James Webb

b. 1975 Kimberley, South Africa                      
Resides in Cape Town

www.theotherjameswebb.tumblr.com

James Webb, There’s No Place Called Home (Installation View for Prospect.4), 2017 photo by Sofia Ekstrom

James Webb, There’s No Place Called Home (Installation View for Prospect.4), 2017
photo by Sofia Ekstrom

James Webb (1975) is a South African artist based in Cape Town. His work, framed in large-scale installations in galleries and museums, or as unannounced interventions in public spaces, often makes use of ellipsis, displacement and détournement to explore the nature of belief and the dynamics of communication in our contemporary world. Webb’s practice employs a variety of media including audio, installation and text, referencing aspects of the conceptualist and minimalist traditions, as well as his academic studies in advertising, comparative religion and theatre. Webb has presented his work around the world at institutions such as Wanås Konst in Sweden, the Yorkshire Sculpture Park, U.K., and the Darat al Funun in Jordan, as well as on major international exhibitions such as the 13th Biennial of Sharjah (2017), 12th Bienal de la Habana (2015), 55th Biennale di Venezia (2013), the 3rd Marrakech Biennale (2009), the 2009 Melbourne International Arts Festival and the 8th Biennale d’Art Contemporain de Lyon (2007). 

Recent projects include La Syzygie, a multi-dimensional reading of the Théâtre Graslin in Nantes, and the creation of Prayer (Stockholm) for Historiska, Stockholm (both 2016). In 2017 Webb participates in Tamawuj, the 13th Sharjah Biennale curated by Christine Tohme, Afriques Capitales curated by Simon Njami at La Villette, Paris, and presents his first major work for radio, The War Of The Worlds, as part of Every Time A Ear Di Soun, curated by Bonaventure Soh Bejeng Ndikung and co-curated by Marcus Gammel for documenta 14.

Jeff Whetstone

b. 1968 Chattanooga, TN
Resides in Princeton, NJ

www.jeffwhetstone.net
www.saulgallery.com

Jeff Whetstone was born in Chattanooga, Tennessee and entered Duke University as a Mathematics major. He describes his long arc from the Sciences to Art as an effort to complete a circle. After graduating with a Bachelor of Science in Zoology and a certificate in Film Studies, Whetstone took a position artist-in- residence at Applashop, a documentary arts co-op in the coalfields of Eastern Kentucky. Whetstone joined the Princeton Faculty as Professor of Photography in 2015, and lives in Princeton with his wife, Stephanie, a writer. They have two teen-aged sons, a hound dog, and several reptiles.

Jeff Whetstone’s photographs investigate the role gender, geography, and heritage play in defining the human position in the natural world. Over the course of his academic career, Whetstone has been the recipient of numerous prizes, including a Guggenheim Fellowship in 2007. Whetstone’s work has been exhibited internationally and has received reviews in The Village Voice, the New York Times, the New Yorker, and the Los Angeles Times. Whetstone earned his M.F.A. from the Yale School of Photography in 2001, where he was the recipient of the George Sakier Prize for Photography.

Jennifer Odem

b. 1962 New Orleans, LA
Resides in New Orleans, La 

www.jenniferodem.com                                                                                                

Jennifer Odem Rising Tables, 2017  Installation view at Crescent Park, Prospect.4: The Lotus in Spite of the Swamp

Jennifer Odem
Rising Tables, 2017
 Installation view at Crescent Park, Prospect.4: The Lotus in Spite of the Swamp

 Jennifer Odem is a New Orleans based artist with a specific focus on investigations in sculpture, drawing and site-specific work. Odem’s most recent projects combine the environmental and social aspects of both natural and domestic elements. Motivated by geologic formations, architecture, textiles and found materials, the work explores issues of landscape and home. While factors such as weight, volume, and materiality resonate within the sculptures, there is an underlying element of absurdity and contradiction that speaks to gender issues, human relationships, and our connection to the environment.

Odem’s recent solo exhibitions include, “Map and Territory, Sternsstudio in Vienna, Austria (2016), “Falling From Sleep” at 511 Gallery, NY, Interpretations: House and Universe, Sculpture and Drawing at Carroll Gallery and "A Discourse in Abstraction: Jennifer Odem and NOMAs Permanent Collection." New Orleans Museum of Art, curated by Miranda Lash. Other recent exhibitions include, Paper Route 66 at BravinLee Programs, NY, “A Building With A View”: Experiments in Anarchitecture curated by Andrea Andersson, Ph.D., The Helis Foundation Chief Curator of Visual Arts, Louisiana Contemporary Artists, LSU Museum of Art.

