New Orleans-born artist (b. 1944), Tom X anchored himself across the United States by painting often overlooked characteristics of his surroundings; from Jazz players of nocturnal New Orleans to the perspectival plunges of palm trees in Santa Monica, to documenting the deconstruction and reconstruction of new buildings.

Growing up in New Orleans, one of four siblings, Tom ran around Jackson Square and marched in funeral parades, among flame throwers paid half in booze up front and money after the show—liquid courage and monetary reward. Wild costumes and music—an unavoidable vibrancy and frequency from all sides. He was saturated in it. New Orleans set the stage for his interests and focus.

After studying at acclaimed institutions like San Francisco Art Institute, X’s early work is filled with the colors and music of nocturnal New Orleans. Mardi Gras and Jazz on canvas—vibrant oranges, electric pinks, purples, and blues, contrasted with black and bright white. Rapid strokes that echo the thunderous and unpredictable movements of the music. Masks, Jackson Square, Musicians. The usual suspects. Using printmaking to repeat an image and a subject, not to get it right but to give it more life. It was all to give life—on his own terms.

From New Orleans, X went to New York in the 80’s (with many stops in between), where he quickly cultivated a community of loyal patrons and supporters—his work populating private collections across the city. His shows would be twenty-four hour pop ups in rented spaces. He painted the city at night, with glowing flame-like trees separating the illuminated exclusive windows of Central Park-side residential high-rises.

While in New York, X met E.J. Gold, an artist, jazz musician, and leader of “The Human Potential Movement” (HPM) on the West Coast. The HPM began in the counterculture movement of 60’s, focused on untapping and cultivating the extreme potential of the individual. X became interested and involved, eventually following Gold and his group West to Grass Valley, Nevada City. X’s role in the group was the resident artist, providing the visuals for the manifestos, pamphlets and other visual manifestations of the mission and lifestyle of the group. In this period he particularly advanced his print media, as it lends to mass production and distribution.

Breaking away from the group in the late 80’s, early 90’s, X moved to Los Angeles, into a studio above an auto repair shop in Santa Monica with two other artists. The works that sprung out of this era were collaborative, colorful, and conversational. Painting had always been Tom’s chosen language; he painted and documented dialogue, not for the sake of documentation, but for the spontaneous and carefreeness of it. It didn’t matter what they were painting—Tom, Lorenzo, and Dan—it was theirs according to no one else’s terms. It was in the Santa Monica studio on Lincoln Ave, California’s Route 1, that X began the “24-Hour Drive-Thru School of Art,” an art school he hosted in the studio above the auto repair shop where students of all ages came to paint and learn from an artist who created his own rules and was eager to share them.

He was an animated teacher whose curriculum equated the necessity of making art to breathing. He would stand on the table to get his point across. Sometimes taking off his shirt and gesturing wildly with a sinewy arm, he would change the way you thought about painting.

The sensations evoked in Tom X’s work provide a sense of liberation and ecstasy— an “out of body” experience. X used his work to mock the constructed artifices of superficial Los Angeles and performative New Orleans by amplifying the colors and exaggerating the characters. The surface is electric while the underlying structure is steel, iron, exposed and dangerous material, and depicted with heavy contrasting black. His work reminds us of the persistent dualities in this life, while making an extra effort to highlight the whimsy and play.

Biography

Born and raised in Los Angeles, early life was heavily influenced by the surreal culture of Hollywood and it’s surrounding suburban expanse.  This unique environment was very influential in promoting my creativity while at the same time hindering my sense of reality.  It was a time and place of paradoxes, and the joy of illusion was a completely normal state of mind, and some might even say a compulsory part of growing up in La La Land.

I began painting in my mid twenties, paralleling my fashion career and as my professional creativity evolved, so did my desire to realize my personal and pure artistic expression unhindered by commercial or conventional applications. 

My painting practice experienced a transformation after spending many short but intense periods of time studying fine art at the Slade in London over the last 3 years. I learned how to cultivate a state of mind that is absent of all judgments and reason in order to deliver an honest artistic expression that is conceived outside of all aesthetic and moral preoccupation.  I seek to develop a unique visual language of shape, form, color and composition which are independent from visual references in the world but serve to liberate my thoughts, emotions, and moral conflicts while inspiring the viewer to do the same, if only for the moment.

http://www.kathleenposada.com

Artist Jonah Ward (b. August 31, 1984) creates works of art that, in their most literal form, are compellingly aesthetic; in their most metaphorical, they are a testament to our always relevant interaction with the natural world. 
 
