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Surface Tension

Surface Tension

Surface Tension: a group show featuring Samuel Branden, Amanda Martinez, Amanda Valdez, and Rahcel Mica Weiss, curated by Christina Papanicolaou and Kelly Worman

E.Tay Gallery
39 White Street, NY
June 7  – July 1st
Opening Reception: June 7th 6 – 8 pm
E.TAY Gallery is pleased to present Surface Tension, a group show featuring the works of Sam Branden, Amanda Martinez, Amanda Valdez, and Rachel Mica Weiss, curated by Christina Papanicolaou and Kelly Worman. The exhibition is a marriage of minimalism, abstraction, illusion, and ritualistic process, creating an optical sensation of materiality and its power of suggestion. The form of each work is dictated by the inherent properties of the chosen materials, ranging from marble to sportswear.
But the show also focuses on texture and the space between two dimensions, triggering various dualities of thought. Heavy objects feel weightless on the wall; three-dimensional materials are reimagined as flat; and repeating manufactured patterns build personality through their quiet imperfections. And while many of these works could be considered “paintings” based on their conventional form, their very nature slips into an uncertain territory between painting, collage and sculpture.
Sam Branden deconstructs thrifted clothing, then hand-sews it into vibrant compositions and collaged forms. Swathes of fabric as his palette push and pull themselves together into compact gestures that are suggestive of Color Field painting. From afar, a recognizable medium that should be worn on a body becomes considerably flattened and nullified. But upon closer investigation, logos, closures, and stitching begin to reveal a familiar time and place.
The material used in Amanda Martinez’s work undergoes a dramatic transformation from its raw state until completion. She describes her process as an “assembly of many small ‘parts’; a secret, self-disciplined endurance performance.” Sheets of polystyrene are hand-carved in repetitive rhythm, creating the illusion of uniformity.  Subtle changes in shape reveal a meditative practice based on a single form to create uniqueness as opposed to a machine-made commodity. The result, coated with a single synthetic color, reads as emotionally complex, yet minimal in its stability.
Amanda Valdez reimagines traditional shape and form through her works made of paint, fabric, and embroidery, finding new spaces to explore with each stitch. As her hand intuitively guides her compositions, shapes take on a sense of the in-between. They are familiar yet unrecognizable, symmetrical but slightly askew, literally flat but dimensional through her utilization of color and gesture. Valdez builds texture by weaving multiple depths into each piece, forcing the viewer to contemplate meaning.
Rachel Mica Weiss builds architectural portals that invite the viewer to examine the oppositional states of the materials at play. For example, the fluidity of fabric freezes in time, the fragility of a thread holds massive weight, and the drapery of stone lays softly over wood. Additionally, hand-woven thread against copper mesh demonstrates an element of ritual — a meaningful meditation assigning even more consideration and value to the works than the maple frames that define them. But it’s her sleek craftsmanship that convinces us to believe our own eyes.

Hot Bed at Dot FiftyOne


Amanda Valdez
Hot Bed

January 26 – March 11, 2017 – Gallery 2
Opening reception:
Thursday, January 26, 7:00 – 10:00 pm 

Gallery hours: Monday – Friday, 11:00 am – 7:00 pm
Saturday by appointment

Dot Fiftyone Gallery is pleased to present its first exhibition with Amanda Valdez (B. 1982 Seattle). “Hot Bed” is the artist premier solo show in Miami. The exhibition will include new paintings made of fabric, paint and embroidery and works on paper.

Amanda Valdez uses fabric, embroidery, paint, and a sewing machine to make her paintings. Oscillating between abstraction and representation her shapes poke at everything human. She examines how painting and sculpture can represent the physical experiences and stories of the body, using different modes of making to give a larger sense of time on a historic scale. Her works are a matrix of gestures, styles, and materials referring to visual cultures that are both western and non-western, creating a variety of historical references, from quilting and sewing, to tiling and bricklaying, to virtuoso gestural painting. The Bauhaus weaving workshop, Islamic architecture and patterning, pre-modern American quilt design, Byzantine mosaics, and American post-war abstraction are all important sources for Valdez. Her works operate as a reflection of the body, and the histories that the body holds in its physical makeup: scars, sags, symmetries and asymmetries, and a lifetime of emotions. They have a physical presence, feeling as though they mirror something fundamental about one’s own presence and weight.

