Katie Garth

Why I’m Voting for Biden

Coroplast

18” x 24”

2020

Statement
Like so many others, I’m exhausted by the inability of the left to articulate its most urgent needs without first undermining its own viability. This administration’s cruelty and chaos render many of us speechless; it’s impossible to know where to begin. While all of these problems won’t go away under a Biden presidency, it’s imperative to pursue a strategy that gets us closer to correcting these issues, and reassert how much there is to be lost under another four years of Trump. Yes, the house is always on fire, but the people stuck inside of it shouldn’t die while those of us with privilege turn our attention towards building a new one. We can have both. White folks, gather your own and convince them to vote for Biden. This is our responsibility.

Bio
Katie Garth is a print-based artist in Philadelphia. She received her MFA from the Tyler School of Art in 2020 and a BFA from the University of Wisconsin–Madison in 2013. Her interdisciplinary practice investigates tensions between the everyday lived experience and the otherworldly and sublime. Accordingly, she visually depicts nondescript items like chairs, sweaters, notebooks, and sneakers as sacred vestiges of a shared existence, often paired with confessional writing or found text. Placed in charged, atmospheric settings, these objects and fragments provoke a sense of enchantment and unease, highlighting the highly constructed nature of consciousness, and destabilizing viewers’ sense of the familiar.

Website

http://www.katiegarth.com

Kalyn Fay Barnoski

We All Gotta Try

Digital Printed Tarp

96″ x 40″

2020

Statement: 

I was reading back through “A Third University is Possible” and came across a Jack Forbes quote about our interconnectedness with the land and environment as Indigenous people. It made me realize how disconnected I feel at times with land, with people, with empathetic understanding and how overwhelming everything feels right now during a time of separation and unknowns. It’s easy to feel like we’re not doing enough and we’ll never get it right. I wrote this statement down because I needed an urgent validation for myself in that moment. The truth is no one ever gets it “right,” but the point is that we all try for each other, for ourselves, and for future generations.

Biography: 

Kalyn Fay Barnoski (b. 1990) is a ᏣᎳᎩ and native Oklahoman, currently pursuing her Master of Fine Arts in Printmaking at the University of Arkansas. She earned her Honors B.F.A. from Rogers State University in 2012 and a Master of Arts from The University of Tulsa in 2016. She is an interdisciplinary artist, working within digital, print, and sound platforms as it relates to Indigenous ways of knowing and the intersections we all share. She has worked with Peabody Essex Museum, Philbrook Museum of Art, Gilcrease Museum of Art, Crystal Bridges Museum of American Art, Eiteljorg Museum, along with others, and performed, exhibited, and facilitated workshops both nationally and internationally.

Website:

https://www.kalynbarnoski.com

Emmy Bright

Tragedies of Desire

Coroplast

18” x 24”

2020

Statement:

I make performances, drawings, writing, and prints,  that merge high theory, pop songs, psychoanalysis, comedy, art history and philosophy.  With all of these approaches and influences, I champion the stupid, the wrong, and the failed narrative; I make comparisons that fall apart and diagrams that try to explain but instead contain their own undoing. I work to upend normative good sense in order to find something more complex, gnarly, and real.

Bio: 

Emmy Bright works in drawing, writing, print and performance.  She holds an M.Ed from Harvard School of Education, and MFA from Cranbrook Academy of Art where she is now chairs their MFA program in Print Media. She has exhibited widely both in the United States and internationally and has recently released a taroesque book and deck set called “More Stupids” through 3 Hole Press in New York.  She currently lives in Detroit where her work is represented by David Klein Gallery.

Website:

https://emmybright.com/home.html

Arien Wilkerson

Is that enough? 1

Is that enough? 2

Is that enough? 3

Is that enough? 4

Coroplast

18” x 24”

2020

Statement:

My process really has no filter, If I had to dissect my process it would be just me directly or indirectly positioning myself in which my desire to see or feel or discover is amplified by the subject that is in front of me.

Bio:

Arien Wilkerson (They/she) is a queer, black, choreographer, dancer, film maker, director, producer, installation born/raised in Hartford CT.  Arien Wilkerson | Tnmot Aztro based in Philadelphia Pa, is a collaborative multidisciplinary company featuring six to ten artists at any given time. Sculpture, spatial design, lighting design, installation, photography, sound design, and at times seven or more movement artists including Wilkerson. Tnmot Aztro considers that the complexities within art derive from the alienation of objects, identities, the body, sounds and humans, among many things. As an entity the artistic practice in making performance, sculpture, experimental film, photography and dance is rooted in repurposing or redefining meanings of “fine art” and its attachments to colonialism, white supremacy, and institutionalized racism.

Website:

http://www.tnmotaztro.com

Shannon Finnegan 

Who are you listening to? Who are you learning from?

Coroplast

18” x 24”

2020

Statement:

There is are so many disabled people and disability-led organizations sharing vital and insightful information online. But it can sometimes be hard to find if you don’t know where to look. This project points to collectives, groups, and organizations that I consider leaders in my world with the hope that other people may look them up and learn from them too. 

