Christian Nze was born and raised in Brazzaville (Congo), before moving to Paris (France). A self-taught photographer, he first became interested in the medium when his brother began taking pictures in Africa with a cheap Eastern European camera. In 1988, Nze began to study photography on his own. He later accepted a post as photographer at The Salpetriere Hospital in the neurological research laboratory. MORE>>>

Alberto Aguilar

As a teenager I would look at past pictures of my childhood and family and start to cry. While in art school I was fascinated in work created by artists in their old age or near death. As a young adult I have moved away from working in isolation within a studio setting and using a specialized medium.

My work is autobiographical with a universal end. We all live, we are all moved, we all die. Through it I capture moments of inspiration that occur at any given time, under any given circumstances. I strive to retain a sense of youthfulness and play in my work, in an effort to slow down my own fleeing youth. MORE>>>

Noelle Mason

In my trans-disciplinary practice I conceptually employ electronics, video, sculpture, installation, painting, photography, and craft to investigate the subtle seductiveness of power facilitated by systems of visual control. I am primarily interested in the artificial means by which we extend our ability to see and the mediating object’s affect on the transmission of images to affirm social and political hierarchies.. MORE>>>

Irene Perez

My work is the product of combining preconceived ideas and materials through the use of a variety of creative processes. The resulting imagery and materiality takes many forms – objects, works on paper, fiber pieces, and installations, each one adapting to both content and concept. Being an artist is a combination of being a thinker and an explorer. I am intrigued by the world as a physical space and as an experiential place. I make art to explore, analyze, and ultimately reconstruct and understand the world. Place, perception, cultural identity, and language are some of the ideas at the core of my artistic investigations. MORE>>>

Albert Stabler

Art class understood as a nebulous ameliatory shadow-zone has a lot to do with fine art, and its recent historical trajectory. Collecting fine art remains a duty for a dwindling aristocracy, and a trophy hunt for the money-laundering nouveau-riche, but its larger purpose in the culture has come to be formed in an arena fenced in by the professional discourses of academia, the taste-crafting marketing elite, and the reputation economics of semi-public cultural cathedral. MORE>>>

Patrick Lichty

For a long time, I have been fascinated with "obsolete spaces", or places that have fallen into disuse or been destroyed for the same reason. This includes the Hulett Ore Loaders near Cleveland, the Adak Naval base in Alaska, and now the recently dismantled Berwyn Spire. These represent the loss of certain parts of American identity in a society that is obsessed with the "new". MORE>>>

Lindsay Grace

My photography celebrates the continuity of play and work in multicultural island communities. Many of my photographs are taken in West Africa, South Asia, Central America, and the Caribbean using 35mm film or digital photography. All of the photographs are displayed as they were originally taken from the moment; no subjects are posed, no alterations are made after the shutter closes. MORE>>>

SuperKonductor

SuperKonductor is the silk-screen printing business of illustrator / designer David Head and writer Jen Hazen. I began silk-screening rock posters six years ago for friends’ punk bands in Chicago and have progressively expanded my portfolio to include posters for well-known indie acts such as The Fiery Furnaces, Black Lips, and Explosions in the Sky, among others. MORE>>>

Anya Liftig

These images are really details from a much larger ongoing studio/installation environment that is an autobiographical toyshop of sorts. For the past three years, I have been occupied with literally “re collecting” the objects of my youth from thrift stores, churches, dollar stores, dumpsters, garbage cans and the like in an effort to recombobulate memory. MORE>>>

Jessica Westbrook

I work with photography, video, motion, semiotics, language, and information design. My projects explore desire, cues, cultural artifacts, and contradictory sensations that vacillate between perception and truth, trust and suspicion, pleasure and poison, domination and submission, consumption and rejection, seduction and repulsion, comfort and friction, expectation and disappointment, fortune and catastrophe. Increasingly semantic in nature and modular in form, I consider my work a section of visual language culled from a complex matrix of assets, reconfigured and repurposed per space and time. MORE>>>

Evan Miller

In my recent drawings, I have been working to achieve a particular sort of harmony between simplicity and complexity. By focusing on one singular tool such as a pen or pencil, the process of assembling one of my drawings almost becomes meditative. While the line itself strives for a sort of elegant intricacy, the use of color (or complete lack thereof) is intended to unify the image as one simple composition. MORE>>>

Crystal Wagner

I follow in a long tradition of artists working with ideas about the metaphysical world, about the greater human experience, and about the underlying biological capabilities of our perceptive knowledge. At my core, I am a relativist. I value the phrase, truth relativism, as it relates to the doctrine stating that there are no absolute truths and I appreciate the fickle and abstract nature of knowledge. I often refer to the 20th century philosopher, Michael Oakshott, and a quote by him that communicates his comprehension of the human experience. He explains that, “Human beings are what they understand themselves to be; they are composed entirely of beliefs about themselves and about the world they inhabit.” MORE>>>

Candace Briceño

Amelia Winger-Bearskin

"Shhhp, shhhp." "Baaaaaa, that'll be the day/Ohhh." "Ahh ahh." These quotations might seem unfamiliar and even a bit strange, but you have heard them before. They are repeated every day on oldies stations across the nation, but we are more familiar with their lyrical counterparts: "Cupid draw back your bow," "Well that'll be the day/When you say goodbye," and "There's nothing I can do to keep from crying when he calls your name, Jolene. MORE>>>