Window Dressing 2022
August 29 - December 16, 2022
WINDOW DRESSING, now in its fifth year, is an annual cycle of short-term installations located in the thirty foot long window vitrine on the exterior of the Cerritos College Fine Arts Building. Each two-week installation is accessible twenty-four hours a day, seven days a week. The Fall 2022 cycle includes installations by eight local contemporary artists.
FEAST AND FAMINE
Aug 29 – Sep 9, 2022
The humble mealworm (tenebrio molitor) and its cousin the superworm (zophobas atratus) are the only creatures known to humanity with the power to transform the ubiquitous petroleum-based plastic polystyrene (i.e. styrofoam) into biodegradable components. Synthetic plastic goes in and biodegradable waste comes out. Part of a larger body of work exploring the capacity of nonhuman agents to remediate humanity’s ecological devastation, Feast and Famine focuses on the transformative and poetic power of this lowly mealworm as it consumes, metabolizes, and biodegrades styrofoam waste. Part living art installation, part posthuman catacomb, and part durational interspecies performance, Feast and Famineis an effort, as Donna Haraway has advised, to “stay with the trouble” and think beyond human-centric norms about what is precious, what is beautiful, and what is possible. For its current Window Dressing iteration, Feast and Famine combines chromatic lighting, window-amplified sound, and projected video, as well as mounds of partially-consumed polystyrene foam, interlaced with flowers, and related objects. The modified magenta lighting environment prioritizes the needs and preferences of the insects, which thrive in purple or red light and hide under the glare of full-spectrum light, but it also recalls the effects of stained glass in religious architecture, marking the space as more-than-mundane, while also evoking a kind of queer futurity, an alterior world where everything is bathed in a synthetic, hot pink light. The auditory element transforms the window of the gallery space into an amplification surface for a complex, interspecies sound composition, including the sounds of mealworms consuming styrofoam, humans consuming water out of styrofoam cups, container ships carrying flat pack boxes and styrofoam through the Port of Los Angeles, and the ocean carrying styrofoam debris back to the land. On the wall are projected portrait-like videos of individual insects recorded with digital microscopes and endoscopy cameras, a way of honoring the intimate, embodied specificity of the insects’ transformative labor, while also positioning the creatures on equal or higher footing with the human viewer, in contrast to traditional Western hierarchies that position the human as the closest to God. On the gallery floor lie accumulations of partially-consumed styrofoam, gathered flowers, and related objects, including silver and plastic vessels of mealworm frass. Simultaneously recalling a decaying altar, an adorned gravesite, and Dutch still life painting, the physical installation operates as a meditation on abundance, consumption, decay, and the slippery edges between the sacred and the profane.
Ashton S. Phillips is an interdisciplinary artist based in Los Angeles, CA, working directly with the earth, water, pollution, taboo, and repair as primary materials. He is interested in the wisdom hidden within the material environment, including our physical bodies, and in the promise of queer ecological praxis, including interspecies collaboration, embodied “play,” and speculative (un)making, as pathways for making meaning, building resiliency, and generating new forms of knowing/feeling/being in the late Capitalocene. Phillips’ work has been exhibited in museums, galleries, and artist-run spaces around the United States, including the Torrance Art Museum, SoLA Contemporary, Angles Gate Cultural Center, the Werby Gallery at Cal State Long Beach, Nikki at Mehle Gallery in New Orleans, Louisiana, North Willows artist-run space in Montclair, NJ, Keep Contemporary, form & concept gallery, and the Museum of Encaustic Art, in Santa Fe, NM, The New Mexico Cancer Center, Ghostwolf Gallery, Southwest College of Visual Art, and Santa Maria de Vid Abbey in Albuquerque, NM, and the University of New Mexico, Gallup, in Gallup, New Mexico. Public art commissions and participatory performances include Reflections, a 2020-21 participatory sound art installation in Glendale Central Park; breaking ground, a public performance and temporary land art installation among the landslide ruins of Sunken City on the coast of San Pedro, CA; and Helios Rising, a 170 x 7′ mural responding to the path of the sun in Albuquerque, NM. Phillips studied painting at the Pennsylvania Academy of Fine Art, anthropology and queer theory at the University of Maryland, where he served as the first trans president of the university’s LGBT student caucus, and interdisciplinary sculpture at the Maryland Institute College of Art’s MFA in Studio Art program, where he also taught undergraduate students in the interdisciplinary sculpture, fibers, and ceramics programs. He also holds a JD from George Washington University School of Law, where he cultivated a rigorous and expansive approach to material, documentary, and testimonial research. During his time living on the Navajo Nation in Gallup, NM, Phillips also worked as an artist-in-residence at Gallup Family and Children’s Counseling, facilitating mindfulness-oriented art sessions and trauma recovery for Native youths. He is currently a resident artist at Angels Gate Cultural Center in San Pedro, CA.