Bio:

Shannon Finnegan is an interdisciplinary artist. Some of their recent work includes Anti-Stairs Club Lounge, an ongoing project that gathers people together who share an aversion to stairs; Alt-Text as Poetry, a collaboration with Bojana Coklyat that explores the expressive potential of alt-text; and Do You Want Us Here or Not, a series of benches designed for exhibition spaces. They have done projects with Banff Centre, the High Line, the Museum of Contemporary Art Denver, Tallinn Art Hall, and Nook Gallery. Their work has been supported by a 2018 Wynn Newhouse Award, a 2019 residency at Eyebeam, a 2020 residency at Surf Point Foundation, and a 2020 grant from Art Matters Foundation. They live and work in Brooklyn, NY.

Website:

https://shannonfinnegan.com

Paul Collins

100 Days

Wood, acrylic and spray paint

Dimension Variable

2020

Project Statement:
Artist and educator Paul Collins is painting VOTE signs to drive voter awareness for each of the 100 days leading up to our presidential election. The signs are all handmade, each with its own original design and shape. And they’re free! And non-partisan. Just a way to celebrate our shared  joy and responsibility to vote.

Bio: 

Paul Collins is an artist, curator and educator in Nashville, TN. Paul has an MFA in Painting & Printmaking from Yale and has been a resident at the MacDowell Colony, Hambidge Center, Skowhegan, Anderson Ranch Arts Center and the Vermont Studio Center. His work has been featured in New American Paintings, Number and Native magazines.

Paul teaches at Austin Peay State University and is represented by Red Arrow Gallery, Nashville, TN.

Website:

https://paulpaul.com/home.html

Brianna Harlan

occupied stillness

completely alone package advertisement

beauty-covered glasses

Coroplast

18” x 24”

2020

Statement:

I am a multi-disciplinary artist working primarily with installation, portrait, digital manipulation, intervention, works on paper, and photography. My work is driven by by the need to confront how systems violently condition our relational identity, and how that influences quality of life, health, and habits. My work serves as a creative intervention. I work conceptually, often in community, interactive projects. I am interested in exploring narrative through everyday objects and the use of interactive elements to activate the static and familiar. The worksoccupied stillness,completely alone package ad, andbeauty-covered glassesare prompts instead of the typical yard sign declaration– respectively encouraging mindfulness with self, reflection on one’s place in society, and questioning the energy behind our perspectives.

Bio: 

Brianna Harlan is a multidisciplinary artist and organizer. She works conceptually in multiform, socially engaged art. Her work is driven by the need to confront how systems violently condition our relational identity, and how that influences quality of life, health, and habits. Brianna is a Kentucky Foundation for Women Fire Starter awardee. Her most recent residencies were at Oxbow School of Art and Artists’ Residency and Materia Abierta in Mexico City. Current projects include an AR Monument to Breonna Taylor and the #SayHerName Movement, made in collaboration with 4th Wall, 21c Museum Hotels, and Breonna’s family and an equity in arts initiative in Louisville, KY that was featured in ARTNews. Harlan also leads community experiences and presentations, having been a speaker at For Freedoms and the Kentucky ACLU events. She is currently pursuing her MFA in Art and Social Action at Queens College, CUNY and making her New York gallery debut with a solo exhibition:Black Love Blooms: New York Nookin September 2020.

Website:

https://www.briannaharlan.com

June T. Sanders

For a girl made from dirt

Coroplast

18” x 24”

2020

Statement:

Junes work is about ideas of trans-futurism, reimagining’s of family, home, self, and the relationship between ourselves and the natural & cultural landscapes surrounding us. Or, more truthfully, it’s about gender; dirt; expansions; home.

Bio:

June T Sanders is an artist, writer, educator, and curator from south central wa state. She lives there still. She is currently a full time assistant professor with the digital technology & culture program at Washington State University.

Website:

http://www.junetsanders.com/

Breanne Trammell 

How Many More?

Ask Yourself Questions

Is There A Tomorrow? (BAD Times)

Coroplast

18” x 24”

2020

Statement: 

As a multi-disciplinary artist, my work encompasses a variety of ongoing and overlapping activities as I pivot between studio and collaborative projects. Through a constellation of publics and ephemeral artifacts, my creative research utilizes site, and political and personal histories.

Bio: 

Breanne Trammell (she/they) is an amateur archivist and co-president of the Sandwich Club, a club that doesn’t meet and anyone can be a member. She earned her MFA from the Rhode Island School of Design in 2008 and has been an artist-in-residence at the Women’s Studio Workshop, Ox-Bow School of Art, Endless Editions, Kala Institute, and Counterproof Press, among others. Breanne’s studio and collaborative work has been widely exhibited in a variety of spaces and places. In early 2020, she initiated Public Storage, a project/space in her home, window, and yard in Fayetteville, AR.

Website:

https://breanne.info

David Borawski

Nothing Lasts Forever

Coroplast

18” x 24”

2020

Statement:

 I create conceptually driven work comprised of sculpture, video, drawing and digital prints. the work  reflects upon iconic cultural and societal events or moments that have influenced major shifts in our collective consciousness, but now may be near the point of forgetting.

For each exhibition, I combine and arrange multiple elements and mediums, which invoke visual and cognitive signs, or “clues”, that elicit a (sub)conscious nostalgia, building multiple layers of information to be considered and processed.

Both expressed and implied references to pop culture, radical politics, art history and the dark alleys of society, all the while drawing upon lived personal experience, suggest connections and idiosyncrasies while exposing them as uncanny precursors to present-day realities.

Website:

https://www.rot8tor.org