Jonah’s original and most prevalent series of work are his Glass Burned Panels, composed of panels of wood stamped with what could be tar-like paint and printed with abstract designs and meanderings. Upon closer inspection, the different woods with their different grains, colors, and textures—are scarred with burns: what is left over when Jonah drips, ladles, presses, cools, and peels molten glass from them. The final image essentially becomes a drawing made with glass.
 
Through his art he continues to cultivate his dialogue with nature. While requiring sustained physical interaction with natural materials, Jonah’s works are also paradoxically devoid of his literal touch or imprint. He acts more as a facilitator harnessing natural processes and phenomena, while also according them their proper respect for their capacity for both incommensurable beauty and destruction.

Biography:
 
1984
• Born in Willits, CA, USA
 
2006
• BFA from California College of Arts and Crafts, Oakland, CA
 
Selected Solo Exhibitions:
 
2013
• “Bound by Structure,” Moshin Vineyards, Healdsburg, CA
 
2012
• “Textured Paintings,” 12 Gallagher Lane, San Francisco, CA
• “Bound by Structure,” The Dome at Rockwall Wine Co., Alameda, CA
 
Selected Group Exhibitions:

2015
• 3rd Clay and Glass Biennial, City of Brea Art Gallery, Brea, CA

2014
• 2014 International Juried Art Show, Dab Art HUD Gallery, Ventura, CA
• “Water Work” In Solution Symposium Exhibition, California College of the Arts, San Francisco, CA
• 29th Annual National Juried Fine Art Show, Louisville Center for the Arts, Louisville, CO
• “From the Earth”, Tubac Center for the Arts, Tubac, AZ
 
2013
• Scope Miami group exhibition with Reverie Arts, Miami Beach, FL
 
2012
• CCA Glass Alumni Exhibition Oliver Art Center, Oakland, CA
• California Contributions: 50 Years of Studio Glass The Crucible, Oakland, CA
 
2011
• 12 Gallagher Lane, San Francisco, CA
• La Galleria at Esperanza - An Auberge Resort, Cabo San Lucas, Mexico
 
2010
• 12 Gallagher Lane, San Francisco, CA
• SFCVB/ARTSPAN, San Francisco, CA
• Quicksilver Mine Company, Forestville, CA
 
2009
• "Where Are We Now,” Willits Center for the Arts, Willits, CA
 
2006
• “Read Between the Lines,” California College of the Arts, Oakland, CA

2005
• “The Weight of the World,” Public Glass, San Francisco, CA

Awards:
 
2014
• First place in paper category at “From the Earth” show at Tubac Center for the Arts, Tubac, AZ
 
Public Demonstrations:

2012
• Live hot shop demonstration - 50th Anniversary of the Studio Glass Movement in the U.S. - The Crucible, Oakland, CA

2011
• Live hot shop demonstration - Glow Glass Studio, Oakland, CA
 
Philanthropic:

2014
• Fire and Light Art Auction Benefit at The Crucible, Oakland, CA

2012
• Public Glass' 8th Annual Benefit Auction, San Francisco, CA
• CulinART Benefit for the Wright House Wellness Center, Austin, TX

2011
• 5th Annual Art for Aids Auction benefiting the UCSF AIDS Health Project, San Francisco, CA

2010
• 12th Annual amfAR San Francisco Gala, San Francisco, CA
• “Pieces of Heaven”, The Art of Elysium benefit auction, West Hollywood, CA

2009
• Rancho Santa Fe Community Center benefit Auction, Rancho Santa Fe, CA
• “Pieces of Heaven”, The Art of Elysium Benefit Auction, Beverly Hills, CA
 
Press Highlights:

2015
• Jonah’s “Specimens” included on cover of Dwell magazine April 2015 edition

2014
• Jonah’s artwork selected for permanent display at the first ever Irish Whiskey Museum in Dublin, Ireland
• Jonah’s artwork included in an article on inhabitat.com, a design weblog

