Last month we told you all about the cool collaboration that Jason Polan and Robin Cameron are doing at the Esopus Foundation. For the last 30 days both artists have contributed materials and their time to be on hand for any passersby that want to drop in, select some ephemera to play with, and create a piece of art to hang on the gallery walls. The idea of sharing the process and materials of artmaking with those that may or may not be so accustomed to making work themselves is a large part of the charm of the exhibition’s conceit, as well as being just another one of those reasons that it’s so cool to live in New York. These artworks have been created and on display since February 16th and will continue to be for just one more day ‘till this Thursday, March 18th. With this process-project and installation, the end goal of Polan and Cameron was, “... to create a collaborative and creative relationship with the general public, and also to enable a sense of community around artists’ processes.”

This was made with images from the APLNY

As the exhibition draws to a close, there is one final event that we’d like to draw (er, no pun intended) your attention to, and that is the simultaneous exhibition closing reception and book launch on Thursday, March 18th from 6-8 p.m. Polan and Cameron, long interested in the printed page, have created a book featuring the artists’ work from the past month, and this book will be available for purchase at the closing reception. For a really in-depth writeup of the project and its progress, take a moment to read Eric J. Herboth’s piece in the The AWL about it.

The Assembled Picture Library Closing Reception & Book Launch
Thursday, March 18th from 6-8 p.m.
The Esopus Foundation Ltd.
64 West Third Street, #210
New York, New York 10012

Untitled by Mara Bodis Wollner from The All Girls School

Untitled by Katie Murray from home (for the holidays)

Untitled by Agnes Barley from Agnes Barley: Recent Work

Untitled by Jeffrey Teuton from Hearts of Gold and Other Expensive Things

The Garden by Addie Juell from The Way It Is

Untitled by Holly Lynton from Solid Ground

#1 by Kent Rogowski from Love = Love

Bonnie (with a photograph of an angel) by Alec Soth from A New American Portrait

The Point of Distance by Carrie Marill from Doing a Lot With Very Little

Adam Zaremba by Nina Berman from Purple Hearts

Leaning Tower by Beth Dow from Ruins

Praia Piquinia 14/08/06 16h04 by Christian Chaize from Praia Piquinia

We Love Having You Here by Zoe Strauss from Summer Reading

Rockin’ Rollin’ by Kate Bingaman-Burt from Mixtape

Geumo-dong by Hosang Park from A Square

Close Our Eyes and Go to Bed by Clare Grill from What You’re Told

Look forward to lots more to come, starting with the opening of Carrie Marill’s Visual Aides next Friday, March 26th from 6 – 8 p.m.!

TIME Magazine has named Jen Bekman Gallery artist Nina Berman, alongside Lesley Vance and Kate Gilmore, as one of three artists to watch at this year’s 2010 Whitney Biennial. Twenty of Nina’s photographs from her series Marine Wedding are on display at the Biennial.

About the work, Richard Lacayo writes:

It’s the real world you see in Nina Berman’s tender but unflinching photographs of Ty Ziegel, a former Marine sergeant so badly disfigured by a suicide-bomb attack in Iraq that back home small children stare at him, even after 50 reconstructive surgeries. It would be obscene to aestheticize his situation, and Berman doesn’t aim to. What she does is present it forthrightly, with compassion but without pathos — bravely, which is how he presents himself. We have to read a lot into Ziegel because his face sometimes seems to have a limited range of expression. Gently but firmly, Berman directs you to see the man behind the mask. Do these pictures belong in an art museum? Of course they do, because as long as one of the things art does is use images to teach, this is art.

The 2010 Whitney Biennial runs through May 30th in New York and, as TIME Magazine says, Berman’s work is “not to be missed.”

Photographs by Marisa Aragona

Elizabeth Leitzell snapped an album full or gorgeous images of the installation and from the opening, so head over to Flickr to take a look, or better yet, come to see the works of Marisa Aragona, Leah Tepper Byrne, Alejandro Cartagena, Jessica Eaton and Justin James King in-person.

