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Micaëla Gallery
Micaëla Gallery
Gerald L. Cannon…4

 Gary Clemenceau…8

   Peter Foucault…12

  Taliaferro Jones…16

   Scott Kiernan…20

     Scott Kildall…24

     Jenna North…28

   Lorraine Peltz…32

    Tobias Tovera…36

      Anne Yalon…40

       David Yun…44

Gallery Statement…48

           index…49
Gerald L. Cannon




                   grass in early snow, 2008
                   archival ink on paper; 1 framed instruction code set and 35 prints
                   8.5” x 11” each
Gerald L. Cannon

The Uncertainty Principle

Early in the last century, Werner Heisenberg discovered the fundamental structure of our visual
reality, the atom, was not just difficult to visualize, it was impossible to visualize. In essence, the fact that
humans can never be certain of the truth of our perception means that we cannot discern
reality for certain.

At the most fundamental level, this observation flows through art from Duchamp to Post-Structuralism.
In fact, not knowing, as Donald Barthelme eloquently describes it, is the way art gets made.

I view my own work as an attempt to, in an aesthetically interesting way, do what Heisenberg described
as basic to all matter and perhaps all matters. The work is successful when it inhabits two states. One
state assures the viewer that the aesthetics on which they have built their observations is being satisfied.
However, sufficient observation (Heisenberg places the observer squarely in the center of a quantum
universe which is revealed dependent on that viewer’s perceptual suppositions) will inevitably lead to the
recognition that the work has failed due to the nature by which it has succeeded.

David Foster Wallace recognizes that this ³bothness² is the only suitable exit strategy from an art world
that can neither continue its ironic and doubt-filled journey to nothingness, nor revert to a non-ironic
sincerity. I aspire to investigate what remains.

I produce unique multiples. I make sincere work that collapses under the weight of its own sincerity.
I search for the tiniest DNA marker that reveals the source of fifty years of human suffering, and I find
nothing more than one tumbling die (pun intended) among billions. I lie whenever I try to tell the truth.




                                                                                                                                   5
three tree color, (triptych), 2008
archival digital print, 40” x 63”




6
Gerald L. Cannon


EDuCATioN
1981 MFA Visual Art, University of New Orleans, New Orleans, LA
1971 MBA Business Management, Auburn University, Auburn, AL
1965 BS Business Administration, Auburn University, Auburn, AL

SELECTED ExhibiTioNS
2007 New Media/New Artists, Caroll Gallery. Tulane University, New Orleans, LA
      COcodeDE, Kansas City Art Institute, Kansas City, MO
2006 New Art/New Media, Carroll Gallery, Tulane University, New Orleans, LA
      Second Line, Ad Hoc Gallery, Brooklyn, NY
2005 Giola Art Gallery Invitational Exhibition, Chicago, IL
      Marias Press Invitational Exhibition, University of Louisiana Lafayette, LA
2004 Digital Media Consultant/Image Production on Ochsner Hospital Healing Arts Visual Environments
2002 Digital Louisiana, Contemporary Art Center, New Orleans, LA
2001 The Triennial Exhibition, New Orleans Museum of Art, New Orleans, LA
      The Florence Biennale, Florence, Italy
      Gerald L. Cannon - Then and Now, Clark Hall Gallery, Southeastern Louisiana University, Hammond, LA
2000 Digital Art in New Orleans, Contemporary Arts Center, New Orleans, LA
1999 Louisiana Division of the Arts Fellowship Winners, Baton Rouge Gallery, Alexandria Museum, Diboll Gallery
      Visual Poetry, Baton Rouge Gallery, Baton Rouge, LA
1998 CyberArt, (solo) Contemporary Arts Center, New Orleans, LA
1997 Digital Image, Galerie Christian Siret, Paris, France
1996 Olympics 96, Center for Art, Culture and Technology, New York, NY and Atlanta, GA
      CompuArt@unomaha, University of Nebraska at Omaha Art Gallery, Omaha NE
1995 Distinguished Alumni of the Year - “University of New Orleans Department of Liberal Arts”, New Orleans, LA

SELECTED AwArDS AND GrANTS
2006 Louisiana ATLAS Individual Research Grant, Board of Regents, Baton Rouge, LA
1995 Louisiana Educational Quality Support Fund, $105,000 Electronic Multimedia Laboratory, Loyola University, New Orleans, LA
1992 Fellowship, Southern Arts Federation/National Endowment for the Arts , Atlanta, GA

CoLLECTioNS
New Orleans Museum of Art, New Orleans, LA
The Ogdon Museum of Art, New Orleans, LA
Foster Goldstrom Collection, NY
                                                                                                                                  7
* Full artist resume available upon request.
Gary Clemenceau




                  a clock work indigo, 2008
                  fuji crystal print, aluminum/polycarbonate matrix, 18” x 18” x 2”
Gary Clemenceau


I started out as a photographer. Trained in classical B&W photography at an early age, I had a well-developed sense of light
and texture by age ten. By the time I moved on, I was a veteran of FSA Red Bleach, Polysulphide, Selenium, Tetenal Copper,
Infrared, Calotypes, Daguerrotypes, etc. But photography seemed so limiting. Technology would eventually change all that,
but we’re not there, yet.

After photography, I was a musician for fourteen years; played professionally for a time, working on a few jazz and classical
albums. Then I moved to painting; painted a few abstracts. Then to sculpture, granite and wood. Then to poetry; one small
book published. Then to prose; two books published. Then back to photography, albeit the technology of photography and
image capture.

I started Smoke City Studio in 1996, to deconstruct and fuse all things analog and digital in the illusion we see all around
us, and to export the saturated colors and textures I’d had inside my head since I was a child – colors and textures I often
saw when I played or listened to music, or wrote poetry and prose. I began a search for a way to explore an infinite
interior space that was both timeless and boundless, trying to create a kind of spiritual snapshot of whatever it is that
flows around and through us all the time, in a realm we can’t see but somehow sense and are immanently a prime
component. The more I trusted this path, the closer I approached the intersection of art and music and writing, as well
as being able to communicate the universality and connectedness I felt we all share at some level beyond clever.

After a decade of excising complementary metal–oxide–semiconductors (CMOS) and charged-coupled devices (CCD)
from old digital cameras, wiring them together and running them through powerful magnetic fields, I hit upon a way of
throwing myriad color and depth into the pursuit of texture and image, preserving the complex process as a simple
photograph and encasing the result in a aluminum/polycarbonate (AL/C) matrix. My subsequent images are a tumultuous
marriage of technology and art, developed over the course of half a lifetime of analog and digital experimentation and
personal growth, across a range of mediums and disciplines.

Haida artist Bill Reid once said, “Art can never be understood, but can only be seen as a form of magic, the most
profound and mysterious of all human activities.” And writer Arthur C. Clarke said that, “Any sufficiently advanced
technology is indistinguishable from magic.” In there, somewhere, can be found Smoke City Studio.

                                                                                                                                9
Gary Clemenceau




                  night train, 2008
                  fuji crystal print, aluminum/polycarbonate matrix, 18” x 18” x 2”
10
Gary Clemenceau


EDuCATioN
BFA, Photography, San Diego State University, San Diego, CA
BA, Humanities, San Diego State University, San Diego, CA

ExhibiTioNS
2008 Chance Operations, Experimental Series, Climate Theater, San Francisco, CA
      Cold + Hot, Micaela Gallery, San Francisco, CA
      Tape Number One, Night Vision Experimental Series, Climate Theater, San Francisco, CA
2007 Gallery N!NE, “Night Site,” the Climate Theater, San Francisco, CA
      The Group, Dodeska Performance Ensemble, Climate Theater, San Francisco, CA
      Music Box Tin Cup Serenade, the Climate Theater, San Francisco, CA
      Night Light, the Climate Theater, San Francisico, CA
2006 Club Mezzanine, Urban Layers 2.0, (solo), Mint Street Gallery, City of Glass, San Francisco, CA
2005 Club Mezzanine, Urban Layers 1.0, (solo), Mint Street Gallery, Wasteland, San Francisco, CA

PubLiCATioNS
2007 The Puck Review, multiple images
      The TORPOMETRONOMICON, Xenochrony Books, San Francisco, CA
2006 Banker’s Holiday, Cold Steel Press, San Francisco, CA
2005 Caveat Lector (Cover & Online), San Francisco, CA
      The G.W. Review, George Washington University, Washington, DC AWARDS

AwArDS
2005 CSP Grant, Cold Steel Press, San Francisco, CA
2003 ScreenArts First Screenwriter Award, New York, NY
2001 ICI Arts Scholarship, Ironclad Industries, Ltd., UK




                                                                                                                   11
Peter Foucault




                 Europa 1, 2008
                 ink and collage on paper, 9” x 12”
Peter Foucault

Over the last few years I have been creating works on paper, sculptures and installations that are fueled by my love of
drawing and mark making. In my current body of work I have created a series of “drawing-projects” that produce complex
abstract compositions, and videos that reference the act of drawing. At the root of these projects is a constant tension
between control and the loss of control. My work is concept driven, and I often utilize objects that reference printmaking
and the multiple.

Since I am surrounded by antique maps at the gallery that I work at, I’ve really gotten interested in not only in the historic
importance of maps but also their political and social significance. Since vast portions of the world was being mapped for
the first time in the 16th cent. there was an enormous land grab by countries that were often at odds with each other to
acquire the most new territory. This signified power and expanded their empires in terms of land, natural resources and
manpower. Through warfare and treaties these new territories often changed hands multiple times, and by the time a map
was published the information would already be out of date. The maps themselves would often be altered by the
cartographer for political means, and landscape features would either be exaggerated or excluded all together.

Tall Tales are works are primarily influenced by maps and topographical schematics. I see the “Tall Tales” series as images
of micro-topographies, isolated sections of a map where a history has occurred, but the details have either been
forgotten, mythified or intentionally changed. The title for this series alludes to this notion. Throughout this series I have
utilized an iconic key of identical groupings of patterns and marks, but no information as to what they signify. I also see
these as components in a narrative that carries over from drawing to drawing to create a contextual fabric throughout
the series. These similar marks also reference the key of a map, in which certain standardized patterns represent things
like mountains, rivers, roads, etc.

The element of chance plays a great hand in the process of making these. I start off by dropping a large blot of ink
(or paint) in the middle of the paper and shake it horizontally and vertically to create the thick black lines in the
composition. When the ink (or paint) is still fluid I also go back in and blow it across the page to create the smaller lines.
I see this synonymous to charting a map for the first time in a newly discovered imaginary landscape.