2013
• Jonah featured on the cover and inside story in Interiors and Sources Magazine’s November issue
• Jonah mentioned as an Artist to Watch by Jeffery Beers International LLC in their summer newsletter
• Jonah Ward’s artwork selected to be a permanent part of the renovation of the Restaurant at Meadowood’s private dinning room, St. Helena, CA

2012
• Jonah Ward's artwork selected to be a permanent part of the renovation at The Restaurant at Meadowood's main dinning room, St. Helena, CA
• Jonah Ward appears on EmptyKingdom.com as a Featured Artist
• Jonah Ward: Sparking a Process That Burns - Featured Article on CCA.edu and alumni newsletter - link
• Jonah's Burning Water No. 4 appears in San Francisco Chronicle and SFGate.com
• Jonah’s Burnt Panel No. 78 appears in San Francisco Chronicle’s Style section

2011
• Jonah Ward asked to give a presentation to an incoming class of freshman at his alma mater, California College of the Arts
• Jonah Ward nominated as one of 20 finalists in 7x7's Hot 20 Under (and over) 40 reader's choice contest
• Jonah Ward's artwork selected for 15th Annual Art for Aids Auction benefiting the UCSF AIDS Health Project Gala in September 2011. Jury chaired by DeWitt Cheng
• Jonah selected to present his process at San Francisco architecture firm Bohlin, Cywinski, Jackson's annual Talk 20 event
• Jonah Ward selected as part of extensive renovation at Esperanza, Cabo San Lucas, Mexico - An Auberge Resort

2010
• California Home + Design: Jonah Ward appears in November/December issue with a feature "profiles in the studio" 
• JAL/Skyward Magazine: Jonah Ward appears with 12 Gallagher Lane in a special feature about San Francisco
• 7x7 Magazine: Emerging Bay Area Artist Jonah Ward to Unveil New Works @ 12 Gallagher Lane
• Jonah Ward Selected as First Artist in 12 Gallagher Lane's Visiting Artist Program
• Jonah Ward Attends Heaven Gala and "Pieces of Heaven" auction in Beverly Hills

Artist Barry Peterson has attended a long list of universities in the Midwest and on the West Coast, where he studied Art of various media along with Physics, Botany, Marine Biology and Architecture. Despite all this, he pretty much considers himself a self-taught artist, as he claims most of his learning has occurred in his own practice. 
 
For his current series of aerial photography Barry states: “I have never had the urge to photograph things I find visually appealing--it always seems an odd homage and a poor recording of what is usually a spatial and dynamic experience. Photography by nature is graphic and frozen. So much of the actual visual experience is lost in its conversion to pixels or paper. And yet some things are heightened by this conversion."

Robert Minervini (b. 1981, Secaucus, New Jersey, USA) is an artist who examines spatial environments and notions of utopia in large­scale, multi­layered acrylic works. Through dystopian cityscapes, landscapes, and floral still life arrangements, his work addresses the ecological impact of humanity on the landscape.

He received his MFA from the San Francisco Art Institute, and his BFA from Tyler School of Art. His work has been exhibited nationally, including solo shows with Marine Contemporary, Electric Works, Eleanor Harwood Gallery, a two­person exhibition with Johansson Projects, Littman Gallery, and group exhibitions with Waterhouse and Dodd, Schneider Museum of Art, Yerba Buena Center for the Arts, the Bedford Gallery, the The Brooklyn Historical Society, and the San Francisco Arts Commission Gallery. He is a recipient of the Murphy and Cadogan Fellowship by the San Francisco Foundation, the Edwin Austin Abbey Mural Fellowship by the National Academy of Fine Arts, and the Carmela Corso Scholarship by Tyler School of Art. He has been a resident artist at the Bemis Center for Contemporary Arts, the Headlands Center of the Arts, the Vermont Studio Center. His art has been published in New American Paintings (No. 91 and No. 109), Beautiful Decay, and Mural Art: Large Scale Art from Walls around the World. Minervini’s work has been reviewed in the LA Times, Modern Painters, San Francisco Chronicle, Art ltd., and featured in ArtWeek LA, 7x7 Magazine, and The Huffington Post. In 2012, his work The Fruitful Lands of Multitudes of Worlds (Behind the Surface of a Mirror) was acquired by the Museum of Contemporary Art San Diego. He currently lives in Oakland and works in San Francisco.

http://www.robertminervini.com

Born March 10th, 1984 in Santa Clara, California. UC Santa Cruz graduate with a B.S. in MCD Biology. Worked in bio-tech start-ups for 6 years. Currently a UI/UX designer.

