020, Pastel on paper, 44 x 60” https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/169a1c27-6da4-4a6a-9eae-e888273f6090/Rag-to-Wobble+Wobble.jpg 2021 Suzanne Jackson (b. 1944, St. Louis, MO) works in Savannah, Georgia, where she has lived since 1996. Her recent works are highly abstracted “anti-canvases,” with flexible two-dimensional surfaces realized into three-dimensional form, contrasting with her early figurative paintings. She was the subject of a major retrospective exhibition and monograph, Five Decades, organized by the Jepson Center for the Arts, Telfair Museums, Savannah (2019). She has presented solo exhibitions at Ortuzar Projects, New York; O-Town House, Los Angeles; Danville Museum of Fine Arts, Danville, Virginia;, and Fashion Moda, New York. Her work has featured in institutional surveys and historic exhibitions including Life Model: Charles White and His Students, Los Angeles County Museum of Art (2019); West by Midwest, Museum of Contemporary Art, Chicago (2018–19); Soul of a Nation: Art in the Age of Black Power, Brooklyn Museum, New York (2018–19); Now Dig This! Art and Black Los Angeles 1960–1980, Hammer Museum, Los Angeles (2011–13); Gallery 32 & Its Circle, Laband Art Gallery, Loyola Marymount University, Los Angeles (2009); Synthesis, Just Above Midtown Gallery, New York (1974); Directions in Afro American Art, Herbert F. Johnson Museum of Art, Cornell University, Ithaca (1974); and Black Mirror, Womanspace Gallery, Los Angeles (1973). From 1969–1970 she ran the influential Gallery 32 from her studio in Los Angeles, which in 1970 presented the first group exhibition of Black women artists in L.A. and, likely, the U.S. She is a recipient of the NYFA Murray Reich Distinguished Artist Award (2020) and a Joan Mitchell Foundation Painters & Sculptors Grant (2019). Her work is in the permanent collections of The Art Institute of Chicago; The Baltimore Museum of Art; The California African American Museum; The Indianapolis Museum of Art, Newfields; The Museum of African American Art, Los Angeles; and the Museum of Modern Art, New York. Image: “Rag-to-Wobble”, 2020, Acrylic, cotton paint cloth, vintage dress hangers, 86 x 63 with 14-inch variable bulge (218.4 x 160 with 35.6 cm) Photo by David Kaminsky. Courtesy of the artist and Ortuzar Projects New York City https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/8531f424-1440-4d21-959b-aa6de0b0369d/AWAW+Image+2.png 2021 Autumn Knight (b. 1980, Houston, TX) is an interdisciplinary artist working with performance, installation, video, and text. Knight makes performances that reshape perceptions of authority figures, power dynamics, and audience expectations of live experiences. Her video and performance work have been viewed within several institutions including the The New Museum (New York), Human Resources (Los Angeles), Western Front, (Vancouver, Canada), Akademie der Kunste (Berlin), On the Boards (Seattle), and the Whitney Museum of American Art and The Kitchen (New York). Her performance and video work is held in the permanent collection of the Studio Museum in Harlem. She is the recipient of several awards and grants including Artadia, Art Matters, Rema Hort Mann, and the Smithsonian Artist Research Fellowship, and is a recent recipient of The Nancy B. Negley Rome Prize. She lives and works in New York. Image: Autumn Knight for Western Front, 2021 Photo Credit: Autumn Knight https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/47801f6b-f15f-4f0f-8b60-33dd9b2c9a52/Underground.jpg 2021 Adia Millett (b. 1975, Pasadena, CA) makes art that honors the history of domestic craft, abstraction, and architecture, while being inspired by Afrofuturism, emotional resilience, and the preservation of our land. Her work ranges from painting, quilting, stained-glass, collage, video, and sculpture, to installation. Investigating the fragile interconnectivity among all living things, she deconstructs images, ideas, and materials to shed light on the multifaceted and complex parallels between the creative process and the nature of personal identity. Millett received her BFA from the University of California, Berkeley, and an MFA from the California Institute of Arts. She was an artist-in-Residence at the Whitney Museum Independent Study Program and the Studio Museum in Harlem. She has exhibited at prominent institutions including the New Museum, New York; P.S. 1, New York; Museum of the African Diaspora, San Francisco; Oakland Museum; Crocker Art Museum, Sacramento; Yerba Buena Center for the Arts, San Francisco; Santa Monica Museum of Art; The Museum of Contemporary Art, Atlanta; The Contemporary Art Center, New Orleans; Barbican Gallery, London, San Jose Quilt and Textile Museum; and at the California African American Museum, Los Angeles, which hosted a critically acclaimed solo exhibition of her work in 2019. Millett has taught at Columbia College in Chicago, UC Santa Cruz, Cooper Union in New York, and California College of the Arts. Millett currently lives and works in Oakland, California. Image: Underground https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/36b925f6-f301-4a59-b3c4-3e03331aa4b4/Somebody%27s.Head.good.jpg 2021 Anna Sew Hoy (b. 1976, Auckland, New Zealand; American) utilizes sculpture, ceramics, public art and performance to connect with our environment, and to demonstrate the power found in the fleeting and handmade. Her work has been at the forefront of a re-engagement with clay in contemporary art, and is identified with a critical rethinking of the relationship between art and craft. Sew Hoy’s work is in the collections of the Hammer Museum, the San Francisco Museum of Modern Art, the Los Angeles County Museum of Art, and the Museum of Contemporary Art in San Diego. Solo presentations of Sew Hoy’s work have been mounted at the Aspen Art Museum; the MOCA Storefront, Los Angeles; the Hammer Museum, Los Angeles; Koenig & Clinton, New York; LAXART; Various Small Fires, Los Angeles; the San Jose Museum of Art; and the California Biennial 2008 at the Orange County Museum of Art. In 2018 she was the inaugural Martha Longenecker Roth Distinguished Artist in Residence at UC San Diego Department of Visual Arts. She was awarded a Creative Capital Grant for Visual Art in 2015 to support her public sculpture Psychic Body Grotto. She was awarded the California Community Foundation Grant for Emerging Artists in 2013, and the United States Artists Broad Fellowship in 2006. Sew Hoy’s largest public sculpture to date, Psychic Body Grotto opened at the Los Angeles State Historic Park in Spring 2017. She is Associate Professor and Ceramics Area Head at University of California, Los Angeles. Image: Somebody’s Head https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/aa693dea-f585-4f8a-b326-b50cbe509e18/HONEY_TIFF_9mb+copy.jpg 2021 Julie Tolentino (Filipino-Salvadorean, b. 1964) is an interdisciplinary artist invested in performance installation, object-making, video, and texts. Her work has been shown at The New Museum, Aspen Art Museum, Nevada Art Museum, Thessaloniki Biennial, Performance Space New York, The Kitchen, Participant, Inc. (NY); Los Angeles Contemporary Exhibitions, Commonwealth and Council (Los Angeles); The Lab (San Francisco). Projects include Visual AIDS Duets Book series with Kia LaBeija; Movements in Blue with the What Would An HIV Doula Do? Collective; and Safer Sex Handbook with Cynthia Madansky. Tolentino initiated and ran the Clit Club (with Jaguar Mary until 1991 and with a dedicated crew until 2002.) She is the senior editor for the Provocations in The Drama Review (TDR) since 2012. Tolentino received her MFA as the University of California at Riverside’s Dean’s Distinguished Fellow in Experimental Choreography in 2020. She received a Herb Alpert/UCROSS Residency Prize (2021); Queer|Art Sustained Artist Recognition (2020); Herb Alpert/MacDowell Fellowship, Foundation for Contemporary Art - Performance Grant (2019). Tolentino is the current 2021-2022 Scholar-in-Residence at NYU Steinhardt; the Alma Hawkins Chair in the World Arts & Cultures Department at UCLA, Winter 2022, and a 2022-2023 Queer|Art Mentor. Tolentino is an artist/maker/contributor with Commonwealth and Council, Los Angeles. Image: Cry of Love - Honey. Haus Der Kulturen der Welt, Berlin, Germany. Photo by G. Golpke https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/c06db8ac-00cd-4783-984b-e300195cd681/Untitled+%28All+the+Colors%29.jpeg 2021 Dyani White Hawk (Sičáŋǧu Lakota, b.1976, Madison, WI) is a multimedia artist and independent curator based in Minneapolis, Minnesota. Through painting, beadwork, installation, performance, and curation, her practice challenges the lack of representation of Native arts, people, and voices in our national consciousness while highlighting the truth and necessity of intersectionality and relatedness across life. White Hawk has received numerous awards, including an Arts and Letters Award in Art (2021), McKnight Visual Artist Fellowship (2021 and 2014), United States Artists Fellowship in Visual Art (2019), Eiteljorg Fellowship for Contemporary Art (2019), Jerome Hill Artists Fellowship (2019), Native Arts and Cultures Foundation Fellowship (2017 and 2015), and the Joan Mitchell Foundation Painters and Sculptors Grant (2014). She has participated in residencies in New Orleans, Santa Fe, Australia, Russia, and Germany. A major ten-year survey exhibition of her practice, Speaking to Relatives, opened at the Kemper Museum of Contemporary Art in 2021, and travels to the Museum of Contemporary Art Denver in 2022. Her work is in numerous collections including the Akta Lakota Museum, Crystal Bridges Museum of American Art, Denver Art Museum, Minneapolis Institute of Art, Museum of Fine Arts, Boston, Museum of Modern Art, New York, the Pennsylvania Academy of the Fine Arts, Portland Art Museum, Saint Louis Art Museum, Smithsonian National Museum of the American Indian and the Walker Art Center. White Hawk earned her MFA from the University of Wisconsin-Madison and BFA from the Institute of American Indian Arts. She will begin an appointment as Assistant Professor in the Department of Art for the University of Wisconsin-Madison, beginning fall of 2022. Image: Untitled (All the Colors), 2020, acrylic, glass bugle beads, sinew on canvas, 48 x 48 in. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/86ac1c2f-81fa-41cb-b123-204072c15d86/DreamHouse+CPMetz2018_2.2.jpg 2021 Marian Zazeela (b. 1940, New York, NY) is one of the first contemporary artists to use light as a medium of expression, and perhaps the first to compose recurring motivic and thematic statements and permutations with light over time as in music. Over more than five decades, Zazeela has exhibited a unique iconographic vision in media encompassing painting, calligraphic drawing, graphics, film, light performance, sculpture and environment. As a founding member and artistic director of The Theatre of Eternal Music and The Just Alap Raga Ensemble, in which she collaborates with composer La Monte Young, she performed as vocalist and created the works that form the innovative visual components of Dream House. Zazeela’s work has been significantly influential. Her abstract calligraphy was the primary influence on the calligraphy of the great poet and founding drummer of The Theatre of Eternal Music and the Velvet Underground, Angus MacLise. The visionary tradition of her curvilinear graphite on black and dot-style calligraphic drawings has also been carried on and taken to a highly imaginative level in the pencil and pinhole drawings of her disciple, Jung Hee Choi. Zazeela’s Ornamental Lightyears Tracery has been credited by Glenn Branca in Forced Exposure #16, 1990, and by David Sprague in Your Flesh #28, 1993, to have been the direct influence on Warhol’s Exploding Plastic Inevitable. Image: Marian Zazeela, Primary Light (Red/Blue), 1990, Light Environment installation at Dream House: Centre Pompidou-Metz, France; 2018. Photo: Jung Hee Choi. https://www.anonymouswasawoman.org/2022-eag-recipients daily 0.75 2025-09-01 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/49b9812a-b59c-470a-9bd7-f2fc5e14895f/Amara_Abdal_+Figueroa4_AWAW.JPG 2022 EAG Amara Abdal Figueroa’s Tierrafiltra (Borikén) honors the relationship between craft and the ecosystem by catapulting a technical discourse that studies local clay bodies through the production of a ceramic water filter: a possible solution to a problem that affects the archipelago of Borikén (Puerto Rico) both in catastrophic moments and the everyday. This inquiry into microscopic mineral composition and water quality opens the door to macro and socio-political questions about land and water tenure in a context of accelerated privatization of the archipelagos’ natural resources. Image: Amara Abdal Figueroa, "arcilla y asserrín / clay and sawdust," 2021 Image Description: Merari Torres Amaro, our soil specialist, is dry mixing the two main ingredients for filter making: clay and sawdust. The photo is a a close up of her hands, one on the edge of the large mixing pot and the other in the center just as her fingers are disappearing into the finely sifted raw materials. Open closely looking at the contents, one can distinguish between the reddish mahogany sawdust and a brown clay powder. For filter making, the goal is to thoroughly mix these materials before adding water. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/85f859a5-5fc5-428c-af31-7f1a8665b4e7/Erika_Bolstad_AWAW.jpg 2022 EAG Erika Bolstad’s SUBSURFACE (Oregon) is a short film and accompanying essay that confronts the legacy of the American West, in particular the effect of extractive industries on the land and the people who live there. Using the story of the mineral rights Bolstad’s mother inherited in North Dakota at the height of the Bakken oil boom, the film asks the question: What does it mean to be rich? It asks people to reconsider linear maps made at the time of European settlement in favor of a form of mapping that envisions how fossil fuels in the earth beneath us reappear as CO2 emissions in the sky above. Image: Erika Bolstad, still from "SUBSURFACE," 2019, video Image Description: In a still from her film SUBSURFACE, Erika Bolstad walks on land near her great-grandmother's homestead in Burke County, North Dakota. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/8529e123-f314-49ae-b1e1-0d9bea2d83f1/Kaitlin_Bryson_AWAW.jpg 2022 EAG Kaitlin Bryson’s Bellow Forth (New Mexico) is a multispecies, multidisciplinary, community project located in the American southwest focused on restoring soil health and environmental resiliency through art, ecosystem science, Traditional Ecological Knowledge (TEK), and community action. Working within wildfire-impacted communities in New Mexico, the project’s multilayers engage humans with non-human communities to better understand how interactions between humans, plants, and microbes might alter the health of drought-impacted soils. Project collaborators for Bellow Forth include Katilyn Beidler, Beata Tsosie-Peña, and Dylan McLaughlin. Image: Kaitlin Bryson https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/16c1ad5a-4299-423d-bae0-bbccac0f2552/paris_cyan_cian3_AWAW.jpg 2022 EAG paris cyan cian in collaboration with theShoreCo.’s Cameron Mitchell Ware (creative producer) and jeremy de’jon (dramaturge), will present modjeskamodjeskamodjeska (Louisiana), a multisite performance installation investigating activation of prayer and calling attention to the erosion of the Louisiana coastline due to Hurricanes. The piece seeks to combine movement, moving image, masquerade regalia fashioned from recycled oyster shells, and poetic sonic repetition as tools for storytelling and worldbuilding. Gathered amongst collective in the streets of New Orleans, modjeskamodjeskamodjeska is created by Black and queer artists who generate worlds for ceremony.tion representing the cultural memory found within the terrain of Indigenous original homelands and sacred places. The daily path of the sun over the earth represents Osage beliefs and knowledge systems. Image: paris cyan cian in collaboration with theShoreCo.'s Cameron Mitchell Ware (creative producer) and jeremy de'jon (AWAW EAG), “theShore:in/SIGHT,” 2021, film, Photo Credit: Ryan Hodgson-Rigsbee https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/a4bf47fe-c21a-45fb-98e0-7f056ac08ba4/Maru_Garcia3_AWAW.jpg 2022 EAG Maru Garcia, Self Help Graphics, and the Natural History Museum of Los Angeles County are collaborating on Prospering backyards (California), a community-based project that seeks to develop a novel method for reducing lead exposure in the soil on land surrounding the now-defunct Exide Industries in East and South East Los Angeles, CA. The project is especially geared towards community members at the bottom of the government clean-up list, outside of the clean-up area, or concerned about recontamination after deficient clean-up practices. Image: Maru Garcia, Self Help Graphics, and the Natural History Museum of Los Angeles County; "Prospering backyards;" Five Agents Installation at Self Help Graphics; Artists: Maru Garcia and Zoe Blaq https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/2d28703f-c545-4c60-901d-957b503e9cf0/Michelle_Glass_AWAW_HS2.png 2022 EAG Michelle Glass’s WE ARE HERE/ESTAMOS AQUI (California) is a long-term art project that addresses the environmental justice issues of air and water pollution and the health risks associated with exposure to chemicals from wildfires, pesticides, and emissions from oil and gas development in Central Valley, CA. The project shines a light on the invisible reproductive labor of care, healing, and relationship-building that maintains internal community strength, and confronts the foundational disconnection and dehumanization that racial capitalism and colonialism produce. Image: "WE ARE HERE/ESTAMOS AQUI" (Michelle Glass) featuring Epifania Salazar, Francisca Rangel, Juanita Garza, Monse Rodriquez, Luz Maria Sosa, Photo Credit: Natalie Zajac https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/aec7591e-d929-40f1-a6ca-3b513c0c8ca8/Nansi_Guevara1_AWAW.jpg 2022 EAG Nansi Guevara and Monica Sosa’s The Magic Valley y Nuestra Delta Magica : settler imaginaries and community resistance (Texas) will be realized as an exhibition in Brownsville, TX, that investigates untold South Texas history of land settlement and colonization as a precedent to current environmental neo-colonialism. It will also make a direct connection to the current rebranding of Brownsville as a new SpaceX “space city,” addressing how this rebranding of place continues an historical legacy of environmental racism and land exploitation. Image: Nansi Guevara and Monica Sosa, "The Magic Valley y Nuestra Delta Magica : settler imaginaries and community resistance," "The colonization of Boca Chica," 2022 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/0cb8b1ae-d01a-4f1e-83ce-dd7ada15af92/Autumn_Leiker3_AWAW.png 2022 EAG Autumn Leiker’s Into the Unknown Together (New Mexico) is a climate-focused visionary fiction contest imagining the future of New Mexico. The project aims to put into practice the vision of reciprocity, equity, and whole systems thinking by amplifying the voices of New Mexico that often go unheard. Part art, part tactical envisioning, the project aims to create a community climate anthology that considers the realities of life in the desert, while making it possible to shape a future we desire. Image Description: Example artwork to promote the writing project https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/f5ba8960-f1d0-4b4f-bdfc-2b9024a9d894/Shanjana_Mahmud2_AWAW.jpg 2022 EAG Shanjana Mahmud and Luke Eddins’s Winter Species (New York) is an experimental pollution remediation project via cultivation of seaweed in Newtown Creek, a designated Superfund site in New York, NY. The cultivation of native sugar kelp at scale has the potential to extract significant amounts of nitrogen, phosphorus, and toxic chemicals from the water. As the growth peaks in the Spring, they will lead boat tours, checking on the kelp growth, taking water samples, and assessing environmental conditions as well as the visible qualities of the kelp. Image: Shanjana Mahmud and Luke Eddins, "Winter Species," drying harvested kelp, May 2022 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/ae24023d-4ff3-4f9c-9b0d-1bc7bc01a15e/Cyan_Meeks3_AWAW.jpg 2022 EAG Cyan Meeks and Susan Mayo are collaborating on Flint Hills Counterpoint (Kansas), an initiative in Marion County, KS, that investigates and engages the last vestiges of the tallgrass prairie of rural Marion County, Kansas. The project will be realized through the transformation of a 14-acre plot of land into a native ecosystem; as a documentary film taken from the perspective of the land, flora and fauna that are witness to the reclamation process of its post-natural landscape; and as a countywide community audio tour book project that guides readers into the intersection of the tallgrass prairie and the Flint Hills while experiencing the memories, folklore, and natural history of the area translated through photography, text, filmmaking, sound, and the spoken word. Image: Cyan Meeks and Susan Mayo; Flint Hills Counterpoint community programming "Water, Water, Everywhere" panel discussion & Natural Springs of Marion County Tour, 2022, digital photography, 6" x 6", Photo Credit: Cyan Meeks Image Description: Community programming, "Water, Water, Everywhere" panel discussion & Natural Springs of Marion County Tour. Flint Hills Counterpoint held a community program where participants traveled to six springs in Marion County by bus guided by Rex Buchanan (Kansas Geological Survey). It ended with a panel discussion titled “Water, Water, Everywhere” exploring the role water plays in the county historically, presently, and in the future. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/3b574b9b-8fa6-4747-bf89-50f456278a96/Jan_Mun_AWAW.jpg 2022 EAG Jan Mun’s The Fairy Rings (New York) are social sculptures that activate the use of mycoremediation and art to incite the imagination of historically contaminated communities. The Fairy Rings take their form as a creative cleanup and community partnership to develop and innovate bioremediation practices for residents in Greenpoint, Brooklyn, and elsewhere. The work is influenced by Suzanne Simard’s groundbreaking research on tree communication and resource sharing via fungi. Image: Jan Mun, “The Fairy Rings” https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/024dc978-e7d6-4ab7-bd4a-e671d569f6d3/Julia_Pontes_AWAW.jpg 2022 EAG Júlia Pontés’s Env-IRON-ment (New York) is a documentary photography, video, and sound project that investigates American locations that lived the iron industry dream, its bonanzas, and railroads, discovering ghost towns, unincorporated areas, nature taking over, and places struggling to survive. Pontés is originally from the Iron Quadrangle in Brazil; her daughter, a first-generation American, was born in New York, NY where the Iron Triangle is the end destination of cars that serve no purpose other than scrap. Image: Júlia Pontés, Photo Credit: Alexandre Soares Almeida https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/4fb2b187-2954-45db-b93d-b722af74978f/Mary_Swander_AWAW.png 2022 EAG Mary Swander, the former Poet Laureate of Iowa, is writing a play called The Squatters (Iowa), about white European settlement on Native American land in the United States. The play will explore the ecological system of agriculture that was in place in the Americas before the invasion of the Europeans. Swander is working with the Meskwaki Settlement to highlight their struggle to maintain their culture against a backdrop of colonialism and the peaceful relationship they had with the Amana Colonies—a positive example of co-operative and ecological living. Image: Photo of A. Vang from a past performance of Mary Swander's play called "Vang," Photo Credit: Deni Chamberlin https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/83bcd9e8-43c9-4de9-9581-fb1017df0a7e/ChristinaMaria_Xochitlzihuatl2_AWAW.png 2022 EAG ChristinaMaria Xochitlzihuatl’s Borders Like Water (Texas) is a community-based movie about indigenous women from all over the continent of the Americas meeting in the spirit realm to rebalance gender inequities and stewardship of the madre tierra (mother earth) disrupted by the harms of colonial nationstates, patriarchy, and ecocide. The video will feature traditional songs and dances specific to the land of participating tribes and will work as a catalyst to ignite global shifts in awareness and action. Image: ChristinaMaria Xochitlzihuatl, Opening Meditation, "Borders Like Water," 2020, video, 3 minutes Image Description: Image still from Borders Like Water opening meditation Video. This video was used as part of a group meditation to launch the project. https://www.anonymouswasawoman.org/home-copy daily 1.0 2025-11-19 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1763558124526-XO6SQNGF9GCDCI06A1SV/LF_ThreeGraces.jpg Home - Lola Flash https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1763558136716-F9TV9RHO559ONUS5XTYF/IMG_0134.JPG Home - Narcissister https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1763558151162-IAX53AINVR7LQGPIRBLV/Possibly+in+Michigan.jpg Home - Cecelia Condit https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1763558144050-KJIL3XN0VZDSIV1QW9QH/Credible+Idiot+Strings%2C+2022%2C+printed+maps+on+cotton%2C+wool+yarn%2C+steel+wire%2C+polyurethane%2C+glass+bead%2C+nylon+thread%2C+private+collection%2C+photo+credit+The+Mattress+Factory.jpg Home - Sonya Kelliher-Combs https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1763558181026-397WRG77BI1M4TNFHVZI/PM_Fantasies+Scatter_2023.jpg Home - Park McArthur https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1763558199992-5QW9A3U685Q0NN2VYVYZ/1.Fireball.jpg Home - JoAnne Carson https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1763558214867-028R1RLRMJM5RB7JBM0K/2+_The+Confused+Landscape+2024.jpg Home - Michelle Marcuse https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1763558305373-803KEYSE9ROV658QDTGD/Aves+y+agueros+w+caption_AWAW.jpg Home - Dhara Rivera https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1763558317455-8B11I81LFZ7Z0DA0RMM0/MIBNM_010.jpg Home - Nicole Miller https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1763558320225-03XH0G7XU8UWAA3BEUI4/Paula_Wilson_Yucca_Rising.jpeg Home - Paula Wilson https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1763558341881-ZXDQ961M7WADUQXJ92JB/2023+Self+Portrait+as+Cyclops.jpg Home - Linda Stark https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1763558327900-NZ7ZENKD0AK2XBJ8T5AA/sunny+and+nice+300+dpi.jpg Home - Candida Alvarez https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1763558469535-WYBP7Y8ZIF1R4AZBBYS8/The+great+hunt+2+tiff.jpg Home - Ambreen Butt https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1763558584707-U11UERAJ0Z7GFLELM4UQ/Tru%CC%9Bo%CC%9Bng_3.jpg Home - Hồng-Ân Truong https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1763558593713-WPS328K36YD4R28WV0X1/Big_Mammo_2021_60x50inches%282panels%29_Pigment_print_Acriylic_on_canvas_2500pixel300dpi.jpeg Home - Kunié Sugiura https://www.anonymouswasawoman.org/2021-copy daily 0.75 2022-11-16 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/3017f0f3-a009-4d21-ac37-f8c83504d388/oceanic-queering-the-ocean-still-2.jpg 2022 Dr. micha cárdenas, Ph.D., (b 1977, Miami, FL) is an artist, and Associate Chair and Associate Professor of Performance, Play & Design, and Associate Professor of Critical Race & Ethnic Studies, at the University of California, Santa Cruz, where she directs the Critical Realities Studio. Her book Poetic Operations (Duke UP 2022) proposes algorithmic analysis as a method for developing a trans of color poetics. Poetic Operations won the Gloria Anzaldúa Book Prize in 2022 from the National Women’s Studies Association. cárdenas' augmented reality artwork Sin Sol won the 2020 Impact Award at the Indiecade Festival. She is currently working on Oceanic, a multi-disciplinary artwork about climate change’s effects on the oceans and a science fiction novel about the many worlds interpretation of quantum mechanics. She is a first generation Colombian American. Her solo and collaborative artworks have been presented in museums, galleries, and biennials including Tangled Arts + Disability in Toronto (2022), Transmediale in Berlin (2021), the alt_cph Copenhagen Biennial (2020); the Stamps Gallery (2020) in Ann Arbor; the Thessaloniki Biennial (2019) in Greece; Arnolfini Gallery (2019); De La Warr Pavillion (2019).ceived her BA from Oberlin College, Ohio, and studied abroad her junior year at the Accademia Belle Arte, Perugia, Italy. Her MFA was from Pratt Institute of Art. Carter lives and works in New York. Image: Oceanic: Queering the Ocean, still from digital video, 2022, micha cárdenas, Gerald Casel, Cynthia Ling Lee, Susana Ruiz, Huy Truong https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/433d5260-021b-4fb5-ab88-22477feb7496/_Mother+Pin+Transitions_.jpeg 2022 Syd Carpenter (b. 1953, Pittsburgh, PA) is a sculptor living in Philadelphia. She studied painting and ceramics at the Tyler School of Art, receiving her MFA degree in 1976. Her work, focusing on African-American farms and gardens, has been shown at The Metropolitan Museum of Art, The Philadelphia Museum of Art, Pennsylvania Academy of the Fine Arts, The Renwick Gallery of the Smithsonian, Fuller Craft Museum, the Tang Museum of Skidmore College, the Rhode Island School of Design Museum of Art, the James A Michener Museum, Woodmere Art Museum, Montreal Museum of Art, the Swedish National Museum, the Everson Museum, and the Canton Museum of Art, all of whom have acquired her work for their permanent collections. She has been a resident artist at the Haystack Mountain School of Crafts, Penland School of Crafts, Anderson Ranch, the Vermont Studio School and the Watershed Center. She has received grants from the Pew Fellowships in the Arts, National Endowments for the Arts, Pennsylvania Council on the Arts, the Leeway Foundation, and been awarded a James Renwick Distinguished Educator Award. She is Professor Emerita at Swarthmore College. Image: Mother Pin Transitions, 2021, clay, lentil beans, graphite, watercolor, rototiller blades, 14x48x22in Photo credit: Syd Carpenter https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/312d8b14-5c52-47a1-9b65-08b4d146d59b/_+Do+You+Know+Where+ITZ%27AT_Searchin%27+for+My+Mojo+Acrylic+on+Wood+2014+YDCervantez.jpeg 2022 Yreina D. Cervántez (b. 1952, Garden City, KS) is a third-generation Chicana raised in rural Southern California. She is based in Los Angeles. She works primarily in painting, printmaking and muralism. She earned a BA in Fine Arts from U.C. Santa Cruz (1975) and an MFA from U.C.L.A. (1989). A Professor Emeritus, she taught in the Department of Chicana/o/x Studies at California State University at Northridge from 1999–2019. Through her art, teaching and community activism, she has contributed to the discourse on an ever evolving Chicanx aesthetic. Her body of work reflects nearly fifty years of exploration and the development of an iconography influenced by diverse creative expressions. Her art is informed by Native Mesoamerican mythology and cosmology, Mexican art traditions, Chicanx poetics, as well as issues of social and environmental justice, and contemporary Xicana-Indigena feminist thought and perspective. Ms. Cervántez’ work is written about and appears in numerous books, catalogues, and scholarly publications, and her art is in several permanent collections including the Smithsonian American Art Museum in Washington, D.C., the Los Angeles County Museum of Art, the National Museum of Mexican Art in Chicago, the Blanton Museum of Art at the University of Texas, Austin, the Tweed Museum of Art at the University of Minnesota, MOMA San Francisco, the National Hispanic Cultural Center of Art in Albuquerque, the Mexican Museum in San Francisco, and the Alta-Med Foundation Collection. Image: Do You Know Where ITZ’ AT?