Sept 12 – Sep 23, 2022
As an installation, Rosaces brings together several large assemblages of cardboard
and metallic paper, each evoking the round stained-glass windows that famously grace
the walls of Gothic Cathedrals (known as rosaces or rose windows). Hanging at a distance
from the gallery walls, the suspended forms twist and move independently, reflecting
light off of their colored metallic surfaces, as well as bending that refracted light
into colors projected onto the walls behind. As visitor’s move around the gallery
display, different shades and brilliances appear and disappear into their field of
vision, highlighting the ephemerality of the experience. The repeated rosace form
developed by Cohen-Bacry combines their studio-based research around the material
possibilities of working with recycled cardboard and earlier field work conducted
with stained-glass windows while living in Paris. Taking the rose window out of its
original religious context, the artist proposes to use them instead as emblems of
a modern yearning for balance and harmony in the face of chaos and uncertainty. In
its openness, both as a porous form and an infinite shape, the rosace is, and has
always been, a metaphor for the circle of life, with no beginning and no ending. To
emphasize this openness, each rosace references a different, though related, symbolic
pattern, from the main rose window of Notre Dame de Paris to the Taoist yin/yang to
the mathematical infinity sign to the Buddhist Dharma wheel to the mystic Flower of
Los Angeles-based painter and mixed-media artist, Raphaële Cohen-Bacry, was born and raised in Paris, France, where she completed her Doctorate in pharmacology and a performing arts degree from l’École de la Rue Blanche, with additional training in painting and printmaking at Les Ateliers Beaux-Arts de la Ville de Paris and La Grande Chaumière. Her own artistic practice also carries deep roots in art history, including a significant influence from prominent European movements like CoBrA and Tachisme, which excite her due to their lyrical abstraction that leaves plenty of room for intuition and non-premeditation. Since moving permanently to the United States in 2003, Cohen-Bacry has participated in numerous solo and group exhibitions, including at Encino Terrace Gallery, Torrance Art Museum, Alliance Française, the Mike Kelley Gallery at Beyond Baroque, Coastline College Art Gallery, ArtShare LA, Fathom Gallery, and Los Angeles Municipal Art Gallery.
Brian C. Moss
Sept 26 – Oct 7, 2022
We live in a time of 24-hour cable news channels and social media feeds through which important and mundane events alike are forever flitting by with the flick of a finger. It can be difficult, therefore, to critically unpack all the ways that mediated information is always already coded with the capitalist needs of the corporate institutions that present and filter our understanding of the world around us. In truth, this is nothing new. Traditional print media has long been unsustainable, with more and more page real-estate dedicated to advertisement as a means to compensate for perpetually-shrinking subscriber revenue. Journalistic ethics supposedly guarantee that publications like The New York Times will forever be the trusted archive of historical record, but such grandiose claims fall apart at nearly any level of careful scrutiny. Brian C. Moss’ Window Dressing installation, Oxymora, serves as a conceptual case study, overlaying tag lines from well-known advertising campaigns onto archival newspaper pages, demonstrating the dichotomy that exists between the needs of a newspaper as a business and the mission of the news industry itself to present the news in a fairly non-biased form. In the newspaper pages on display, the advertisements occupy the vast majority of the surface, with a single news article taking up only a small portion of the remainder of the design. So many questions arise. What is objectivity and to what degree is it even possible? Whom do we trust and why? Tracing the institutional relationships between advertisement and news reveals another dilemma, however, they both similarly employ text and images to make meaning, so how can they ever be differentiated. While one requires truthfulness and objectivity, the other is designed to persuade, and even mislead, on behalf of a capitalist desire to sell a product. (When) does the ad subvert the goal(s) of the newspaper? Can the language of advertising be seen with fresh eyes (beyond its context)? With Buzzfeed lists masquerading as newsworthy articles and sponsored imagery dominating Instagram posts, these questions are more relevant than ever, making an installation assembled from dusty old newspapers particularly new and exciting, if only we could slow down long enough to take a good look.