I have no memories of my grandfather. I don’t know what he looks like. I don’t recognize the sound of his voice. I only know my grandfather through his paintings, the style he created and perfected. I have marveled at the power and speed that burst forth from his horses. The spiritual energy that ripples just under the ink. I can still feel his energy in every stroke.

I have few memories of my father. For most of my life, he has been overseas. The few times that I have spent with him, however, have always been momentous. A trip to the Yellow Mountains in China, seeing the raw power and beauty of nature with my own eyes. More recently, learning from him this art form, allowing me to express my thoughts, my feelings with nothing more than ink, paper and a brush. I can hear his voice with every stroke.

Why horse? My father says that he sees himself in the horses and the painting is his mindscape. For me, this style is my connection to that side of my family. This is how I preserve my family’s legacy, stroke by stroke.

When I was little, I declared that I wanted to be a Paleontologist. I think I was maybe four or five and I had spent the first few years of my life being schlepped around Washington state by my dad, who was always on the hunt for fossils. One of my earliest memories is of my father swinging me up a steep hill by the back of my Osh-Kosh-B’Goshes because I was too tired to walk anymore. We were looking for trilobites, but would settle for anything from more recent epochs.

Trilobites are hard to find but we found purpose in the exploration. We would pick our way through coal mining ruins, wondering at the things left behind by people passed on. These trips with my father must have been the beginning of my fascination with mortality and impermanence. I found that, often, the things left behind are beautiful and out of their original context are worthy of consideration. I spend most of my free time now looking for things left behind. Things that are discarded and forgotten by the living world and I try to make those things into something worth considering.

Biography
I live in Groveland, California which abuts the Stanislaus National Forest with my husband, toddler, and dog. Raised by “back-to-the-land” era parents in rural Washington state gave me a strong sense of connection to the world outside of four walls and to all things sustained by earth, water, and sun. I am a formally trained Graphic Artist, though I’m always looking for ways to make art for art’s sake.

The works represented here come from one series and originate with one image. They are of a woodland scene, carved on wood and printed on various watershed maps throughout the Northwest. These maps identify soil, vegetation and other natural objects within a watershed. Once the plate was transferred onto these maps, it was then colored on and cut through, using paper cutting techniques to give the illusion of lace. The first piece, Rim Fire, is a woodcut transfer that was then drawn on, without the paper cutting element.

These works are still in progress, and cover various techniques to gain the result of both natural and man-made effects on the ecosystems we come in contact with. (www.sarahannegraham.com)

About the Artist
Sarah Anne Graham currently lives in California. After a few years traveling around the United States and abroad; from Virginia, Georgia, Oregon (a brief time in New Zealand), Pennsylvania and Idaho to her current residence in California, she is working on oil paintings of the landscape of the Sierra Nevada foothills, as well as continuing her work on woodblock transfers on maps. 

Graham’s paintings are mostly representational depictions of the natural world, with the occasional object inserted, that are used to symbolize loss, arrested development or other emotions. The surreal quality of these paintings illicit ambiguity and are meant to provoke further investigation. Her recent prints are abstracted landscapes. The woodblock transfers onto maps remind the viewer of the role of conservation, management and the nomenclature of science to classify and collect info on the natural world.

Her works have been shown in one-person and group exhibitions in the US, as well as New Zealand. Graham studied at the Atlanta College of Art, and received her BFA from Oregon State University in 2003 in painting and printmaking. Sarah is currently doing a residency as an Artist of the Woods for the Stanislaus National Forest, through a program with the USDA. She will be teaching an oil painting workshop while living on site.