( Searching for My Mojo), acrylic on wood panel, 16"x16", 2014. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/2d825411-b602-40b2-97e4-97ccd0b2ca33/From_the_Ashes_CONLON.jpeg 2022 Donna Conlon (b. 1966, Atlanta, GA) lives and works in Panama City, Panama. Her practice is based on observations of her everyday surroundings, analyzing the meaning in the ordinary and the overlooked. Like an archaeologist of the present, she focuses on details of her immediate environment to reveal the social, political and environmental contradictions inherent to our contemporary lifestyle. Conlon has exhibited widely, both her individual work and collaborations with fellow artist Jonathan Harker, including at the Museum of Contemporary Art, Chicago ( 2022), Tate St. Ives (2021), Museo de Arte Latinoamericano de Buenos Aires (2020), Met Breuer, NY (2019), Kadist, San Francisco (2018), Pérez Art Museum, Miami (2014), Solomon R. Guggenheim Museum, New York (2014), El Museo del Barrio, New York (2011), Museum of Latin American Art, Long Beach (2011), Istanbul Modern Art Museum (2006), and in events such as Prospect New Orleans (2017), the Asunción Biennale, Paraguay (2015), Mercosul Biennale, Porto Alegre, Brazil (2011), and the Venice Biennale (2005). Conlon received a Cisneros Fontanals Art Foundation grant for emerging artists (2007). Her individual and collaborative works are in collections including the Kadist Foundation, The Metropolitan Museum of Art, Museo de Arte de Lima, Museo de Arte Latinoamericano de Buenos Aires, Solomon R. Guggenheim Museum, and the Tate Modern. Conlon earned an M.A. in Biology from the University of Kansas and an MFA in Sculpture from Maryland Institute College of Art. Image: From the Ashes [De las cenizas], 2019; HD video, color, sound 2'56" https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/4b4c299e-00f4-4c96-99e7-43e085e2986c/LightOfFreedom_2020.jpeg 2022 Abigail DeVille (b. 1981, New York, NY) makes site-specific installations based on a particular location's history, material waste, hidden histories, and local oddities to speak to where we are in American spacetime. DeVille’s most recent solo exhibitions are Bronx Heavens at the Bronx Museum for the Arts, Bronx, NY (2022–23); The Dream Keeper for the Front International 2022, Cleveland, OH; Light of Freedom, commissioned by Madison Square Park Conservancy, New York, NY (2020-21), which traveled to the Momentary at Crystal Bridges Museum of American Art, Bentonville, AR (2021) and the Hirshhorn Museum Sculpture Garden, Washington, D.C. (2021-22). Other commissions and solo museum shows include The American Future, Portland Institute for Contemporary Art, Portland (2018-19); Lift Every Voice and Sing (amerikanskie gorki) at Institute of Contemporary Art, Miami (2017-2018); Empire State Works in Progress (2017) at the Whitney Museum of American Art, New York; No Space Hidden (Shelter) at Institute of Contemporary Art, Los Angeles (2017-2018), and Only When It’s Dark Enough Can You See The Stars at The Contemporary, Baltimore (2016). DeVille was a 2018 United States Artists Fellow, 2017-2018 Rome Prize fellow at the American Academy in Rome, 2015 Creative Capital grantee, 2014-15 fellow at The Radcliffe Institute for Advanced Study at Harvard, Artist in Residence at the Studio Museum in Harlem 2013-14 and 2012 Joan Mitchell Foundation grant recipient. Image: Light of Freedom, 2020; Welded steel, cabling, reclaimed rusted metal school bell, blue-painted mannequin arms, gold-painted metal scaffolding, wood planks; 56 x 96 x 96 inches Courtesy of the artist. Image by Andy Romer Photography Commissioned by Madison Square Park Conservancy, New York https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/408ca817-7b9d-4d91-81b1-1c1716df12c6/Leslie+Hewitt_01.jpeg 2022 Leslie Hewitt (b. 1977, New York, NY)’s approach to photography and sculpture reimagines the art historical still life genre from a post-minimalist perspective. Her geometric compositions, which she frames and crystallizes through the disciplines of photography and film theory, respectively, are spare assemblages of ordinary effects and materials, suggesting the porosity between intimate and sociopolitical histories. Interested in the mechanisms behind the construction of meaning and memory, she decisively challenges both by unfolding manifestly formal, rather than didactic, connections. Her distinct play on syncopation and juxtaposition makes her work discursive and layered. She also works with site-specific installation, autonomous sculptures, collage and the moving image as modalities to contend equally with shifting notions of space and time. Hewitt has held residencies at the Studio Museum in Harlem, the Museum of Fine Arts, Houston, Project Row Houses, the Radcliffe Institute for Advanced Study at Harvard University, Konstepidemin in Göteborg, Sweden and the American Academy in Berlin, Germany amongst others. Image: Daylight/Daylong 006 (2021) https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/c889d151-28a1-4649-8ef5-2b0d2633c53c/3-That+which+identifies+them-Thread+Mask.jpeg 2022 Beatriz Santiago Muñoz (b. 1972, San Juan, Puerto Rico) is an artist whose expanded moving image work is entangled with Boalian theater, expanded cinema and feminist practices. She tends to work with non-actors, and incorporates improvisation into her process. Her recent work is on the sensorial unconscious of anti-colonial movements, with everyday poetic thought and feminist experiments with language and narrative. Recent solo exhibitions include: Oriana in PIVO, Sao Paulo, the 34th Sao Paulo Biennial; The Navel of the Dream at Kuunstinstitut Melly; Poetic Disorder in the Momenta Biennale; and Gosila in Der Tank, Basel. Her work is part of public and private collections such as the Museum of Modern Art, Kadist and Guggenheim, among others. She has received a Creative Capital grant, a USA Fellowship, a Herb Alpert Award in the Arts and the 2021 Artes Mundi Prize, shared among all seven nominees. Image: A mask used in That which identifies them, like the eye of the cyclops, 2016 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/3b59ffea-44bd-4eef-af98-48953da06572/Lovelace+O%27Neal%2C+Chagall+and+Joyhouse+Good+%28From+the+Adventures+and+Misadventures+Series%29%2C+2007%2C+mixed+media+on+canvas%2C+84+x+60+in.jpg 2022 Mary Lovelace O’Neal (b. 1942, Jackson, Mississippi) is a revolutionary figure in abstraction since the 1970s, has roots in Minimalism and Expressionism. In the late 1970s her vibrant compositions expanded to include references to real imagery, varying between pure abstraction and narrative figuration. Considered one of the greatest living painters, she is a printmaker, educator and storyteller celebrated for her powerful compositions that employ vibrant hues and a generous and masterful application of paint, with the social and political consciousness of the Civil Rights and Black Arts movements. Lovelace O’Neal’s work is in collections including the Art Institute of Chicago; Baltimore Museum of Art; Brooklyn Museum of Art; de Young Museum; Mississippi Museum, Jackson; National Museum of Fine Arts Santiago, Chile; San Francisco Museum of Modern Art; and Joyner/Giuffrida Collection. Lovelace O’Neal has a BFA from Howard University where she was a student of James A. Porter and the late great artist, scholar, and educator Dr. David C. Driskell. She attended the Skowhegan School of Painting and Sculpture and earned an MFA from Columbia University. Since the 1970s she has taught at Northern California institutions including San Francisco Art Institute, California College of Arts and Crafts, Humboldt State University, and the University of California, Berkeley, where she was the Chair of the Art Practice Department. She lives and works in Oakland, California and Merida, Mexico.Museum of Art; The California African American Museum; The Indianapolis Museum of Art, Newfields; The Museum of African American Art, Los Angeles; and the Museum of Modern Art, New York. Image: Chagall and Joyhouse Good (From the Adventures and Misadventures Series), 2007, mixed media on canvas, 84 x 60 in https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/de7c8026-ea0e-490e-8414-b3de2f88351a/QTSPT202.jpeg 2022 Jaune Quick-to-see-Smith (b. 1940, Saint Ignatius Mission, MT) calls herself a cultural arts worker. She uses humor and satire to examine myths, stereotypes and the paradox of American Indian life in contrast to the consumerism of American society. Her work is philosophically centered by her strong traditional beliefs and political activism. Smith is internationally known as an artist, curator, lecturer, printmaker and free-lance professor as well as a mentor for she believes that “Giving Back” is a life philosophy. She was born at St. Ignatius Mission, raised by her father who was an illiterate horse trader. She had her Social Security card at age eight when she started work as a field hand year-round; she worked as a waitress and in the canneries through high school. Smith earned an Art Ed degree at Framingham State, MA (now University) and an MA in art at the University of New Mexico. Before completing her degree, Smith began exhibiting in New York at the Kornblee Gallery and organizing Native exhibitions. Smith organized and curated over thirty Native exhibitions in four decades. She has given over 200 lectures at museums and universities internationally and has shown in over 125 solo exhibits and over 650 group exhibits. Her work is in collections such as Victoria and Albert Museum, London; the Brooklyn Museum; the Museum of Modern Art, Quito Ecuador; the Whitney Museum, New York; the Walker, Minneapolis; Berlin Museum of Ethnology; University of Regina, Canada; and The Museum of Modern Art, New York. Smith holds five honorary degrees and has received awards including the 1987 Academy of Art and Letters, Purchase Award, NY; 1995 Painting Award, Fourth International Bienal, Cuenca, Ecuador S.A.; 1996 Joan Mitchell Foundation Award; 1997 Women’s Caucus for Art, Lifetime Achievement; 2005 New Mexico Governor’s Award; 2011 Inducted into the National Academy of Design; 2012 Georgia O’Keeffe Museum, Living Artist of Distinction; Honorary BA Degree, Salish Kootenai College, MT; 2018 Montana Governor’s Award; 2018 Lifetime Achievement Award in Printmaking, Southern Graphics Council International; 2019 Murray Reich Award, NY; 2020 United States Artists Fellowship; and the 2021 Brazilian Biennial. Image: Map, 2021. Mixed media on canvas, 80 x 48 inches https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/eda2df4e-56b0-4c2a-b2a2-cdf08f578428/Wendy+Red+Star%2C+Her+Dreams+Are+True%28Julia+Bad+Boy%292021%2C+Lithograph%2C+20.5+x+20+inches.jpg 2022 Wendy Red Star (b. 1981, Billings, MT) is an artist raised on the Apsáalooke (Crow) reservation in Montana. Her work is informed both by her cultural heritage and her engagement with many forms of creative expression, including photography, sculpture, video, fiber arts, and performance. An avid researcher of archives and historical narratives, Red Star seeks to incorporate and recast her research, offering new and unexpected perspectives in work that is at once inquisitive, witty and unsettling. Red Star has exhibited in the United States and abroad at venues including the Metropolitan Museum of Art (New York, NY), Brooklyn Museum (Brooklyn, NY), both of which have her works in their permanent collections; Fondation Cartier pour l’Art Contemporain (Paris, France), Domaine de Kerguéhennec (Bignan, France), Portland Art Museum (Portland, OR), Hood Art Museum (Hanover, NH), St. Louis Art Museum (St. Louis, MO), Minneapolis Institute of Art (Minneapolis, MN), the Frost Art Museum (Miami, FL), among others, many of which hold her work in their permanent collections. Red Star holds a BFA from Montana State University, Bozeman, and an MFA in sculpture from University of California, Los Angeles. She lives and works in Portland, OR. Image: Her Dreams Are True(Julia Bad Boy)2021, Lithograph, 20.5 x 20 inches https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/11d9d31c-aacf-4fb0-a633-ae06219a1584/Mira+Schor+Eclipse%2C+or+MIss+Havisham%27s+Dark+Night+2021.jpeg 2022 Mira Schor (b. 1950, New York, NY) is a painter and writer. She received her MFA from CalArts where she was a member of the CalArts Feminist Art Program and a participant in the historic feminist art installation Womanhouse. She is the author of Wet: On Painting, Feminism, and Art Culture, and A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life. Schor is the recipient of awards in painting from the Guggenheim and Pollock-Krasner Foundations, as well as the College Art Association's Frank Jewett Mather Award for Art Criticism. She is a recipient of the 2019 Women’s Caucus for Art Lifetime Achievement Award for her work as a feminist painter, art historian and critic. Schor was co-editor with painter Susan Bee of the journal and thirty-year editorial project M/E/A/N/I/N/G including M/E/A/N/I/N/G: An Anthology of Artists' Writings, Theory, and Criticism and M/E/A/N/I/N/G Online. Operating in the nexus of language, painting, and feminist theory, Schor imbues formalism with political urgency and reminds viewers that written discourse and physical form are inherently linked. The central theme in her recent work is the experience of living in a moment of incipient fascism, climate collapse, and accelerated time, set against the powerful pull of older notions of craft, and visual pleasure. Schor is represented by Lyles & King in New York and Marcelle Alix in Paris.os Angeles State Historic Park in Spring 2017. She is Associate Professor and Ceramics Area Head at University of California, Los Angeles. Image: Eclipse, or Miss Havisham’s Dark Night, 2021. Acrylic, oil, and ink on canvas, 72 x 112 inches https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/6db64e70-2083-4f5f-a55e-c0418b992d27/Eartha+Kitt.jpeg 2022 Coreen Simpson (b. 1942, New York, NY) is a photographer and jewelry designer, who has been honored in both fields throughout her career. In 1978, as Assistant Curator of Photography at The Studio Museum in Harlem, she made dynamic portraits of fellow artists in her small office/studio. Making jewelry supported her art and in 1990 she created her signature collection ‘The Black Cameo® for women of color. It is the first American modern cameo pin honoring the strength, beauty and resiliency of the black woman. Her B-Boy series of hip-hop style landed her ‘impact visuals’ on New York’s Broadway stage for the l996 Tony Award-winning musical ‘Bring in da Noise, Bring in da Funk.’ Ms. Simpson’s images are represented in The Smithsonian Museum of African-American Culture, D.C.; The Library of Congress, D.C.; The Museum of Modern Art, New York; The Museum-Over-Holland, Amsterdam; The International Center of Photograph (ICP), New York; Le Musee de la Photographie a’ Charleroi, Belgium; and the permanent collections of The Studio Museum in Harlem and The Schomberg Center for Research in Black Culture, New York, among other institutions. She is a fellow of LIGHTWORK (Syracuse University), NYSCA (New York State Council for the Arts), NYFA (New York Foundation for the Arts) and Franklin Furnace’s (1983 commission) and the ‘2021 Humanities N.Y. grant “Her Eyes Only”. Ms. Simpson’s photography installation is currently on view at the JAM exhibit at The Museum of Modern Art, New York. Ms. Simpson studied at F.I.T. and The New School, New York. Image: EARTHA KITT (b. 1927 - died, ‘2008). Actress, Dancer, Singer. Artists Series, Original photograph 1978,- Reworked digital art ‘2022, backstage NYC ’Timbuktu’ The musical. NYC - photography by Coreen Simpson (c) https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/817974e5-d2ab-4831-ba22-79f1a9bc21c7/Ka-Man+Tse+2019.jpeg 2022 Ka-Man Tse (b. Kowloon, Hong Kong, 1981) is a photographer and video artist living in Brooklyn. Her work is informed by questions of longing and belonging. Her images are made within the intersection of Asian and Asian American (AAPI) and LGBTQ+ communities and are made through a queer lens. Ka-Man Tse has exhibited work at Para Site, Videotage, Lumenvisum, and Eaton Workshop, in Hong Kong. She has mounted solo shows at Aperture in New York, the Silver Eye Center for Photography in Pittsburgh, PA, and at the New York Public Library. Recent exhibitions and screenings include LOVE+: Awakening, at Hong Kong Arts Centre, in Hong Kong, Art on the Stoop: Sunset Screenings at the Brooklyn Museum, Chosen at Leslie Lohman Museum in New York, and Tate Lates at the Tate Museum. She is the recipient of the Aaron Siskind Fellowship, the Robert Giard Fellowship, and the Aperture Portfolio Prize. Her monograph, narrow distances, was published by Candor Arts. Her work is in public and private collections including the Harvard Art Museums, Library of Congress, the Philadelphia Museum of Art, Tai Kwun Contemporary Artists’ Book Library in Hong Kong, and the Asia Art Archive in Hong Kong. She received her BA from Bard College and her MFA from Yale. Image: Untitled, 2019. Archival inkjet print, 24x30 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/03b82963-f4b7-4c32-a075-c3783b793521/02+PW+_+CRADLE+_+48x60+_+2022+_+oil+on+linen.jpg 2022 Philemona Williamson (b. 1951, New York, NY)’s narrative paintings explore the tenuous bridge between adolescence and adulthood, encapsulating the intersection of innocence and experience at its most piercing and poignant moment when personal discovery and awareness collide with the force of worldly knowledge. She has shown widely, with recent solo shows at June Kelly Gallery in New York and Jenkins-Johnson Gallery in San Francisco along with a mid-career retrospective at the Montclair Art Museum in New Jersey in 2017. She is the recipient of numerous awards and residencies including The Joan Mitchell Foundation, The Pollock-Krasner Foundation, National Endowment For The Arts, New York Foundation For The Arts and The Millay Colony. In 2022, she received a Fellowship from the New Jersey State Council on the Arts. Her work has been shown in many solo and group exhibitions such as The Queens Museum of Art, Wisconsin's Kohler Art Center, The Sheldon Museum in Nebraska, The Bass Museum in Miami, The Mint Museum in North Carolina, The Forum of Contemporary Art in St. Louis, and The International Bienal of Painting in Cuenca, Ecuador. She is represented in numerous private and public collections, including The Montclair Art Museum; The Kalamazoo Art Institute; The Mint Museum of Art; Smith College Museum of Art; Hampton University Museum; Sheldon Art Museum; Mott-Warsh Art Collection, and AT&T. Her public works include fused-glass murals created for the MTA Arts in Transit Program at the Livonia Avenue Subway Station in Brooklyn, a painting used by the MTA’s Poetry In Motion and, for the NYC School Authority, a mosaic mural in Queens. Last year, she created a series of paintings for the children’s book “Lubaya’s Quiet Roar” from Penguin Random House. Philemona has taught Painting & Drawing at Hunter College, Pratt Institute, SVA, Bard College, RISD, Cooper Union and Parsons as well as serving on the advisory board of the Getty Center for Education. Image: Cradle, 2022. 48x60, oil on linen https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1df8cce5-9bfc-4d81-aee5-e4c435ba7b43/11.+Shirley+Woodson_Re-Entry_2014-20_Acrylic+on+Canvas_40x40.jpg 2022 Shirley Woodson, (b. 1936, Pulaski, TN) known for her brilliant and intense color paintings, has developed over her long career many themes that reflect her perspective on African American culture and the diaspora. Woodson’s residencies include MacDowell Colony Fellowship, Peterborough, NH; the Fabric Workshop and Museum and the Brandywine Printmaking Workshop and Archives in Philadelphia, PA; the Heritage House Museum in Detroit, MI. Most recently Woodson was named the 2021 Kresge Imminent Artist by Kresge Arts in Detroit. Her works are in many public and private collections including the Detroit Institute of Arts; Charles H. Wright Museum of African American History, Wayne State University, Museum of the National Center of Afro-American Art, Boston, MA; Schomburg Center for Research in Black Culture, NY; Florida A and M University; African American Library, Northwestern University, Evanston, IL.; Fayetteville State University, Fayetteville, NC; the Williams Museum, Scripps College, Claremont, CA; the Mott Warsh Collection of Contemporary Art, Flint, MI. Woodson’s work was recently featured in a solo exhibition at the Detroit Institute of Arts entitled “Shield of the Nile Reflections”. Woodson received a BFA and MA in painting from Wayne State University including graduate studies at the School of the Art Institute of Chicago in painting and art history. Image: Re-Entry, 2014-20. Acrylic on Canvas, 40x40 https://www.anonymouswasawoman.org/2023 daily 0.75 2024-01-18 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1702531789855-X42BPTOLT1MAFZ21DAW3/JML_4475.jpeg 2023 Carolina Caycedo (b. London, 1978) is a Colombian multidisciplinary artist living in Los Angeles. Her immense geographic photographs, lively artist’s books, hanging sculptures, performances, films, and installations are not merely art objects but gateways into larger discussions about how we treat each other and the world around us. Through her studio practice and fieldwork with communities impacted by large-scale infrastructure and other extraction projects, she invites viewers to consider the unsustainable pace of growth under capitalism and how we might embrace resistance and solidarity. Process and participation are central to Caycedo’s practice, she contributes to the reconstruction of environmental and historical memory as a fundamental space for climate and social justice. Informed by Indigenous and feminist epistemologies, she confronts the role of the colonial gaze in the privatization and dispossession of land and water. Caycedo is a 2023 United States Artists fellow and 2023–24 Getty Research Institute Artist in Residence. Image: Agua Pesada / Alma' Althaqil (2023). Acrylic paint, clay, concrete block, sand, cement, plaster, plastic, metal mesh. Dimensions variable. Image Courtesy of the Artist and Instituto de Visión (Bogotá/NYC) https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1702531852515-DZTFIFI0AJLKL4DW35RX/11_Heartbeat.jpeg 2023 Liz Collins (b. 1968 Alexandria, VA) is a Brooklyn, NY-based artist who works with a broad range of textile techniques and materials to make fiber works that vary in scale and form. She has collaborated with design brands on collections of functional textiles, and produced large-scale public art works and performances. Solo exhibitions and installations have been at the Museum of Arts and Design, New York, NY; the Tang Museum, Saratoga Springs, NY; Luis de Jesus,Los Angeles, CA; Rossana Orlandi, Milan, Italy; and Touchstones Rochdale in England, among others. Collins has been in group shows in many museums and galleries including New York institutions the New Museum, the Drawing Center, The Leslie Lohman Museum, and at the ICA/Boston and the Addison Gallery in Massachusetts. Collins’ honors include a USA Fellowship (2006), ma Civitella Ranieri Fellowship (2023), the Drawing Center Open Sessions program (2018-20), and the Two Trees Cultural Subsidy Studio Program (2020-). Several of her works are currently included in “Woven Histories: Textiles and Modern Abstraction”, an exhibition that is traveling from the Los Angeles County Museum of Art to the National Galleries of Art in Washington DC and Canada, and then to the Museum of Modern Art in New York. In 2025, Collins will have a mid-career retrospective at the RISD Museum with an accompanying monograph. Her BFA and MFA in Textiles are from Rhode Island School of Design. Image: Heartbeat, 2020-22, 76x61 inches woven linen, polyester, and silk textile, wood frame Image by Joe Kramm https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1702531998734-NHYWUV7M9M0MN26VKTFW/Stanya+IMG_0005+2.jpeg 2023 Stanya Kahn (b. 1968, San Francisco, CA) is an interdisciplinary artist working in film and video, drawing, painting, sculpture and installation, sound and writing. Humor, pathos and the uncanny are central to a hybrid media practice that seeks to re-work relationships between fiction and document, absurdity and distress, narrative time and the synchronic time of impulse. In a long-term investigation of how rhetoric gains and loses power, Kahn’s projects often situate language in the foreground of works that are dialectically driven by the demands and of the body. Sometimes language falls away altogether. Recent solo exhibitions include shows at Institute for Contemporary Art, Los Angeles; The Wexner Center for the Arts; MoMA/PS1; the New Museum, New York; the British Film Institute/London Film Festival; Rotterdam International Film Festival; Susanne Vielmetter, Los Angeles; Marlborough, New York; The Pit, Los Angeles; and Cornerhouse, Manchester, UK. Select group exhibitions include the Yokohama Triennial (forthcoming 2024), Wesleyan Art Gallery, the Walker Art Center, CAM/St. Louis, the Gwanju Biennial (2018), Hammer Museum, New Museum, MOCA/SD, Fernley Astrup/Norway, Transmediale, and the California Biennial (2010). Her collaborative work with Harry Dodge has shown at Elizabeth Dee Gallery, New York, the Whitney Biennial (2008), Sundance Film Festival, MOCA/LA, MoMA/NY, ZKM/Karlsrüh, among others. Kahn was a 2012 Guggenheim Fellow in Film/Video. She was a contributing writer and actor in feature film By Hook or By Crook. Her writings and drawings appear in multiple publications including Die Laughing (2nd Cannons), Moving Image (MIT Press), It's Cool, I'm Good (Cornerhouse), and Abstract Video (UC Press.) Her work is in the collections of the Hammer Museum, MoMA/NY, LACMA, the Walker Art Museum and among others. Image: Installation view, Forest for the Trees, Stanya Kahn, 2022 at Vielmetter Los Angeles. Image Courtesy of the artist and Vielmetter Los Angeles. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1702532065807-W7NM685WFMZKFCT17Q5Y/unspecified.jpeg 2023 Steffani Jemison (b. 1981, Berkeley, CA) is an artist in Brooklyn, New York. Jemison has presented solo exhibitions and commissioned performances at JOAN Los Angeles, Greene Naftali, Mass MoCA, Jeu de Paume, CAPC Bordeaux, the Museum of Modern Art, LAXART, and other venues. Her work has been included in significant generational exhibitions, including Greater New York 2021 and the Whitney Biennial 2019. Her work is part of many permanent public collections, including the Hirshhorn Museum and Sculpture Garden, the Museum of Modern Art, the Guggenheim Museum, the Whitney Museum of American Art, Kadist, and the Stedelijk Museum. Jemison is the author of A Rock, A River, A Street (Primary Information, 2022). Her publishing project, Future Plan and Program, published books by Harold Mendez, Martine Syms, Jibade-Khalil Huffman, Jina Valentine, and Szu-Han Ho. With Quincy Flowers, she co-founded at Louis Place, a platform for writers. Image: Tumbler. Installation view, End Over End, Cincinnati Contemporary Art Center. Photo by Jesse Ly. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1702527457702-YPLK4IA51S9UURBNQS65/2023+Awardee+Applications.jpeg 2023 Barbara Kasten (b. 1936, Chicago, Illinois) received her BFA from the University of Arizona in 1959 and MFA from the California College of Arts and Crafts in 1970. She is the recipient of a Fulbright Fellowship, two National Endowment for the Arts Grants, and a Guggenheim Fellowship. Space as a stage of a changing reality is the central motif of Barbara Kasten’s photography and film installations, which she produces in an ‘interdisciplinary performance’ between photography, sculpture, architecture, and painting, an approach going back to Kasten’s roots as a painter and sculptor. Since the 1970s, Kasten has been constructing expansive installations of ‘architectural props’ made with acrylic, mirrors, and wood in front of the camera for her abstract photographs and as sculptural installations. Her first major museum survey and monograph in the U.S., Barbara Kasten: Stages, originated at the Institute of Contemporary Art, Philadelphia, and traveled to the Graham Foundation, Chicago and MOCA Pacific Design Center, Los Angeles (2015-16). The exhibition Barbara Kasten: Scenarios at the Aspen Art Museum (2020–21) focused exclusively on Kasten’s sculpture and video installations. In 2020 and 2022, the Kunstmuseum Wolfsburg and Sammlung Goetz, Munich presented her first European museum survey, Barbara Kasten WORKS. A forthcoming installation will open at the De La Warr Pavilion, Bexhill-on-Sea, England, in June 2024. Other recent international exhibitions include Re-Inventing Piet.Mondrian and the Consequences, Kunstmuseum Wolfsburg and Wilhelm Hack Museum, Germany (2023–24); Women in Abstraction, Centre Pompidou, Paris, France, and Museo Guggenheim, Bilbao, Spain (2021); the 2020 Busan Biennale, South Korea; Shape of Light: 100 Years of Photography and Abstract Art, Tate Modern, London, UK (2018); Sharjah Biennial 14, Sharjah Art Foundation, UAE (2019); Bauhaus and America, LWL - Landesmuseum Münster (2018). Among many other public and private collections, her work is in the Museum of Modern Art, the Whitney Museum of American Art, and the Guggenheim Museum in New York; Tate Modern, London; the Museum of Contemporary Art, LA; and the Smithsonian American Art Museum, Washington, D.C. Her latest monograph, “Barbara Kasten: Architecture & Film (2015-2020),” features interdisciplinary works created since 2015. Image: Collision 5 T, 2016, Digital chromogenic print on Fujiflex Crystal Archive, 63 x 48 inches https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1702527378370-C0800EG592DT3U0EMQ3U/AL2019.0003_Winterkill.jpg 2023 Athena LaTocha (b. 1969, Anchorage, Alaska) creates massive works on paper exploring the relationship between human-made and natural worlds. The artist incorporates materials such as ink, lead, earth, and wood, while responding to the storied and, at times, traumatic histories that are rooted in place. Her work is in the collections of institutions such as the Plains Art