Odem has participated in exhibitions and residencies throughout the United States and Europe, including projects in Vienna, Austria, Dublin, Ireland, London, England, and The Center for Polish Sculpture in Oronsko, Poland. Odem has also been the recipient of several awards and fellowships including the Joan Mitchell Foundations New Orleans Career Opportunity Grant in 2009, The Center for Land Use Interpretation, grant and residency, Silver Circle Sculpture Award, Contemporary Arts Center, New Orleans Museum of Art Sculpture Garden Honoree. Her artwork has been featured and included in many publications including Sculpture Magazine, ARTnews, Frieze Magazine and Playa Works: The Myth of the Empty, written by William L. Fox and published by University of Nevada Press. This summer Odem will be working in the 7th Ward of New Orleans on a site-specific, public work which has been funded by a 2017 Platforms Grant.

Jennifer Odem,  Study for Tables  2017, Mixed media on paper

Jennifer Odem, Study for Tables 2017, Mixed media on paper

Jillian Mayer

b. 1984 Miami, FL
Resides in Miami, FL 

www.jillianmayer.net
www.davidcastillogallery.com                                                                                    

Jillian Mayer (Florida, USA) is an artist that makes work that explores how technology affects our identities, lives and experiences. Through videos, online experiences, photography, telephone numbers, performance, paintings, sculpture and installation, her work investigates the tension between physical and digital iterations of identity and existence. Her video works and performances have been premiered at galleries and museums internationally such as MoMA, MoCA:NoMi, BAM, Bass Museum, the Contemporary Museum of Montreal with the Montreal Biennial, the Guggenheim Museum and film festivals such as Sundance, SXSW, and the New York Film Festival and has been featured in art publications such as Art Papers, ArtNews and ArtForum. Mayer is a recipient of the Creative Capital Fellowship, the South Florida Cultural Consortium’s Visual/Media Artists Fellowship, Cintas Foundation Fellowship, and was named one of the “25 New Faces of Independent Film” by Filmmaker Magazine. She is also a fellow of the Sundance New Frontiers Lab Program, a recipient of a Harpo Grant and the Zentrum Paul Klee Fellowship in Bern, Switzerland. Mayer often collaborates with filmmaker Lucas Leyva and helps run the Borscht Corporation, a non-profit film collaborative, production company, and film festival. Recent solo shows include Perez Art Museum Miami, David Castillo Gallery and LA><ART.

John Akomfrah

b. 1957 Accra, Ghana
Resides in London

http://www.lissongallery.com/

Precarity by John Akomfrah, courtesy Smoking Dogs Films

Precarity by John Akomfrah, courtesy Smoking Dogs Films

John Akomfrah is a hugely respected artist and filmmaker, whose works are characterised by their investigations into memory, post-colonialism, temporality and aesthetics and often explore the experience of the African diaspora in Europe and the USA. Akomfrah was a founding member of the influential Black Audio Film Collective, which started in London in 1982 alongside the artists David Lawson and Lina Gopaul, who he still collaborates with today. Their first film, Handsworth Songs (1986) explored the events surrounding the 1985 riots in Birmingham and London through a charged combination of archive footage, still photos and newsreel. The film won several international prizes and established a multi-layered visual style that has become a recognisable motif of Akomfrah’s practice. Recent works include the three-screen installation The Unfinished Conversation (2012), a moving portrait of the cultural theorist Stuart Hall’s life and work; Peripeteia (2012), an imagined drama visualising the lives of individuals included in two 16th century portraits by Albrecht Dürer and Mnemosyne (2010) which exposes the experience of migrants in the UK, questioning the notion of Britain as a promised land by revealing the realities of economic hardship and casual racism. 

In 2015, Akomfrah premiered his three-screen film installation Vertigo Sea (2015), that explores what Ralph Waldo Emerson calls ‘the sublime seas’. Fusing archival material, readings from classical sources and newly shot footage, Akomfrah’s piece focuses on the disorder and cruelty of the whaling industry and juxtaposes it with scenes of many generations of migrants making epic crossings of the ocean for a better life. Shot on the island of Skye, the Faroe Islands and the Northern regions of Norway, Vertigo Sea has as its narrative spine two remarkable books: Herman Melville’s Moby-Dick (1851) and Heathcote Williams’ epic poem Whale Nation (1988), a harrowing and inspiring work which charts the history, intelligence and majesty of the largest mammal on earth. 