http://sarahannegraham.com/Artist.asp?ArtistID=40321&Akey=PEHN7AFN

Textiles have been an important part of Linda Gass’ life since her grandmother taught her to sew and embroider as a child. In her early adult years, she took a detour through technology after graduating from Stanford University with a BS in Mathematics and an MS in Computer Science and worked in the software industry for 10 years. Linda returned to making textiles 14 years ago and now exhibits her work internationally in galleries and museums. Her work is published in numerous books and magazines including 500 Art Quilts, The Map As Art: Contemporary Artists Explore Cartography, Art Quilts: A Celebration, Fiberarts Design Book 7, American Style, American Craft, and Art Papers. Linda's awards include the prestigious Fleishhacker Foundation Eureka Fellowship and the Arts Council Silicon Valley Artist Fellowship. She was featured in two episodes of Simply Quilts on Home & Garden Television and has taught workshops at Arrowmont and the Mendocino Art Center. She travels extensively in the wilderness areas of the West where she finds much of the inspiration for her work. Linda is an artist in residence in the Palo Alto Cubberley Artist Studio program and is a master member of the Baulines Craft Guild. She currently serves on the advisory board of the Black Rock Arts Foundation and has served on the boards of the San Jose Museum of Quilts and Textiles and the Textile Arts Council of the de Young Museum in San Francisco.

http://www.lindagass.com/

Karnahan knows a lot about wildland fire. For 18 Seasons, he has worked for the USDA Forest Service as a firefighter, Forest Protection Officer, and as a graphic artist and public affairs specialist. His paintings, based on years of personal experience on the firelines, are full of highly accurate detail. They also reflect his emotional commitment to wildland firefighting and to conserving our public wildland treasures. During the 2013 Rim Fire, the artist served as a firefighter in the northern section of the fire near Cherry Lake. In the first week of the fire, Karnahan was responsible in the evacuation of the Cherry Lake and Kibbie Ridge areas. For over a month he also patrolled the interior of the fireline, reporting on conditions and spread.

Karnahan spent most of his Forest Service career in the Sierra Nevada Mountains of California. He worked as a firefighter and in fuels management on the Eldorado, Plumas, Sequoia, Inyo, and Stanislaus National Forests. In addition, he designed posters for public education on the National Forest System and implemented visual interpretation programs for the Stanislaus National Forest. Karnahan also worked in the design and developement of two ampitheaters now being used on the Stanislaus National Forest. He has also done design and interpretive work for California’s Department of State Parks and Recreation.

http://www.trainfire.com/

Grace Rubenstein is a journalist and media producer specializing in public health, mental health and immigration. Her stories — told variously in words, photos, audio and video — have appeared in TheAtlantic.com, The New York Times, The Boston Globe, The Sacramento Bee, California Watch, San Francisco’s Bay Citizen, and Parenting and Edutopia magazines. She is the multimedia editor for TED Books and a regular contributor at KQED radio and the Center for Investigative Reporting. Grace speaks fluent Spanish, can’t resist a good salsa beat, and has lived in Mexico and reported stories across languages. She is a fourth-generation San Franciscan. You'll find more of her work at gracerubenstein.com.

http://gracerubenstein.com/

Trained academically as a biologist and natural historian, Robb Hirsch developed an intimate relationship with the natural world. This connection was established early during annual childhood visits to Yosemite, exploring and developing a sense of oneness with this magical place. Later, Robb traveled through Africa, Central America and the western United States, absorbing the beauty while gaining a deep understanding of these surroundings. He established a career as a field biologist, working for United States Geological Survey, California State Parks and several private firms, focusing primarily on threatened and endangered species. He also gave slide shows to a wide variety of groups where his photography was originally a tool to educate others about the natural world and the importance of wild places. As he continued to shoot, Robb became more critical, realizing the quality of the images he was producing had great potential, and there might be a market for this work in the future.

The future became reality when Robb and his wife started Mountain Sage, just outside Yosemite National Park, in the Sierra foothill community of Groveland, CA. This is a unique combination of art gallery, plant nursery and gardens, coffee and teahouse and retail store on family heirloom grounds. Several rooms of the historic house are dedicated as gallery space displaying a selection of large framed images. Robb began selling fine art prints out of Mountain Sage in 2002 to a very receptive audience and has experienced consistent growth since.

Robb prefers to photograph away from the crowds, often backpacking or skiing long distances to previously scouted locations. Photography is part of the wilderness experience for him and by spending considerable time exploring,, scouting and waiting for the right light, he becomes more in tune with the area, ultimately culminating in more evocative images. 