We also want to remind you that we’re celebrating the fifth anniversary of Hey, Hot Shot! in 2010 and will now open for entries on Monday, March 22nd. To be automatically notified of the competition’s opening, sign up for the low-volume newsletter, keep your eye on the HHS! site and follow us on Twitter.

2009 Second Edition Hot Shot Alejandro Cartagena has been awash in publicity lately, all of the sort that any practicing artist loves to get.  In February he won the Critical Mass 2009 book award, and his first monograph will be co-published by Photolucida and Daylight Books.  He was  recently named a finalist in the prestigious 2009 Aperture Portfolio Prize, whose purpose is to identify trends in contemporary photography and bring the work of under-recognized artists to a wider and more supportive audience.  In the last week he was just named one of PDN’s 30, an industry-watched list of promising new photographers engaged in sustained and dynamic work.

Yesterday, Design Arts Daily published a profile of Cartagena and his 3 year long Suburbia Mexciana photographic investigation, showing him at last Friday’s Hey Hot Shot 2009 Second Edition exhibition opening where his work is currently on display.  Writing for DART, Peggy Roalf identifies Cartagena’s vision as both “heroic and poignant,” singling out his ability to visually describe a desecrated landscape in a manner that is aesthetically appealing while simultaneously calling attention to the ethical misjudgments that create such panoramas.

Untitled, from the Fragmented Cities series, part of the Suburban Mexicana project by Alejandro Cartagena

While there are numerous artists working with great success on themes of industrial interests in landscape, developing first nation growing pains and the ongoing hangover of an American-driven obsession with consumer culture, what makes Cartagena’s work unique is his ability to create a conversation in images that encompasses political and capitalist interests, the toll each takes on both environment and the populations it is meant to serve, and an awe-inspiring capacity to make landscapes into a new kind of portraiture, one that describes, with brutalistic beauty, the effects of a very specific kind of hardship brought to bear on the lives directly impacted by an ill-conceived housing boom.  On his website, which I highly encourage you to spend some quality time, Cartagena lays a map to twelve separate bodies of work that are all intertwined with the notion of Cause and Effect as it has affected his home town of Monterrey, Mexico.  Coming out of a tradition that might have more in common with the early Magnum creed of “concerned” photography, Cartagena writes:

After photographing these landscapes for the past 3 years I have now returned to many of the finished housing complexes and learned of many misfortunes the new inhabitants are facing, the ecological impact and the increasing distance being formed between the well-urbanized city and these new fragmented cities in the peripheries; a new chaotic ambient to which México is growing into. Expectantly what I strive for with these aesthetic representations is to point out and open relationships between issues created by an economy-driven State and how our society resides in the dilemma of living as capitalists but wishing for a fairer World.

Weaving together photographic threads including housing projects that are seemingly abandoned mid-construction which evoke stacked tombstones in a cemetery, or focusing upon a series of dried out and/or paved over riverbeds, Cartagena manages his aim of producing work that is both “beautiful and thoughtful” while trafficking in decidedly un-sexy terrains such as urban disintegration and cultural homogenization.

untitled, from the series Fragmented Cities, part of the Suburban Mexicana project by Alejandro Cartagena

His work can currently be seen at Exposed: Critical Mass in Seattle, online at Circuit Gallery out of Toronto, or right here at Jen Bekman Gallery during our Hey Hot Shot! Second Edition exhibition (on view through March 20th).

Photo of the New Museum by godiex on flickr

You can also join us for Armory Arts Week on Sunday, March 7th for guided gallery tours of the Lower East Side. Tour groups will be leaving from the New Museum Lobby and maps and guides for self-guided tours will be available on-site at The Armory Show, The New Museum and online at leftbankartblog.blogspot.com. All are open to the public, on a first-come first-served basis.