As an artist, Brian C. Moss uses computers, drawings, installation, language, photography and sculpture. Born and raised in Philadelphia, he attended Tyler School of Art earning a BFA in painting with minors in photography and art criticism. Later, he moved to Los Angeles to attend graduate school at the California Institute of the Arts where he received his MFA in photography. He has taught in universities throughout Los Angeles since 1997. Moss’ varied and wide-ranging practice includes documentary photography, multi-media installations, public art and collaborative community-based art projects. Through these projects, Moss addresses both the personal and the social, poetically embedding each in the other through their juxtaposition. In so doing, he creates two- and three-dimensional objects that are simultaneously banal and beautiful. Moss makes installations that ask viewers to question the ways that perception and visual media structure and interrelate all facets of experience. His work has been widely exhibited, including solo shows at the MGSU Peacock Gallery in Cochran, Georgia and Covenant College in Lookout Mountain, Georgia, PØST in Los Angeles, Whittier College, Craig Krull Gallery in Santa Monica, Cue Art Foundation in New York, Center for Documentary Studies in Durham, North Carolina, Delaware Center for Contemporary Art in Wilmington and the Painted Bride Art Center in Philadelphia. To create his own work and for community-based and public art projects, Moss has received funding from the National Endowment for the Arts, Rockefeller Foundation, Durfee Foundation, Los Angeles Department of Cultural Affairs, Phoenix Office of Arts and Culture, Santa Monica Cultural Affairs Division, Los Angeles Center for Photographic Studies, Olson Color Expansions, Kodak and Astra-Zeneca.
Avia Rose Ramm
WASTED REMAINS REMADE
Oct 10 – Oct 21, 2022
Avia Rose Ramm’s childhood took place in an idealized version of the American suburban home … but now it’s for sale (the childhood, that is, though maybe the home too, that’s unclear). In any case, the home where they were raised to be the ‘perfect’ Stepford-style housewife was, in their words, a waste; as in “a waste of space, built from waste, and grown on wasted ideals.” Now that their rose-colored glasses have come off, they see it instead as a place of mourning; the nostalgic ick of mothballs and American flags and lost familial roots. In response, their Window Dressing installation, Wasted Remains Remade, is a condensed portrayal of self-reinvention; out of the ashes, as it were. As a stage for this process, the display window is transformed into a metaphorical version of their childhood home with a long domestic hallway covered salon-style with family portraits - an awkward arrangement of the nuclear family complete with photos of favorite pets and intermingled with religious icons – which gives way, around the corner, to a secluded bathroom, that safest and most private of havens in the home. Within these hallowed spaces, a performance ensues. Throughout the first week, all is ‘properly’ arranged, but during a live musical and dance performance at the start of the second week, the paintings and photos on the wall reveal their changeability. Paintings inspired by the torn-up pages of old magazines pushing an outdated domestic lifestyle, the decorative elements initially present one reality, but ultimately shift through the performance to present another. The Dancer, an avatar for the artist, interacts with and rearranges the space through various task-based improvisations, transforming it into one more comfortable and personally expressive, a rebellious act of self-fashioning narrated by the accompanying Musician. Following the performance, the installation remains as it was always intended, remade from the waste that was left behind.
Avia Rose Ramm is a San Diego-raised, Los Angeles-based visual artist. Their primary aim is to portray the vulnerability and the melancholy of living by depicting a fidgety relationship between themselves and animals. They also take visual elements from Catholic-heavy art historical periods, such as the Renaissance and the Baroque, as well as their own personal upbringing, integrating it into their work, often in a crude manner to address issues of extreme anxiety and depression caused by conservative upbringings. Ramm uses the depiction of animals, most often sheep, unicorns, and donkeys, in order to subvert the meanings nominally attached to them and to document their own journey to self-acceptance. These symbolic creatures that ordinarily carry an extreme metaphorical weight instead become animals of comfort. They have found much beauty in our individual experience of the world and seek to portray these abstract, intangible concepts in a familiar visual way. Their primary mediums are oil painting and multimedia sculpture. After previously studying painting at the Marchutz Art School in Aix-en-Provence, France, they received a Bachelor’s Degree in Studio Arts from San Diego State University. Recent residencies include Art Produce and Bread and Salt, with selected exhibitions at Trash Lamb Gallery, Swish Projects, Weird Hues Gallery, and the Everett Gee Jackson Gallery.