Robb shoots with 35mm Cannon equipment (no color filters are used) and all images are printed to accurately reflect the original slide (no digital manipulations are performed). He enjoys shooting everything from wildlife to wildflowers, from grand landscapes to tiny abstracts. Robbs images are known for their compelling subjects, careful compositions and fine light. In 2007, these attributes were highlighted nationally when his color landscape, El Capitan and the Merced River in Winter, was selected out of 17,000 entries and named a winner in the Natures Best, Windland Rice Smith International Nature Photography Competition.

http://www.robbhirschphoto.com/

My art chronicles my adventures in the wilderness and through life. I use embroidery to communicate provocative environmental and social issues. I present quantitative information in an unusual combination of stitched text and graphics. The work provides a novel opportunity to consider the scientific and historic context inherent in current events and social questions.

My current work examines geophysical climate issues. After hiking with scientists to measure Yosemite National Park's last glacier, the Lyell Glacier, I embroidered the glacier's topographic lines on silk, and presented historical comparative photos and text from 19th century explorers' journals. During another backpacking trip I walked on mushy trails winding across recently melted glaciers on the 'haute route' in Switzerland and made an embroidery of the Bluemlisalp Glacier incorporating the topography and a graph of its shrinking size over the past century. After trekking in Tibet, I assembled a large embroidered velvet and brocade wall hanging which integrates ancient Tibetan cultural traditions with land and water control issues.

Recently I've collaborated with scientists on two environmental projects. For one, concerning inland lakes, I embroidered a large silk and brocade graph using invasive species and native fish population data. Historical records of lake ice and chemistry are presented in other graphs, along with explanations of the science. In another concerning climate change, atmospheric field equations and ice core records are embroidered in brocade alongside a quote from Ernest Shackleton, an early 20th century Antarctic explorer.

I am often astonished when I find a passage in an explorer's journal that describes scenery I have visited or a rugged mountain trail I've walked. I share that sense of discovery and uncovering in my work. With soft materials and ornate stitching, I hope to expose the viewer to fascinating science and environmental interactions on our earth.

Biography
Bonnie Peterson has received several grants from the Illinois Arts Council, a grant from the Illinois Committee, National Museum of Women in the Arts, and other awards. She was an Artist-In-Residence at Yosemite, Rocky Mountain, Isle Royale, and Crater Lake National Parks. Her work is in the collection of the Museum of Arts and Design in NYC, the National Park Service, private collections, and she has an extensive exhibition record. She has a bachelor's degree from the University of Illinois-Urbana and an MBA from DePaul University. Click here for a 5 minute interview (WTTW, Chicago Public Broadcasting, 2009).

http://www.bonniepeterson.com/

I will have succeeded if I can, even in a small way, capture the awe I feel when I step out into the wilderness and experience the wonders of the natural world. Mother Nature is the ultimate landscaper, architect, sculptor, painter, and musician. I am not as much the artist when I capture these scenes, as a seer of God’s creations. I strive to discover the sometimes obscured elements that when juxtaposed, and emphasized through composition, emphasize the incredible beauty already there. It is my hope that these photos inspire those who see them to get out into nature, and to work towards the preservation of these incredible places.

http://www.eyesoftheworldimages.com/

http://www.reframingphotography.com/resources/christine-m-peterson

Biography
Jenny Odell is a Bay Area native, studied English at Berkeley and design at The New School and the San Francisco Art Institute. Odell has been featured at the Yerba Buena Center for the Arts, the Google Headquarters, and Les Rencontres D’Arles in France. As well as, KQED’s Gallery Crawl, the NPR Picture Show, Pop-up Magazine, Rhizome, Gizmodo, Design Sponge, and ESPN Magazine. Abroad, her work has been featured in Die Zeit, NEON Magazine, Le Soir, and Elephant Magazine.

Statement
In all of my prints, I collect things that I’ve cut out from Google Satellite View-- parking lots, silos, landflls, waste ponds. The view from a satellite is not a human one, nor is it one we were ever really meant to see. But it is precisely from this inhuman point of view that we are able to read our own humanity, in all of its tiny, reliably repetitive marks upon the face of the earth. From this view, the lines that make up basketball courts and the scattered blue rectangles of swimming pools become like hieroglyphs that read: people were here.