Akomfrah (born 1957, Accra, Ghana) lives and works in London. He has had numerous solo exhibitions including Nikolaj Kunsthal, Copenhagen, Denmark (2016); Arnolfini, Bristol, UK (2016); Bildmuseet Umeå, Sweden (2015); Eli and Edythe Broad Art Museum, Michigan, USA (2014); Tate Britain, London, UK (2013-14) and a week long series of screenings at MoMA, New York, USA (2011). His participation in international group shows has included: 'British Art Show 8', Leeds Art Gallery, Leeds, and touring throughout the UK (2015-2016); ‘All the World’s Futures’, 56th Venice Biennale, Italy (2015); ‘History is Now: 7 Artists Take On Britain’, Hayward Gallery, London, UK (2015); ‘Africa Now: Political Patterns’, SeMA, Seoul, South Korea (2014); Sharjah Biennial 11, Sharjah, United Arab Emirates (2013); Liverpool Biennial, UK (2012) and Taipei Biennial, Taiwan (2012). He has also been featured in many international film festivals, including Sundance Film Festival, Utah, USA (2013 and 2011) and Toronto International Film Festival (2012). 

John T. Scott

b. 1940 New Orleans, LA
d. 2007 Houston, TX

www.arthurrogergallery.com

John Scott,&nbsp;Cathedral, 2003 Woodcut print, Edition of 10,&nbsp;60 x 40 inches Courtesy Arthur Roger Gallery

John Scott, Cathedral, 2003
Woodcut print, Edition of 10, 60 x 40 inches
Courtesy Arthur Roger Gallery

John Scott is best known for creating vibrantly colored, dynamic artworks across many media, particularly print and kinetic sculpture. Throughout his career, he created work that solidified the elusive feel of New Orleans and the historical and spiritual influence of its rich culture and musical heritage. Christian imagery was predominant in his early work, followed by a focus on African, African-American, Caribbean and Creole cultures. His work has been referred to as “optical jazz,” evoking the spirits of music and dance. John Scott was born in New Orleans in 1940 and raised in the Lower Ninth Ward. He attended Xavier University of Louisiana where he received a B.A. in 1962. He went on to earn an M.F.A. from Michigan State University in 1965. He later returned to New Orleans as a Professor of Fine Arts at Xavier, where he was an influential and inspirational teacher for 40 years. He also exhibited throughout the United States and internationally. In 1992, he was a recipient of the prestigious John D. and Catherine T. MacArthur Foundation “Genius” Grant. He received an honorary Doctor of Humanities from Michigan State University in 1995 and a Doctor of Humanities from Tulane University in 1997. He passed away in Houston, Texas in September 2007.

Jon-Sesrie Goff

b. 1983 Hartford, CT                                                                                                           
Resides in Washington, D.C

www.aftersherman.com

Jon-Sesrie Goff is a filmmaker, multi-media artist, photographer and educator. His work explores identity through the image of the community. Goff has offered his lens to the recently released and award winning documentaries including, Out in the Night (POV, Logo 2015), Evolution of a Criminal(Independent Lens 2015), The New Black (Independent Lens 2014) among other projects across genres and he’s travelled extensively as a documentary photographer. Goff is the 2016 recipient of the Southern Foodways Alliance John Egerton Prize for his body of work that addresses social and environmental justice, through the lens of food. He is in the final stages of production for his documentary feature directorial debut After Sherman.

Goff studied sociology and economics at Morehouse College before completing his undergraduate studies at The New School and received his MFA from Duke University in Experimental and Documentary Arts. 

In addition to his filmmaking and personal practice, Jon-Sesrie is currently the Museum Specialist for Film at the Smithsonian National Museum of African American History and Culture.