Museum, Fargo, ND; Dallas Museum of Art, Dallas, TX; Forge Project, Taghkanic, NY; Hessel Museum of Art, Annandale-on-Hudson, NY; and Virginia Museum of Fine Arts, Richmond, VA. LaTocha is the recipient of artist grants and awards, among them the Saint-Gaudens Memorial Fellowship (2023); Rockefeller Brothers Fund Pocantico Art Prize in Visual Arts (2022); Eiteljorg Fellowship, the National Academy Affiliated Fellowship at the American Academy in Rome, and NYSCA/NYFA Artist Fellowship in Painting (2021); Joan Mitchell Foundation (2019, 2016); Wave Hill (2018); and the Robert Rauschenberg Foundation (2013). She received her B.F.A. from the School of the Art Institute of Chicago and her M.F.A. from Stony Brook University, New York. The artist divides her time between Peekskill, NY and New York City. Image: Winterkill, 2018-19. Shellac ink, synthetic walnut ink, and earth on paper, steel, lead, wood, 90 x 101 1/2 x 58 inches. © Athena LaTocha https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1702527322504-K90Y1R7UJU5FACLPSV9B/CL_image+1.jpeg 2023 Candice Lin (b. 1979, Concord, MA) is an interdisciplinary artist who works with installation, drawing, video, and living materials and processes, such as mold, mushrooms, bacteria, fermentation, and stains. Her work deals with the politics of representation and issues of race, gender, and sexuality through histories of colonialism and diaspora. She has had recent solo exhibitions at Canal Projects, New York (2023); Spike Island, Bristol, UK (2022); The Carpenter Center for the Visual Arts, Cambridge (2022), Walker Art Center, Minneapolis (2021); Guangdong Times Museum, Guangzhou, China (2021); and the Govett Brewster Art Gallery, New Plymouth, New Zealand (2020). Lin’s work was included in the 13th & 14th Gwangju Biennales (2021, 2023); 59th Venice Biennale, The Milk of Dreams (2022); and Prospect.5 Triennial, Yesterday We Said Tomorrow (2022) among numerous others. She is an Associate Professor of Art at the University of California Los Angeles. Image: Candice Lin: Seeping, Rotting, Resting, Weeping, 2021. Hand-printed (katazome) and hand-drawn (tsutsugaki) indigo panels, steel bar, dyed rugs, glazed ceramics, epoxy resin, feathers, block-printed and digitally printed fabric (masks), bells, tassels, miscellaneous small objects, video (color, sound, 4:45 min), dimensions variable. Installation view at Walker Art Center, Minneapolis,2022. Photo by Awa Mally. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1702532107777-0GNMGAVABD6G4NXS29OA/Exodus%2C+2019%2C+vintage+saris%2C+rope+net%2C+15%27+x+45%2C%27+photo+by+Jordan+Spencer.jpeg 2023 Suchitra Mattai (b. 1973, Guyana) is a multi-disciplinary artist of Indo-Caribbean descent who creates mixed-media paintings, sculptures, and installations that often combine processes and materials associated with the domestic sphere, such as embroidery, weaving, and found clothing, in order to honor the labor of women. Past projects include group exhibitions at the MCA Chicago, Crystal Bridges Museum, the Sharjah Biennial, the Art Gallery of Ontario, and the MCA Denver. Upcoming solo exhibitions include the ICA San Francisco, the Tampa Museum of Art, the National Museum of Women in the Arts, and Socrates Sculpture Park. Her works are represented in public and private collections which include Crystal Bridges Museum of Art, the Denver Art Museum, the Nasher Museum of Art, the Tampa Museum of Art, the Joslyn Museum of Art, the Crocker Museum of Art, the University of Michigan Museum of Art. Mattai is also a recipient of a Smithsonian Artist Research Fellowship. She received an MFA in painting and drawing and an MA in South Asian art from the University of Pennsylvania, Philadelphia. Image: "Exodus," 2019, vintage saris, rope net, 15' x 42,' courtesy of the artist and Crystal Bridges Museum. Photo by Wes Magyar https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1702557421309-8PK72IR50LOQPZ4PIEH6/Dinga+Blue+Queens+2021.jpeg 2023 Dindga McCannon (b. 1947, New York City) has spent the last 55 years as a fiber artist, painter, printmaker, muralist, writer, wearable art-maker and illustrator of books for young adults. She was one of the founding members of "Where We At, Black Women Artists" (1971) and a lifelong member of the Weusi Artist Collective, two important groups of the early Black arts movement. She has had recent solo shows at Fridman Gallery, New York, and Pippy Houldsworth Gallery, London, and was recently featured in the Survey Section of Art Basel 2022 with Fridman Gallery. Her work is in numerous museum collections including the Brooklyn Museum, Whitney Museum of American Art, Phillips Collection, RISD Museum, American Folk Art Museum, and the Woodmere Museum. Image: Blues Queens, 2021. Cotton and polyester fabrics including hand dyes, beads,vintage headscarves, feathers, rayon and metallic threads. 36 inches diameter, 60 inches high and fringe - 40 inches https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1702531806145-E94PMT4IM86C7C4DWEAN/15_linn+meyers_51.5x40.5+inches.jpg 2023 linn meyers (b. 1968, Washington, D.C.) sees her work as an act of resistance to the ever-increasing speed and scale of the world in which we are living. She dedicates her practice to tenderness, and an unhurried, deliberate approach to image-making. meyers makes paintings, drawings, prints, and large-scale, site-specific wall drawings. Systems of mark-making based on the grid – a structure that implies stability, organization, and uniformity – propel her compositions. The slippages and imperfection of her human touch inevitably challenge the order and predictability of the grid. meyers earned her BFA from Cooper Union and her MFA from California College of the Arts. Her works have been included in exhibitions and permanent collections in public and private venues including the Hirshhorn Museum and Sculpture Garden, National Gallery of Art, Smithsonian American Art Museum, Phillips Collection in Washington, DC, Hammer Museum, Los Angeles County Museum of Art, Drawing Center, Philadelphia Museum of Art, Baltimore Museum of Art, Tokyo Metropolitan Art Museum, Amore Pacific Museum of Art in South Korea, and the British Museum, London, among others. meyers has received numerous awards and fellowships, including a Smithsonian Artist Research Fellowship, a Pollock-Krasner Foundation Award, and several grants from the DC Commission on the Arts. She divides her time between Washington, DC, and Los Angeles. Image: Untitled, 51.5 x 40.5”, acrylic on canvas https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1702531692723-BA6KMINEAJH7T6CEGJUP/I+Have+a+New+Laugh_ERIKA+RANEE.jpeg 2023 Erika Ranee (b. 1965, Los Angeles, CA) explores the boundless approaches to abstract painting. She has been awarded several grants and fellowships, including as a double recipient of the New York Foundation for the Arts (NYFA)/Fellowship in Painting (1996 and 2021); an AIM Fellowship from the Bronx Museum; and as a resident artist at the Skowhegan School of Painting and Sculpture. She has shown extensively throughout New York and in 2020 she exhibited in her first international show at Wild Palms in Dusseldorf, Germany. Her work has recently been featured in exhibitions at Steven Harvey Fine Art Projects, Platform Project Space, the Milton Resnick Pat Passlof Foundation, The Landing Gallery in Los Angeles, CA, Hollis Taggart Gallery in Southport, CT, and in a solo exhibition at Klaus von Nichtssagend Gallery, New York. Her work is in the permanent collection of the Studio Museum. Ranee received her B.A. from Wesleyan University, her B.F.A. from the School of Visual Arts and an M.F.A. from the University of California, Berkeley. She works in New York. Image: I Have A New Laugh, acrylic, shellac, spray paint and paper collage on canvas, 63”x 63”, 2023 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1702526864704-NXYRWMUC22OAZW53DZHA/AWAW_ARH_3.jpg 2023 Amanda Ross-Ho (b. 1975, Chicago, IL) is an interdisciplinary artist and a professor of sculpture at the University of California, Irvine. She holds a BFA from the School of the Art institute of Chicago and an MFA from the University of Southern California. She has exhibited, lectured, and taught internationally. Exhibitions include the 2008 Whitney Biennial, The Museum of Modern Art, The Museum of Contemporary Art Los Angeles, The Walker Art Center, the Bonner Kunstverein and the Vleshaal Contemporary Art Center. Recently she was included in Crack Up Crack Down, the 33rd Ljubljana Biennial of Graphic Arts curated by Slavs and Tatars, and a solo exhibition at Kunsthall Stavanger, Norway. She has presented commissioned public works at The Museum of Contemporary Art, Chicago; City Hall Park, New York;, the Parcours Sector of Art Basel Switzerland; and the Crystal Bridges Museum of American Art. In 2024 she will install her first permanent public sculpture on the campus of Carnegie Mellon University, and will publish a ten year career monograph with the Vleeshal Center for Contemporary Art, Middelburg, Netherlands. Ross-Ho’s work takes the form of experimental archival research, driven by conflicting impulses towards sentimentality and clinical objectivity. Embracing contradictions between forensics and theatre, her work’s aim is not to establish clarity or secure links to the past, but to closely analyze, disarticulate, and exaggerate artifacts into poetic forms. The resulting reconfigurations suggest a type of liberated futurity. Her work aims to monumentalize the transitory and often corrupted relationships between time, form, witness, and memory. Ross-Ho lives and works in Los Angeles. Image: ALL THAT JAZZ (KNIFE EDGE/PLACES), 2023. Gallon glass jars, distilled water, imitation calfskin, thread, birch plywood, Wet and Wild Blush (BED OF ROSES) 36”X 108” X 24” Courtesy the artist, ILY2, Portland, OR, and Mitchell-Innes and Nash, NY. Photo: Mario Galucci https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1702531639952-FDGP5XDXNGUWQJ5IUDTP/Drew+1_Untitled91.jpeg 2023 Drew Shiflett (b. 1951, Chicago, IL) is a visual artist living and working in New York City and East Hampton, NY. She has maintained a studio practice in New York for over four decades and is known for her layered, collaged paper and fabric constructions. From 1979 to the present, her work embodies a synthesis of drawing, relief, and sculpture. With each body of work she has produced, she examines surface, structure, and texture through pieces that are defined by process and material. Her early involvement with drawing and sculpture led to a greater focus on paper, canvas, and the grid. Shiflett has had solo exhibitions at The Arts Center at Duck Creek, East Hampton; Lesley Heller Gallery, New York; Guild Hall Museum, East Hampton; The Drawing Room, East Hampton; Islip Art Museum, East Islip; The InterArt Center, New York; White Columns, New York; and Fashion Moda, Bronx. Her work has also been shown nationally and internationally at institutions including The Drawing Center (New York), Weatherspoon Art Museum (Greensboro, NC), Sculpture Center (NYC), Kentucky Museum of Art and Craft, (Louisville, KY), A&A Gallery, Yale University School of Art (New Haven, CT), Baltimore Museum of Art, and Kunststiftung K52 (Berlin, Germany). Shiflett is the recipient of a New York Foundation for the Arts Artists’ Fellowship award in printmaking/drawing/book arts (2009), and in sculpture (1990); a Mid Atlantic/NEA Regional Visual Arts Fellowship award in sculpture (1993); and a Guggenheim Fellowship award in fine arts (1992). Her work appears in private and public collections that include Guild Hall Museum, the Baltimore Art Museum, and the Islip Art Museum. She received an MFA from the Maryland Institute College of Art, Hoffberger School of Painting, and a BA from Columbia College Chicago. Image: Untitled #91 (Over the Moon), 2021. Watercolor, graphite, conté crayon, canvas, handmade paper. 25 1/2 x 63 x 4 inches Photo by Jeffrey Scott French https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1702557536904-ZYXVRCWUQ36BQCCZ24FT/EPISTROPHY.jpg 2023 Cauleen Smith (b. 1967, Sacramento, CA) was raised in Sacramento, California and lives in Los Angeles. Smith is faculty in the UCLA School of Arts and Architecture. Smith holds a BA in Creative Arts from San Francisco State University and an MFA from the University of California, Los Angeles School of Theater Film and Television. Smith’s short films, feature film, an installation and performance work were showcased at International Film Festival Rotterdam 2019. Smith has had solo exhibitions at the Whitney Museum of American Art, MassMoCA and LACMA. Smith is the recipient of the following awards: Rockefeller Media Arts Award, Creative Capital Film / Video, Chicago 3Arts Grant, and the Foundation for Contemporary Arts, Chicago Expo Artadia Award, and Rauschenberg Residency, Herb Alpert Awards in the Arts in Film and Video (2016), United States Artists Award (2017), inaugural recipient of the Ellsworth Kelly Award (2016), recipient of the Studio Museum Joyce Alexander Wein Artist Prize (2020), and Guggenheim Fellowship (2021). Image: Epistrophe, 2018. Installation photograph, Cauleen Smith: Give It Or Leave It, Los Angeles County Museum of Art, 2020–21, © Cauleen Smith, photo © MuseumAssociates/LACMA https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1702526784478-QETODIKP04RGKJZJKDH8/slide5.jpeg 2023 Saya Woolfalk (b. 1979, Gifu, Japan) creates works of art that incorporate the African-American, European-American, and Japanese influences of her family background. Also alluding to science fiction, feminist theory, mythology, anthropology, archaeology, Eastern religion, and fashion, she re-imagines a utopian, empathic world through painting, sculpture, video, performance, multimedia installations, and public artworks. Woolfalk has presented multimedia works and performances at museums, galleries, and alternative spaces throughout the U.S. and in Asia including recent institutional solo shows at the Chrysler Museum of Art, Norfolk, VA; the Everson Museum of Art, Syracuse, NY, and forthcoming at the Currier Museum of Art, Manchester, NH. In 2015 the Seattle Art Museum commissioned Woolfalk to create a major multimedia installation for the traveling exhibition Disguise: Masks and Global African Art. The museum later acquired the installation where it remains on extended view.She recently completed a multi-part, multimedia installation, commissioned by the Pennsylvania Academy of Art (now on view there in the exhibition Rising Sun: Artists in an Uncertain America). The Coretta Scott King Peace and Meditation Garden (Atlanta), created by Woolfalk with the support of Hulu, was dedicated at the King Center in April 2023. Among her other commissioned works are two murals for the Metropolitan Transit Authority in conjunction with the Percent for Art Program; a mural for a public school in Queens for the New York City Department of Cultural Affairs School Construction Authority; and a basketball court in Marcus Garvey Park, supported by the New York City Parks Department and Publicolor. Image: ChimaTEK: Virtual Chimeric Space, 2015. Mixed media two channel video installation with sound by Dim Guervich. 