Alejandro Cesarco was born in 1975 in Montevideo, Uruguay. Cesarco received a MA from New York University in 2000 and creates conceptual art that is contingent on the obscurity of text. His work often references art-history in a deadpan manner.
The artist has shown at Murray Guy, Kunsthalle Zürich, Deutsche Guggenheim, the Sculpture Center, and MoMA. Included in several public collections in Europe and America, Cesarco has won the Bâloise Art Prize, the Rolex Mentor and Protégé Arts Initiative Award, and the Art Matters award.
In 2007, he collaborated with John Baldessari on Retrospective at Murray Guy which dealt with the difference between the past and its retelling in the present. Cesarco lives and works in New York.
Born in San Francisco, Kristin Calabrese attended Skowhegan School of Painting and Sculpture in 1994, and later received a BFA from the San Francisco Art Institute (1995), and a MFA from the University of California (1998). Her narrative paintings are emotive and aware of themselves as painting, while employing a traditional style.
Calabrese has shown internationally at galleries including the Brennan and Griffin Gallery, the Gagosian, the Museum of Contemporary Art LA, and ACME. She has lectured at SAIC, the University of California, Otis College of Art and Design and is in the public Collections of the Museum of Contemporary Art San Diego, Charles Saatchi, and the Seattle Art Museum.
The artist lives and works in Los Angeles, California.
Clifford Owens, born 1971 in Baltimore, is a performance artist and photographer. His performances often call for radical interactions with his audience - creating a physical and animal environment led by direction.
Owens received a BFA in 1998 from SAIC and a MFA in 2000 from the Mason Gross School of Visual Arts; he later attended the Whitney Independent Study Program and Skowhegan School of Painting and Sculpture. Owens has shown and performed at MoMA PS1, the Contemporary Art Museum of Houston, the Studio Museum of Harlem, and Gallery Diet. During Anthology at MoMA PS1, Owens performed scores written by a group of african-american artists including William Pope.L and Coco Fusco.
Thom Donovan is a writer, teacher and archivist. His ongoing project - wildhorsesoffire.com - is a web archive composed of contemporary correspondence for the reflection of poetry and art.
Donovan received a BA from Oberlin College in 1999, and a MA and PhD from the State University of New York, University of Buffalo in 2003 and 2009, respectively. He has taught at Pratt, Parsons New York, the School of Visual Arts, and Bard college. The poet has held an Akademie Schloss Solitude Fellowship from 2013 to present and has written and edited several texts including: The Hole and On Contemporary Practice.
Anoka Faruqee is a painter who received a BA from Yale University in 1994 (of which she is now an associate professor), and a MFA from the Tyler School of Art at Temple University (1997). She creates moiré paintings that lend from a glitch aesthetic. Letting accident play a role, the paintings are both dizzy and material.
The artist has taught at Cal Arts, the Cooper Union, SAIC, and is the recipient of numerous awards such as: the Artadia and Pollack Krasner Foundation grants. She has show extensively in the US and internationally at Koenig and Clinton, Hosfelt Gallery, The Hole, and the PS1 Contemporary Art Center.
Faruqee lives and works in both New Haven, Connecticut and Brooklyn, New York.
Matthew Brannon, born 1971 in Idaho, makes letterpress prints and objects with advertorial elegance that poke fun at the machismo with passive-aggressive wit.
Receiving a BA from the University of California (1995) and a MFA from Columbia University (1999), the artist has since lectured at Yale, MoMA, the Whitney, and New York University. He has shown extensively in the United States and abroad at galleries including: the David Kordansky Gallery, Gio Marconi Gallery, Office Baroque, Lisa Cooley, and the Saatchi Gallery.
Brannon has completed several design projects and lives and works in New York, New York.
Amy Bessone, born 1970 in Brooklyn, received her BFA in 1993 from Parsons Paris, and later attended De Ateliers in Amsterdam (1995). Bessone’s work references historical images of women found in high and low culture. Her paintings and objects maintain an energized aesthetic that are both clever and subversive.
Bessone’s work is included in the public collections of Charles Saatchi, Frac Bretagne, and MOCA. She has exhibited internationally including: Salon 94 Bowery, China Art Objects, VeneKlasen Werner, and at the Rubell Collection.