Kader Attia

b. 1970 Paris, France
Resides in Berlin, Germany and Algiers, Algeria

http://kaderattia.de/
http://www.lehmannmaupin.com/artists/kader-attia

 

Halam Tawaaf , 2008 image Courtesy the artist and Lehmann Maupin New York and Hong Kong

Halam Tawaaf, 2008
image Courtesy the artist and Lehmann Maupin New York and Hong Kong

Kader Attia (b. 1970, Dugny, France; lives and works in Berlin and Paris) grew up in Algeria and the suburbs of Paris. Drawing from his experience of living within two disparate cultures, he has developed a dynamic practice that examines the intricacies of social, historical, and cultural differences across the globe. Attia’s installations and sculptures offer a poetic yet highly explicit reading of the relationships between Western and non-Western cultures. Through complex investigations of architecture, the human body, literature, and history, Attia demonstrates how individual and cultural identity is constructed within the context of colonial domination and conflict. Using artifacts, discarded quotidian objects, and wartime ephemera, Attia transforms the space of the gallery into one of introspection, allowing the viewer to become aware of the complicated and often inaccurate depiction of our multiple histories. Attia believes that through this type of reappropriation, disparities between superior/inferior, traditional/modern, and exotic/familiar can begin to dissolve.

Attia has received degrees from Ecole Supérieure des Arts Appliqués Duperré, Paris, France in 1993, La Escola Massana Arte i Disseny, Barcelona, Spain in 1994, and Ecole Nationale Supérieure des Arts Décoratifs, Paris, France in 1998. Solo exhibitions of his work have been organized at the Museum of Contemporary Art, Sydney, Australia (2017); Mary & Leigh Block Museum of Art, Northwestern University, Evanston, IL (2017); Museum für Moderne Kunst, Frankfurt am Main, Germany (2016); Musée Cantonal des Beaux Arts, Lausanne, Switzerland (2015); KW Institute for Contemporary Art, Berlin (2013); Whitechapel Gallery, London (2013); Musée d’Art Moderne de la Ville de Paris (2012); Institute of Contemporary Art, Boston, MA (2007); and Musée d’Art Contemporain de Lyon, France (2006). Select group exhibitions featuring his work include Foreign Gods: Fascination Africa and Oceania, Leopold Museum, Vienna (2016); But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa, Solomon R. Guggenheim Museum, New York (2016); Picasso in Contemporary Art, Deichtorhallen, Hamburg, Germany (2015); The Divine Comedy: Heaven, Purgatory, and Hell Revisited, The Smithsonian Museum of African Art, Washington, DC, and traveled to SCAD Museum of Art, Savannah, GA, and Museum für Moderne Kunst, Frankfurt am Main, Germany (2014- 2015); Here and Elsewhere, New Museum, New York (2014); Performing Histories, The Museum of Modern Art, New York (2012); and Contested Terrains, Tate Modern, London, United Kingdom (2011). Attia has participated in multiple biennial exhibitions, including the Marrakech Biennial 4 and 6 (2014 and 2016); 8th and 13th Lyon Biennale (2005 and 2015); dOCUMENTA (13), Kassel, Germany (2012); and 50th and 54th Venice Biennale (2003 and 2011). His work is in numerous international public and private collections, including Centre Pompidou, Paris; Institute of Contemporary Art, Boston, MA; The Colección Jumex, Mexico City; Museum für Moderne Kunst, Frankfurt; The Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; and Tate Gallery, London. Attia was notably the recipient of the 2016 Prix Marcel Duchamp, an award that honors outstanding artists working in France and supports their ongoing practice.

Kahlil Joseph

b. 1981 Seattle, WA           
Resides in Los Angeles, CA

www.the-most.com

Kahlil Joseph is an American artist and filmmaker working in Los Angeles. His previous work includes Until the Quiet Comes, which received widespread critical acclaim and won the Grand Jury Prize for Short Films at the 2013 Sundance Film Festival. The following year, the film was included in Kara Walker’s celebrated exhibit, Ruffneck Constructivists, at the Institute of Contemporary Art in Philadelphia. Joseph’s first solo major museum show, Double Conscience, featured his visually and sonically dynamic double-channel film, m.A.A.d., at the Museum of Contemporary Art in Los Angeles. In 2016, m.A.A.d. was included in Art Basel’s Unlimited exhibition in Switzerland and the popular group show, The Infinite Mix, at the Southbank Centre in London. Concurrently, Joseph was Emmy and Grammy nominated for his direction of Beyonce’s feature length album film, Lemonade. Joseph is a recipient of the 2016 John Simon Guggenheim Memorial Fellowship and 2017 Artadia Award. Currently, Joseph serves as Vice President of the board at The Underground Museum, a vanguard and pioneering independent art museum, exhibition space and community hub in Los Angeles.