elin o’Hara slavick
CATHARSES / ANTIDOTES
Oct 24 – Nov 4, 2022
The series of diptychs that make up elin o’Hara slavick’s Window Dressing installation, Catharses/Antidotes, began as a therapeutic attempt to purge her mind of recurring negative thoughts. When she first read the student evaluations from the very last course of her nearly three decade-long career as an art professor, slavick nearly vomited. These comments haunted her, keeping her up at night (surprise, surprise, teachers are human too). After asking friends how to keep these kinds of thoughts from overtaking her sense of self-worth, she received conflicting suggestions. Some told her to train her brain to banish bad thoughts, while others suggested therapy, exercise, something called EDMR (Eye Movement Desensitization and Reprocessing), or even just a stiff drink. But after listening to Krista Tippett’s On Being podcast, she concluded that the best response would be “to sit with the feelings; to write it all down; to focus on and process the negative to get to the other side, to get through it.” Thus began an extended project to sit and paint the very words that had disturbed her. A state of liberation set in. Suddenly, insults became compliments, jokes, and reflections on – and revelations of – the speakers. Posting these text paintings on social media - sharing her dirty laundry, so to speak - helped her to let go, and suddenly others were doing the same. Of the 100 Catharses paintings in her series, the first 28 come from statements made to her, but the rest come from reported commentary addressed to others. For each, she composed an accompanying Antidote, a cure made from the very poison it defends against. She realized that words such as these have been said to many other people and, in fact, worse things have been uttered, screamed, and whispered before. She is not unique, which makes the hurt less painful to endure and the feeling all the more relatable to others. While aesthetically these drawings may be considered ‘bad art’ in a traditional academic sense, lots of the best art, the pieces that stay with us, are made from the difficulties of our world, the struggle, the icky parts. In citing numerous text-based artists as influential precedents for this project - from Ed Ruscha and Deb Kass to John Baldessari and Jenny Holzer - the artist particularly highlights Tracey Emin, for her darkly humorous and sincerely personal confessions, and Barbara Kruger, for her ambiguous use of genderless pronouns, such as YOU and I, that inevitably implicate and/or address the viewer. Anyone could be on the receiving end and/or originating expression of these statements and, in particular, they could be about anyone existing in an unequal power dynamic: president/citizen, boss/employee, teacher/student, husband/wife, parent/child, enemy/friend. However, while amplifying the words, the Catharses paintings also subvert their very meaning. And the Antidotes, by answering (or arguing against) each negative comment, offer a solution, a gesture towards peaceful resolution, a balm for deep wounds. If, as Sarah Schuman says, “conflict is not abuse,” these diptychs seek to reveal the conflict in order to avoid the abuse, and engage in the deep psychological work required for healthy discourse.
elin o’Hara slavick is an Artist-in-Residence at the University of California, Irvine. She was a Professor of Studio Art, Theory and Practice at the University of North Carolina, Chapel Hill from 1994 until 2021. Her interdisciplinary work critically explores war, memory, exposure, memorials, cartography, history, labor, feminism, the body, politics and utopia/dystopia. Slavick has exhibited her work internationally, and her work is held in many collections, including the Queens Museum, The National Library of France, The Library of Congress, The Nasher Museum of Art and the Art Institute of Chicago. She was previously represented by Cohen Gallery in LA. Slavick is the author of two monographs - Bomb After Bomb: A Violent Cartography with a foreword by Howard Zinn, and After Hiroshima, with an essay by James Elkins; a chapbook of surrealist poetry, Cameramouth; and Holding History in Our Hand for the 75th commemoration of Hiroshima and Nagasaki. She has held artist residencies in Canada, France, the Unites States and Japan, most recently as a Huntington Art Fellow at Caltech. Her work has been featured in the New York Times, Los Angeles Times, Images Magazine, FOAM, San Francisco Chronicle, Asia-Pacific Journal, Photo-Eye, and Actuphoto: Actualite Photographique, among other publications. She lives in Irvine, California with her epidemiologist husband Dr. David Richardson, two children, a dog and a cat.