                                                                                                                                    13
scafold 2, 2008           scafold 3, 2008
     ink on paper, 11” x 17”   ink on paper, 11” x 17”




14   tall tales 23, 2008       tall tales 24, 2008
     ink on paper, 18” x 22”   ink on paper, 18” x 22”
Peter Foucault

EDuCATioN
MFA, San Francisco Art Institute, San Francisco, CA
BA, Art History, University of Washington, WA
BFA, Printmaking, University of Washington, WA

SoLo ExhibiTioNS
2007 Outside Forces, Blankspace Gallery, Oakland, CA
      Draw!, Frankee Uno Salon and Gallery, San Francisco, CA
2006 Outline, Print Zero Studios, Seattle, WA
2005 Overdrawn, Crucible Steel Gallery, CELLspace, San Francisco, CA
2004 Publish or Perish, Installation at the Design Pavilion, San Francisco, CA
      Drawn In, Diego Rivera Gallery, San Francisco, CA
      In The West, Still Lights Gallery, San Francisco, CA
      Generations, Still Lights Gallery, San Francisco, CA
2001 Automatic Response, the Nation Gallery, Seattle, WA

SELECTED GrouP ExhibiTioNS
2007 The Gun Show, Root Division, San Francisco, CA
      Tall Tales, Micaela Gallery, San Francisco, CA
      Artists Go Lightly, Temporary Autonomous Museum, San Francisco, CA
      Salon D’Ete, Micaela Gallery, San Francisco, CA
      Yuri’s Night Bay Area 2007, NASA Aimes Research Center, Mountain View, CA
      Novus + Neos (New work + New artists), Micaela Gallery, San Francisco, CA
      FREEDM, Noise Pop Festival opening exhibition @Mezzanine, San Francisco, CA
2006 Anti/Social, Mission 17 Gallery, San Francisco, CA
      Mind Strata: The Collision Point, Works, San Jose, CA
      The Art of Tea, Cricket Engine Gallery, Oakland, CA
      Empirical Nostalgia, Million Fishes Gallery, San Francisco, CA
      Boredom: I Learned it by Watching You, Portland Art Center, OR
      Mind Strata: Office Dreams, 2001 Broadway, Oakland, CA
      Art SF 5th Anniversary Show, ArtSF Gallery, San Francisco, CA
      Rundgang, Staedelschule Academy of Art, Frankfurt, Germany
2005 Paper Cuts-Again, Fetterly Gallery, juried show, Vallejo, CA
      MFA Show, SFAI, Fort Mason Center, San Francisco, CA
      California Black and White, Cabrillo Gallery, Aptos, CA
                                                                                    * Full artist resume available upon request.
                                                                                                                                   15
Taliaferro Jones




                   allure II, 2008
                   giclee photograph mouted on aluminum, Edition 1/5, 40 3/4” x 41 1/8” x 1 1/8”
Taliaferro Jones


This body of work uses water as a metaphor to illustrate the ever-present alchemy of our existence. Water is the essence
of life. In its duality, water is extremely powerful - crashing and yet, also, calming; we cannot live without it. The work ex-
plores the different states of being within water. It touches on how we flow through our lives striving for a state of grace
and beauty. Like our blue planet, our bodies are 70% water, yet we still have a need to ground ourselves; the paradox of
standing still while always flowing. In many ways we are between states, part spirit and part matter, part liquid and part
solid. I sought to use the lyrical dance of light, space and color to explore and manifest these ideas in glass and photography.

Having grown up around water, I have always had a personal affinity towards it. When I dive into any body of water
I immediately have an intense and profound sense of joy and wonder. Both water and glass have an amazing ability to
reflect and refract light. Their prismatic qualities display the infinite patterns of nature in exquisite variety. These reflections
illustrate the organic order in nature that is defined by the divine mathematical proportion of the golden mean. Further
examples in water can be seen in the hollow curl of a wave or the rhythmic distance between ripples on a lake. Journalist,
Steve Hawk, sums up these sensations beautifully in the film, Stepping into Liquid:

The wave is a unifying force in the universe. There are light waves, sound waves, and ocean waves are the only form in
which they are at a human scale. They move at a speed about as fast as we run. They’re in this beautiful medium- the
Ocean. All it takes is one wave, not even that, one turn, you know, just a moment. It keeps pulling you back to have
another moment. It never ends.

Space and distance are just as critical as matter. Every atom in the world is empty. All our cells have a nucleus, but they
are mostly space. Through my sculpture, I’ve tried to capture this space in between and within illustrating the importance
of what is inside of us, as well as the energy that exists between two people when connecting with each other. These
thoughts are represented in the hollows of the sensual forms and the ways the light shifts through them changing the hues
of the color and the colors themselves. It illustrates my kaleidoscope theory of color and its infinite variations representing
the layers and complexity of each individual self as well as our relationships towards each other.

The Legend of the Baal-shem describes infinity as “its end is already contained in its beginning, and a new beginning in its
end.” Therefore, one might find infinity in the space in between by simultaneously listening to the passionate songs and
the stillness that lie within. For me, this is the exquisite mystical beauty of life contained in every drop of water and every
breath we take. As an artist, I infuse each piece with elements of these concepts. Each viewer brings his or her own
experiences, so my thoughts are only meant as an addition to how the audience sees the work. Above all, I want the
viewer to EXPERIENCE the work- to feel it and find a moment of peace or beauty.                                                          17
within I, 2008                      within II, 2008
     kiln cast crystal, 12” x 20” x 5”   kiln cast crystal,, 20” x 12” x 5”




18
Taliaferro Jones

EDuCATioN
2001 Post-graduate in glass, Sheridan College, Sheridan, WY
1997 BA, Art History, Tufts University/The School of the Museum of Fine Arts, Boston, MA
     BFA, photography, glass and mixed media sculpture, Tufts University/The School of the Museum of Fine Arts, Boston, MA

SoLo ExhibiTioNS                                                                   MuSEuM CoLLECTioNS
2007 Water Within Water, Wexler Gallery, Philadelphia, PA                          Canadiana Fund, Ottawa
      National Glass Centre, Sunderland, England                                   Museo De Arte En Vidrio De Alcorcon, Spain
2005 Between, Sandra Ainsley Gallery, Toronto, Canada
2003 Elemental (photography), Sandra Ainsley Gallery, Toronto, Canada
      Exhibition (photography) with Sandra Ainsley Gallery at BOHO, Toronto, Canada
2002 Traces II, Sandra Ainsley Gallery, at Monsoon Restaurant, Toronto, Canada
2001 Traces, Sandra Ainsley Gallery, Toronto, Canada
1998 Synergy, The Artist Foundation, Boston, MA

SELECTED GrouP ExhibiTioNS
2008 Flux, Beppu Wiarda Gallery, Portland, OR
      Contact 2008 (Veil), Sandra Ainsley Gallery, Toronto, Canada
      Radiant Dark, Made Design/Interior Design Show, Toronto, Canada
2007 Over Water, Gallery De Twee Pauwen, Netherlands
      The Beaverbrook Gallery, New Brunswick, Canada
      Sculptuur Biennale, Kijkduin, Netherlands
      La Capilla, del Centro de Artesanía y Diseño, Lugo, Spain
2006 University Museum of Alicante-MUA, Spain
      IV Bienal Internacional de Artes Plasticas, Museo De Arte En Vidrio De Alcorcon, Madrid, Spain
2004 Land and Sea, Lamont Gallery, Exeter, NH
      EmergenceE, Material Matters, Toronto, Spain
2003 Sheridan Show, Tobin Hewett Gallery, Louisville
2001 in.tuition, Living Arts Centre, Mississauga, Ont., Canada
2000 Art in the Nineties, The Art Center at Hargate, St. Paul’s School, NH

SELECTED PubLiCATioN
2007 “Water Within Water,” Glass: UrbanGlass Art Quarterly Review, (109, Winter 2007-08)
2006 “Through the Looking Glass,” Surface & Symbol, (February/March)
2005 TVO, “Studio 2” first t.v. broadcast- March 3
      Bravo, “Arts and Minds” mini documentary, (March 5)
      “Appealing Aquatics,” NOW Magazine, Review, (Feb. 24- March 2 2005)               * Full artist resume available upon request.          19
Scott Kiernan




                memory hole (random access)1, 2008
                photograph, plexi, 29” x 42”
Scott Kiernan


“Memory Holes v.1, and v.2” are from a larger body of work, across various media, which draws a parallel between the
compression and “reformatting” of memory in a silicon chip and in a a human “memory” and consciousness. These specific
images are from series of performative gestures throughout New York City (shown in May 2008 for a Berlin exhibition
entitled “Urban Space”) in which “Memory Holes v. 1” was reinserted back into the subway tunnel in which it was shot, as
covert subway advertising. It then acts as a prop in a ensuing video shot on site, in which the artist/protagonist will pass by
his own image in a series of “strange loop” generating actions.

The imagery in both works uses the mirror (as in the glass in storefronts, subway cars or a passing strangers eyes etc) as a
simultaneous exaltation, warping, and obliteration of memory extending it to the self-conscious, yet frenetic, urban experience.

A mirror reflection instantly collides past, present and future in one gaze. There is the past the viewer brings through
pre-conception, and perceived “self-image”, the present that changes before their very eyes through refracting light waves,
and the future of the elusive “tomorrow” and the momento mori of eventual death.

The urban experience is also built on a convergence of past, present and future. One is simultaneously confronted with
a city’s history (far and recent, traumatic and triumphant, actual and folkloric), and it’s everchanging and chaotic present
which bleeds into its projected future (gentrification, development). With this fragmenting of “time”, how can one place or
perceive one’s self? How can one not feel anonymous or as a turning cog in a market economy machination? The irony of
this exists profoundly in urban marketing strategies; both in the advertising content itself and its proliferation. A repetition
of “self-conscious” images redirect this “self-seeking” impulse into a desire for/consumption of “luxury” goods over any
self- “awareness” that exists outside of this same economy. Ironically the mirror’s reflective action, parallels the feedback
loop of life in a capitalist economy.

The mirror image is also meant to be portal-like, speaking to the psychogeography of the city, in which one’s environ-
ment is in a constant dramatic flux. Different worlds can be “randomly accessed” with a few footsteps or emergence from
a subway tunnel. This portal today may be one-sided as well, as in surveillance or “security”. These themes however, are
touched on in other stages of the work, in which security mirrors are liberally employed as shifters of public space.

Is this “random access”, anonymity, and compression of time and space, not so dissimilar to the structuring of our parallel
“virtual world”? Is a strange loop being formed in the relation between the physical and cyber worlds, in which one must
cancel the other out infinitely; or will the loop be a perpetuation of stasis, which prolongs the current economy and
divisions of wealth? These questions are also tackled analogically in the remaining work from this series.                         21
memory hole (random access)1I, 2008
22   photograph, plexi, 29” x 42”
Scott Kiernan

EDuCATioN
2007 MFA, New Genres, San Francisco Art Institute, San Francisco, CA
2003 BFA, School of Visual Arts, New York, NY

SELECTED ExhibiTioNS
2008 On It’s Head, Dam, Stuhltrager, Brooklyn, NY
      COMPASS, Micaela Gallery, San Francisco, CA
      Blackout, Root Division, San Francisco, CA
      Everything Must Go, Flux Factory, L.I.C., NY
      The Audacity of Desperation, PS122, NY, NY
      Camera Obscura/Teenage Bedroom, Slip Gallery, New York, NY
      Extra Special Ops, Realform, New York, NY
      Beauty’s Burden, Educational Alliance at Walter Rubenstein Gallery, New York, NY
      Memory Holes/Garbage for the Gap, Slip Gallery, NYC
2007 Novus + Neos, Micaela Gallery, San Francisco, CA
      Devils Triangles (Reprise), Diego Rivera Gallery, San Francisco
      Devils Triangles/Message to the Carrier, 2 person exhibition, 21 Grand Gallery, Oakland, CA
      Love for Sale, Root Division, San Francisco “3 Pieces”, San Francisco, CA
      Yuri’s Night 2007, NASA Ames Center, Mountain View, CA
      FRDM NIGHT, Mezzanine, San Francisco, CA
      Half and Have Knots, The Lab, San Francisco, CA
      Selected Songs of the Soft Cigarette, SFAI MFA Exhibition, San Francisco, CA
      Salon d’Ete, Micaela Gallery, San Francisco “Marigolds to Mars”, Root Division, San Francisco, CA
      Tall Tales, 2 person exhibition, Micaela Gallery, San Francisco, CA
2006 The Pied Piper of Palestine, San Francisco, CA
      ZENITH and CFaC, Rock Paper Scissors Collective, Oakland, CA
      CELL2Cell2cell, RIDER PROJECT 2006, NY, NY “Nothing’s Here for Sure”, ArcCafe, San Francisco, CA
2005 Artist’s Books, Diego Rivera Gallery, San Francisco, CA
      ZENITHBOX 3, (solo), Diego Rivera Gallery, San Francisco, CA

SELECTED PubLiCATioNS:
2008 “Art In Flux”, by Ben Davis, Art Net, April 2008 NYPOST.COM for “Everything Must Go”, April
      NBC 11 TV for “Sound Device”, Bob Redell, March
      NBC 11 TV for “Blackout”, March
      ‘Blackout’: Root Division show lit by the art, San Francisco Gate, 96 Hours, February, by Reyhan Harmanci
      Blackout, www.artbusiness.com/1open/020908.html, February, by Alan Bamberger                * Full artist resume available upon request.
                                                                                                                                                 23
Scott Kildall




                still image from future memories, 2007
                video, 35 minutes
Scott Kildall




I work at the intersection of media culture and human memory. My artwork depicts collapse: between
producer and consumer, viewer and viewed and simulated and real. I appropriate material, bend rules of
consent, restage events and invite viewers to alter my exhibited pieces. These acts and products reflect
a shift in cultural production — where ownership dips into a zone of ambiguity and image and sound
is widely recycled.