Kara Walker

b. 1969 Stockton, CA
Resides in New York, NY

http://www.sikkemajenkinsco.com/

Kara Walker Maquette for  The Katastwóf Karavan, 2017  Laser cut paper 8.75 x 13.125 x 5 inches (22.2 x 33.3 x 12.7 cm) Courtesy of the artist and Sikkema Jenkins &amp; Co., New York Photo: Jason Wyche

Kara Walker
Maquette for The Katastwóf Karavan, 2017
Laser cut paper
8.75 x 13.125 x 5 inches (22.2 x 33.3 x 12.7 cm)
Courtesy of the artist and Sikkema Jenkins & Co., New York
Photo: Jason Wyche

New York-based artist Kara Walker is best known for her candid investigation of race, gender, sexuality, and violence through silhouetted figures that have appeared in numerous exhibitions worldwide. Walker’s first large-scale public project, A Subtlety: Or… the Marvelous Sugar Baby, was displayed at the abandoned Domino Sugar refinery in Williamsburg, Brooklyn during the spring of 2014. Commissioned and presented by Creative Time, the project – a massive sugar covered sphinx-like sculpture – reflected on and responded to the troubled history of sugar. The installation was seen by over 130,000 visitors over the course of 9 weekends that the exhibition was open to the public.

Born in Stockton, California in 1969, Walker was raised in Atlanta, Georgia from the age of 13. She studied at the Atlanta College of Art (BFA, 1991) and the Rhode Island School of Design (MFA, 1994). She is the recipient of many awards, notably the John D. and Catherine T. MacArthur Foundation Achievement Award in 1997 and the United States Artists, Eileen Harris Norton Fellowship in 2008. In 2012, Walker became a member of the American Academy of Arts and Letters.

Walker currently lives and works in New York City and is the Tepper Chair in the Visual Arts at Rutgers University Mason Gross School of the Arts.

Kiluanji Kia Henda

b. 1979 Luanda, Angola
Resides in Luanda, Angola & Lisbon, Portugal

www.galleriafonti.it

Kiluanji Kia Henda, was born in Angola in 1979. He currently lives and works in Luanda. Kia Henda’s interest in visual arts stems from growing up in a household of photography enthusiasts. A link to music and Vanguard theater were part of his conceptual training, as was a collaboration with a collective of artists in Luanda. Kiluanji participated in various residency programs in cities like Venice, Cape Town, Paris, Amman and Sharjah, among others. He also participated in the following selection of expositions: 1st Luanda Triennial, 2007; Check List Luanda Pop, African Pavillion, Venice Biennale, 2007; Farewell to Post-Colonialism, Guangzhou Triennial, 2008; There is always a cup of sea to sail in, 29th São Paulo Biennial, 2010; Tomorrow Was Already Here, Tamayo Museum, Mexico City, 2012; Les Prairies – Les Ateliers of Rennes, 2012; Mondays Begins On Saturday,1st Bergen Triennial, 2013; The Shadows Took Form, The Studio Museum of Harlem, New York City,2013; Producing the Common, Dakar Biennale, 2014; The Divine Comedy, Museum für ModerneKunst, Frankfurt and The Smithsonian Institute, Washington, D.C. 2014; Surround the Audience, New Museum Triennial, New York City, 2015; Museum (Science) Fictions - MUSEUM ON/OFF, Centre Georges Pompidou, Paris, 2016; Fucking Globo II, Hotel Globo, Luanda, 2016 (participated also as a co-curator). In 2012, Kia Henda won the National Culture and Arts Award  given by the Angolan Ministry of Culture, and in 2014, he was selected among the 100 Leading Global Thinkers by Foreign Politics magazine.

Katherine Bradford

b. 1942 New York, NY
Resides in Brooklyn, NY and Brunswick, ME.

www.edwardthorpgallery.com

Night Divers, oil on canvas,  68” x 80”  2013   Private collection, Atlanta, GA.