Sunday, March 7th Schedule:
12 p.m., Aaron Thompson, local resident and founding artist of art.les.nyc studios
1 p.m., Pearl Albino, art advisor
2 p.m., Rita de Alencar Pinto, independent curator
3 p.m., Heather Hubbs, Director, New Art Dealers Alliance (NADA)

The New Museum
235 Bowery, New York, NY
Phone: 212.253.0700

See you Sunday!

Kate Bingaman-Burt, the ever-prolific cataloger of purchased everyday objects, ranging from lightbulbs to mouthwash to Dreyer’s Butter Pecan ice cream , has a new illustration on how to eat gourmet for $50 a week featured in the current issue of Newsweek.

Her everyday drawings’ quippy annotations, like “impulse purchase of overpriced ice cream at Walgreens. My throat hurt. It was justified. I am eating it as I draw this. Five dollars and ninety nine,” below the drawing of the pint of ice cream suggest that Kate is, the utmost of conscientious consumers. So, it is fitting that she offers her take on the affordable ingredients that will please even the most sophisticated palate in illustration form: a grab-bag of goodies that includes beans, onions, fig jam, and a few mystery bottles of something decidedly delicious.

Kate has a screenshot of the full article that appears in the print version of Newsweek available on her flickr—also on newsstands right this minute. You can also purchase your own prints of Kate’s hand-drawn consumables in three sizes on 20×200.

We hope you’ll join us at the gallery this Friday, March 5, 2010 from 6 to 8 p.m. at the opening reception for the Hey, Hot Shot! 2009 Second Edition Exhibition, featuring fifteen works by the five photographers newest to our Hot Shot roster: Marisa Aragona, Leah Tepper Byrne, Alejandro Cartagena, Jessica Eaton and Justin James King. All five photographers will be present at the opening, so stop on by to say hello in person!

The exhibition will remain on view from March 6 through March 20, 2010.

We had the chance to do Q&As with each of these talented photographers a few months ago over on the HHS! blog, but in case you missed them, head on over there to learn a bit more about the artists:
+ Marisa Aragona
+ Leah Tepper Byrne
+ Alejandro Cartagena
+ Jessica Eaton
+ Justin James King

We’re also celebrating the fifth anniversary of the competition in 2010 and offering photographers more opportunities than ever before. HHS! 2010 will open for submissions on March 15, 2010. To be automatically notified of the competition’s opening, sign up for the low-volume newsletter, keep your eye on the HHS! site and follow us on Twitter.

Oh, the weather outside is frightful—slush!—but in here it’s so delightful. Thanks in part to our trusty heater, but mostly because of the gorgeous paintings of Clare Grill, whose solo-exhibition What You’re Told closes this Saturday. If the painting above doesn’t warm you up, I guarantee that Clare’s artist statement will.

Clare writes:

I didn’t dare eat candy during Lent because the saints were watching. Our old house was haunted – our dad said so. We imagined a wolf roamed our neighborhood because it was fun to be scared. I thought our family was ideal. I believed in Santa until I was 13. I clung tightly to the things I was taught, my heavy cloaks of security. Like most, I’ve unraveled them slowly and steadily, being careful not to rip out all the seams through the years.

These paintings, however, aren’t just run-of-the-mill nostalgia. “Ms. Grill’s expressionistic portraits can remind you at times of the work of Elizabeth Peyton, who made it big painting acquaintances at art-world parties. But Ms. Grill is actually a better painter, suggesting she will make a success of whatever subject she chooses,” writes Benjamin Genocchio for The New York Times. Especially when seen up close and in person, Clare’s intuitive technique, “makes you notice the paint as much as the pictures.”

While the snow shows no signs of stopping, we really hope that you’ll slog over the the gallery and check out these wonderful paintings before the show closes on Saturday!

The Overachievers, 2009 by Clare Grill (also available as a limited-edition print on 20×200)

Close Our Eyes and Go to Bed, 2008 by Clare Grill

If you’re not in New York at all, make sure to have a look at the show’s installation shots on Flickr and peek inside her studio, courtesy of MoMA/P.S.1.