I use video, installation, prints, sculpture and performance to express desires for connection through
a changing media landscape. In a recent project, I approached people at public events and asked them
for a photograph. Instead, I took video. From these hundreds of clips, I compiled a 40-minute edit of
strangers waiting in anticipation and smiling towards the unknown.

Lately, I have been using Second Life — an online world with simulated physical space — as a site for
artistic inquiry. Here, I remediate iconic performances and realize “imaginary objects” as paper sculptures.
Traditional and new media collide then recombine into a hybrid form. The notion of the original form
sinks in wake of these acts. My work reveals how humans express emotions in this new topography.




                                                                                                                         25
still image from future memories, 2006
     video, 35 minutes




26
Scott Kildall

EDuCATioN
MFA, Art & Technology Studies, School of the Art Institute of Chicago, Chicago, IL
BA, Political Philosophy, Brown University, Providence, RI

SELECTED SoLo ExhibiTioNS
2007 Crossing the Void, Haydn Shaughnessy Gallery, Ireland
      Imaginary Souvenirs, Mission 17, San Francisco, CA

SELECTED GrouP ExhibiTioNS
2008 Innovation and Imagination, Seattle Art Museum, Seattle, WA
      I feel that I am free but I know that I am not, SF Camerawork, San Francisco, CA
      Open Ear in Cardiff, ATRiuM, Cardiff, Wales, UK
      Close To You, Textile Museum of Canada, Toronto, Canada
      Mediating Bodies, Western Front, Vancouver, Canada
      Sonic Residues, SAC Art Gallery, Stony Brook University, NY
      Mixed Realities, Huret & Spector Gallery, Boston, MA
2007 Close to You, Dalhousie Art Gallery, Halifax, Canada
      Wrath of Kong: Second Front Performance, Performa 07, New York, NY
      Tools of Culture, Koscielak Gallery, Chicago, IL
      Chain Reaction, Art Engine, San Francisco, CA
      Altered States, Kala Art Institute, Berkeley, CA
      One Night Stand, San Jose Art Museum, San Jose, CA
      CrossMediale 2, Koscielak Gallery, Chicago, IL
      Retinal Reverb, Audio Cinema, Portland, OR
      Zemos98, Official Selection, Sevilla, Spain
      Stranger Than Fiction, Academy of Fine Arts, Helsinki, Finland
2006 DigitCircula, part of DUSK by Raul Zamudio, DIVA Art Fair, Miami, FL
      Fresh, Kala Art Institute, Berkeley, CA
      CrossMediale 1, Koscielak Gallery, Chicago, IL
      Grown Accustomed, Crawl Space, Seattle, WA

rESiDENCiES AND AwArDS
2008 Extending Creativity in Digital Media, Anderson Ranch
2007 Mixed Realities, Turbulence Commission
2006 The Future of Idea Art, Residency at Banff Centre
      Kala Fellowship Award, Berkeley California                                         * Full artist resume available upon request.
                                                                                                                                         27
Jenna North




              spector, 2008
              acrylic on panel on MDF, 48” x 48”
Jenna North




Energy fields of pattern formed by frequency waves in nature is the essence of my current
body of work; The Grey-tones.

 For the last eight years my visual exploration as an abstract painter has been the rich
history of ornamental design in many cultures and epochs and the spiritual experience of
making and being engrossed in opulent symmetry. The aesthetics of harmonious design
and exigent vibrations stimulates physiological and formal seduction of the viewer.

 The Grey-tones are inspired by the notion that sound vibrations in nature create pattern
formations that are reminiscent of specific elements of design. I conduct virtual labs using
sound/substance algorithms. The results inform the Grey-tone paintings.

 Recently color is given some allowance after maintaining a strict constraint of black and
white for nearly two years. Red corresponds to the music note C, planet mars, the first
chakra, the element fire and my checkbook. A recent study revealed that stars hum
middle C before death. Perhaps the presence of red in this work is a sign of its
transformative state.




                                                                                                       29
red skins, 2008
     acrylic on architectual molding, 12” x 12” each




30
Jenna North

EDuCATioN
2009 MFA, Painting, San Francisco Art Institute, San Francisco, CA
2000 BFA, Painting & Printmaking, Kansas City Art Institute, Kansas City, MO

SoLo ExhibiTioN
2006 Grey-tones; Cymatics, San Mateo City Hall, San Mateo, CA
      Good Vibrations, The Retox, San Francisco, CA
      New Paintings, Junction City Arts Council, Junction City, KS
2005 Greytones; Cymatics, Art Gallery Salina Public Library, Salina, KS
2004 Googie, Penn State University, Philadelphia, PA
      The Jetsons, Arts Council of Dickinson County, TS
1999 Limbo, Catering By Design, Kansas City, MO

SELECTED GrouP ExhibiTioN
2007 Mechanical Genius, Artisans Gallery, San Rafael, CA
      Cooper Hook LLC, NYC, NY
      The Art Mine Gallery, Port Hadlock, WA
      TASTE, Root Division, San Francisco, CA
      Systems and Transmutations, Root Division, San Francisco, CA
2006 The Fortune Show, Swell Gallery, San Francisco Art Institute
      The Hanging, Arts Council of Dickinson County, Abilene, KS
2005 Patrick Henry Community College in Martinsville, VA
      Stick to Your Guns, Roanoke, VA,
      Artists of Dickinson County, Abilene, KS
2004 Artists of Dickinson County,Train Depot in Abilene, KS
2002 East End Gallery, Appleton, Wisconsin
2001 Counter North, The Village Bookshop, Ferndale, CA
      North Counter, Metzger’s Law Firm, Eureka, CA
      Don’s Art Gallery Fortuna, CA
      The Portal Gallery, Mount Shasta, CA
2000 Michael Cross Gallery, Kansas City, MO
      The Late Show Gallery, Kansas City, MO
      Senior Thesis, H&R Block Art Space, Kansas City, MO
1999 Biennial Light & Space Exhibition, Madison, WI
1996 Biennial Light & Space Exhibition, Madison, WI
                                                                               * Full artist resume available upon request.
                                                                                                                              31
Lorraine Peltz




                 cherry brandy, 2008
                 oil on canvas, 24” x 24”
Lorraine Peltz


Lorraine Peltz’s recent paintings articulate fresh ideas about place and identity, presenting evocative and highly
charged images that explore women’s fantasies and desires. By combining various painting languages including
recognizable imagery, signs and symbols, and painterly abstraction, Peltz attempts to mimic and reconcile how
information comes to us and how meaning is made, bit by bit -- real life alongside memory, poetry next to prose.
These become landscapes of both the exterior world and an interior space of dream, desire, hope, and memory.
Her images of chandeliers, plums, pears, and cupcakes, playfully co-mingle the language of 17th century-esque still
life objects with a pop imagery of lightening bolts, puffy clouds, painted lips, rainbows, strolling legs, swans, ominous
blackbirds, and more.

As Lisa Wainwright, Dean at the School of the Art Institute of Chicago and Professor of Art History, wrote in 2006,
“here are worlds aqueous and cosmic, airy and verdant. These paintings glow with uncanny resonance and optical
sheen. And then Peltz interrupts the dreaminess to cast a range of signs into ethereal spaces. Myriad symbols in
their speech bubble niches hint at a narrative that unfolds from picture to picture. Both of nature and from culture,
her icons speak to the polemic between essentialism and social construction that still grips feminist discourse...the
mix of aesthetic delight and conceptual reading makes.... (this) Peltz’s strongest (work) to date”

Lorraine Peltz was born in Brooklyn, NY and received her MFA from the University of Chicago and her BFA from
the State University of New York at New Paltz. She has had numerous one person shows and been included in
many group exhibitions including at the Hyde Park Art Center in Chicago, Galerie Piltzer in Paris, Arden Gallery
in Boston, Olga Dollar Gallery in San Francisco, Carrie Secrist Gallery in Chicago, Koscielak Gallery in Chicago,
Printworks Gallery in Chicago, the Rockford Art Museum, the Renaissance Society in Chicago, the Herbert Johnson
Museum at Cornell University, and many others. The exhibition “Excellent Hostess” Selected Paintings: 1995-2008,
with an accompanying catalogue, will take place in July at The Center for Fine and Performing Arts, Munster, IN,
and exhibitions are planned at the Elmhurst Art Museum, Elmhurst, IL, at the Cheryl McGinnis Gallery, NYC, the
Betty Rymer Gallery, School of the Art Institute of Chicago, Chicago, IL and in Verona, Italy. Peltz lives and works
in Chicago and teaches at the School of the Art Institute of Chicago.



                                                                                                                                       33
dace card 12, 2008                             dace card 15, 2008
     graphite and acrylic on paper, 25.5” x 19.5”   graphite and acrylic on paper, 25.5” x 19.5”




34   dace card 15, 2008                             dace card 19, 2008
     graphite and acrylic on paper, 25.5” x 19.5”   graphite and acrylic on paper, 25.5” x 19.5”
Lorraine Peltz

EDuCATioN
1983 MFA, University of Chicago, Chicago, IL
1980 BFA State University of New York at New Paltz, New Paltz, NY

SELECTED SoLo ExhibiTioNS
2008 Chandeliers, Starbursts, etc., Culturale Centro CTG, S. Maria in Chiavica, Verona, Italy
      Excellent Hostess: Lorraine Peltz, Selected Paintings: 1993-2008, Outstanding Midwestern Artist Series,
               Center for Visual and Performing Arts, Munster, IN
2007 Chandeliers, Starbursts, etc., Koscielak Gallery, Chicago, IL
      Cosmic Hostess, The Hyde Park Art Center, Chicago, IL
2006 Mixed Fruits, gescheidle, Chicago, IL
2004 Dream/Girl, gescheidle, Chicago, IL
      Dream/Girl, Center for Visual and Performing Arts, Munster, IN
2002 Day and Night: New Paintings, Lyons Wier Gallery, Chicago, IL
2001 Paintings, Loyola University Medical Center, Maywood, IL
2000 Selected Paintings, Riverside Arts Center, Riverside, MI
      Pink Works, I Space, Chicago, IL

SELECTED GrouP ExhibiTioNS
2009 Objects of Desire, Cheryl McGinnis Gallery, New York, NY
      Phyllis Bramson, Lorraine Peltz, Keer Tanchek, Elmhurst Art Museum, Elmhurst, IL
2008 Chicago Verge, I Space, Chicago, IL
      Ahh! Decadence, Betty Rymer Gallery, School of the Art Institute of Chicago, Chicago, IL
      Ladylike, A Proper Take on Feminist Art, Koscielak Gallery, Chicago, IL
      Place/Object, Deborah Boardman and Lorraine Peltz, Koscielak Gallery, Chicago, IL
2007 Objects of Adoration, Soho Myriad, Los Angeles, CA
      Just Good Art, Hyde Park Art Center, Chicago, IL
      Pink, Soho Myriad, Atlanta, GA
      The Exquisite Snake, Mary and Leigh Block Museum, Evanston, IL
2006 Thinking Through the Body: Lorraine Peltz, Molly Carter, and Lindsay Obermeyer, H. F. Johnson Art Gallery, Carthage College,
      Kenosha, WI
      Just Good Art, Hyde Park Art Center, Chicago, IL
      Art Chicago, gescheidle, Chicago, IL


                                                                                                    * Full artist resume available upon request.
                                                                                                                                                   35
Tobias Tovera




                enlightenment is like the moon reflected on water, 2008
                video
Tobias Tovera




In my artwork, I am interested in discovering transmuted spaces, places where energy shifts, changes,
or renews itself. Through an exploration of the interstices between opposing elements, such as nature
and artifice or chaos and order, I wish to explore entropic systems where healing may occur. I want my
audience to be left with question and confronted by a raw sense of what it means to be human.