42' x 12' x 15' https://www.anonymouswasawoman.org/2023-1 daily 0.75 2024-11-20 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/cf7413f5-2459-4cc9-a4d6-1e9e58b843e4/Woolens+2023.jpg 2024 Erica Baum (b. 1961, New York, NY) is well known for her varied photographic series capturing text and image in found printed material, from paperback books to library indexes and sewing patterns and magazines. She received her MFA from Yale University School of Art in 1994 and her BA in Anthropology from Barnard in 1984. Her work is held in numerous collections including the Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; The Metropolitan Museum of Art, New York; The Museum of Modern Art, New York, SFMoMA, San Francisco, National Museum of Women in the Arts, CNAP Centre National des Arts Plastiques, Paris, frac-île-de france, Paris and MAMCO, Geneva among others. In addition, she received a 2008 NYFA fellowship in Photography. She lives and works in New York. Image: Woolens, 2023 Courtesy the artist and Bureau, New York https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/e84d5bf4-4839-4495-beae-7fd6e967022a/Consecration+to+Mary+image+2.jpg+%281%29.jpg 2024 Mary Enoch Elizabeth Baxter (b. 1981) is an award-winning multidisciplinary artist, writer, pedagogue, and cultural worker based in Philadelphia, PA. As a visionary thought leader creating socially conscious music, film, performance and visual art, her practice embodies resilience, care, and community-centeredness while working at the intersections of reproductive justice, black feminist thought and transformative change. She is an inaugural 2017 Right of Return fellow, 2018 and 2019 Mural Arts Philadelphia Reimagining Reentry fellow, 2019 Leeway Foundation Transformation fellow, 2021 Ed Trust Justice fellow, 2021 Frieze Impact Prize award winner, 2022 S.O.U.R.C.E Studio Corrina Mehiel Fellow, 2022 Art 4 Justice grantee partner, 2022 Pratt Forward fellow, 2022 Artist2Artist Art Matters Foundation grantee and grantor, and 2023 Soros Justice fellow. Her work has been exhibited both nationally and internationally at venues including MoMA PS1, the African American Museum of Philadelphia, Frieze LA, Eastern State Penitentiary, Martos Gallery, the National Underground Railroad Freedom Center, Brown University, the Schomburg, Yale Art Gallery, the National Museum of World Cultures Leiden, Two Rivers Gallery, and the Brooklyn Museum, where she had a solo exhibition in 2023. Image: Consecration to Mary (for Delia), 2021. Giclée print on metallic paper in daguerreotype frame, thermal plastic and velour. 6 1/2 × 3 3/4 × 7/16 in. (8.3 ×9.5×2.2cm) opened. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/4195b0ed-52b1-43cf-b9d7-c7fda5880c74/030-29.jpeg 2024 Mary Lee Bendolph (b. 1935, Boykin, AL) is an American contemporary artist renowned for her quilts, which marry her creative flair for improvisation with traditional quilting techniques. One of the best-known and most revered Gee’s Bend quiltmakers, Bendolph transforms worn and discarded clothing into highly refined geometric abstractions inspired by her personal experiences and the world around her. Highlights of her artistic career include having her 1998 Housetop variation quilt featured on a U.S. postage stamp as part of the American Treasures series in 2006 and, in 2015, receiving a National Heritage Fellowship from the National Endowment for the Arts, the highest honor for folk and traditional arts in the U.S. Bendolph’s work is held in the permanent collections of numerous art museums, including the National Gallery of Art (Washington, D.C.), Tate Modern (London, UK), and the Philadelphia Museum of Art (Philadelphia, PA). Image: Strips and strings, 2003. Cotton and cotton blends, 74 x 49 inches Photograph: Stephen Pitkin/Pitkin Studio https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/f2d2899b-d9d4-4021-9d1d-85f0044f9815/geisterspeile+book+2024.jpg 2024 Natalie Bookchin, (b. 1962, New York, NY) is an interdisciplinary artist widely recognized for her innovative media artworks. Over the last four decades, her practice has encompassed photography, video, sound, CD-ROMs, installation, film, performance, net art, computer games, embroidery, drawing, hacktivist interventions, site-specific projects, creative writing and more. Bookchin’s artwork has been exhibited and screened widely including at MoMA, LACMA, PS1, Mass MOCA, the Tate, the Pompidou Centre, MOCA LA, the Whitney Museum, the ICP Museum, the Kitchen, and La Virreina Center for the Image, Barcelona. She has received awards and fellowships from California Arts Council, the Guggenheim, the Center for Cultural Innovation, the Durfee Foundation, the Rockefeller Foundation, California Community Foundation, the Jerome Foundation, the Daniel Langlois Foundation, a COLA Artist Fellowship the MacArthur Foundation, a NYSCA Individual Artist Fellowship, a NYSCA/MAAF award, a Bellagio Arts Fellowship, Yaddo, and McDowell Foundation, among others. Her artwork has been commissioned by the Tate, Creative Time, LACMA, and the Walker Art Center among others. Bookchin received her BA at SUNY Purchase, her MFA at the School of the Art institute of Chicago and attended the Whitney Independent Study Program. She is a professor at Mason Gross School of the Arts, Rutgers University, and lives in Brooklyn. Image: Afterword on Geisterspeile, 2024. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/b7bdcc3f-93b0-4710-adbb-3311048dddec/ROLL_02.00_16_00_05.Still001.jpg 2024 Rashida Bumbray (b. 1978) Rashida Bumbray is a curator and choreographer. Her work in performance and video draws from Black vernacular and folk forms, including ring shouts, work songs, hoofing, and the blues—accessed through research, a lineage of Black women dancers, teachers, and ethnographers, and the architectures of improvisation, surrender, and possession. In pursuit of functional responses to displacement, erasure, and social forgetting, Bumbray creates intimate performances and restagings of sacred and secular underground rituals in the interest of transformation and liberation. She regularly collaborates with other artists, performers, and musicians, bringing forward personal and collective embodied archives and exploring the spaces between levity and groundedness. Bumbray is a United States Artist Fellow (2019) and was an Inaugural Civic Practice Artist-in-Residence at the Metropolitan Museum of Art (2017-2021). She recently received a Ruby’s Artist Grant and a Tate Infinities Commission R&D Awards. Her film “How High the Moon” is featured in Flight Into Egypt! at the Metropolitan Museum of Art, and her new performance work, “Way Down,” opened the exhibition’s Performance Pyramid series. Her works have been presented by the Metropolitan Museum of Art, Black Star Film Festival, Project Row Houses, Dancing While Black, SummerStage, The Park Avenue Armory, Dia: Chelsea (with Leslie Hewitt), Tate Exchange (with Simone Leigh), The New Museum (with Simone Leigh), Whitney Museum of American Art (with Jason Moran & Alicia Hall Moran), and The 2015 Venice Biennale: All The World's Futures (with Jason Moran & Alicia Hall Moran). Bumbray was nominated for the prestigious Bessie Award for “Outstanding Emerging Choreographer” (2014). Her performance RUN MARY RUN in collaboration with Jason Moran and Dance Diaspora Collective was named among “Best Concerts of 2012,” by the New York Times’ Ben Ratliff. Image: Untitled (How High the Moon), 2024 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/f8f1b71d-7f21-441c-bb8c-3cb5eb134978/Mary-Ellen-Carroll-MEC-studios-MDIP-Finale-Walking-No-9-Night-of-Destruction-Michele-Asselin-Photo+by-Michele-Asselin.JPG 2024 Mary Ellen Carroll (b. 1961 Danville, IL) is a conceptual artist who occupies the disciplines of architecture, art, public policy, film/media, and technology and notably in the ongoing durational works — the opus prototype 180, PUBLIC UTILITY 2.0, and indestructible language on climate and migration. Carroll / MEC, studios’ experimentation and oeuvre spans over four decades in a range of media that transcend genres and is dedicated to a social/political critique that explores the interactions of subjectivity, language, and power/knowledge. A recipient of numerous awards and honors including the Guggenheim Foundation, Pollock-Krasner Foundation, American Academy in Berlin, Rockefeller Foundation, and Graham Foundation, and in 2022 a Prix de Rome Fellow among others. Teaching, lecturing and public presentations on the built environment, art, and public policy are an important part of Carroll’s work. She has lectured or taught at institutions including the Dia Art Foundation, Columbia University, American Academy in Berlin, Rice University, and Yale University, among others. Carroll’s work is in numerous public and private collections in the US and abroad. A major museum survey of her work curated by Rebecca Matalon for the Contemporary Arts Museum Houston will open in October 2025. Image: No. 9, Performance in the series My Death is Pending… Because., 2017 Photo by: Michele Asselin https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/5a97d9a1-aaa0-4bca-b11a-d71119a322f8/RHILL+The+Thingness+of+the+Thing+2023.jpg 2024 Robin Hill (b. 1955, Houston, TX) is an interdisciplinary artist whose work explores the intersections of sculpture, drawing, and photography, employing a vast array of materials including tumbleweeds, dryer lint, industrial washtubs, mica washers, linen fire hose, forest-fire charred wood, sunflowers, hand-made needlework, sheep wool, beach detritus, sun-worn pool flags, tree trunks felled by atmospheric rivers, bird nests, and oak galls. Her work strives to transform seemingly inconsequential matter into meaningful statements about matter itself, to give shape to nuance and to relocate familiar things in an unfamiliar order. While not overtly political, her attention to the emergent behaviors and materiality of the human and the non-human world attests to a form of eco-feminism, where her actions through/upon/with matter seek to serve as provocations for others to consider the role that wonder and attention play in repair and restoration, of the self, of the community, of the planet. Her work has been exhibited widely, nationally and internationally. Hill is the recipient of two Pollock-Krasner Foundation Awards, two New York Foundation for the Arts Fellowships in Sculpture, and a National Endowment for the Arts Sculpture Fellowship. Hill received her BFA from the Kansas City Art Institute. Her work is in the permanent collections of the Fine Arts Collection of the Jan Shrem and Maria Manetti Shrem Museum, the UCLA Hammer Museum, the Fogg Art Museum, the Kramlich Collection, the Crocker Museum, the Achenbach Collection-Fine Art Museums of San Francisco, and the Yale University Art Gallery among others. She is on the faculty of the Maria Manetti Shrem Art Studio Program in the Department of Art and Art History at the University of California-Davis and divides her time between California's Sacramento Valley, New York, and Cape Breton Island, Nova Scotia. Image: The Thingness of the Thing, 2023. Found 35mm slide storage frames, plaster gauze, tumbleweed, beeswax, glass. 50" X 38" X 30” Image credit: Nicole Rico https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/b6b9e4a7-3bae-4f9a-b03d-86da024c9fab/Horn+of+Africa_final.jpg 2024 Joyce Kozloff (b. 1942, Somerville, NJ) has been an activist in the feminist art movement since 1970, when she was a pioneer of the Pattern and Decoration movement and a founding member of the feminist collective Heresies. After a sustained commitment to public art throughout the 1980s and 1990s, completing 15 projects, she returned to a studio practice that encompasses painting, sculpture, installations, printmaking, collage, and photography. In recent years, she executed two new public works in glass mosaic and ceramic tile: “Parkside Portals,” at the 86th Street and Central Park West subway station in New York, 2018 for the MTA Art and Design Program and ”Memory and Time” for the new federal courthouse in Greenville, South Caroline, through the GSA’s Art in Architecture program, 2021. Kozloff’s work is included in numerous public collections such as the Brooklyn Museum of Art, NY; Los Angeles County Museum of Art, CA; Metropolitan Museum of Art, NY; Museum of Modern Art, NY; National Gallery of Art, Washington, D.C.; and Whitney Museum of American Art, NY. She has received numerous awards, including a Rockefeller Bellagio grant, 1992; Rome Prize, American Academy, 1999; Guggenheim Foundation grant, 2004 and an honorary doctorate from Carnegie Mellon University, her alma mater, 2015. She has been represented by the DC Moore Gallery in New York for 30 years. Image: Collateral Damage" series: 60" x 60", acrylic on canvas, 2023. Image photographer Steven Bates, courtesy DC Moore Gallery https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/d2c01e0a-2c6d-4ecf-a46e-d988e64a50e5/Liu_3.jpg 2024 Jen Liu (b. 1976, Smithtown, NY) is a New York-based visual artist working in video, painting, performance, and sculpture, on diasporic Asian identities, postcolonial economies, techno-/bio-politics, and the re-motivating of archival artifacts. In her most recent work, she’s used genetic engineering and dark encryption to reframe firsthand accounts of electronics workers, and created semi-speculative scripts combining corporate brochures and industrial manuals with firsthand accounts of industrial workers and labor activists in Asia. Liu is a recipient of the Hewlett 50 Arts Commission, Creative Capital Grant, LACMA Art + Technology Lab, Guggenheim Fellowship in Film/Video, and the Cornell Tech \Art Award, among others. She has presented work at MoMA, The Whitney Museum, The New Museum, Sculpture Center, Kunsthaus Zurich, Kunsthalle Wien, MUSAC Leon, KW Berlin, multiple Berlinale exhibitions at AdK, Royal Academy and ICA in London, and was included in the 2015 Shanghai Biennial, 2019 Singapore Biennial, 2023 Future of Today Biennial (Beijing), and the 2023 Taipei Biennial. She has also received multiple grants and residencies, including Akademie Schloss Solitude, Stuttgart; Para Site, Hong Kong; Pioneer Works and LMCC in New York; and de ateliers, Amsterdam, NL. Image: The Land at the Bottom of the Sea, 2023 (still). 