The artist lives and works in Los Angeles, California and is creating a new body of work for a 2015 show at Praz-Delavallade in Paris.
Byron Kim, born 1961 in California, emerged in the early 1990’s during a period of conceptual abstraction. Manipulating the language of modernism, his paintings draw on the obvious or meaningless - finding nuances that become political.
Having received a BA from Yale in 1983 (where he is currently a senior critic), Kim also attended Skowhegan School of Painting and Sculpture (1986), and has shown at the Whitney Biennial, the Gwangju Biennial, MoMA, Tate Liverpool, and the New Museum. He has received several awards including a Joan Mitchell Foundation grant, a National Endowment for the Arts grant, and an Alpert award.
Byron Kim’s first retrospective, Threshold, chronicled work from 1990 - 2004 and toured internationally, opening at the Berkeley Art Museum and Pacific Film Archive. The artist lives and works in Brooklyn, New York.
Lecture: Wednesday February, 23, 3 pm
“fishbowl” room 301 Fine Arts Bldg
1000 W. Broad St. 3rd Floor
Christopher Ho’s exhibition record includes solo exhbitions Winkleman Gallery NY, NY, Fisher Press, Santa Fe, NM and Galeria EDS, Mexico City. Group exhibits include Momenta, NY, NY, Dallas Contemporary, Dallas, TX and Freies Museum, Berlin.
For more information please visit: http://www.christopherho.com/projects.php
“By replacing derivation borne of lack of imagination with emulation a generous and generative act Ho alleviates the ‘anxiety of influence’ and thus the need for the defensive maneuvers of conventional critique, including negation, subversion, irony, and even parafiction. This allows for other strong subjectivities in the creative process an amplification of Ho’s longtime commitment to collaboration.”
-Press Release from Winkleman Gallery 2010
Lecture: Wednesday March, 23, 11 am
“fishbowl” room 301, Fine Arts Bldg.
1000 W. Broad St. 3rd floor
Jessica Dickinson’s exhibition record includes solo exhibtis at James Fuentes LLC, NY, NY and Brooklyn Fire Proof (Project Space) Brooklyn, NY. Group exhibits include Sikkema Jenkins & Co, NY, NY, Golden Auxiliary Space, Chicago, IL and CTRL Gallery Houston, TX
For More information please visit: http://www.jessicadickinson.com/
Using painting, drawing and abstraction as markers of a space outside of the verbal and within the visible, my work examines slow and sensate exchanges between perception, matter, and psychology that develop in peripheral spaces over time. Searching for meaning in the minor and the overlooked, my practice works on dislocating hierarchical terms of the sublime to focus on the links between perception and emotion as they unfold in unspoken events of cognitive illumination. Each piece is developed slowly through stages of meditative procedures, abrupt change, and actions of chance, working towards creating a compressed expanse of time that echoes the intense
shifts in which we “see” in a new light, both inwardly and outwardly. The works open a gradually revealing field for optical intensities, luminous intervals, individual discoveries, and opportunities for slowness.
Excert from Artist Statement- Jessica Dickinson
Lecture: Wednesday March, 30, 2:30 pm
Student Commons Theater
907 Floyd Ave
McGinness’s work consists of an amalgam of icons and symbols. Drawing from his background in the design industry, Ryan McGinness’s work resolves the clinical graphic aesthetics of media as vast, contemplative fields of intimate meditation. It incorporates strong social commentary on iconography, language, and historical and
contemporary symbolism. His graphic drawings and personal iconography are replicated, recontextualized, and materialized infinitely throughout his densely-layered paintings.
“I’m trying to communicate complex and poetic concepts with a cold, graphic, and authoritative visual vocabulary. I concentrate on shape, line, color, and composition to communicate within simplified picture planes. As such, the work resides somewhere between abstraction and representation. At the essence of our being is the need to know and the need to understand. I am interested in our need to read into and interpret—to make sense of chaos and give meaning to seemingly abstract forms. This
interpretation involves an egocentric faith in the fact that there must be a meaning for us to understand. We surrender our logic to the belief that answers do indeed exist, and so, by default, we invent them. With my work, interpretations are not absolute, but guided, to allow for multiple reads. This allows the viewer to bring to
the work his own history, memories, and knowledge to find a personalized meaning.”
— Ryan McGinness, 2005