Celebrity photographer Todd Eberle, who was out shooting the 2010 Whitney Biennial last night for Vanity Fair Magazine, praised the work of Jen Bekman Gallery artist Nina Berman as the one the Biennial’s highlights.

He writes:

There were some knockout moments, particularly from Nina Berman, whose brilliant and sensitive photojournalistic images of an American soldier whose injuries at the hands of an Iraqi suicide bomber left him beyond any reasonable description of “disfigured.” After 50 reconstructive surgeries, he wed his high-school sweetheart. Berman’s pictures are at once beautiful, intimate, and defiantly deny the act of “looking.” (I had to go back three times to take in their terrifying poetry.)

A few members of the JBP team also hit the town the last two nights for the VIP openings and were lucky enough to catch a glimpse of Nina’s photos, which are located on the 2nd floor of the museum. To see more of Eberle’s impressions of the Biennial, visit the full article at Vogue.

The Biennial officially opens to the public today and will remain on view through May 30, 2010, so make sure to head up town and view the exhibition in-person.

Ty with gun, 2006, by Nina Berman

Perhaps you’re an artist or gallery and want to know how to reach a wider audience using that buzz-y little thing called Twitter. Or, you want to know how to use mobile technology to get people clued in about your organization. Or you want to see how Facebook can really work to help spread your mission, project or news about your upcoming event.

Then, the first-ever Social Media Art Camp may be just for you. What is SMartCAMP, you ask? It’s a full weekend (March 5-7, 2010) of lectures, talks, seminars, roundtables and demos here in New York City about how artists and arts organizations have successfully used existing social media tools—blogs, mobile-technology and existing online networks—to develop relationships with collectors, build communities, and generate excitement and attention in the art world.

On Sunday, March 7th, from 2:30 – 3:15 p.m., Jen will speak on The Value of Building Community alongside Yancey Stricker of Kickstarter, Charlie Festa of Threadless/skinnyCorp and Anda Corrie of Etsy about each of the models these companies have undertaken to create their own circle of support.

Anyone can register to attend, either for a half day ($35), full day ($65), or the entire duration of the conference ($120). Click here to see the full list of conference speakers and the schedule for the weekend.

What: Social Media Art Camp
When: Roger Smith Hotel in New York City
Where: March 5th – 7th, 2010

We hope to see you there!

Looking for openings and closings on the go? There’s an app for that. Pop open the NY Art Beat app on your iPhone and it will present you with a list of shows, sorted by walking distance from your current location. Shown above is the info page for What You’re Told by Clare Grill. From this page you can also access the press release, gallery hours, telephone number, subway directions and the option to email the information to a friend. The app also contains a fairly limited browse-by-neighborhood functionality.

Though its scope is simple, at just 99 cents there is no more convenient way to access this information on the go. You can grab the NY Art Beat app for iPhone and iPod Touch from the App Store.

A photograph by Jen Bekman Gallery artist Nina Berman is featured in the Wall Street Journal today as part of an article titled “The Whitney Biennial Lightens Up”. Kelly Crow writes, “The country’s pre-eminent survey of new American art has a reputation for focusing on angry or anxious young things. But the latest edition, opening Feb. 25 at the Whitney Museum of American Art in New York, aims to be something else: fun.”

About Nina’s work Kelly writes:

The biennial doesn’t abandon politics altogether, but Mr. Bonami says he went looking for art that reflects the American psyche about war without being “bombastic.” New York photographer Nina Berman is showing a series about the postwar daily life of former Marine Sgt. Ty Ziegel, who was severely disfigured in a car bomb in Iraq but returned home and married his fiancée, Renee Kline.”

You can read the full article, which features a slideshow as well as profiles of Charles Ray and Aurel Schmidt, online or in today’s print edition. More information about The Whitney Biennial: 2010 is available at the Whitney’s website.