My work currently explores paint as a sculptural object in which the process of the medium diffuses
into the surface. I create compositions of entropic verdigris that conjure layered textures of color and
space. Though I begin with a color that embodies an elemental archetype, these ‘Life Forms’ unfold
in a natural rhythm of their own; each layer becoming a kind of topography upon which time can be
re-experienced. This process serves to create work that is constantly evolving, allowing me to create
work that I feel is palpable yet ethereal. By incorporating and encouraging random developments in my
practice, I seek to restrain intent thus allowing a more spiritual aspect to enter my work.




                                                                                                                     37
effusion, 2008
     pigment on paper, 24” x 24”
38
Tobias Tovera

EDuCATioN
2001 BFA, Sculpture, California College of the Arts, San Francisco, CA
1999 Interior Architecture, San Diego Design Institute, San Diego, CA
1997 Painting & Art History, American River College, Sacramento, CA

SELECTED SoLo ExhibiTioNS
2005 The Medicine of Space, Melting Point Gallery, San Francisco, CA
2003 New Work, Akimbo Gallery, Sacramento, CA
2001 Substance, North Gallery, Oakland, CA
2000 Deliverance, Ortiz Gallery, San Francisco, CA
1999 Soul Impressions, California College of Arts and Crafts, Tecoah and Thomas Galleries, San Francisco, CA
      Façade, Installation and Performance, Midtown Mosaic, Sacramento, CA

SELECTED GrouP ExhibiTioNS
2006 Raw Egg, Videography/Performance - Nature Theatre, Yugen Presents, San Francisco, CA
      Moksha, Videography/Performance - Nature Theatre, The Milk Bar International Film Festival, Oakland, CA
      Breaking Point, Videography/Performance - Nature Theatre, SOMarts, San Francisco, CA
2005 Nova Express, Videography - Nature Theatre, Counterpulse, San Francisco, CA
2004 How Can You Resist, 9th Biennial Festival of New Media, presented by LA Freewaves
      Uncharted Terrain, Soka University of America, Aliso Viejo, CA
      3rd Annual Tiburon International Film Festival, Tiburon, CA
2002 Delirium, A Symposium of Film and Video Art, W Hotel, San Francisco, CA

PubLiCATioNS
2005 The Medicine of Space, Leigh Markopoulos, Catalog Review, (Nov.27 p.1-2)
2002 San Francisco Bay Guardian, Dolcinea Gonzales, Art, (Oct.23-30 p. 86)
2001 The Oakland Tribune, Frosene Philips, Art and Entertainment, (Sept.9-10 p.34)
2000 SF Weekly, Anne Marie Mastandrea, San Francisco Art Review (Mar.20-25, p.104)




                                                                                                                          39
Anne Yalon




             indistinguishable, 2008
             print, plexi glass, 14” x 18.25” x 3.75”
Anne Yalon




My work focuses on loss, temporality, fragmentation and fragility. I am interested in using existing sites such as
architecture and memory as markers for events. The work is a placeholder, or a witness, to the event. I want
to capture the fragility of these sites before they disappear from my mind.


I use video, drawing and sculpture (culminating in installation) as a repository for my memory. Memories often
cleave to the physical settings of events. The scars on landscape preserve the memory of the site long after
the people are gone, making architecture and landscape an unprejudiced witness to an event. I use these
mediums as a way to capture the invisible, a memory, an architectural structure that no longer exists, or
an overwhelming feeling triggered by a site. By asking the viewer what one needs to forget in order to
remember, I hope to trigger and reverberate a memory in the viewer’s mind.




                                                                                                                            41
beneath, 2008                           break, 2008
     print, plexi glass, 26” x 30” x 3.75”   print, plexi glass, 24” x 31.5” x 3.75”




     his house, 2008                         sinks, 2008
     print, plexi glass                      print, plexi glass, 17.5” x 23” x 3.75”
42
Anne Yalon

EDuCATioN
2007 MFA, San Francisco Art Institute, San Francisco, CA
2005 BFA, Loyola University New Orleans, LA

SELECTED ExhibiTioNS                                                                 CoLLECTioNS
2008 Pencil and Paper, Diboll Gallery, New Orleans, LA                               Discovery Industries, Washington D.C.
      Blackout, Root Division, San Francisco, CA                                     M.B.H. Architectural Firm, Alameda, CA
      COMPASS!, Micaela Gallery, San Francisco, CA                                   Stanford University Medical Center, Palo Alto, CA
2007 Landscapes, (solo), Micaela Gallery 2, San Francisco, CA                        Loyola University, New Orleans, LA
      Second Line, Ad Hoc Gallery, Brooklyn, NY
2006 Narrative Video, The A.M. Project Gallery, Los Angeles, CA
2005 A Room Displaced, The Diego Rivera Gallery, San Francisco, CA
                 (collaborative installation with Robert Santee and Nadim Sabella)
      Sight, Site, New Orleans Historical Collection, New Orleans, LA
      Sculpture, Danna Gallery, New Orleans, LA
2004 Emerging Artists, Barrie Center, New Orleans, LA
      Artists for Kerry, Tipatina’s French Quarter, New Orleans, LA
      You Are Wonderful, Contemporary Arts Center, New Orleans, LA
      Untitled, Danna Gallery, New Orleans, LA
2003 Narratives, Danna Gallery, New Orleans, LA

AwArDS/GrANTS
2008 Root Division Artist in Residency, San Francisco, CA
2007 Marin Headlands MFA Artist in Residency, CA
2005 The Richard Frank Grant
     The Outstanding Achievement Award, Loyola University, New Orleans, LA
     The Robert Munsell Outstanding Service Award, Loyola University, New Orleans, LA
     The National Dean’s List, Awarded for Life
     Nominated for International Student Sculpture Award

PubLiCATioNS
2008 COMPASS! www.artbusinessnews.com, January, by Dewett Cheng
2007 Miami Post Mortem, ArtNet Magazine, www.artnet.com, December, by Ben Davis
      Another Country, Worth Ryder Gallery, UC Berkeley, The Diversity Project and Laura Swanson
      Mint Juleps and Devastation: Art Beyond Documentary in Post-Katrina, New Orleans, December
                                                                                                   * Full artist resume available upon request.
                                                                                                                                                  43
David Yun




            weeds 2, 2008
            print, plexi galss, 30” x 22.5”
David Yun


David Yun grew up the son of Chinese immigrants in Livonia, Michigan, a suburb of Detroit that holds the title as “The
Whitest Large City in the United States.” He is currently an MFA student studying film at the San Francisco Art Institute
(SFAI). Yun’s work, which has been shown internationally, spans a variety of mediums including film/video, photography,
social practice and installation. His films have screened as part of numerous film festivals including the International
Documentary Festival Amsterdam (IDFA), European Media Arts Festival, New York International Asian American Film
Festival, and Documenta Madrid. He is the recent recipient of a Murphy and Cadogan Fellowship, awarded annually by
the San Francisco Foundation to the most promising Fine Arts Graduate Students in the Bay Area.

Digital Scratch Films
In this series of short videos, David Yun explores the aesthetic possibilities of digital video by incorporating elements of
the scratch film into his practice. Starting from the techniques and aesthetics that experimental filmmakers such as Stan
Brakhage and Carolee Schneemann applied to 16mm film, these works invitee us to think about video making in a similar
frame-by-frame manner in which the lines between reality and reproduction are blurred. In this series, Yun begins his
pursuit of perfecting “digital scratching” techniques by manipulating original and found video in software such as Photoshop
and Final Cut Pro to produce works that aim to visually stimulate while recalling memory, emotion and sensation.

Hug
2007, 1:28
Hug was Yun’s first attempt at creating a digital scratch film. Many elements of the typical scratch film, the variations in
speed, saturated colors, and use of evocative audio were developed in the creation of this work, which depicts a woman
running towards the camera culminating in a hug exchanged with a subject standing at the foreground of the frame. The
result is a work that turns this seemingly simple gesture into something larger.

Waves
2007, 1:21
The second video in the series, Waves relies on the natural rhythms of the ocean to provide the energy that propels the
work forward. Footage shot at San Francisco’s Ocean Beach is transformed through Yun’s digital scratching techniques
into a kaleidoscope of ebbs and flows. Building of the techniques developed in Hug, Yun incorporated a new technique
in this video—layering. These layers combine to create a whirling effect by depicting motion playing a various speeds in
multiple directions simultaneously. This effect culminates in an explosion of colors, textures and sounds that transport
the viewer to another mental state.                                                                                               45
hug, 2008                           hug 1, 2008                         hug 2 2008
     print on plexi galss, 14” x 10.6”   print on plexi galss, 14” x 10.6”   print on plexi galss, 14” x 10.6”




     waves 1, 2008                       waves 2, 2008                       flowers 1, 2008
     print on plexi galss, 30” x 22.5”   print on plexi galss, 30” x 22.5”   print on plexi galss, 30” x 22.5”




     flowes 2, 2008                      flowes 3, 2008                      flowes 4, 2008
46   print on plexi galss, 30” x 22.5”   print on plexi galss, 30” x 22.5”   print on plexi galss, 30” x 22.5”
David Yun

EDuCATioN
2009 MFA, Film, San Francisco Art Institute, San Francisco, CA
2000 BA, English with Honors, Brown University, Providence, RI
     BA, Computer Science, Brown University, Providence, RI

SELECTED FiLM SCrEENiNGS
2008 11th Vancouver Asian Film Festival, Vancouver, British Columbia, Canada
      11th Antimatter Underground Film Festival, Victoria, British Columbia, Canada
      2nd Sydney Underground Film Festival, Sydney, Australia
      4th 25 FPS Festival, Zagreb, Croatia
      23rd Odense Film Festival, Odense, Denmark
      Perpetual Ends, Elastic Arts Foundation, Chicago, IL
      31st Asian American International Film Festival, New York, NY
      4th Video Art Festival Miden, Kalamata, Greece
      9th Seoul International Film Festival, Seoul, South Korea
      Threat Level Queer Shorts, Elegant Mister Gallery, Chicago, IL
      27th European Media Arts Festival, Osnabrück, Germany
      Documenta Madrid, Madrid, Spain
      35th Athens International Film & Video Festival, Athens, OH
2007 19th International Documentary Festival Amsterdam (IDFA), Amsterdam, The Netherlands
      6th Reel Asian Film Festival, Toronto, Ontario, Canada
      Terra Incognita III, New Langton Arts/San Francisco Cinematheque, San Francisco, CA
      I Don’t Know Where I’ve Been, Continuing MFA Film/Video Screening, San Francisco, CA
2006 Intercity, Meta House, Phnom Penh,Cambodia

SELECTED ExhibiTioNS
2009 I Do It For My People, Museum of the African Diaspora (MoAD), San Francisco
2008 APAture: 10th Annual Festival of Emerging Asian Pacific American Artists, Kearny Street Workshops, San Francisco, CA
      Immediate Future, San Francisco Art Commission Gallery, San Francisco, CA
      Videoholica 08 | Biennial August in Art, Varna, Bulgaria
      Insider/Outsider, Root Division Gallery, San Francisco,, CA
      What Goes Around, ARTworkSF Gallery, San Francisco, CA
      Digital Delay, Micaëla Gallery, San Francisco, CA
2007 I.O.U. , Mission 17 Annual Juried Exhibition, San Francisco, CA
      Another Country, Worth Ryder Gallery, Berkeley, CA
      Summer Triangle: Part 1, KGB Gallery, Los Angeles, CA                                       * Full artist resume available upon request.
                                                                                                                                                 47
Established in 1997, Micaëla Gallery represents fine art and sculpture. The gallery assembles
                  several solo and group exhibitions annually, reviewing idea-based work, visual pleasure and
Micaëla Gallery
                  artistic vision, as influenced by culture, emotion, intellect, and the politics of life. The gallery
                  collection includes drawings, paintings, modern prints, photography and video.

