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"I am interested in jumping.
I am interested in the Kierkegaardian leap to faith.
I am interested in change without change.
I am interested in the way ideology functions.
I am interested in the power of the uselessness of art.
I am working on my killer crossover.
I am working on letting the game come to me.
I am working on jumping higher.
I am working on jumping with more faith.
I am working on believing.
I am trying to work harder.
I am trying to work faster.
I am trying to be intuitive.
I am trying to be sincere.
I am trying to own it."
Joshua Bienko graduated with distinction from the Lamar Dodd School of Art at the University of Georgia in 2008. He is a Hambidge Residency Fellow and is currently shortlisted for the International Artist in Residency at Artpace in San Antonio, Texas. He was the 2009 Tanne Foundation Award recipient and was awarded the Academy of Visual and Performing Arts Grant from Texas A&M University in 2010. His work has been exhibited nationally and internationally in cities including Kansas City, Houston, San Antonio, Chapel Hill, at kiosks in the Solomon R. Guggenheim Museum in New York City, Berlin, Bilbao, and Venice (in collaboration with theYouTube Play Biennial), Philadelphia, Sydney, Miami, London, and Atlanta. Themes in his work involve the formation of Guantanamo Bay (Allusion, Illusion, Elusion), Lacanian mathemes, desire and its function (LeCon), the many forms of slavery and oppression (Clean Pair), our role in celebrity culture (Goldilocks), and the power of the uselessness of art (Ever So Much More So). His recent work is a meditation on basketball, basketball sneakers, hope, and sincerity.
The work of Rubens Ghenov lies at the intersection of fact and fiction where painting, storytelling and sound comprise the preponderance of his work. Both their vernacular and potential inexorably constitute the architecture of his praxis. As an immigrant turned naturalized citizen, Ghenov has become accustomed in localizing the past and the present in this precarious juncture where fact coupled with memory compose fiction. Within this nebulous triad, the work takes its form attempting to procure a form of poetry where all interests collide, conflate and concoct a work where the familiar assimilates and deliquesces into the abstract, and vice versa. A metabolism where fact slowly coalesces with or into fiction and the latter disassembles itself in verisimilitude and the invented. The vocabulary of self portraiture, still life and abstraction amalgamate, although remaining somewhat undissolved in the work to form another type of idiom, a kind of broken bilingual language.
Rubens Ghenov was born in São Paulo, Brazil and immigrated to the US in 1989. He received his MFA from Rhode Island School of Design (RISD) in 2010. Ghenov has shown nationally in both solo and group exhibitions at Morgan Lehman Gallery (NY), Geoffrey Young Gallery (MA), TSA Brooklyn (NYC), Woodmere Art Museum (PA), and the Philadelphia Museum of Art (PA). In 2013, he co-curated with Dona Nelson the 72nd Annual Juried Exhibition at the Woodmere Art Museum. Ghenov has been featured in The Village Voice, Bomb Magazine, Title Magazine and the Philadelphia Inquirer.
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"I paint within the rich tradition of landscape painting and the many ways in which environments are experienced and expressed. I have found that working in series offers me the opportunity to explore an image/idea both individually and within a group of related works. A painting of an image on its own has a certain intimacy, but placed in proximity with other related paintings it becomes an integral part of a new form, new language, new identity, new meaning.
Painted streetlights are transformed into artificial moons in a micro cosmos leaving pools of concentrated light on roads and foliage. The invert paintings reverse night, not into day, but into a strange and alien universe where ordinary streetlights are converted into glowing blue planets. The grid of fifty contrail paintings explores the abstract in contemporary landscape: artificial, geometric clouds that create a variety of transitory graffiti.
The "Collection/Re-Collection" project recreates and analyses in paint the historic artifacts that my amateur archeologist father spent years collecting and displaying in our home. It is both a recollection of him and an extended still life giving new life to the objects.
Defining landscape in all its manifestations provides a refreshing opportunity for discovery, exploration and interpretation of both the historical context of the genre and my personal sense of place and belonging."
Marcia Goldenstein received her MFA degree in Painting and Drawing from the University of Nebraska. She has been a visiting artist at the National Academy of Fine Arts, Bratislava, Slovakia; Sichuan University, Chengdu, China; Beihang University, Beijing; the University of Texas, San Antonio; Arizona State University, Tempe, University of Indianapolis; and other universities, schools and museums. She has also attended residencies in China and the UK. Her works have been in numerous solo and group exhibitions in the United States, Europe and China. She is represented in permanent collections at the Joslyn Museum, Omaha, NE; Institute for Great Plains Studies, Lincoln, NE; Knoxville Museum of Art, Sioux City Art Center, Arkansas Art Center, Hallmark, Kansas City, and many other museum, corporate and private collections.