Jason Polan, one our most endearing and prolific artists, is collaborating with Robin Cameron and the entire city of New York, in The Assembled Picture Library of New York City at the Esopus Foundation, tonight, February 16, 2010 through March 18, 2010.

From the press release:

The Esopus Foundation will host a collaborative exhibition.
Visitors will be invited to come in during gallery hours
Monday, Tuesday & Thursday from 12-6pm

The Assembled Picture Library of New York City will provide free and open access to a set of images. The collection will be initiated by the personal archive of Robin Cameron and Jason Polan. Visitors are encouraged to submit images to build upon the collection. A copy machine and workspace will be open for use to make new artwork from the available materials. Within this collection is unorganized manuscripts, vintage advertisements of strange products, rare prints, photographs of points of interest, modest drawings and more. With this project, the artists hope to create a collaborative and creative relationship with the general public, and also to enable a sense of community around artists’ processes.

The Esopus Foundation, LTD
64 WEST THIRD STREET, #210
NEW YORK, NEW YORK 10012
PHONE: (212) 473-0919

The exhibition will provide access to and use of hundreds of drawings and materials and ephemera from the collections of Polan and Cameron. Anyone is free to participate, and the gallery is open to view, use and peruse Monday, Tuesday and Thursday from 12-5 throughout the duration of the show. You are also invited to submit your own images and ephemera to the source collection, and these collaborative artworks made by the public will be on display on the Esopus Gallery walls through March 18, 2010. Jason Polan and Robin Cameron will be on hand throughout the duration of the show to work with the visiting public-artists and to engage in dialogue with them about the project.

From the NYAB:

With this project, the artists hope to create a collaborative and creative relationship with the general public—an important component of both Cameron and Polan’s previous work, as well as an essential aspect of the Esopus Foundation’s mission. The artists are also interested in engendering a sense of community around the production of self-published books, zines, and editions. Along those lines, Polan and Cameron will create a book featuring visitors’ artworks, The Assembled Picture Library of New York Book, that will be available at the closing reception on March 18.

More information can be found at http://aplny.tumblr.com/.

If you caught the Summer Reading show at Jen Bekman Gallery last year, you will surely recognize the laser-cut and shrink-wrapped phonebooks above as the work of interdisciplinary artist, designer, and technologist Michael Mandiberg. Since Summer Reading, Michael has been working on lots of exciting new projects, talks and exhibitions and he shows no signs of slowing in 2010.

As part of the Transmediale Festival in Berlin, Michael collaborated on a “book sprint” with five authors, one programmer and several remote contributors to write a 130-page book called Collaborative Futures in just five days. Starting with nothing but the title, this group of strangers put together a book in which the process embodies the content.

Michael writes,

I just got back from one of the most intense and satisfying work weeks I have ever had. We started Monday morning with only two words: the title of the book. As we raised a toast to our success with the festival director Stephen Kovats at 10 p.m. Friday, we sent the book to the printer.

The book will be printed on demand for visitors to the festival. If you pre-order, it will be available for pick-up at a book launch party on March 4th at Eyebeam in New York City. You can read more about the book here and download a free PDF.

Collaborative Futures Book Launch
Thursday, March 4th, 7:30pm
Eyebeam
540 West 21st Street
New York, NY

The other project Michael has been working on is a Kickstarter project called Bright Bike, an initiative to make riding your bike at night safer. The Bright Bike kit, starting at $10, includes a set of custom-cut vinyl stickers which look normal in daylight but become super reflective in car headlights.

Michael writes,

Right now, we make each kit by hand, which takes time, and is expensive. We are actually afraid to really start promoting the idea, because right now, we are not ready for the kind of interest that might be possible. We need to streamline production so that we can lower prices and be ready to get this kit out to the cycling community.

To learn more about helping fund the Bright Bike project, click the Kickstarter badge above.

We could go on forever, but instead will leave you with this list of Michael’s upcoming events:

• If you’re in Chicago, don’t miss this talk at CAA titled “Giving Things Away Is Hard Work: Three Creative Commons Case Studies on DIY“
.