At the same time, like any photograph, satellite imagery is also immediately an image of the past. That is, to look at satellite imagery is to look not only down upon ourselves but back in time, even if only by a matter of hours or days. In recording the moment at which things as bizarre as water parks and racetracks covered the earth, the photograph also implies that moment’s own passing, encoding each tiny structure with vulnerability and pre-emptive nostagia. My desire to collect these pieces stems not only from the fascination of any collector but from a wish to save these low-resolution, sporadically-updated pixels--these strange pictures of ourselves--from time and the ephemerality of the internet.

Curriculum Vitae:
 
2012 
• Signs of Life, solo exhibition, enter:gallery, New York, NY, February 9, 2012
• Aint Bad Issue 3 Release, Little Beasts Gallery, Savannah, GA, February 9, 2012
• TheGlint, San Francisco, CA, January 21, 2012
• Meridian, Wire & Nail, San Francisco, CA May 19, 2012

2011 
• Google Headquarters, Mountain View, CA, June 27, 2011
• Here Be Dragons: Mapping Information and Imagination, Intersection for the Arts, San Francisco, CA, October 21, 2011
• One if by Wanderlust Conveyor Arts, Hoboken, NJ, November 16, 2011
• From Here On, Les Recontres d’Arles, Atelier Mécanique, Arles, France, July 4, 2011
• Out of Context, Gallery 454, San Francisco, CA , June 21, 2011
• Based on a True Story Conveyor Arts, Hoboken, NJ
• Skirball Center, New York City, May 13, 2011

2010 
• Golden State, VASF Gallery, San Francisco, CA, August 7–September 24, 2010
• A Room Without a View, mauve gallery, Berkeley, CA, August 16, 2010
• Sideshow Happening, Root Division, August 14, 2010, San Francisco, CA
• Taste!, Yerba Buena Center for the Arts, Thursdays July 6, 2010, San Francisco, CA
• San Francisco Art Institute MFA Exhibition, Fort Mason Center, San Francisco, CA, May 15, 2010
• Fiction to Inhabit, Diego Rivera Gallery, San Francisco, CA, November 11, 2010

Talks
• “Against Newness”, Queen’s Nails Projects, Tuesday Talks series, August 2011
• [untitled /artist’s talk], IDEO, October 2011
• “Virtual Americana”, San Francisco Art Insititute, Alternative Lecture Series, May 2011
• “The World (As Seen by Google):, The Spatio-Temporal Eccentricities of Google Street View”, San Francisco Art Institute, Alternative Lecture Series, October 2009

http://jennyodell.com/

I have always enjoyed solving problems. This desire has led to two diverse careers, one in mental health and the other in art. Early in my art career I made a conscious effort to separate my art from my mental health career. But as I have matured as an artist I have come to accept, understand and explore the impact that my background in mental health plays in the subject matter, and the type of art I make. How I see as an artist has been shaped to a large degree by my experiences in the field of psychology.

I am attracted to objects, the artifacts of daily living, the things that people discard, overlook or are taken for granted. Objects for me are broken down into two groups. The first group consists of objects that I need to finish a particular project. The second, and ultimately the more important group, is composed of random objects that I come across while searching flea markets and junk stores. It is not always clear to me why I find this second group interesting; they just call to me. An interesting thing happens to objects in group two; they compel me to think about them and in doing so serve as catalyst for new projects and greater insight.

I grew up in a house full of stuff; both of my parents are collectors. My father had his tightly defined areas of interest, while my mother was more eclectic in what interested her. She has always been a veracious collector. I see my art as having facets from both my parents. There is a degree of being obsessed with meticulous details and focused on finding exactly what I need for a specific piece, but at the same time I am open to seeing new objects, without a clear idea of why I am attracted to them or how they will fit in. It is this why I then explore and try to understand, and, in so doing, feel I understand a little more about myself. The process of art making is as important to me as the final piece. I think that is why I work in series of images or grouping of objects. A single image or element does not have the depth by itself to convey what I want to say.

My art career began with photography, using the camera as a tool to connect what I saw in my mind to what I wanted to produce as art. As I grew as an artist, I became more open to, and comfortable with incorporating found images, objects, and text in my art. I integrated these elements slowly into more of my work, producing work that looked more and more like mixed media pieces and installations and less like photography. The photographed image has now become part of a much larger palette of materials used when working on my art. Recent work has included found x-ray, vintage 35 mm black and white movie film; hack saw blades, text, Braille and Morse code.