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"My work is based in an eclectic aesthetic. My paintings extract elements from the high and low of visual culture. This culture and crush of images is in constant flux. My paintings hold no single allegiance, but are constantly shifting from one form of representation to another. The paintings function as sources of both inductive and deductive image making processes. In our day-to-day life, one is seldom afforded the time to comprehend what one is viewing under the barrage of images produced by humankind. I try to grasp a single moment, a glance, a small epiphany. The paintings are haptic documents of these remnants of communication as each one follows its trajectory."
Jered Sprecher received his MFA from the University of Iowa. Sprecher has had solo exhibitions at Jeff Bailey Gallery in New York, Wendy Cooper Gallery in Chicago, Steven Zevitas Gallery in Boston, Kinkead Contemporary in Los Angeles, and the Art Gallery of Knoxville. His work has been included in exhibitions at venues such as The Drawing Center, Brooklyn Academy of Music, Urban Institute for Contemporary Arts, Indiana University, Irish Museum of Modern Art, and the Knoxville Museum of Art . Sprecher has participated in the Artist Residence Program at the Irish Museum of Modern Art, Dublin and the Marie Walsh Sharpe Space Program in New York. In 2009, he was the recipient of a John Simon Guggenheim Memorial Foundation Fellowship.
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"I tell stories about women, inspired by paintings, photographs, magazines, posters, YouTube clips, literature, performance and plays. My paintings are like episodes in an unconventional romantic comedy with myself cast as the heroine, writer and director. The scenes depict my fantasies and secret desires. They explore the act of watching and being watched and blur fiction with reality.
The paintings are constructed like Victorian photocollages. Placed in a new space, the appropriated images are transformed. The settings are skewed, tipped and condensed. The linear perspective of in-person observation is abandoned.
My work mythologizes and deconstructs mediated images of women. I am interested in how femininity is portrayed. The historical, folkloric, and contemporary female characters of my paintings act as both subject and viewer. My work has no heroines or victims. Rather, it indulges in the gratuitous pleasures of youth, beauty, sex, and fantasy.
Claire Stigliani received her MFA from the University of Wisconsin Madison in 2010. She as recently helped organize the drawing symposium DRAW2014:WHY Draw Now? at Carnegie Mellon University. She is a consultant with the Disney Haptics research group. She has participated in solo and group exhibitions at The Madison Museum of Contemporary Art, The Chazen Museum of Art, Madison, (WI), The Dean Jensen Gallery, Milwaukee, (WI), RussellProjects, Richmond (VA), and the Jenkins Johnson Gallery (NY).
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Using unconventional materials and approaches, including collaboration and performance, David Wilson creates large temporary artworks, videos, and drawings. Wilson has shown his work internationally at Kunsthalle Basel and Kunstlerhaus Boswil in Switzerland, the Experimental Art Foundation and Performance Space in Australia, the Robert McDougal Gallery in New Zealand, and the Center for Icelandic Art, Reykjavik. He has had solo exhibitions in the United States including at the Southeastern Center For Contemporary Art, Old Dominion University, Auburn University, the Florida Center for Contemporary Art, and the Dietrich Jenny Gallery. His group exhibitions venues include the Nexus Contemporary Art Center, Spaces Art Gallery, The Mint Museum, Cheekwood Fine Arts Center, the University of California (San Diego), and Wake Forest University.
Wilson's videos were selected for the Dallas Video Festival, the Sydney Underground Film Festival, Australia, the DigiFestival, Florence, Italy (juror's special recognition) , and the Alternative Film and Video Festival, Belgrade, Serbia (award of significant achievement).
Wilson's artwork has been featured in periodicals such as Schweizer Kunst and Art Papers and reviewed in newspapers including the Los Angeles Times and Newsday. Wilson has been artist-in-residence at the International Artist Exchange, Basel, Switzerland, SIM, Reykjavik, Iceland, and the Academy of Fine Art, Bratislava, Slovak Republic. He has also designed sets for the National Theater of the Deaf Children's Theater that toured the U.S.
Wilson received his M.F.A. from the University of California at San Diego where he studied with Allan Kaprow, Italo Scanga, and Manny Farber.
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