Title: "Score (for unlanguaging) no.0815"

10 1/2" x 13 inches graphite, pigment, vellum paper, english stencil, eraser, watermarks, pins, wood frame 2021

Jesse Chun is an artist whose practice addresses language and its politics to uncover new translations toward poetry, opacity, and the untranslatable. Through video, drawing, sculpture, sound, installation, and publication, Chun reauthors found documents, bureaucracies, historic archives, and the hegemonic narrative. Chun's conceptual and material process engages with the often disregarded linguistic traces - such as mistranslation, erasure, redaction, and stutter, as an active passage to legibility and authorship.

Chun's work has been presented internationally at SculptureCenter; Queens Museum; The Drawing Center; BAM; Bronx Museum of the Arts; the Vera List Center for Art and Politics (all in the United States); Museum of Contemporary Art Toronto; Oakville Galleries (Canada); and the Nam June Paik Art Center (South Korea), among others. Recent awards include the Joan Mitchell Foundation Painters & Sculptors Grant (2020); Smack Mellon studio residency (2020); and the National Endowment for the Arts Fellowship at ISCP (2019). Chun's select digital and print publications include WORKBOOK (published by Triple Canopy, 2019); Intangible Heritage (Wendy's Subway x BAM, 2018). Select public collections include the Museum of Modern Art Library; the School of the Art Institute of Chicago, Libraries and Special Collections; the Smithsonian Institution; Yale University Library; Asia Art Archive in America; Whitney Museum Library, and more.

This item was kindly donated by Jesse Chun

Mixed media piece, 12" x 12" x 1" Foil-lined packaging adhered with PVA on 100% rag board, UV varnish, in shadowbox frame under UV plexiglass

Denise Laws' interest in manufactured materials, fabrications, packaging, foiled-lined airtight bags and pouches, candy wrappers, Tetra-Pak, and the detritus that winds up in our landfill, informs her work. 'Mylar Reveries' is an awakening and relocating, of predestined discard, revealing the beauty hidden within disposable consumer culture, re-focusing through a different lens and filter on what we acquire and consume. The everyday cast-offs are re-envisioned, re-cast, and then collage into shimmering motifs, landscapes, and topographies.

She received her BFA at the San Francisco Art Institute in the Interdisciplinary Department, 2001 and was the recipient of the SFAI Merit Scholarship. Her final graduating artwork was included and published in the 2001-2002 San Francisco Art Institute BFA Catalog.
In 2000 honorable mention in Best of the Bay Guardian and an image of her work was featured in Zyzzyva, a San Francisco Journal of Arts & Literature. She annually donates her time and artworks to various local and national charitable organizations' art auctions and benefits. She was accepted as a participating artist in The ArtSpan Studio Residency from 2016 until 2018. ""Artificial Quarry"" image is in San Francisco, Root Division's, MFA Never 2016 archive book project. She was one of fifteen featured Artists juried into ArtSpan's Selections Show at The Midway in San Francisco and 2017, nominated for The Fleishhacker Foundation, Eureka Fellowship Grant. In 2019 one of 20 artists was selected to participate in The Ladies Room, Curated by Danielle Krysa, The Jealous Curator, presented by Jen Tough Gallery in San Francisco.

This item was kindly donated by Denise Laws

15 x 11.5 inches, mixed media piece.

In 2019, Bahar Behbahani was granted a Creative Capital award for an upcoming project Ispahan Flowers Only Once, a collaborative garden inspired by Persian garden design, philosophy, plants and flora, which will bring people together to take part and re-activate unseen histories by gathering and gardening.

Behbahani's community oriented installation was featured in the Lahore Biennale in 2019 where her project I Can Drink Stars is a permanent installation in the City of Lahore, Pakistan. Her work was featured in a solo exhibition, Let the Garden Eram Flourish, at the Hood Museum of Art at Dartmouth College, in 2017, curated by Ugochukwu-Smooth Nzewi, Curator of African Art. Her multidisciplinary series of Garden Coup has been shown at the Thomas Erben Gallery in New York and the 11th Shanghai Biennale, China in 2016. Her project, The Color of Soil Never Lies was featured at the 7th Moscow Biennale, Russia, and her work as also been shown at The 18th Biennale of Sydney, Australia; Sharjah Biennial 10, UAE; The Eli and Edythe Broad Art Museum, MI; and The Tribeca Film Festival, NY; among others. Her film Behind the Mirrors premiered at Fireflies in the Night, curated by Robert Storr, Kalliopi Minioudaki, and Barbara London in partnership with the Stavros Niarchos Foundation Cultural Center in Greece in 2016.

Behbahani is a recipient of the 2020 Joan Mitchell Foundation Painters and Sculptors Grants.

This item was kindly donated by Bahar Behbahani

"Home is Where the Si Gua Grows," 2018. Fabric, printed fabric, thread, plastic, paper, tape, cork board; 50 x 73 inches.

Naomi Kuo is a Taiwanese-American artist born and raised in Houston, TX and currently based in Flushing, NY. She utilizes drawing, painting, collage, quilting, and various collaborative modes to make connections between societal systems, material culture, and individual experience, particularly in immigrant communities. Through her work, she hopes to address both critical and everyday gaps in cultural understanding. She received her MFA in Studio Art / Social Practice from Queens College (CUNY) and BA in Studio Art and English from the University of Texas at Austin. Her work has been presented as part of exhibitions and programs at the Queens Museum, Queens Public Library, American Folk Art Museum, Korea Art Forum, and more.

This item was kindly donated by Naomi Kuo