Katherine Bradford is a painter who lives and works in New York.  Her work has been exhibited widely at venues in the United States and Europe including MOMA PS 1, Brooklyn Museum, CANADA, Sperone Westwater, Edward Thorp, and Cheim and Read and at the Bowdoin College Museum in Maine, the Hall Art Foundation in Vermont, Venus Over LA in Los Angeles, University of the Arts in Philadelphia, Addison Gallery of American Art in Massachusetts, Portland Museum of Art in Maine, Adams and Ollman in Oregon, Smith College Museum in Massachusetts, Weatherspoon Art Gallery in North Carolina, and David Castillo Gallery in Miami as well as galleries in Milan, Berlin, Amsterdam and Copenhagen. Her work is in the collections of the Brooklyn Museum, the Metropolitan Museum, the Portland Museum, the Dallas Museum of Art and the Pennsylvania Academy of Fine Arts Museum. In 2011 Bradford was awarded a Guggenheim and in 2012 a Joan Mitchell Foundation award. She had also received a Pollock Krasner Grant and two awards from the American Academy of Arts and Letters. She is currently a Senior Critic at the Yale School of Art and is represented by CANADA in New York and Adams and Ollman in Portland, OR.

Larry Achiampong

b. 1984 London, United Kingdom
Resides in London

www.larryachiampong.co.uk

Larry Achiampng, Sunday's Best (film still), 2016 4K film Courtesy the Artist

Larry Achiampng, Sunday's Best (film still), 2016
4K film
Courtesy the Artist

Larry Achiampong's solo and collaborative projects employ imagery, aural and visual archives, live performance and sound to explore ideas surrounding class, cross-cultural and post-digital identity – in particular, dichotomies found within a world dominated by social media and digital frameworks.

With the enduring expansion and sharing of information via the Internet, the idea of a one-size-fits-all version of history, as previously dictated, continues to be eradicated. At the heart of this phenomenon lies Achiampong’s increased interest in what new truths or versions become available, the multiple possibilities that are created and maintained in the digital realm and the consequences related to ‘IRL’ or ‘In Real Life’. Achiampong crate-digs the vaults of history, splicing audible and visual qualities of the personal and interpersonal archive-as-material - offering multiple dispositions that reveal the socio-political contradictions in contemporary society.

Achiampong has exhibited, performed and presented projects within the UK and abroad including Tate Britain/Modern, London; dOCUMENTA 13, Kassel; The Institute For Creative Arts, Cape Town; The British Film Institute, London; Modern Art Oxford, Oxford; David Roberts Art Foundation, London; SAVVY Contemporary, Berlin; Bokoor African Popular Music Archives Foundation, Accra; The Mistake Room, Los Angeles; and Logan Center Exhibitions, Chicago.

Achiampong’s recent residencies include Tyneside Cinema, Newcastle; Praksis, Oslo; The British Library/Sound & Music, London; and Wysing Arts Centre, Cambridge. He’s currently artist in residence at Somerset House Studios (London) and is a current recipient of the Artist’s Bursary Scheme with Artsadmin (London). Achiampong will be presenting artwork in the Diaspora Pavillion at the 57th Venice Biennale.

Achiampong (b. 1984, UK) completed a BA in Mixed Media Fine Art at University of Westminster (2005) and an MA in Sculpture at Slade School of Fine Art (2008). He lives and works in London.

Lavar Munroe

b. November 19th 1982, Nassau Bahamas
Works between Germantown MD and Nassau Bahamas.

www.lavar-munroe.com
www.jackbellgallery.com
www.jenkinsjohnsongallery.com

Lavar Munroe,&nbsp; Of the Omens He Had As He Entered His Own Village, and Other Incidents That Embellished and Gave a Colour to a Great History , 2017 Deconstructed Junkanoo costumes, found fabric, bullhorns, beads, rubber, tennis balls, ribbon, mesh, wood, mask, synthetic hair, feathers, and cardboard Image Courtesy of the artist

Lavar Munroe, Of the Omens He Had As He Entered His Own Village, and Other Incidents That Embellished and Gave a Colour to a Great History, 2017
Deconstructed Junkanoo costumes, found fabric, bullhorns, beads, rubber, tennis balls, ribbon, mesh, wood, mask, synthetic hair, feathers, and cardboard
Image Courtesy of the artist