A final important element taken from my background in psychology is the belief that viewing art is equivalent to therapy. The viewer is as equal a partner in the viewing of my art as if they had been a client of mine. Through my use of materials, I challenge the viewer to commit the time and energy it takes to read or decipher an element to under-stand the full meaning of a piece.

Although I continually incorporate new materials in my art, I remain focused on working with issues of identity, the meaning of groups and otherness. 

http://www.clintimboden.com/

http://zigzagzilla.com/

Elizabeth Dougherty, Ph.D. is a mixed bag multi media artist, engaged in “garbage collection and redistribution." When not educating Californians on the beauty of water conservation and reuse as director of Wholly H2O, she is melting metal, wiring kinetic fountains with LED lighting, transluscifying images, and finding ongoing delight in the castoffs of bees. With her stuudio located in Bay 7 of American Steel Studios in West Oakland, Elizabeth works exclusively with the detritus of the earth and it’s inhabitants.

artspan.org/artist/elizabeth-dougherty

2001 - 2004

In collaboration with public artist, Cliff Garten, Sherwood created an urban plaza adjacent to the Civic Center in Downtown Walnut Creek. To harmonize with the artist’s vision for the large gently undulating granite plaza, Sherwood developed a grading scheme that creates the illusion of a perfectly uniform plane. The detailed grading plan we produced includes walkways, plaza areas, and six water features, as well as the corresponding storm drain utility plan for the half-acre site. Sherwood was also responsible for construction administration, overseeing site construction and utility work throughout the duration of the project.

Tyrone Davies received his MFA from the San Francisco Art Institute. Davies has run the Free Form Film Festival since 2003 and has presented film programs to audiences all across North America. He has shown at Southern Exposure, SF Cameraworks, Noma Gallery, Swarm Gallery, the Lab, SOMArts, and in the OUTSOUND music series. Currently Davies is teaching film studies at the University of Denver.

Selected Solo Exhibitions:
 
2011 
• PURGATORY OF SWEAT, CRUCIBLE OF BULLETS at the House Gallery, Salt Lake City, UT

2010
• CATHODE MEMORY at the Diego Rivera Gallery, San Francisco Art Institute

2009
• NEW WORKS at the Diego Rivera Gallery, San Francisco Art Institute
• CATHODE RAY at No Brow, Salt Lake City, UT
• SCREEN JEST at the Diego Rivera Gallery, San Francisco Art Institute
• VERTICAL HOLD at the Swell Gallery, San Francisco Art Institute

2002
• STEALING AWAY at the Finch Lane Art Barn, Salt Lake City, UT

Selected Group Exhibitions:
 
2011 
• DAISY CHAIN at Antena Gallery, Chicago, IL
• LOW LIVES 3 at Utah Museum of Fine Arts, Salt Lake City, UT
• The Big Screen Project, New York, NY
• DOOMSLANGERS at the Central Utah Art Center, Ephriam, UT
• Salt Lake City Film Festival, Salt Lake City, UT (Battle Brigades)

2010
• DOOMSLANGERS at Allegra LaViola Gallery, New York, NY
• THE BIRTH OF UNCOOL at 21 Grand, Oakland, CA
• THE INTERNET IS A TERRIBLE PLACE TO LIVE (curated by Deep Leap) at Grand Detour, Portland, OR
• Stolen and Escaped, Salt Lake City, UT
• ACTION at the Central Utah Art Center, Ephriam, UT
• The Luggage Store (Outsound New Music Series) San Francisco, CA
• The Lab, San Francisco, CA
• 100 PERFORMANCES IN THE HOLE at Somarts, San Francisco, CA

2009
• IN THE LIGHT CONE (curated by Lazercave) at Department of Safety, Anacortes, WA
• THE MASHUP SHOW at Noma Gallery San Francisco, CA
• A SHOW ABOUT TIME TRAVEL at the Swell Gallery at the San Francisco Art Institute

2007-2008
• CHORDATA (curated by Blixa Bargeld) at SF Camerawork, San Francisco, CA
• Sego Festival, Provo, UT
• PROVING GROUND (curated by the Dance Theatre Coalition) at Rose Wagner

http://tyronedavies.com/home.html

https://vimeo.com/39177542

http://joshuachurchill.com/