4K video with 2-channel sound. Running time: 27 minutes, 34 seconds https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/7f4e63d4-c890-413b-88d6-7170d59292cf/NILPP440+%5Bhi-res%5D.jpg 2024 Gladys Nilsson (b. 1940, Chicago) studied painting at the School of the Art Institute of Chicago. She first came to prominence in 1966, when she joined five other recent Art Institute graduates (Jim Falconer, Art Green, Jim Nutt, Suellen Rocca, and Karl Wirsum) for the first of a series of group exhibitions called the Hairy Who. In 1973, she became one of the first women to have a solo-exhibition at the Whitney Museum of American Art. Nilsson is known for her densely layered and meticulously constructed watercolors and collages. Like many of the Hairy Who artists, Nilsson employed a type of horror vacui; many of her works feel filled to the brim with winding, playful imagery. Her work, centered on the figure, often focuses on aspects of human sexuality and its inherent contradictions. Since 1966, Nilsson’s work has been the subject of over 50 solo exhibitions, and is featured in the collections of major museums, including: the Art Institute of Chicago; the Los Angeles County Museum of Art; the Museum of Modern Art; the Philadelphia Museum of Art; the Smithsonian American Art Museum; and the Whitney Museum of American Art. Image: Pond (A Splitdytch), 2022 Watercolor, gouache, and pencil on paper 60 x 42 inches https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/e474cc2f-eee5-4c0e-90d7-807b3ab7d9fe/2Phillips_Copper+Fields+too.jpg 2024 Liz Phillips (b. 1951, Jersey City, NJ) is one of the pioneers of sound art and interactive installation. She first exhibited her interactive sound sculptures using radio frequency capacitance fields in 1969 at Bennington College. In 1970, at the age of nineteen, Phillips presented her Electronic Banquet at the Eighth Annual Avant Garde Festival of New York. These dinners traveled to many venues,including the Kitchen (1971, 1981, 1999), and are still considered a part of her practice. In the 1980s Phillips began developing a series of site-specific wind pieces for the Bronx Frontier Development Corporation and Creative Time(1981), The Walker Art Center (1984) the Whitney Biennial (1985) . In 1974 at ArtPark she did her first field recording installation at the Niagara Gorge, many water-based installations followed including, “Fluid Sound” Kala Art Institute 1988, “Mersonic Illuminations” Ars Electronica (1991), The World Financial Center (1992), Echo Evolution “Wave Crossings,” Harvestworks on Governors Island, (2017, a collaboration with Annea Lockwood ,“The River Feeds Back” (2022) in Philadelphia and “Dyning in the Dovecote” at Caramoor (2022–present). In 1986 she began a series of dry rock gardens with an installation for Capps Street Project and the Whitney Museum, “Graphite Ground” with natural copper conductors. Phillip’s most recent garden installation was a collaboration with her daughter, the painter Heidi Howard, for the Queens Museum (2018–2020). https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/b3610da1-2cf4-442c-986a-a878115ab8ba/2000_Black+String.jpg 2024 Liliana Porter (born 1941, Buenos Aires, Argentina) is an artist whose work includes printmaking, painting, photography, video, installations, and theater. She has lived and worked in New York since 1964. Porter was awarded the Guggenheim Fellowship in 1980, the Tomas Francisco Prieto Award from the Real Casa de la Moneda in Madrid in 2023, and Premio Universitario de Cultura “400 Años” from the Universidad Nacional de Cordoba, Argentina, 2016. Among other collections her work is included in Dia Foundation, New York; Bibliothèque Nationale, Paris, France ; British Museum and Tate Modern in London, England; Guggenheim Museum, Metropolitan Museum, Whitney Museum and The Museum of Modern Art in New York, USA; Museo Tamayo in México City; Museo de Bellas Artes, Museo de Arte Latinoamericano (MALBA); Museo de Arte Moderno and Museo del Grabado in Buenos Aires, Argentina and Museo Nacional Centro de Arte Reina Sofía in Madrid, Spain.Image: ALL THAT JAZZ (KNIFE EDGE/PLACES), 2023. Gallon glass jars, distilled water, imitation calfskin, thread, birch plywood, Wet and Wild Blush (BED OF ROSES) 36”X 108” X 24” Image: Black String, 2000. Cibachrome, 16 x 20” https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/eaea8b66-c9fd-4274-8d8c-71b362531f8a/Trapped+Food+2023.jpeg 2024 Shirley Tse (b. 1968, Hong Kong) lives and works in California. She has created sculptural interventions that interrogate notions of place, politics, and ecology. Her work has been exhibited widely in the United States and internationally. At the 58th Venice Biennale, Tse was the first female artist to represent Hong Kong in a solo exhibition. Her works are in the permanent collections of M+, Hong Kong, Hong Kong Heritage Museum, New Museum, New York, Vancouver Art Gallery, Rhode Island School of Design Museum. She has been the recipient of numerous awards including the John Simon Guggenheim Memorial Foundation Fellowship (2009), City of Los Angeles Individual Artists Fellowship (2009), California Community Foundation Fellowship for Visual Artists Mid- Career Award (2012), International Sculpture Center Outstanding Educator Award (2023). Tse received her B. A. from Chinese University of Hong Kong and her M.F.A. from ArtCenter College of Design, Pasadena. Image: Trapped Food 2024. 25 x 24 x 24 inches. Moss, wax, Magic Sculpt, wire, foil, zip ties, found hardware https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/6a15c3cb-ceeb-4ae5-9dde-7d5ee1f61fc9/AO+3935_TY_Pilot_2024_main.jpg 2024 Takako Yamaguchi (b. 1952, Okayama, Japan) is a long-time resident of Los Angeles who was born and raised in Japan. She is known for her paintings that combine abstraction, representation and decoration, drawing on tropes of both Asian painting and Western modernism. She was featured in the 2024 Whitney Biennial, and solo exhibitions of her work have been held in Japan, Berlin, and Mexico City. She is a recipient of artist grants including the Foundation for Contemporary Arts Grant to Artists (2024), Tree of Life Individual Artist Grant (2018), California Community Foundation / Getty Fellowship Grant (2008), Gottlieb Foundation Grant (2006) and a City of Los Angeles Individual Artist Fellowship (2004). Her work is in the collections of Musee d’art Moderne, Paris; Hammer Museum, Los Angeles; Nevada Museum, Reno; Nora Eccles Harrison Museum, Logan, Utah and The Buck Collection of the University of California, Irvine. Yamaguchi received her BA from Bates College, Lewiston, Maine and her MFA from the University of California, Santa Barbara. Image: Pilot, 2024. Oil and metal leaf on canvas, 60 x 40 inches https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/2a0d4e62-6083-46e0-aaf1-a17dd379b3c3/CZ+1_Zavitsanos_Call+to+Post+%28Violet%29%2BAll+the+time_Whitney+Biennial+2024.jpg 2024 Constantina Zavitsanos (b. 1977, Reading, PA) works in sculpture, performance, text, and sound and deals in debt, dependency, and other shared resources. They use the material processes and concepts of superposition, interference, occlusion, and transduction to blur sensing and feeling, knowing and seeing, contiguous and noncontiguous touch. They have exhibited at New Museum, Brooklyn Museum, Whitney Museum of American Art, The Kitchen, Artists Space, Participant Inc., and Performance Space New York, and at Arika UK, Glasgow; If I Can’t Dance, Amsterdam; and Galerie Max Mayer, Düsseldorf. With Park McArthur, they wrote “Other Forms of Conviviality” in the journal, Women & Performance, (Routledge, 2013) and “The Guild of the Brave Poor Things” in Trap Door: Trans Cultural Production and the Politics of Visibility (MIT Press, 2017). They co-organize the cross-disability arts events I Wanna Be With You Everywhere, and have received a Roy Lichtenstein Award in Visual Arts from the Foundation for Contemporary Arts and a Keith Haring Fellowship in Art and Activism from the Center for Curatorial Studies at Bard College. Zavitsanos lives and works in New York. Image: I[Deep indigo and violet washes of light fill a darkened room. A large ramp curls up the back wall; the ramp’s understructure glows violet. Two lines of open captions are projected on the adjacent wall.] Constantina Zavitsanos Call to Post (Violet), 2019/24 Wood, two-channel sound and infrasonics, transducers, wire, and 400–450 nm light (blueviolet) 20 ft x 12 ft x 5 ft and Constantina Zavitsanos All the time, 2019 HD video: two channel open captions, overlapped Dimensions Variable Installation View: Whitney Biennial 2024: Even Better Than The Real Thing, Whitney Museum of American Art, New York, NY; Curators: Chrissie Iles and Meg Onli Photo Credit: Greg Carideo https://www.anonymouswasawoman.org/symposium daily 0.75 2025-09-02 https://www.anonymouswasawoman.org/survey-2 daily 0.75 2025-02-12 https://www.anonymouswasawoman.org/report daily 0.75 2025-09-01 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/9b332cf6-61fb-4efe-9610-bab50c39900e/Report+Cover.jpg Report - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/40e5c6f9-f80f-4b6c-a113-269ef21becf9/KEY+TAKEAWAYS+1.png Report - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/f4b0f6bb-8dca-4bc1-b1e9-29f49195fb7f/KEY+TAKEAWAYS+2.png Report - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/cd5d586b-2303-4edb-b71a-67adbcf5563c/KEY+TAKEAWAYS+3.png Report - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.anonymouswasawoman.org/contact-project daily 0.75 2025-05-08 https://www.anonymouswasawoman.org/team-project daily 0.75 2025-05-08 https://images.squarespace-cdn.com/content/v1/569fdefb1115e0973544f708/1455135659396-CQ9GAOCX7BBD4Z198E92/image-asset.jpeg Team https://images.squarespace-cdn.com/content/v1/569fdefb1115e0973544f708/1455134738344-8PPOGBFK9R9T076F4CPH/image-asset.jpeg Team https://images.squarespace-cdn.com/content/v1/569fdefb1115e0973544f708/1455135055927-LQ8JDGVSYVBADUE0S2FH/image-asset.jpeg Team https://www.anonymouswasawoman.org/the-facts-project daily 0.75 2025-05-08 https://www.anonymouswasawoman.org/all-styles daily 0.75 2025-05-08 https://www.anonymouswasawoman.org/project-1-project daily 0.75 2025-05-08 https://images.squarespace-cdn.com/content/v1/569fdefb1115e0973544f708/1456335193800-08Q7Y6JAXIJVI3I9AJI4/SQS_RYAN-HENRY_DK_0865-cropped-v2.jpg Main St. https://images.squarespace-cdn.com/content/v1/569fdefb1115e0973544f708/1454969290191-588ICX4J2DH15NXNW9X7/SQS_RYAN-HENRY_DK_0339-cropped.jpg Main St. https://images.squarespace-cdn.com/content/v1/569fdefb1115e0973544f708/1454969373636-CO77SOJOF2741Y71YZVD/SQS_RYAN-HENRY_DK_0260-edited.jpg Main St. https://www.anonymouswasawoman.org/project-3-project daily 0.75 2025-05-08 https://images.squarespace-cdn.com/content/v1/569fdefb1115e0973544f708/1456351997887-PF5E4D175X1K3QRVMWWV/image-asset.jpeg Holloway Rd. https://www.anonymouswasawoman.org/project-2-project daily 0.75 2025-05-08 https://images.squarespace-cdn.com/content/v1/569fdefb1115e0973544f708/1456270414395-AQKLJWLO82BBJ1AK3455/SQS_RYAN-HENRY_DK_0457-edited.jpg Potowski Av. https://images.squarespace-cdn.com/content/v1/569fdefb1115e0973544f708/1455208175347-SHSYN2CSA0QXAVUH5OE2/SQS_RYAN-HENRY_DK_1485-edited-cropped.jpg Potowski Av. https://images.squarespace-cdn.com/content/v1/569fdefb1115e0973544f708/1456270613196-UOO18V3FY5V9H3M5FYJG/SQS_RYAN-HENRY_DK_0003-cropped-square.jpg Potowski Av. https://www.anonymouswasawoman.org/volunteer-project daily 0.75 2025-05-08 https://images.squarespace-cdn.com/content/v1/569fdefb1115e0973544f708/1456346168299-9S4FEEVE2MDYH38LNLHH/image-asset.jpeg Volunteer https://www.anonymouswasawoman.org/2025-eag daily 0.75 2025-09-01 https://www.anonymouswasawoman.org/2024-eag daily 0.75 2025-09-01 https://www.anonymouswasawoman.org/2023-eag daily 0.75 2025-09-01 https://www.anonymouswasawoman.org/2023-1-1 daily 0.75 2026-02-20 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/ecd3bf68-80c8-4863-9a99-6e8580ceba04/cbob6+300+dpi.jpeg 2025 Candida Alvarez (b.1955, Brooklyn, NY) is widely recognized as one of her generation’s most highly innovative and experimental painters. Alvarez is known for creating kaleidoscopic abstract paintings that spin together personal and cultural knowledge with everyday life. Her work has been collected by the Art Institute of Chicago; Museum of Contemporary Art, Chicago; DePaul Art Museum, Chicago, Whitney Museum of American Art, New York; Denver Art Museum; Studio Museum in Harlem, New York; El Museo del Barrio, New York, Pérez Art Museum, Miami; Seattle Art Museum; Virginia Museum of Fine Arts, Richmond; and the Addison Gallery of American Art, among others. Alvarez is an alum of the Yale School of Art (1993-95) and Fordham University at Lincoln Center, NY (1973-77) and Professor in Painting at the School of the Art Institute of Chicago (1998-2023) where she is now Professor Emeriti. In 2024 she was the Alex Katz Chair in Painting at the Cooper Union, NY. Alvarez has participated in residencies at the Skowhegan School of Painting and Sculpture (1981) returning in summer (2023) as faculty) Studio Museum in Harlem AIR residency (1985), Pilchuck Glass School (1998), and LUMA Foundation (2023). Her awards include the Trellis Art Fund Award (2024), Mellon Foundation Latinx Artist Fellowship, and The American Academy of Arts and Letters Award in Art (2022) The Helen Frankenthaler Award for Painting, and the Joan Mitchell Foundation Painter and Sculptors Grant (2019). Alvarez is represented by Monique Meloche Gallery, Chicago and Richard Gray Gallery, NY, Geneva among others. In addition, she received a 2008 NYFA fellowship in Photography. She lives and works in New York. Image: cbob 6, 2025. Acrylic on linen, 48 ¼ × 48 ⅛ inches, 122.6 × 122.2 cm. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/1c65bd2d-fdf1-45d3-9432-f44965ee659f/AB_090823_043.jpg 2025 Ambreen Butt (b.1969 Lahore, Pakistan) is a Texas-based artist whose practice engages in acts of staining, cutting, ripping and tacking with repetitive urgency. Butt's painted and collaged works on paper and large-scale installations espouse the radiant aesthetics of sacred geometries, Islamic ornamentation, and traditional miniature painting while simultaneously exploring the complexities of contemporary global politics, female identity and living as a Muslim in the United States. Her work has long focused on war, maternal witnessing, and the afterlife of violence, approached through slow, meditative processes grounded in South Asian miniature painting and feminist collage. Butt’s work has been shown and collected by many institutions such as the National Museum of Women in the Arts (Washington, DC), Dallas Contemporary (TX), Museum of Fine Arts (Boston, MA) the Institute of Contemporary Art (Boston, MA), the Isabella Stewart Gardner Museum (Boston, MA), the Brooklyn Museum, the Asian Art Museum (San Francisco), the Baltimore Museum of Art, the Harvard Art Museums, and the Minneapolis Institute of Art. She was the first recipient of the James and Audrey Foster Prize from the Institute of Contemporary Art, Boston, Maud Morgan Prize from MFA, Boston, grants from Joan Mitchell Foundation, Boston Foundation and many others. Butt received her BFA in traditional Indian and Persian miniature painting from the National College of Arts in Lahore, Pakistan, and her MFA in painting from the Massachusetts College of Art and Design in Boston. Image: Tearful harvest from the series ‘Lay Bare My Arms,’ 2023. Watercolors, white Gouache, gold pigment, pen, and Collage on tea-stained paper. 90 30 inches X 22 inches (unframed) https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/831e01a8-ba12-4820-b1a4-5842bf3c5a46/3.Bouquet.jpg 2025 JoAnne Carson (b.1953, New York City) currently splits her time between Brooklyn, New York and Shoreham, Vermont. For more than five decades she has created two and three-dimensional artworks that offer exuberant visions of life on the cusp of another world. Her work has been shown in numerous solo museum exhibitions including The Modern Art Museum of Fort Worth, Texas; The Museum of Contemporary Art in Chicago, Illinois; and the Zillman Art Museum, Bangor, Maine. Notable group exhibitions include the Whitney Biennial Exhibition, the American Academy of Arts and Letters Ceremonial Exhibition, the Albright Knox Museum, the Institute of Contemporary Art, and the Sheldon Art Museum. She is the recipient of numerous prizes including the John S. Guggenheim Foundation Fellowship, an American Academy in Rome Prix de Rome, an Award in the Visual Arts, and a purchase prize from the American Academy of Arts and Letters, amongst others. Her work can be found in many public collections such as the Brooklyn Museum of Art, the Modern Art Museum of Fort Worth, Joslyn Art Museum, Museum of Contemporary Art Chicago, David and Alfred Smart Museum of Art, Frederick Weisman Art Museum, and Sheldon Museum of Art. She received her B.S from University of Illinois and her M.F.A. from University of Chicago. She is Distinguished Professor Emerita of University of Albany, SUNY. Image: Bouquet, 2005. Installation view at Brooklyn Museum, 84”x105”, thermo plastic, fiberglass, aqua resin. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/a4c9f47f-7eaa-4d28-8cf9-2a38f7c8cc52/I%27ve+Been+Afraid-2020.jpg 2025 I consider myself a storyteller working within the psychological landscape of contemporary fairy tales, dreams, poetry and the natural world. I explore archetypal themes where my characters are often shaped by violence, basic cold-heartedness and trauma. I have shown internationally in festivals, museums and alternative spaces, and is represented in collections including the Walker Art Center in Minneapolis, Minnesota, the Museum of Modern Art in NYC, Carnegie Mellon in Pittsburgh, PA, and the Centre Georges Pompidou Musée National d'Art Moderne, Paris, France. She received the 2024 Stan Brakhage Vision Award for expanding the boundaries of personal cinema. She has received numerous festival awards and grants from the John Simon Guggenheim Foundation, American Film Institute, National Endowment for the Arts, and the Mary L. Nohl Foundation. Cecelia Condit lives and works in Minnesota. Image: I've Been Afraid, 2020. I've Been Afraid is a musical encyclopedia about how women get abused, and why they stay. It uses emojis that are as ubiquitous as abuse is in our culture. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/9d3a9f51-f8e4-4bfe-8fa8-4a8949b7a1e9/toniparks.jpg 2025 Lola Flash (b. 1959) is a New Jersey native and a prominent figure in New York’s downtown scene. An activist and artist, Flash has dedicated their career to documenting themes of race, age, and gender. During the AIDS epidemic in New York City, Flash was an active member of ACT UP and featured in the 1989 “Kissing Doesn’t Kill” poster. Their art and activism are deeply intertwined, reflecting a lifelong commitment to visibility and preserving the legacy of LGBTQIA+ communities and communities of color. Working primarily in portraiture with a 4x5 film camera and a digital medium format camera, Flash engages individuals often overlooked, amplifying their presence. They are a 2024 Pollock Krasner grantee, with work featured in collections such as MoMA, the National Museum of African American History and Culture, and the George Eastman Museum. Flash is also a member of the Kamoinge Collective and serves as President of the Queer Art board. Image: Toni Parks, 2011. SALT series. Torquay, UK https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/18aa5383-eff9-4c80-bacd-b4c677ad0041/Blue+and+Peach+Large+Secrets%2C+2024%2C+acrylic+polymer%2C+cotton+muslin%2C+paper%2C+66_+x+64_%2C+photo+credit+Stars+Gallery%2C+private+collection.jpg 2025 Sonya Kelliher-Combs (Iñupiaq/Koyukon Athabascan, b.1969, Nome AK) is a mixed-media visual artist based in Anchorage AK. Her sculptures and paintings combine synthetic elements with traditionally harvested materials to create an expansive perspective on bodies, identity, and relationships within a rapidly changing North. Her work has been shown in numerous national and international exhibitions over three decades and is held in the permanent collections of the Whitney Museum of American Art, the Alaska State Museum, the Anchorage Museum of Art, the British Royal Museum, and the Museum of Contemporary Native Art Santa Fe, among others. She is the recipient of multiple awards, including the Anonymous Was A Woman Award (2025), Rasmuson Fellowship (2008, 2022), United States Arts Fellowship (2018), Joan Mitchell Fellowship (2017), Eiteljorg Fellowship for Native American Fine Art (2007). She holds a Bachelor of Fine Arts degree from the University of Alaska Fairbanks (1992) and a Master of Fine Arts degree from Arizona State University (1998). Mark: Sonya Kelliher-Combs, edited by Julie Decker, is published by Hirmer and Anchorage Art Museum (2024). Image: Blue and Peach Large Secrets, 2024, acrylic polymer, cotton muslin, paper, 66" x 64." Photo credit: Stars Gallery, private collection https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/4b93aadf-b1d6-40d7-be08-26c89bfdd338/3_Mapburst+2023.jpg 2025 Michelle Marcuse (b. 1957) grew up in Cape Town, South Africa, and creates mixed-media sculptures from wire, raffia, string, and cardboard. She embraces failure and improvisation as essential forces in her practice, and resists the pressures of speed and optimization. She has exhibited in the U.S. and abroad, including at the Corcoran School of the Arts & Design, Washington, D.C.; Rowan University, NJ; Taller Boricua, NYC; Little Haiti Cultural Center, Miami; and the Restart Museum, China. Her work is held in the collections of the Philadelphia Museum of Art; The State Museum of Pennsylvania; College of Notre Dame of Maryland; and the U.S. Embassy in Bangkok, among others. Marcuse was shortlisted for the Joan Mitchell Foundation (2021), received a CFEVA Fellowship (2020), and completed a residency at Brandywine Print Workshop (2024). Additional honors include the Fleisher Art Memorial Wind Challenge Exhibition (2016) and participation in (re)FOCUS/2024 at Tiger Strikes Asteroid. She holds a Bachelor of Design from Shenkar College of Engineering and Design, Israel, and a BFA in Painting from Tyler School of Art, Philadelphia. Marcuse lives and works in Philadelphia, PA. Image: Mapburst, 2023. Cardboard, acrylic paint, graphite, chalks, paper; 60” w x 72”h x 3” d https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/511f7aeb-7a3a-4b5a-8933-b0a0daa160fa/PM_Untitled_2014.jpg 2025 Park McArthur (b. 1984 Raleigh, NC) experiments with personal and social meanings of debility, delay, and dependency under the guidance and instruction of disability. Recent solo exhibitions include Museum Abteiberg, Mönchengladbach, Germany and mumok, Vienna, Austria; Kunstraum Leuphana University, Lüneburg, Germany; and Paid, Seattle, Washington. With Constantina Zavitsanos McArthur has exhibited artworks and published essays in Women & Performance: a journal of feminist theory (Routledge, 2013) and Trap Door: Trans Cultural Production and the Politics of Visibility (MIT, 2017). Artist publications include Beverly Buchanan: 1978–1981 (Athénée Press, 2015) co-edited with Jennifer Burris and Contact M (mumok, Museum Abteiberg, 2025). Image: Untitled, 2014 Courtesy of the artist and Museum Abteiberg Photo: Simon Vogel https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/fad9dfd0-68ee-4581-bba1-17ec128793f3/michael-in-black-3.jpg 2025 Known for her evocative videos and multimedia installations, California-based artist and filmmaker Nicole Miller frequently addresses themes such as race, translation, and the politics of representation. Notions of embodiment and articulation are common threads throughout Miller’s work. Her work has been exhibited in solo and group exhibitions internationally. Selected solo exhibitions include Kemper Art Museum, St. Louis (2022); SFMoMA, San Francisco (2019); The High Line, New York (2014); KW Institute for Contemporary Art, Berlin (2014); Centre d’Art Contemporain, Geneve (2014); Los Angeles County Museum of Art (2013); and LAXART, Los Angeles (2009). Miller has received numerous prestigious awards, including the John Simon Guggenheim Foundation Award (2018), Rome Prize (2016), William H. Johnson Prize (2015), Rema Hort Mann Foundation Grant (2013), Artadia Award (2013), and the Louis Comfort Tiffany Biennial Award (2011), among others. She is an associate professor in the department of visual arts at University of California, San Diego. Image: Michael in Black, 2018. Bronze sculpture. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/93037c9d-5d64-4a6a-adaa-d41d750b5756/IMG_0095.JPG 2025 Narcissister (New York, 1971) is a Brooklyn-based artist and performer. Masked and merkin-ed, she works at the intersection of art, dance, and activism in a range of media including live performance, sculpture, collage, film, and video. She presents work worldwide in museums, galleries, festivals, and nightclubs. Among other awards, she won “Best Use of a Sex Toy” at Good Vibrations Erotic Film Festival, a Bessie nomination for the theatrical performance “Organ Player”, Creative Capital and United States Artists Awards, and interested in troubling the popular entertainment and experimental art divide, she appeared on America’s Got Talent. Her first feature film “Narcissister Organ Player,” a hybrid performance/doc about her complex family history, premiered at Sundance 2018. Her activist short film "Narcissister Breast Work," premiered at Sundance 2020 and won a Grand Jury Prize for Best Documentary Short at Outfest 2021. Voyage Into Infinity, a large-scale performance commission, had its world premiere at Pioneer Works in 2024 and will be presented at NYU Skirball during the 2026 Under The Radar Festival. Narcissister is a 2025 recipient of a Sir Peter Shaffer Charitable Foundation commission to develop a new theatrical piece at Playwrights Horizons. Image: Untitled Self-Portrait Series (Fringed shoulder epaulets), 2025 https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/6016b92f-1bf5-4698-84e1-a44d7e48e528/Violencia+al+filo+with+captions_AWAW.jpg 2025 For over two decades, Dhara Rivera’s work has focused on the issue of water bodies and their place in society, interweaving the social aspects and the historical /political backgrounds involved with a poetical tone to the story approached. Dhara is a multimedia artist living and working in Puerto Rico. She holds Bachelor degrees in Humanities and Sculpture from the University of Puerto Rico (UPR) (1973) and Pratt Institute in New York (1980). She graduated from Hunter College with a Masters Degree in Sculpture (1983) and later, she completed the first year of doctoral studies in the Public Space and Art Program of the University of Barcelona, Spain (201-03). https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/28241823-b6bc-4995-9cc4-f9b182d3667b/2016+Bastet.jpg 2025 Linda Stark (b. San Diego, CA) has been making talismanic paintings for more than four decades in which pop cultural symbols, personal mythologies, and feminist notions of the body reverberate within her investigation of the physical properties of oil paint. Recent museum and private group exhibitions include Ordinary Extraordinary, Orange County Museum of Art (2024); New Time: Art and Feminisms in the 21st Century, UC Berkeley Art Museum and PaciMic Film Archive (2021); Made in L.A. 2018, Hammer Museum, Los Angeles (2018); and Painting: Now and Forever, Part III, Matthew Marks Gallery and Greene Naftali, NY (2018). Her work is included in the collections of Buffalo AKG Art Museum, NY; Hammer Museum, Los Angeles; Los Angeles County Museum of Art; Museum of Contemporary Art San Diego; Wadsworth Athenium, Connecticut; and Berkeley Art Museum. She is the recipient of awards and grants including California Community Foundation (2008); C.O.L.A.Los Angeles (2001); California Arts Council (1998): National Endowment for the Arts (1995), and Western States Arts Federation/NEA (1992). Stark received her B.A. from University of California, Davis and her M.F.A. from University of California, Irvine. She lives and works in Los Angeles, California. Image: Bastet, 2016. Oil on canvas over panel, 36 x 36 x 2 inches. Photo credit: Brian Forrest https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/bc0920e7-b4f7-40e5-a7b2-881f95e39e5e/Compounds+Ap+Artist+proof+1_1997_39-1_2x29-1_2in_2500pixel300dpi.jpeg 2025 Kunié Sugiura (b. 1942, Nagoya, Japan) In 1963 Sugiura moved to the United States to study at the School of the Art Institute of Chicago (SAIC) where she received her BFA in 1967. While at the SAIC, Sugiura studied under the conceptual photographer Kenneth Josephson. During the 1970s Sugiura’s practice combined photography with acrylic paint on canvas. In the 1980s, Sugiura began creating photograms using objects from everyday life including flowers, plants, animals, which led her to create her famous Artists and Scientists series. Her works can be found in esteemed private collections, museums and cultural institutions including the San Francisco Museum of Modern Art (SFMOMA); Metropolitan Museum of Art, New York; Denver Art Museum, Colorado; The Museum of Fine Arts, Boston, Massachusetts; The Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the Tokyo Metropolitan Museum of Photography; Tochigi Prefecture Museum of Art, Japan; Hiroshima MOCA, Hiroshima, Japan; National Museum of Modern Art, Tokyo, Japan; Tate Modern, London, England ; and Vivendi Universal, Paris, France. Image: Compounds A Positive, 1997. Toned Gelatin silver print, 39 3/8 x 28 15/16 inches Collection: MoMA https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/067efdc8-f1cf-4090-b8be-4220161f6a94/Tru%CC%9Bo%CC%9Bng_1.jpg 2025 Hồng-Ân Trương is an interdisciplinary artist whose work explores immigrant, refugee, and decolonial narratives and subjectivities. Often working with archival materials, her work examines structures of time, memory and the production of knowledge. Using video, photography and sound, her work interrogates the narrative paradigms of these media, and how they shape what we come to know about political and historical events. Her work was included in Prospect.4: The Lotus in Spite of the Swamp (New Orleans), and has been exhibited at the Nasher Museum of Art (NC), The Kitchen (NY), Nhà Sàn (Hanoi), and the Irish Museum of Modern Art (Dublin), among other places. Her work is in the permanent collections of the Museum of Modern Art (NY), the North Carolina Museum of Art (NC), and the Rose Art Museum at Brandeis University (MA). She has been a Guggenheim Fellow (2019-2020), the Capp St. Artist in Residence at the Wattis Institute for Contemporary Art (2020), and a MacDowell Residency Herb Alpert Fellow (2022). Her writing has appeared in Best! Letters from Asian Americans in the Arts edited by Christopher K. Ho and Daisy Nam (Paper Monument 2021), and in American Art in Asia: Artistic Practice and Theoretical Divergence, edited by Michelle Lim and Kyunghee Pyun (Routledge 2022). Hồng-Ân lives in Durham, North Carolina where she is an organizer and teaches in the Department of Art & Art History at the University of North Carolina at Chapel Hill. Image: Installation view, Hồng-Ân Trương: With love from your Vietnamese Sisters, 2025. Photo by Julia Featheringill, courtesy of Harvard Radcliffe Institute. https://images.squarespace-cdn.com/content/v1/5b42673c1aef1dea2e4fa0bd/ddd99b38-c2be-4fb8-980f-1fcd6345c80d/Paula_Wilson_Earth_Angel.jpeg 2025 Paula Wilson (b. 1975, Chicago, IL) is a multidisciplinary artist based in Carrizozo, New Mexico, whose work spans printmaking, painting, collage, video, and installation. Her immersive environments explore the interplay between human and non-human forms, blurring the boundaries between art and daily life. Wilson has exhibited nationally and internationally, with solo shows at the California African American Museum (Los Angeles, CA), the Tang Teaching Museum (Saratoga Springs, NY), 55 Walker (New York, NY), and Emerson Dorsch Gallery (Miami, FL). Her awards include the Bemis Center’s Ree Kaneko Award (2024), the Ossorio Fellowship at Colby College (2022–23), the Hodder Fund Grant from Princeton University (2020), the Happy and Bob Doran Artist-in-Residence at Yale University (2009), and the Joan Mitchell Foundation Painters & Sculptors Grant (2009). She received a BFA from Washington University in St. Louis and an MFA from Columbia University. She co-founded the artist-run Carrizozo Artist-in-Residence program (est. 2016) and MoMAZoZo (est. 2010), a grassroots venue for community-building and creative exchange. Image: Earth Angel, 2022. Oil-based ink, acrylic and oil on muslin and canvas, wooden and beaded jewelry made in collaboration with Mike Lagg, 155 x 155 inches Image credit: Justine Hill, courtesy of Denny Gallery