                  Micaëla Gallery presents regular exhibitions at international art fairs, such as SOFA
                  Chicago (2007, 2008), Art Basel|Miami (Art Now Fair, Miami 2007; Bridge Art Fair,
                  Miami Beach 2008), and Bridge Art Fair, New York 2008.
Gerald L. Cannon…4   Gary Clemenceau…8   Peter Faucault…12   Taliaferro Jones…16




Scott Kiernan…20     Scott Kildall…24    Jenna North…28      Lorraine Peltz…32




Tobias Tovera…36     Anne Yalon…40       David Yun…44        Micaëla gallery…48
Bridge Art Fair|Miami Beach 2008 Catalog

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Bridge Art Fair|Miami Beach 2008 Catalog

  • 3. Gerald L. Cannon…4 Gary Clemenceau…8 Peter Foucault…12 Taliaferro Jones…16 Scott Kiernan…20 Scott Kildall…24 Jenna North…28 Lorraine Peltz…32 Tobias Tovera…36 Anne Yalon…40 David Yun…44 Gallery Statement…48 index…49
  • 4. Gerald L. Cannon grass in early snow, 2008 archival ink on paper; 1 framed instruction code set and 35 prints 8.5” x 11” each
  • 5. Gerald L. Cannon The Uncertainty Principle Early in the last century, Werner Heisenberg discovered the fundamental structure of our visual reality, the atom, was not just difficult to visualize, it was impossible to visualize. In essence, the fact that humans can never be certain of the truth of our perception means that we cannot discern reality for certain. At the most fundamental level, this observation flows through art from Duchamp to Post-Structuralism. In fact, not knowing, as Donald Barthelme eloquently describes it, is the way art gets made. I view my own work as an attempt to, in an aesthetically interesting way, do what Heisenberg described as basic to all matter and perhaps all matters. The work is successful when it inhabits two states. One state assures the viewer that the aesthetics on which they have built their observations is being satisfied. However, sufficient observation (Heisenberg places the observer squarely in the center of a quantum universe which is revealed dependent on that viewer’s perceptual suppositions) will inevitably lead to the recognition that the work has failed due to the nature by which it has succeeded. David Foster Wallace recognizes that this ³bothness² is the only suitable exit strategy from an art world that can neither continue its ironic and doubt-filled journey to nothingness, nor revert to a non-ironic sincerity. I aspire to investigate what remains. I produce unique multiples. I make sincere work that collapses under the weight of its own sincerity. I search for the tiniest DNA marker that reveals the source of fifty years of human suffering, and I find nothing more than one tumbling die (pun intended) among billions. I lie whenever I try to tell the truth. 5
  • 6. three tree color, (triptych), 2008 archival digital print, 40” x 63” 6
  • 7. Gerald L. Cannon EDuCATioN 1981 MFA Visual Art, University of New Orleans, New Orleans, LA 1971 MBA Business Management, Auburn University, Auburn, AL 1965 BS Business Administration, Auburn University, Auburn, AL SELECTED ExhibiTioNS 2007 New Media/New Artists, Caroll Gallery. Tulane University, New Orleans, LA COcodeDE, Kansas City Art Institute, Kansas City, MO 2006 New Art/New Media, Carroll Gallery, Tulane University, New Orleans, LA Second Line, Ad Hoc Gallery, Brooklyn, NY 2005 Giola Art Gallery Invitational Exhibition, Chicago, IL Marias Press Invitational Exhibition, University of Louisiana Lafayette, LA 2004 Digital Media Consultant/Image Production on Ochsner Hospital Healing Arts Visual Environments 2002 Digital Louisiana, Contemporary Art Center, New Orleans, LA 2001 The Triennial Exhibition, New Orleans Museum of Art, New Orleans, LA The Florence Biennale, Florence, Italy Gerald L. Cannon - Then and Now, Clark Hall Gallery, Southeastern Louisiana University, Hammond, LA 2000 Digital Art in New Orleans, Contemporary Arts Center, New Orleans, LA 1999 Louisiana Division of the Arts Fellowship Winners, Baton Rouge Gallery, Alexandria Museum, Diboll Gallery Visual Poetry, Baton Rouge Gallery, Baton Rouge, LA 1998 CyberArt, (solo) Contemporary Arts Center, New Orleans, LA 1997 Digital Image, Galerie Christian Siret, Paris, France 1996 Olympics 96, Center for Art, Culture and Technology, New York, NY and Atlanta, GA CompuArt@unomaha, University of Nebraska at Omaha Art Gallery, Omaha NE 1995 Distinguished Alumni of the Year - “University of New Orleans Department of Liberal Arts”, New Orleans, LA SELECTED AwArDS AND GrANTS 2006 Louisiana ATLAS Individual Research Grant, Board of Regents, Baton Rouge, LA 1995 Louisiana Educational Quality Support Fund, $105,000 Electronic Multimedia Laboratory, Loyola University, New Orleans, LA 1992 Fellowship, Southern Arts Federation/National Endowment for the Arts , Atlanta, GA CoLLECTioNS New Orleans Museum of Art, New Orleans, LA The Ogdon Museum of Art, New Orleans, LA Foster Goldstrom Collection, NY 7 * Full artist resume available upon request.
  • 8. Gary Clemenceau a clock work indigo, 2008 fuji crystal print, aluminum/polycarbonate matrix, 18” x 18” x 2”
  • 9. Gary Clemenceau I started out as a photographer. Trained in classical B&W photography at an early age, I had a well-developed sense of light and texture by age ten. By the time I moved on, I was a veteran of FSA Red Bleach, Polysulphide, Selenium, Tetenal Copper, Infrared, Calotypes, Daguerrotypes, etc. But photography seemed so limiting. Technology would eventually change all that, but we’re not there, yet. After photography, I was a musician for fourteen years; played professionally for a time, working on a few jazz and classical albums. Then I moved to painting; painted a few abstracts. Then to sculpture, granite and wood. Then to poetry; one small book published. Then to prose; two books published. Then back to photography, albeit the technology of photography and image capture. I started Smoke City Studio in 1996, to deconstruct and fuse all things analog and digital in the illusion we see all around us, and to export the saturated colors and textures I’d had inside my head since I was a child – colors and textures I often saw when I played or listened to music, or wrote poetry and prose. I began a search for a way to explore an infinite interior space that was both timeless and boundless, trying to create a kind of spiritual snapshot of whatever it is that flows around and through us all the time, in a realm we can’t see but somehow sense and are immanently a prime component. The more I trusted this path, the closer I approached the intersection of art and music and writing, as well as being able to communicate the universality and connectedness I felt we all share at some level beyond clever. After a decade of excising complementary metal–oxide–semiconductors (CMOS) and charged-coupled devices (CCD) from old digital cameras, wiring them together and running them through powerful magnetic fields, I hit upon a way of throwing myriad color and depth into the pursuit of texture and image, preserving the complex process as a simple photograph and encasing the result in a aluminum/polycarbonate (AL/C) matrix. My subsequent images are a tumultuous marriage of technology and art, developed over the course of half a lifetime of analog and digital experimentation and personal growth, across a range of mediums and disciplines. Haida artist Bill Reid once said, “Art can never be understood, but can only be seen as a form of magic, the most profound and mysterious of all human activities.” And writer Arthur C. Clarke said that, “Any sufficiently advanced technology is indistinguishable from magic.” In there, somewhere, can be found Smoke City Studio. 9
  • 10. Gary Clemenceau night train, 2008 fuji crystal print, aluminum/polycarbonate matrix, 18” x 18” x 2” 10
  • 11. Gary Clemenceau EDuCATioN BFA, Photography, San Diego State University, San Diego, CA BA, Humanities, San Diego State University, San Diego, CA ExhibiTioNS 2008 Chance Operations, Experimental Series, Climate Theater, San Francisco, CA Cold + Hot, Micaela Gallery, San Francisco, CA Tape Number One, Night Vision Experimental Series, Climate Theater, San Francisco, CA 2007 Gallery N!NE, “Night Site,” the Climate Theater, San Francisco, CA The Group, Dodeska Performance Ensemble, Climate Theater, San Francisco, CA Music Box Tin Cup Serenade, the Climate Theater, San Francisco, CA Night Light, the Climate Theater, San Francisico, CA 2006 Club Mezzanine, Urban Layers 2.0, (solo), Mint Street Gallery, City of Glass, San Francisco, CA 2005 Club Mezzanine, Urban Layers 1.0, (solo), Mint Street Gallery, Wasteland, San Francisco, CA PubLiCATioNS 2007 The Puck Review, multiple images The TORPOMETRONOMICON, Xenochrony Books, San Francisco, CA 2006 Banker’s Holiday, Cold Steel Press, San Francisco, CA 2005 Caveat Lector (Cover & Online), San Francisco, CA The G.W. Review, George Washington University, Washington, DC AWARDS AwArDS 2005 CSP Grant, Cold Steel Press, San Francisco, CA 2003 ScreenArts First Screenwriter Award, New York, NY 2001 ICI Arts Scholarship, Ironclad Industries, Ltd., UK 11
  • 12. Peter Foucault Europa 1, 2008 ink and collage on paper, 9” x 12”
  • 13. Peter Foucault Over the last few years I have been creating works on paper, sculptures and installations that are fueled by my love of drawing and mark making. In my current body of work I have created a series of “drawing-projects” that produce complex abstract compositions, and videos that reference the act of drawing. At the root of these projects is a constant tension between control and the loss of control. My work is concept driven, and I often utilize objects that reference printmaking and the multiple. Since I am surrounded by antique maps at the gallery that I work at, I’ve really gotten interested in not only in the historic importance of maps but also their political and social significance. Since vast portions of the world was being mapped for the first time in the 16th cent. there was an enormous land grab by countries that were often at odds with each other to acquire the most new territory. This signified power and expanded their empires in terms of land, natural resources and manpower. Through warfare and treaties these new territories often changed hands multiple times, and by the time a map was published the information would already be out of date. The maps themselves would often be altered by the cartographer for political means, and landscape features would either be exaggerated or excluded all together. Tall Tales are works are primarily influenced by maps and topographical schematics. I see the “Tall Tales” series as images of micro-topographies, isolated sections of a map where a history has occurred, but the details have either been forgotten, mythified or intentionally changed. The title for this series alludes to this notion. Throughout this series I have utilized an iconic key of identical groupings of patterns and marks, but no information as to what they signify. I also see these as components in a narrative that carries over from drawing to drawing to create a contextual fabric throughout the series. These similar marks also reference the key of a map, in which certain standardized patterns represent things like mountains, rivers, roads, etc. The element of chance plays a great hand in the process of making these. I start off by dropping a large blot of ink (or paint) in the middle of the paper and shake it horizontally and vertically to create the thick black lines in the composition. When the ink (or paint) is still fluid I also go back in and blow it across the page to create the smaller lines. I see this synonymous to charting a map for the first time in a newly discovered imaginary landscape. 13
  • 14. scafold 2, 2008 scafold 3, 2008 ink on paper, 11” x 17” ink on paper, 11” x 17” 14 tall tales 23, 2008 tall tales 24, 2008 ink on paper, 18” x 22” ink on paper, 18” x 22”