Nov 7 – Nov 18, 2022
Flora Kao’s Window Dressing installation, Witness, is an investigation of memory and longing thru physical rubbings of site. Exploring touch and bodily knowledge, Witness records the natural topography of places where the artist sought solace during times of intense emotional turmoil and grief. In the expansive rhythm of garden stones and the tenacious beauty of mussel-covered boulders, she found safe harbor. Large gestural rubbings of the sites anchor these moments of psychological intensity, bearing witness to perseverance and rebirth in the face of catastrophic loss and change. Like the rocks they record, these meditative drawings capture the memory of a place. A large-scale 6’x18’ colored rubbing from Descanso Gardens stretches across the gallery display’s long wall, while a smaller 6’x6’ rubbing of mussel-covered boulders in Malibu cover the short wall. Assorted rocks accumulated over a lifetime are arranged on the floor in front of the wall drawings on a third rubbing taken from Las Piedras Beach. By working across these multiple ecosystems, Witness compresses the artist’s experience of space and time into an evocative installation reflecting on the very meaning of place. What is knowledge? How does the body come to know a place? What does it mean to feel and press against every bump on a boulder and to take its imprint away with you? To touch each crevice, to translate texture through one’s body, to make an imprint of a surface as it registers at a moment in time. What happens when you combine the residue of remembrance from disparate sites?
Working in installation and painting, artist Flora Kao explores the poetics of human relations with the environment, examining various forms of architecture and technology by transforming everyday structures into systems of beauty. Kao holds a MFA from UC Irvine in Studio Art, a BFA in Painting from Otis College of Art and Design, and a BA in Environmental Science and Public Policy from Harvard College. In Los Angeles, Kao has exhibited solo at Pasadena Museum of California Art, Commonwealth and Council, Gallery 825, Art-merge LAB, HAUS Gallery, the LA Art Show, and the UC Irvine University Art Gallery. Kao’s work has also been featured at Intersection for the Arts in San Francisco, Emily Harvey Foundation in New York, Infernoesque in Berlin, and at various Southern California venues including Torrance Art Museum, Irvine Fine Arts Center, City of Brea Gallery, National Center for the Preservation of Democracy, Culver Center for the Arts, LAXART, See Line Gallery, Edward Cella Art & Architecture, Beacon Arts Building, Phantom Galleries, West LA College, California State University Long Beach, and La Sierra University.
Gloria Gem Sanchez
Nov 21 – Dec 2, 2022
Gloria Gem Sanchez’s Window Dressing installation, Reciprocity, is inspired by Pan-Indigenous ways of life, as well as the ecological theories presented in Robin Wall Kimmerer’s influential book, Braiding Sweetgrass. An interdisciplinary and multimedia installation, Reciprocity incorporates site-specific natural elements and images that convey the beauty and gratitude of the earth and all the living beings around us, including the animals, the plants, and the elemental powers of fire, air, water, and earth. The items and images, printed using the early photographic cyanotype process, are arranged into a circle, a common and sacred shape that is frequently integrated into Pan-Indigenous ceremony, spirituality, and worldview - alluding to our interconnectedness and the ongoing cycles found in all life. In the center of the cyanotype circle is a simple braid of sweetgrass, while underneath lay candles, a bowl of water, and flowers to represent fire, water, and earth. Feathers are mounted near the upper sides of the cyanotype circle to represent air. This is, in effect, a small altar. On either side of the circle are two photographs of the artist - from a series inspired by Mindanao/Filipinx folklore known as the Sarimanok. This bird-goddess manifests as a "twin-spirit," composed of two parallel identities: Inikadowa and Itotoro, the seen and unseen; one of the earthly plane and the other from the sky realm. These images are present in order to represent our physical connections to both the earth and the sky, as well as the importance of our spiritual connection to our Ancestors, particularly their traditional ways of mindfulness and earth stewardship. Sheer fabric runs down the wall to the floor, meeting with more fabric that forms a metaphorical river made from hand dyed cotton with mixed fibers resonating with the hues and values of watery blue. Around the corner, a second altar sits, echoing the first. At the center, a photograph shows the back of the artist’s head, her hair in a braid, representing unity with all things, heeding the popular Indigenous knowing/saying, “All My Relation / We Are All Related.” Hair, in particular, is significant here, alluding to memory and growth; encouraging all to develop positive relations with all our living relatives, and not just the human ones. Positioned in front of this image sits a golden assemblage made from four walis tambo (the Filipinx name for a grass broom) of palm and guava leaves. Titled Linisin: Limpia (which translates to “Cleanse: Cleanse”), this sculpture again highlights our personal responsibility to heal, to begin our own limpias, our own cleansing, in order to be better relatives on, and to, this earth. While inspired in large part by the artist’s own Xicanx-Filipinx background, the period of the exhibition’s display also intersects with a popular American celebration mythologized around the concepts of gratitude and reciprocity, though one forever problematized by the horrific histories of genocide and environmental exploitation that both predate, and follow from, its origin story. With that in mind, it becomes all the more relevant and urgent to heed the installation’s powerful message of healing and thanksgiving.