Munroe earned his BFA from Savannah College of Art and Design (2007). He represented the Bahamas at the 2010 Liverpool Biennale. Munroe then went on to earn a MFA from Washington University in St. Louis (2013). He attended Skowhegan School of Painting and Sculpture (2013). Munroe was awarded a Joan Mitchell Foundation Painting and Sculpture Grant (2013). In 2014, Munroe was awarded a Postdoctorial Fellowship from the University of North Carolina at Chapel Hill, where he was later recognized with the Postdoctoral Award for Research Excellence (2015). In 2015, Munroe exhibited in the 56 th Venice Biennale, curated by Okwui Enwezor. He was artist-in- residence at the MacDowell Colony in New Hampshire followed by the Joan Mitchel Center in New Orleans (2015). He participated in the 12 th Dakar bienalle (2016). Munroe was the recipiant of the Josef and Anni Albers Foundation: TREAD Senegal residency (2017). His work has been shown in institutions such as The Mildred Lane Kemper Art Museum, the Orlando Museum of Art, the National Art Gallery of the Bahamas, the Nasher Museum of Art, the Contemporary Art Museum of Raleigh, the SCAD Museum of Art among others.

Louis Armstrong

b. 1901 New Orleans, LA                                                                                                                  
d. 1971 Corona, Queens, NY                                                          

www.louisarmstronghouse.org

LOUIS ARMSTRONG, WELCOME HOME Reel-to-reel tape box collage containing photographs and Scotch tape Image courtesy of the Louis Armstrong House Museum, Queens, New

LOUIS ARMSTRONG, WELCOME HOME
Reel-to-reel tape box collage containing photographs and Scotch tape
Image courtesy of the Louis Armstrong House Museum, Queens, New

Louis Armstrong was born in New Orleans on August 4, 1901. He learned how to play the cornet at the Colored Waif’s Home for Boys after being arrested on December 31, 1912. He dedicated himself to mastering the cornet and became one of the most in-demand musicians in New Orleans. He left his hometown in 1922 for Chicago, joining his mentor King Oliver’s band that summer and making his first recordings the following year. His “Hot Five” and “Hot Seven” recordings of the mid-1920s are known the most influential recordings in the history of jazz.

Armstrong had equal influence as a trumpeter, perfecting the art of the improvised solo, as he did as a vocalist, where he popularized “scat” singing. He began making movies in the 1930s and later became a fixture on radio and television. Beloved around the world, Armstrong became known as “America’s Ambassador of Goodwill.” He had hit records in every decade of his career, including “Blueberry Hill,” “Mack the Knife,” “ Hello Dolly!” and “What a Wonderful World.” He passed away on July 4, 1971. Today, his home is a National Historic Landmark and the site of the Louis Armstrong House Museum.

Maider Lopez

b. 1975 San Sebastian, Spain
Resides in San Sebastian, Spain

www.maiderlopez.com
www.espaciominimo.es

Maider Lopez, Polder Cup,&nbsp;4th September, 2010. The Netherlands. Commissioned by Witte de With Center for Contemporary Art and Skor / Foundation Art and Public Space.

Maider Lopez, Polder Cup, 4th September, 2010. The Netherlands.
Commissioned by Witte de With Center for Contemporary Art and Skor / Foundation Art and Public Space.

Maider López’s interest relays in interrupting norms in space and architecture, inviting us to experience common spaces in novel and potentially rewarding ways. She has exhibited extensively internationally as 51st Venice Biennale, Sharjah Biennial 9, and 13th Istanbul Biennial.

Some of her works include: 1645 Pieces of Chalk, Matadero Madrid (2016); Play Time, 4th Les Ateliers de Rennes Biennial. Rennes. France (2014); Mom, Am I barbarian?, 13 th Istanbul Biennial, Mountain. Lower Austria Contemporany. Austria (2013); Between you and I, Witte de With and Skor, The Netherlands; ISCP, Nueva York (2012); Eclats, Centre Pompidou Metz; Arts Towada, Japón. (2010); Sharjah Biennial 9, United Arab Emirates (2009); SCAPE Christchurch Biennial of Art in Public Space, New Zealand; Line of sight, Zendai Moma Museum, Shanghai; Actions: What You Can Do With the City. Graham Foundation, Chicago and Canadian Centre for Architecture, Montreal (2008); AdosAdos, Guggenheim Bilbao, Spain (2007); Columnes, Caixa Forum, Barcelona (2006) and 51st Venice Biennale (2005).