  • 15. Peter Foucault EDuCATioN MFA, San Francisco Art Institute, San Francisco, CA BA, Art History, University of Washington, WA BFA, Printmaking, University of Washington, WA SoLo ExhibiTioNS 2007 Outside Forces, Blankspace Gallery, Oakland, CA Draw!, Frankee Uno Salon and Gallery, San Francisco, CA 2006 Outline, Print Zero Studios, Seattle, WA 2005 Overdrawn, Crucible Steel Gallery, CELLspace, San Francisco, CA 2004 Publish or Perish, Installation at the Design Pavilion, San Francisco, CA Drawn In, Diego Rivera Gallery, San Francisco, CA In The West, Still Lights Gallery, San Francisco, CA Generations, Still Lights Gallery, San Francisco, CA 2001 Automatic Response, the Nation Gallery, Seattle, WA SELECTED GrouP ExhibiTioNS 2007 The Gun Show, Root Division, San Francisco, CA Tall Tales, Micaela Gallery, San Francisco, CA Artists Go Lightly, Temporary Autonomous Museum, San Francisco, CA Salon D’Ete, Micaela Gallery, San Francisco, CA Yuri’s Night Bay Area 2007, NASA Aimes Research Center, Mountain View, CA Novus + Neos (New work + New artists), Micaela Gallery, San Francisco, CA FREEDM, Noise Pop Festival opening exhibition @Mezzanine, San Francisco, CA 2006 Anti/Social, Mission 17 Gallery, San Francisco, CA Mind Strata: The Collision Point, Works, San Jose, CA The Art of Tea, Cricket Engine Gallery, Oakland, CA Empirical Nostalgia, Million Fishes Gallery, San Francisco, CA Boredom: I Learned it by Watching You, Portland Art Center, OR Mind Strata: Office Dreams, 2001 Broadway, Oakland, CA Art SF 5th Anniversary Show, ArtSF Gallery, San Francisco, CA Rundgang, Staedelschule Academy of Art, Frankfurt, Germany 2005 Paper Cuts-Again, Fetterly Gallery, juried show, Vallejo, CA MFA Show, SFAI, Fort Mason Center, San Francisco, CA California Black and White, Cabrillo Gallery, Aptos, CA * Full artist resume available upon request. 15
  • 16. Taliaferro Jones allure II, 2008 giclee photograph mouted on aluminum, Edition 1/5, 40 3/4” x 41 1/8” x 1 1/8”
  • 17. Taliaferro Jones This body of work uses water as a metaphor to illustrate the ever-present alchemy of our existence. Water is the essence of life. In its duality, water is extremely powerful - crashing and yet, also, calming; we cannot live without it. The work ex- plores the different states of being within water. It touches on how we flow through our lives striving for a state of grace and beauty. Like our blue planet, our bodies are 70% water, yet we still have a need to ground ourselves; the paradox of standing still while always flowing. In many ways we are between states, part spirit and part matter, part liquid and part solid. I sought to use the lyrical dance of light, space and color to explore and manifest these ideas in glass and photography. Having grown up around water, I have always had a personal affinity towards it. When I dive into any body of water I immediately have an intense and profound sense of joy and wonder. Both water and glass have an amazing ability to reflect and refract light. Their prismatic qualities display the infinite patterns of nature in exquisite variety. These reflections illustrate the organic order in nature that is defined by the divine mathematical proportion of the golden mean. Further examples in water can be seen in the hollow curl of a wave or the rhythmic distance between ripples on a lake. Journalist, Steve Hawk, sums up these sensations beautifully in the film, Stepping into Liquid: The wave is a unifying force in the universe. There are light waves, sound waves, and ocean waves are the only form in which they are at a human scale. They move at a speed about as fast as we run. They’re in this beautiful medium- the Ocean. All it takes is one wave, not even that, one turn, you know, just a moment. It keeps pulling you back to have another moment. It never ends. Space and distance are just as critical as matter. Every atom in the world is empty. All our cells have a nucleus, but they are mostly space. Through my sculpture, I’ve tried to capture this space in between and within illustrating the importance of what is inside of us, as well as the energy that exists between two people when connecting with each other. These thoughts are represented in the hollows of the sensual forms and the ways the light shifts through them changing the hues of the color and the colors themselves. It illustrates my kaleidoscope theory of color and its infinite variations representing the layers and complexity of each individual self as well as our relationships towards each other. The Legend of the Baal-shem describes infinity as “its end is already contained in its beginning, and a new beginning in its end.” Therefore, one might find infinity in the space in between by simultaneously listening to the passionate songs and the stillness that lie within. For me, this is the exquisite mystical beauty of life contained in every drop of water and every breath we take. As an artist, I infuse each piece with elements of these concepts. Each viewer brings his or her own experiences, so my thoughts are only meant as an addition to how the audience sees the work. Above all, I want the viewer to EXPERIENCE the work- to feel it and find a moment of peace or beauty. 17
  • 18. within I, 2008 within II, 2008 kiln cast crystal, 12” x 20” x 5” kiln cast crystal,, 20” x 12” x 5” 18
  • 19. Taliaferro Jones EDuCATioN 2001 Post-graduate in glass, Sheridan College, Sheridan, WY 1997 BA, Art History, Tufts University/The School of the Museum of Fine Arts, Boston, MA BFA, photography, glass and mixed media sculpture, Tufts University/The School of the Museum of Fine Arts, Boston, MA SoLo ExhibiTioNS MuSEuM CoLLECTioNS 2007 Water Within Water, Wexler Gallery, Philadelphia, PA Canadiana Fund, Ottawa National Glass Centre, Sunderland, England Museo De Arte En Vidrio De Alcorcon, Spain 2005 Between, Sandra Ainsley Gallery, Toronto, Canada 2003 Elemental (photography), Sandra Ainsley Gallery, Toronto, Canada Exhibition (photography) with Sandra Ainsley Gallery at BOHO, Toronto, Canada 2002 Traces II, Sandra Ainsley Gallery, at Monsoon Restaurant, Toronto, Canada 2001 Traces, Sandra Ainsley Gallery, Toronto, Canada 1998 Synergy, The Artist Foundation, Boston, MA SELECTED GrouP ExhibiTioNS 2008 Flux, Beppu Wiarda Gallery, Portland, OR Contact 2008 (Veil), Sandra Ainsley Gallery, Toronto, Canada Radiant Dark, Made Design/Interior Design Show, Toronto, Canada 2007 Over Water, Gallery De Twee Pauwen, Netherlands The Beaverbrook Gallery, New Brunswick, Canada Sculptuur Biennale, Kijkduin, Netherlands La Capilla, del Centro de Artesanía y Diseño, Lugo, Spain 2006 University Museum of Alicante-MUA, Spain IV Bienal Internacional de Artes Plasticas, Museo De Arte En Vidrio De Alcorcon, Madrid, Spain 2004 Land and Sea, Lamont Gallery, Exeter, NH EmergenceE, Material Matters, Toronto, Spain 2003 Sheridan Show, Tobin Hewett Gallery, Louisville 2001 in.tuition, Living Arts Centre, Mississauga, Ont., Canada 2000 Art in the Nineties, The Art Center at Hargate, St. Paul’s School, NH SELECTED PubLiCATioN 2007 “Water Within Water,” Glass: UrbanGlass Art Quarterly Review, (109, Winter 2007-08) 2006 “Through the Looking Glass,” Surface & Symbol, (February/March) 2005 TVO, “Studio 2” first t.v. broadcast- March 3 Bravo, “Arts and Minds” mini documentary, (March 5) “Appealing Aquatics,” NOW Magazine, Review, (Feb. 24- March 2 2005) * Full artist resume available upon request. 19
  • 20. Scott Kiernan memory hole (random access)1, 2008 photograph, plexi, 29” x 42”
  • 21. Scott Kiernan “Memory Holes v.1, and v.2” are from a larger body of work, across various media, which draws a parallel between the compression and “reformatting” of memory in a silicon chip and in a a human “memory” and consciousness. These specific images are from series of performative gestures throughout New York City (shown in May 2008 for a Berlin exhibition entitled “Urban Space”) in which “Memory Holes v. 1” was reinserted back into the subway tunnel in which it was shot, as covert subway advertising. It then acts as a prop in a ensuing video shot on site, in which the artist/protagonist will pass by his own image in a series of “strange loop” generating actions. The imagery in both works uses the mirror (as in the glass in storefronts, subway cars or a passing strangers eyes etc) as a simultaneous exaltation, warping, and obliteration of memory extending it to the self-conscious, yet frenetic, urban experience. A mirror reflection instantly collides past, present and future in one gaze. There is the past the viewer brings through pre-conception, and perceived “self-image”, the present that changes before their very eyes through refracting light waves, and the future of the elusive “tomorrow” and the momento mori of eventual death. The urban experience is also built on a convergence of past, present and future. One is simultaneously confronted with a city’s history (far and recent, traumatic and triumphant, actual and folkloric), and it’s everchanging and chaotic present which bleeds into its projected future (gentrification, development). With this fragmenting of “time”, how can one place or perceive one’s self? How can one not feel anonymous or as a turning cog in a market economy machination? The irony of this exists profoundly in urban marketing strategies; both in the advertising content itself and its proliferation. A repetition of “self-conscious” images redirect this “self-seeking” impulse into a desire for/consumption of “luxury” goods over any self- “awareness” that exists outside of this same economy. Ironically the mirror’s reflective action, parallels the feedback loop of life in a capitalist economy. The mirror image is also meant to be portal-like, speaking to the psychogeography of the city, in which one’s environ- ment is in a constant dramatic flux. Different worlds can be “randomly accessed” with a few footsteps or emergence from a subway tunnel. This portal today may be one-sided as well, as in surveillance or “security”. These themes however, are touched on in other stages of the work, in which security mirrors are liberally employed as shifters of public space. Is this “random access”, anonymity, and compression of time and space, not so dissimilar to the structuring of our parallel “virtual world”? Is a strange loop being formed in the relation between the physical and cyber worlds, in which one must cancel the other out infinitely; or will the loop be a perpetuation of stasis, which prolongs the current economy and divisions of wealth? These questions are also tackled analogically in the remaining work from this series. 21
  • 22. memory hole (random access)1I, 2008 22 photograph, plexi, 29” x 42”
  • 23. Scott Kiernan EDuCATioN 2007 MFA, New Genres, San Francisco Art Institute, San Francisco, CA 2003 BFA, School of Visual Arts, New York, NY SELECTED ExhibiTioNS 2008 On It’s Head, Dam, Stuhltrager, Brooklyn, NY COMPASS, Micaela Gallery, San Francisco, CA Blackout, Root Division, San Francisco, CA Everything Must Go, Flux Factory, L.I.C., NY The Audacity of Desperation, PS122, NY, NY Camera Obscura/Teenage Bedroom, Slip Gallery, New York, NY Extra Special Ops, Realform, New York, NY Beauty’s Burden, Educational Alliance at Walter Rubenstein Gallery, New York, NY Memory Holes/Garbage for the Gap, Slip Gallery, NYC 2007 Novus + Neos, Micaela Gallery, San Francisco, CA Devils Triangles (Reprise), Diego Rivera Gallery, San Francisco Devils Triangles/Message to the Carrier, 2 person exhibition, 21 Grand Gallery, Oakland, CA Love for Sale, Root Division, San Francisco “3 Pieces”, San Francisco, CA Yuri’s Night 2007, NASA Ames Center, Mountain View, CA FRDM NIGHT, Mezzanine, San Francisco, CA Half and Have Knots, The Lab, San Francisco, CA Selected Songs of the Soft Cigarette, SFAI MFA Exhibition, San Francisco, CA Salon d’Ete, Micaela Gallery, San Francisco “Marigolds to Mars”, Root Division, San Francisco, CA Tall Tales, 2 person exhibition, Micaela Gallery, San Francisco, CA 2006 The Pied Piper of Palestine, San Francisco, CA ZENITH and CFaC, Rock Paper Scissors Collective, Oakland, CA CELL2Cell2cell, RIDER PROJECT 2006, NY, NY “Nothing’s Here for Sure”, ArcCafe, San Francisco, CA 2005 Artist’s Books, Diego Rivera Gallery, San Francisco, CA ZENITHBOX 3, (solo), Diego Rivera Gallery, San Francisco, CA SELECTED PubLiCATioNS: 2008 “Art In Flux”, by Ben Davis, Art Net, April 2008 NYPOST.COM for “Everything Must Go”, April NBC 11 TV for “Sound Device”, Bob Redell, March NBC 11 TV for “Blackout”, March ‘Blackout’: Root Division show lit by the art, San Francisco Gate, 96 Hours, February, by Reyhan Harmanci Blackout, www.artbusiness.com/1open/020908.html, February, by Alan Bamberger * Full artist resume available upon request. 23