Working and residing in the Harbor Area / South Bay of Tovaangar (Los Angeles), Gloria “Gem” Sanchez earned a Bachelor of Fine Arts in Drawing and Painting with a minor in Art Education from Cal State Puvungna (Long Beach) in 2014. She is a Xicana-Filipina American interdisciplinary artist, arts facilitator, and emerging curator that works in fibers, installation, drawing, and painting. Her recent work combines sculpture and weaving to create a fusion of natural and contemporary materials inspired by memories, stories, dreams, and motifs gathered from her hybrid cultural identities, spiritual cosmologies, and decolonial way of life. Gloria has worked within the local and broader Tovaangar (Los Angeles) community over the years to generate grassroots art actions, as well as participate in events that focus womxn’s rights and abolition. Gloria is an active member of FA4 Collective, which runs as an informal CSULB alumni association and works together to facilitate art shows, residencies, community engagement, as well as to maintain a supportive space to help each other develop as artistic professionals and cultural producers. She is an alumni and affiliate of Slanguage Studio founded by Mario Ybarra Jr. and Karla Diaz, Wilmington’s first artist run space. She is a Board Member of Angels Gate Cultural Center and is on the Core Committee of the Many Winters Gathering of Elders that takes place on Xaraashnga (Angels Gate Cultural Center), a Native-led grassroots cohort that brings together Native American Elders from across Turtle Island to share Medicine and Ancestral Knowledge with an emphasis on ceremony and collective healing. Gloria has exhibited work at Los Angeles Municipal Art Gallery, Tiger Strikes Asteroid, Tin Flats, Luna Anais Gallery, Angels Gate Cultural Center, FAR Bazaar at Cerritos College, Downtown Art Center Gallery, Pasadena City College, LA><ART, Museum of Latin American Art, Los Angeles Water School, Consulado Mexicano de Los Ángeles, Mini Art Museum, MOCA Geffen Plaza, El Comalito Collective, Pintados Philippine Art Gallery, Flux Art Space, LeiMin Space, Angel City Brewery,Machine Studio, and ArtShare LA.
IM LATE TO THE PARTY BUT IM ALWAYS ON TIME
Dec 5 – Dec 16, 2022
Philip Košćak uses their memory of Kermit the Frog to explore various aspects of their own identity, including race, gender, and sexuality. By multiplying these figures through many different iterations, they represent concurrent related personas: sometimes, as self-reflection; sometimes, as friend, and, sometimes, as lover. For their Window Dressing installation, im late to the party but im always on time, these iterative figures fill the entire space of the gallery display. Playful gestures abound, as each painted, freestanding, human-sized frog-person expresses itself through unique poses and postures. Some figures are flying, some embrace, some are sexy (but not too sexy). While the installation loosely resembles a storefront display, these figures are not here to sell anything in particular; the drawings are props and the figures are here to perform.
Philip Košćak’s research and work investigates race, gender, sexuality, and memory. They hold a BA in Art and an MA in Visual Art from California State University, Northridge. In 2017, they received their MFA in Sculpture from Cranbrook Academy of Art and the following year was a visiting fellow at the Vermont Studio Center. Košćak’s work has been exhibited at Mata Gallery (in partnership with Avenue 50), Angel’s Gate Cultural Center, the Torrance Art Museum, PAM Residencies, George Caleb Bingham Gallery, ESXLA, GLAMFA, Forum Gallery, and the Cranbrook Art Museum.
Artists: Jacqueline Bell Johnson, Dakota Noot, Diane Williams, Paula Goldman, Henderson Blumer and Suzanne Zoe Joskow, John Waiblinger and Sean Yang, Cat Chiu Phillips, Christy Roberts Berkowitz, Elizabeth Tinglof, Connie DK Lane
Artists: Karim Shuquem, Ismael de Anda III, Luciana Abait, Chet Glaze, Marval A Rex, Adrienne Cole, and Dawn Ertl
SPRING 2020 | FALL 2021
Artists: Badly Licked Bear, Molly Schulman, Jody Zellen, Caroline Clerc, Christopher Anthony Velasco, Michele Jaquis, Juan Gomez, Jason Jenn, Heimir Björgúlfsson, Xavier Cázares Cortéz