Margarita Cabrera

b. 1973 Monterrey, Mexico
Resides in El Paso, TX

www.talleydunn.com

courtesy of the artist and Talley Dunn Gallery

Margarita Cabrera was born in Monterrey, Mexico and moved to El Paso, TX at the age of 10. Cabrera received an MFA from Hunter College in New York, NY. Creating sculptures made out of media ranging from steel, copper, wood, ceramics, and fabric, her work centers around social-political community issues including cultural identity, migration, violence, inclusivity, labor, and empowerment. Her most recent exhibitions include “Pop Departures” at the Seattle Art Museum and SITE Santa Fe in 2016. Her work has been included in the Los Angeles County Museum of Art, the Smithsonian Museum of American Art, the Museum of Fine Arts Houston, the Contemporary Arts Museum Houston; the McNay Museum San Antonio; the Sweeney Art Center for Contemporary Art at the University of California, Riverside, the Sun Valley Center for the Arts, and El Museo del Barrio, NYC, LA County Museum of Art, CA. In 2012 she was a recipient of the Knight Artist in Residence at the McColl Center for Visual Art in Charlotte, NC. Cabrera was also a recipient of the Joan Mitchell Foundation Grant. Cabrera currently lives in Tempe, Arizona and teaches at Arizona State University.

Maria Berrio

b. 1982 Bogota, Columbia
Resides in Brooklyn, NY 

www.maria-berrio.squarespace.com                                                                                                

Wildflowers,&nbsp;Collage with Japanese Papers and watercolor paint.&nbsp;2017,&nbsp;95”x140”&nbsp;© Maria Berrio Courtesy of the artist and Praxis Gallery. Photography by : Jeanette May

Wildflowers, Collage with Japanese Papers and watercolor paint. 2017, 95”x140” © Maria Berrio
Courtesy of the artist and Praxis Gallery.
Photography by : Jeanette May

Maria Berrio’s large collaged works, comprised of diversely sourced patterned papers and images, depict re-appropriated stories that blur biographical memory with South American folklore resulting in surrealist narratives. Primarily populated with female figures, her compositions also feature animals, flowers, and mythical beings set within heavily patterned surroundings.

Maria Berrio received her BFA at Parsons School of Design and MFA at the School for Visual Arts. Maria’s works have been exhibited internationally across major cities including Bogota, London, Los Angeles, Miami, Mumbai, New York City, San Francisco, Seoul, and Tel-Aviv.

Berrio has participated in exhibitions in various institutions including El Museo del Barrio in New York and The Weatherspoon Museum in North Carolina. Berrio&#39;s works have been featured in the Huffington Post, ArtNet, ARTNews, Artsy, ArtBeat, Artillery Magazine, and Vanity Fair. Most recently, Berrio’s permanent public art will be installed in a New York City subway station, commissioned by the MTA Arts and Design program. Berrio lives and works in Brooklyn, where she is currently an artist-in- resident at Smack Mellon Studio Program. She is represented by Praxis Gallery in New York.

Maria Magdalena Campos-Pons

b. 1959 Matanzas, Cuba
Resides in Boston, MA

www.samsonprojects.com

MARIA MAGDALENA CAMPOS-PONS, Finding Balance, 2015
28 Polaroid prints, each mounted on aluminum
154 inches x 104 inches (each image: 22 x 26 inches)

Maria Magdalena Campos-Pons’ (b. 1959, Matanzas, Cuba) work of the last 20 years covers an extended range of visual language investigations. Campos-Pons’ work emerges from the early 1980s focus on painting and the discussion of sexuality in the crossroads of Cuban mixed cultural heritage to incisive questioning, critique and insertion of the black body in the contemporary narratives of the present. Installation art, performative photography and cultural activism define the core of Campos-Pons’ practice of the last two decades. Maria Magdalena Campos-Pons has been exhibited internationally since 1984 when she won the Honorable Mention at the XVIII Cagnes-sur-Mer Painting Competition in France, and the Bunting Fellowship in Visual Arts at Harvard 1993; solo shows followed at MoMA, the Venice Biennale 2001, Johannesburg Biennial, the First Liverpool Biennial, and the Dak’ART Biennial in Senegal. A 20-year retrospective of Campos-Pons & work, Everything is Separated by Water: Maria Magdalena Campos-Pons, opened in Indianapolis in 2006 and traveled to the Bass Museum in Miami. In 2016, the Peabody Essex Museum of Salem, MA exhibited Alchemy of the Soul: Maria Magdalena Campos-Pons. Currently, Campos-Pons is a part of Documenta 14 in Kassel, Germany as well as Athens, Greece.