• New Yorkers are advised to attend this panel titled “Mashups, Memes, and HOWTOs: New Forms of Online Video” on new forms of online video and keep their eyes peeled for more details on “The Digital University,” a day-long conference on “the impact of digital media on academic work.”


• In Portland, The Great Recession, a solo show at Pacific Northwest College of Art, opens April 1- May 31 at Feldman Gallery
.

Jen Bekman Gallery artist Nina Berman spoke with Mike Melia of PBS’ Art Beat to discuss her work, particularly the series Marine Wedding, which will be exhibited at the upcoming 2010 Whitney Biennial. In the article, Associate Curator of the Biennial Gary Carrion-Murayari says of Berman’s work:

You come away with a real emotional connection to the individual she is depicting. Anybody could take a picture of someone who is disfigured and make a shocking image. These go beyond that and get to the emotional experience of soldiers.

PBS’ site also features an audio interview with Nina. Click HERE to read the full text and to hear Mike and Nina’s conversation about her exceptional bodies of work, Purple Hearts, Homeland and Marine Wedding.

Last week we wrote about our upcoming 20×200 print giveaway at Brooklyn Museum’s Target First Saturday, and we wanted to send you a quick reminder to cancel all your other plans, because it’s happening this Saturday from 6 to 8 p.m.! All 200 8”x10” prints from Valerie Hegarty’s gorgeous forthcoming edition, First Harvest in the Wilderness with Pileated Woodpecker are packed, our brand new 20×200 banner has arrived, and we’re uhhh…still brainstorming on our apparel. We hope you’ll join us for what is sure to be an awesome evening full of talks, music, film, dancing and art.

Ms. Jen Bekman will be speaking, exclusively to 1stfans, about 20×200 and JBP’s approach to supporting artists. So, after you’ve started or renewed your 1stfans membership (and picked up Valerie’s print!), join us for a talk!

We’ll be giving away 10”x8” prints by artist Valerie Hegarty to new and renewing 1stfans members and Ms. Jen Bekman herself will be speaking to an intimate group of 1stfans at a meetup. Meetups are an opportunity for 1stfans to interact exclusively with the Museum’s staff, its collections, artists, and other members every month at Target First Saturdays.

Bierstadt with Holes, 2007 by Valerie Hegarty

20×200 has been collaborating with 1stfans founders, Shelley Bernstein and Will Cary, and artist Valerie Hegarty over the last few months to produce this unique benefit edition. For the first time ever, collectors will be able to pick up a print in person and become a 1stfans member all for the ridiculously affordable cost of $20! 1stfans is the Brooklyn Museums’s socially networked membership. Valerie Hegarty and 20×200 have donated the prints for this event.

If you can’t make it to the event, you’ll have another chance to pick up one of Valerie’s prints plus the 1stfans membership. We’ll release the prints in two larger sizes, 14”x11” and 20”x16,” the following week on 20×200. Every print from Valerie’s edition will include a one-year membership to 1stfans and the proceeds from the print will benefit the Brooklyn Museum as well. The prints are gorgeous and we think they’ll go fast, make sure you’re signed up for Jen’s newsletter to get first dibs on one!

Target First Saturday at the Brooklyn Museum
Saturday, February 6th, 2010 | 6:00 – 8:30 p.m.
Jen’s talk | 8:00 – 8:30 p.m.
Brooklyn Museum
200 Eastern Parkway, Brooklyn, NY

Jen Bekman Gallery artists Ian Baguskas, Colleen Plumb and Sarah McKenzie have generously donated pieces to the Sixth Annual BAMart Silent Auction at the Brooklyn Academy of Music.

From the website:

With opening bids starting around $100, there is something for everyone! Works can be viewed and bid upon right here once the live exhibition and bidding both begin on March 18th and you can visit this site to place and track your bids, and keep on top of exciting auction news from BAM. Best of all, every dollar earned will go to support BAM’s dynamic and innovative programs. So click, bid, support!