  • 24. Scott Kildall still image from future memories, 2007 video, 35 minutes
  • 25. Scott Kildall I work at the intersection of media culture and human memory. My artwork depicts collapse: between producer and consumer, viewer and viewed and simulated and real. I appropriate material, bend rules of consent, restage events and invite viewers to alter my exhibited pieces. These acts and products reflect a shift in cultural production — where ownership dips into a zone of ambiguity and image and sound is widely recycled. I use video, installation, prints, sculpture and performance to express desires for connection through a changing media landscape. In a recent project, I approached people at public events and asked them for a photograph. Instead, I took video. From these hundreds of clips, I compiled a 40-minute edit of strangers waiting in anticipation and smiling towards the unknown. Lately, I have been using Second Life — an online world with simulated physical space — as a site for artistic inquiry. Here, I remediate iconic performances and realize “imaginary objects” as paper sculptures. Traditional and new media collide then recombine into a hybrid form. The notion of the original form sinks in wake of these acts. My work reveals how humans express emotions in this new topography. 25
  • 26. still image from future memories, 2006 video, 35 minutes 26
  • 27. Scott Kildall EDuCATioN MFA, Art & Technology Studies, School of the Art Institute of Chicago, Chicago, IL BA, Political Philosophy, Brown University, Providence, RI SELECTED SoLo ExhibiTioNS 2007 Crossing the Void, Haydn Shaughnessy Gallery, Ireland Imaginary Souvenirs, Mission 17, San Francisco, CA SELECTED GrouP ExhibiTioNS 2008 Innovation and Imagination, Seattle Art Museum, Seattle, WA I feel that I am free but I know that I am not, SF Camerawork, San Francisco, CA Open Ear in Cardiff, ATRiuM, Cardiff, Wales, UK Close To You, Textile Museum of Canada, Toronto, Canada Mediating Bodies, Western Front, Vancouver, Canada Sonic Residues, SAC Art Gallery, Stony Brook University, NY Mixed Realities, Huret & Spector Gallery, Boston, MA 2007 Close to You, Dalhousie Art Gallery, Halifax, Canada Wrath of Kong: Second Front Performance, Performa 07, New York, NY Tools of Culture, Koscielak Gallery, Chicago, IL Chain Reaction, Art Engine, San Francisco, CA Altered States, Kala Art Institute, Berkeley, CA One Night Stand, San Jose Art Museum, San Jose, CA CrossMediale 2, Koscielak Gallery, Chicago, IL Retinal Reverb, Audio Cinema, Portland, OR Zemos98, Official Selection, Sevilla, Spain Stranger Than Fiction, Academy of Fine Arts, Helsinki, Finland 2006 DigitCircula, part of DUSK by Raul Zamudio, DIVA Art Fair, Miami, FL Fresh, Kala Art Institute, Berkeley, CA CrossMediale 1, Koscielak Gallery, Chicago, IL Grown Accustomed, Crawl Space, Seattle, WA rESiDENCiES AND AwArDS 2008 Extending Creativity in Digital Media, Anderson Ranch 2007 Mixed Realities, Turbulence Commission 2006 The Future of Idea Art, Residency at Banff Centre Kala Fellowship Award, Berkeley California * Full artist resume available upon request. 27
  • 28. Jenna North spector, 2008 acrylic on panel on MDF, 48” x 48”
  • 29. Jenna North Energy fields of pattern formed by frequency waves in nature is the essence of my current body of work; The Grey-tones. For the last eight years my visual exploration as an abstract painter has been the rich history of ornamental design in many cultures and epochs and the spiritual experience of making and being engrossed in opulent symmetry. The aesthetics of harmonious design and exigent vibrations stimulates physiological and formal seduction of the viewer. The Grey-tones are inspired by the notion that sound vibrations in nature create pattern formations that are reminiscent of specific elements of design. I conduct virtual labs using sound/substance algorithms. The results inform the Grey-tone paintings. Recently color is given some allowance after maintaining a strict constraint of black and white for nearly two years. Red corresponds to the music note C, planet mars, the first chakra, the element fire and my checkbook. A recent study revealed that stars hum middle C before death. Perhaps the presence of red in this work is a sign of its transformative state. 29
  • 30. red skins, 2008 acrylic on architectual molding, 12” x 12” each 30
  • 31. Jenna North EDuCATioN 2009 MFA, Painting, San Francisco Art Institute, San Francisco, CA 2000 BFA, Painting & Printmaking, Kansas City Art Institute, Kansas City, MO SoLo ExhibiTioN 2006 Grey-tones; Cymatics, San Mateo City Hall, San Mateo, CA Good Vibrations, The Retox, San Francisco, CA New Paintings, Junction City Arts Council, Junction City, KS 2005 Greytones; Cymatics, Art Gallery Salina Public Library, Salina, KS 2004 Googie, Penn State University, Philadelphia, PA The Jetsons, Arts Council of Dickinson County, TS 1999 Limbo, Catering By Design, Kansas City, MO SELECTED GrouP ExhibiTioN 2007 Mechanical Genius, Artisans Gallery, San Rafael, CA Cooper Hook LLC, NYC, NY The Art Mine Gallery, Port Hadlock, WA TASTE, Root Division, San Francisco, CA Systems and Transmutations, Root Division, San Francisco, CA 2006 The Fortune Show, Swell Gallery, San Francisco Art Institute The Hanging, Arts Council of Dickinson County, Abilene, KS 2005 Patrick Henry Community College in Martinsville, VA Stick to Your Guns, Roanoke, VA, Artists of Dickinson County, Abilene, KS 2004 Artists of Dickinson County,Train Depot in Abilene, KS 2002 East End Gallery, Appleton, Wisconsin 2001 Counter North, The Village Bookshop, Ferndale, CA North Counter, Metzger’s Law Firm, Eureka, CA Don’s Art Gallery Fortuna, CA The Portal Gallery, Mount Shasta, CA 2000 Michael Cross Gallery, Kansas City, MO The Late Show Gallery, Kansas City, MO Senior Thesis, H&R Block Art Space, Kansas City, MO 1999 Biennial Light & Space Exhibition, Madison, WI 1996 Biennial Light & Space Exhibition, Madison, WI * Full artist resume available upon request. 31
  • 32. Lorraine Peltz cherry brandy, 2008 oil on canvas, 24” x 24”
  • 33. Lorraine Peltz Lorraine Peltz’s recent paintings articulate fresh ideas about place and identity, presenting evocative and highly charged images that explore women’s fantasies and desires. By combining various painting languages including recognizable imagery, signs and symbols, and painterly abstraction, Peltz attempts to mimic and reconcile how information comes to us and how meaning is made, bit by bit -- real life alongside memory, poetry next to prose. These become landscapes of both the exterior world and an interior space of dream, desire, hope, and memory. Her images of chandeliers, plums, pears, and cupcakes, playfully co-mingle the language of 17th century-esque still life objects with a pop imagery of lightening bolts, puffy clouds, painted lips, rainbows, strolling legs, swans, ominous blackbirds, and more. As Lisa Wainwright, Dean at the School of the Art Institute of Chicago and Professor of Art History, wrote in 2006, “here are worlds aqueous and cosmic, airy and verdant. These paintings glow with uncanny resonance and optical sheen. And then Peltz interrupts the dreaminess to cast a range of signs into ethereal spaces. Myriad symbols in their speech bubble niches hint at a narrative that unfolds from picture to picture. Both of nature and from culture, her icons speak to the polemic between essentialism and social construction that still grips feminist discourse...the mix of aesthetic delight and conceptual reading makes.... (this) Peltz’s strongest (work) to date” Lorraine Peltz was born in Brooklyn, NY and received her MFA from the University of Chicago and her BFA from the State University of New York at New Paltz. She has had numerous one person shows and been included in many group exhibitions including at the Hyde Park Art Center in Chicago, Galerie Piltzer in Paris, Arden Gallery in Boston, Olga Dollar Gallery in San Francisco, Carrie Secrist Gallery in Chicago, Koscielak Gallery in Chicago, Printworks Gallery in Chicago, the Rockford Art Museum, the Renaissance Society in Chicago, the Herbert Johnson Museum at Cornell University, and many others. The exhibition “Excellent Hostess” Selected Paintings: 1995-2008, with an accompanying catalogue, will take place in July at The Center for Fine and Performing Arts, Munster, IN, and exhibitions are planned at the Elmhurst Art Museum, Elmhurst, IL, at the Cheryl McGinnis Gallery, NYC, the Betty Rymer Gallery, School of the Art Institute of Chicago, Chicago, IL and in Verona, Italy. Peltz lives and works in Chicago and teaches at the School of the Art Institute of Chicago. 33
  • 34. dace card 12, 2008 dace card 15, 2008 graphite and acrylic on paper, 25.5” x 19.5” graphite and acrylic on paper, 25.5” x 19.5” 34 dace card 15, 2008 dace card 19, 2008 graphite and acrylic on paper, 25.5” x 19.5” graphite and acrylic on paper, 25.5” x 19.5”
  • 35. Lorraine Peltz EDuCATioN 1983 MFA, University of Chicago, Chicago, IL 1980 BFA State University of New York at New Paltz, New Paltz, NY SELECTED SoLo ExhibiTioNS 2008 Chandeliers, Starbursts, etc., Culturale Centro CTG, S. Maria in Chiavica, Verona, Italy Excellent Hostess: Lorraine Peltz, Selected Paintings: 1993-2008, Outstanding Midwestern Artist Series, Center for Visual and Performing Arts, Munster, IN 2007 Chandeliers, Starbursts, etc., Koscielak Gallery, Chicago, IL Cosmic Hostess, The Hyde Park Art Center, Chicago, IL 2006 Mixed Fruits, gescheidle, Chicago, IL 2004 Dream/Girl, gescheidle, Chicago, IL Dream/Girl, Center for Visual and Performing Arts, Munster, IN 2002 Day and Night: New Paintings, Lyons Wier Gallery, Chicago, IL 2001 Paintings, Loyola University Medical Center, Maywood, IL 2000 Selected Paintings, Riverside Arts Center, Riverside, MI Pink Works, I Space, Chicago, IL SELECTED GrouP ExhibiTioNS 2009 Objects of Desire, Cheryl McGinnis Gallery, New York, NY Phyllis Bramson, Lorraine Peltz, Keer Tanchek, Elmhurst Art Museum, Elmhurst, IL 2008 Chicago Verge, I Space, Chicago, IL Ahh! Decadence, Betty Rymer Gallery, School of the Art Institute of Chicago, Chicago, IL Ladylike, A Proper Take on Feminist Art, Koscielak Gallery, Chicago, IL Place/Object, Deborah Boardman and Lorraine Peltz, Koscielak Gallery, Chicago, IL 2007 Objects of Adoration, Soho Myriad, Los Angeles, CA Just Good Art, Hyde Park Art Center, Chicago, IL Pink, Soho Myriad, Atlanta, GA The Exquisite Snake, Mary and Leigh Block Museum, Evanston, IL 2006 Thinking Through the Body: Lorraine Peltz, Molly Carter, and Lindsay Obermeyer, H. F. Johnson Art Gallery, Carthage College, Kenosha, WI Just Good Art, Hyde Park Art Center, Chicago, IL Art Chicago, gescheidle, Chicago, IL * Full artist resume available upon request. 35
  • 36. Tobias Tovera enlightenment is like the moon reflected on water, 2008 video