BAM brings a lot of vitality to the arts in New York, and they’re an organization that we’ve supported through collaborating with them on a 20×200 benefit edition. Proceeds from the sale of Greg Lindquist’s edition Embers of the Maritime are donated to BAM.

We’re also thrilled because the three artists involved truly represent the breadth of Jen Bekman Projects. All three have had exhibitions at the gallery, all three have released limited-edition prints through 20×200, and the two photographers came to our attention by entering Hey, Hot Shot! As they develop new bodies of work and their accomplishments accrue, we’re reminded about how happy we are to work with such talented and generous artists.

Don’t miss this opportunity to bid on an all-star roster of artists in support of a great organization. More details on lots and bidding are available at the BAMart Auction website.

Exterior 1 (Plastic Trees), 2009 by Sarah McKenzie

Traces, Ocotillo Wells, California, 2008 by Ian Baguskas

To pick up one of Clare’s prints for 20% off, click on any of the works below, then enter the code RIDONK at Google checkout. This offer ends at 2 p.m. (EST) today, so do not delay!

Assignment by Clare Grill

Cake by Clare Grill

The Overachievers* by Clare Grill

*The original painting, The Overachievers, hanging in the exhibition, has been sold. But, that makes the 30”x40” edition of this print, only $2,000 $1,600, an even more incredible steal.

Happy Sunday! We have an exciting announcement: we’re extending the 20% more ridiculous event until tomorrow, Monday at 2:00 p.m. EST! You still have plenty of time to browse and collect for 20% less — stock up today during your Sunday leisure, or squeeze in a mad dash during lunch at the office tomorrow.

** Enter RIDONK at checkout for 20% off your prints till 2:00 p.m. EST Monday, February 1st! **

The sale extends to purchases $40 and greater; now’s the time to jump for the larger print you’ve been eying. The savings really start to stack up and many of these editions are on the edge of the forever-disappeared from 20×200: They’re going, going and likely to be gone when this event ends.

30”x40” prints with only 1 of 2 remaining for $2,000 $1,600:

Untitled (Hanoi no.2) by Kelly Shimoda

The Faceted Couroucou by Carrie Marill

Katarina by Karolina Karlic

Plattsmouth, Nebraska, Carts #1 by Kate Bingaman-Burt

Unleaded, Unleaded, Premium Unleaded by Eric Graham

Towards Christiana (Copenhagen) by Rachel Sussman

Site by Sarah McKenzie

Fortune (will be successful in…) by Kirby Pilcher

ny.07.#32 by Jennifer Sanchez

Auditorium by James Rajotte

White and Grey Canary #1 by Luke Stephenson

House Plant 2 by Carrie Marill

House Plant 3 by Carrie Marill

132 Birds at The American Museum of Natural History by Jason Polan

The Weight of the Bridge by Amy Park

Untitled (elephant) by Don Hamerman

In One Ear, Out the Other by Jessica Snow

Burning Down the Second House by Ann Toebbe

Waiting for Hand Grenade Practice, Southern Israel by Rachel Papo

16”x20” prints with 6 (or fewer!) of 20 remaining for $200 $160:

Running Track by James Deavin

Embedded by Aili Schmeltz

Mossball by Don Hamerman

Idaho Springs, Colorado by Justin James Reed

Untitled #46 from “Stories” by Jessica Bruah

Bonaparte 9 by Superdeluxe (Adrienne Wong and Karin Spraggs)

Hank Williams’ Bed, Georgiana, Alabama by Scott Eiden

Berry by by Kevin Cyr

Houndstooth Pattern in Parking Lot, at Disney World, FL by Alex MacLean

Color Study #4 Dustin Amery Hostetler (UPSO)

Monk by Mark Ulriksen

Stricken by Don Hamerman

Untitled (You’re Impossible) by Mike Monteiro

Space and Illusion by Carrie Marill

The Office by Rebecca Loyche

Palm Aire by Tema Stauffer