  • 37. Tobias Tovera In my artwork, I am interested in discovering transmuted spaces, places where energy shifts, changes, or renews itself. Through an exploration of the interstices between opposing elements, such as nature and artifice or chaos and order, I wish to explore entropic systems where healing may occur. I want my audience to be left with question and confronted by a raw sense of what it means to be human. My work currently explores paint as a sculptural object in which the process of the medium diffuses into the surface. I create compositions of entropic verdigris that conjure layered textures of color and space. Though I begin with a color that embodies an elemental archetype, these ‘Life Forms’ unfold in a natural rhythm of their own; each layer becoming a kind of topography upon which time can be re-experienced. This process serves to create work that is constantly evolving, allowing me to create work that I feel is palpable yet ethereal. By incorporating and encouraging random developments in my practice, I seek to restrain intent thus allowing a more spiritual aspect to enter my work. 37
  • 38. effusion, 2008 pigment on paper, 24” x 24” 38
  • 39. Tobias Tovera EDuCATioN 2001 BFA, Sculpture, California College of the Arts, San Francisco, CA 1999 Interior Architecture, San Diego Design Institute, San Diego, CA 1997 Painting & Art History, American River College, Sacramento, CA SELECTED SoLo ExhibiTioNS 2005 The Medicine of Space, Melting Point Gallery, San Francisco, CA 2003 New Work, Akimbo Gallery, Sacramento, CA 2001 Substance, North Gallery, Oakland, CA 2000 Deliverance, Ortiz Gallery, San Francisco, CA 1999 Soul Impressions, California College of Arts and Crafts, Tecoah and Thomas Galleries, San Francisco, CA Façade, Installation and Performance, Midtown Mosaic, Sacramento, CA SELECTED GrouP ExhibiTioNS 2006 Raw Egg, Videography/Performance - Nature Theatre, Yugen Presents, San Francisco, CA Moksha, Videography/Performance - Nature Theatre, The Milk Bar International Film Festival, Oakland, CA Breaking Point, Videography/Performance - Nature Theatre, SOMarts, San Francisco, CA 2005 Nova Express, Videography - Nature Theatre, Counterpulse, San Francisco, CA 2004 How Can You Resist, 9th Biennial Festival of New Media, presented by LA Freewaves Uncharted Terrain, Soka University of America, Aliso Viejo, CA 3rd Annual Tiburon International Film Festival, Tiburon, CA 2002 Delirium, A Symposium of Film and Video Art, W Hotel, San Francisco, CA PubLiCATioNS 2005 The Medicine of Space, Leigh Markopoulos, Catalog Review, (Nov.27 p.1-2) 2002 San Francisco Bay Guardian, Dolcinea Gonzales, Art, (Oct.23-30 p. 86) 2001 The Oakland Tribune, Frosene Philips, Art and Entertainment, (Sept.9-10 p.34) 2000 SF Weekly, Anne Marie Mastandrea, San Francisco Art Review (Mar.20-25, p.104) 39
  • 40. Anne Yalon indistinguishable, 2008 print, plexi glass, 14” x 18.25” x 3.75”
  • 41. Anne Yalon My work focuses on loss, temporality, fragmentation and fragility. I am interested in using existing sites such as architecture and memory as markers for events. The work is a placeholder, or a witness, to the event. I want to capture the fragility of these sites before they disappear from my mind. I use video, drawing and sculpture (culminating in installation) as a repository for my memory. Memories often cleave to the physical settings of events. The scars on landscape preserve the memory of the site long after the people are gone, making architecture and landscape an unprejudiced witness to an event. I use these mediums as a way to capture the invisible, a memory, an architectural structure that no longer exists, or an overwhelming feeling triggered by a site. By asking the viewer what one needs to forget in order to remember, I hope to trigger and reverberate a memory in the viewer’s mind. 41
  • 42. beneath, 2008 break, 2008 print, plexi glass, 26” x 30” x 3.75” print, plexi glass, 24” x 31.5” x 3.75” his house, 2008 sinks, 2008 print, plexi glass print, plexi glass, 17.5” x 23” x 3.75” 42
  • 43. Anne Yalon EDuCATioN 2007 MFA, San Francisco Art Institute, San Francisco, CA 2005 BFA, Loyola University New Orleans, LA SELECTED ExhibiTioNS CoLLECTioNS 2008 Pencil and Paper, Diboll Gallery, New Orleans, LA Discovery Industries, Washington D.C. Blackout, Root Division, San Francisco, CA M.B.H. Architectural Firm, Alameda, CA COMPASS!, Micaela Gallery, San Francisco, CA Stanford University Medical Center, Palo Alto, CA 2007 Landscapes, (solo), Micaela Gallery 2, San Francisco, CA Loyola University, New Orleans, LA Second Line, Ad Hoc Gallery, Brooklyn, NY 2006 Narrative Video, The A.M. Project Gallery, Los Angeles, CA 2005 A Room Displaced, The Diego Rivera Gallery, San Francisco, CA (collaborative installation with Robert Santee and Nadim Sabella) Sight, Site, New Orleans Historical Collection, New Orleans, LA Sculpture, Danna Gallery, New Orleans, LA 2004 Emerging Artists, Barrie Center, New Orleans, LA Artists for Kerry, Tipatina’s French Quarter, New Orleans, LA You Are Wonderful, Contemporary Arts Center, New Orleans, LA Untitled, Danna Gallery, New Orleans, LA 2003 Narratives, Danna Gallery, New Orleans, LA AwArDS/GrANTS 2008 Root Division Artist in Residency, San Francisco, CA 2007 Marin Headlands MFA Artist in Residency, CA 2005 The Richard Frank Grant The Outstanding Achievement Award, Loyola University, New Orleans, LA The Robert Munsell Outstanding Service Award, Loyola University, New Orleans, LA The National Dean’s List, Awarded for Life Nominated for International Student Sculpture Award PubLiCATioNS 2008 COMPASS! www.artbusinessnews.com, January, by Dewett Cheng 2007 Miami Post Mortem, ArtNet Magazine, www.artnet.com, December, by Ben Davis Another Country, Worth Ryder Gallery, UC Berkeley, The Diversity Project and Laura Swanson Mint Juleps and Devastation: Art Beyond Documentary in Post-Katrina, New Orleans, December * Full artist resume available upon request. 43
  • 44. David Yun weeds 2, 2008 print, plexi galss, 30” x 22.5”
  • 45. David Yun David Yun grew up the son of Chinese immigrants in Livonia, Michigan, a suburb of Detroit that holds the title as “The Whitest Large City in the United States.” He is currently an MFA student studying film at the San Francisco Art Institute (SFAI). Yun’s work, which has been shown internationally, spans a variety of mediums including film/video, photography, social practice and installation. His films have screened as part of numerous film festivals including the International Documentary Festival Amsterdam (IDFA), European Media Arts Festival, New York International Asian American Film Festival, and Documenta Madrid. He is the recent recipient of a Murphy and Cadogan Fellowship, awarded annually by the San Francisco Foundation to the most promising Fine Arts Graduate Students in the Bay Area. Digital Scratch Films In this series of short videos, David Yun explores the aesthetic possibilities of digital video by incorporating elements of the scratch film into his practice. Starting from the techniques and aesthetics that experimental filmmakers such as Stan Brakhage and Carolee Schneemann applied to 16mm film, these works invitee us to think about video making in a similar frame-by-frame manner in which the lines between reality and reproduction are blurred. In this series, Yun begins his pursuit of perfecting “digital scratching” techniques by manipulating original and found video in software such as Photoshop and Final Cut Pro to produce works that aim to visually stimulate while recalling memory, emotion and sensation. Hug 2007, 1:28 Hug was Yun’s first attempt at creating a digital scratch film. Many elements of the typical scratch film, the variations in speed, saturated colors, and use of evocative audio were developed in the creation of this work, which depicts a woman running towards the camera culminating in a hug exchanged with a subject standing at the foreground of the frame. The result is a work that turns this seemingly simple gesture into something larger. Waves 2007, 1:21 The second video in the series, Waves relies on the natural rhythms of the ocean to provide the energy that propels the work forward. Footage shot at San Francisco’s Ocean Beach is transformed through Yun’s digital scratching techniques into a kaleidoscope of ebbs and flows. Building of the techniques developed in Hug, Yun incorporated a new technique in this video—layering. These layers combine to create a whirling effect by depicting motion playing a various speeds in multiple directions simultaneously. This effect culminates in an explosion of colors, textures and sounds that transport the viewer to another mental state. 45
  • 46. hug, 2008 hug 1, 2008 hug 2 2008 print on plexi galss, 14” x 10.6” print on plexi galss, 14” x 10.6” print on plexi galss, 14” x 10.6” waves 1, 2008 waves 2, 2008 flowers 1, 2008 print on plexi galss, 30” x 22.5” print on plexi galss, 30” x 22.5” print on plexi galss, 30” x 22.5” flowes 2, 2008 flowes 3, 2008 flowes 4, 2008 46 print on plexi galss, 30” x 22.5” print on plexi galss, 30” x 22.5” print on plexi galss, 30” x 22.5”
  • 47. David Yun EDuCATioN 2009 MFA, Film, San Francisco Art Institute, San Francisco, CA 2000 BA, English with Honors, Brown University, Providence, RI BA, Computer Science, Brown University, Providence, RI SELECTED FiLM SCrEENiNGS 2008 11th Vancouver Asian Film Festival, Vancouver, British Columbia, Canada 11th Antimatter Underground Film Festival, Victoria, British Columbia, Canada 2nd Sydney Underground Film Festival, Sydney, Australia 4th 25 FPS Festival, Zagreb, Croatia 23rd Odense Film Festival, Odense, Denmark Perpetual Ends, Elastic Arts Foundation, Chicago, IL 31st Asian American International Film Festival, New York, NY 4th Video Art Festival Miden, Kalamata, Greece 9th Seoul International Film Festival, Seoul, South Korea Threat Level Queer Shorts, Elegant Mister Gallery, Chicago, IL 27th European Media Arts Festival, Osnabrück, Germany Documenta Madrid, Madrid, Spain 35th Athens International Film & Video Festival, Athens, OH 2007 19th International Documentary Festival Amsterdam (IDFA), Amsterdam, The Netherlands 6th Reel Asian Film Festival, Toronto, Ontario, Canada Terra Incognita III, New Langton Arts/San Francisco Cinematheque, San Francisco, CA I Don’t Know Where I’ve Been, Continuing MFA Film/Video Screening, San Francisco, CA 2006 Intercity, Meta House, Phnom Penh,Cambodia SELECTED ExhibiTioNS 2009 I Do It For My People, Museum of the African Diaspora (MoAD), San Francisco 2008 APAture: 10th Annual Festival of Emerging Asian Pacific American Artists, Kearny Street Workshops, San Francisco, CA Immediate Future, San Francisco Art Commission Gallery, San Francisco, CA Videoholica 08 | Biennial August in Art, Varna, Bulgaria Insider/Outsider, Root Division Gallery, San Francisco,, CA What Goes Around, ARTworkSF Gallery, San Francisco, CA Digital Delay, Micaëla Gallery, San Francisco, CA 2007 I.O.U. , Mission 17 Annual Juried Exhibition, San Francisco, CA Another Country, Worth Ryder Gallery, Berkeley, CA Summer Triangle: Part 1, KGB Gallery, Los Angeles, CA * Full artist resume available upon request. 47
  • 48. Established in 1997, Micaëla Gallery represents fine art and sculpture. The gallery assembles several solo and group exhibitions annually, reviewing idea-based work, visual pleasure and Micaëla Gallery artistic vision, as influenced by culture, emotion, intellect, and the politics of life. The gallery collection includes drawings, paintings, modern prints, photography and video. Micaëla Gallery presents regular exhibitions at international art fairs, such as SOFA Chicago (2007, 2008), Art Basel|Miami (Art Now Fair, Miami 2007; Bridge Art Fair, Miami Beach 2008), and Bridge Art Fair, New York 2008.
  • 49. Gerald L. Cannon…4 Gary Clemenceau…8 Peter Faucault…12 Taliaferro Jones…16 Scott Kiernan…20 Scott Kildall…24 Jenna North…28 Lorraine Peltz…32 Tobias Tovera…36 Anne Yalon…40 David Yun…44 Micaëla gallery…48