Amanda is based in New York. She received her MFA from Hunter College in New York City and BFA from The School of the Art Institute of Chicago. She has been the recipient of an Artist-in-Residency awards from Yaddo, MacDowell Colony, Bemis Center for Contemporary Arts, and the Joan Mitchell Center. She was awarded the 2011 College Art Association MFA Professional-Development Fellowship. Recent solo exhibitions include Rotherwas Project 1: Amanda Valdez. Ladies’ Night, Mead Art Museum, Amherst University, The Mysteries, at Koki Arts, Tokyo, Thick as Thieves, at Denny Gallery, and Double Down, at Prole Drift. Recent group exhibitions include: Time & Tide: Amanda Valdez and Caris Reid, Denny Gallery, Diamond Seat: Amanda Valdez and Caris Reid, Circuit 12, Dallas, A Common Thread: Stitching and Embroidery, San Jose Museum of Quilts and Textiles, About us, at Galeria Agustina Ferreyra, San Juan, Puerto Rico, Taking Off: Hot New Painters, at Reynolds Gallery, Virginia. She has been featured on the Huffington Post, New American Paintings, Forbes, Paper Magazine, the Stranger, and Hyperallergic. She has contributed to Bomb Magazine and Dossier Journal.

An opening reception for the artist Amanda Valdez will be held on Thursday, January 26, from 7:00 – 10:00 pm. Dot Fiftyone Gallery is located at 7275 NE 4th Ave, Little River, Miami. The hours are Monday to Friday, 11 a.m. to 7 p.m. Saturday by appointment. For further information and visuals of the show, contact the gallery at 305-773-6537 or by email at isaac@dotfiftyone.com

The Mysteries at Koki Arts, Tokyo



                             Amanda Valdez

                             The Mysteries

10/29  – 11/26/2016

Wednesday – Saturday 12:00 – 19:00 and by appointment

Opening Reception 10/29 18:00 – 20:200

KOKI ARTS is pleased to announce Amanda Valdez’s first solo exhibition in Japan, The Mysteries. This exhibition will showcase new paintings and drawings.

Building on her larger body of paintings, that often combine various materials such as embroidery, acrylic paint, graphite, and fabric to create colorful images with different tones and textures, for this show Valdez expanded her intervention into the fabric she uses by engaging natural dye processes. Central to the foundation of Valdez’s paintings are the use of non-traditional materials associated with women’s craft coming together with the materials of painting, a historically male dominated form.

Valdez’s work explores both western and non-western visual cultures with a variety of historical references. In The Mysteries, Valdez pulls from recent research examining pagan iconography in Renaissance art and images of women in antiquity, all filtered through her bizarre bodily abstract forms.

AMANDA VALDEZ (b.1982) received her BFA from the School of the Art Institute of Chicago in 2007 and her MFA from Hunter College in 2011. Valdez lives and works in New York. Valdez is currently having her first museum exhibition at the Mead Art Museum at Amherst College. Valdez’s most recent exhibition was Time & Tide, a two-person exhibition with Caris Reid at Denny Gallery (2016). She has exhibited extensively in the United States and is represented by Denny Gallery in New York. Valdez has received prestigious artist residencies at Bemis Center for Contemporary Arts, the Joan Mitchell Center, MacDowell Colony, and Yaddo. She has received grants from the Joan Mitchell Foundation, New York Foundation for the Arts, and the 2011 College Art Association MFA Professional-Development Fellowship. She has been featured in Forbes, Paper Magazine, Art F City, Huffington Post, and Hyperallergic, among others.

For all inquires please contact Koki Ishibashi.


〒101-0031 東京都千代田区東神田1-15-2ローズビル1F
1-15-2 Higashi-Kanda, Chiyoda-ku, Tokyo 101-0031


Installing at the Mead Art Museum

Photos: David Le13909412_10153671257031022_6612725321334983885_o


Rotherwas Project 1: Amanda Valdez, Ladies’ Night

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This fall, the historic Rotherwas Room meets contemporary art as the Mead inaugurates its biannual exhibition series, the Rotherwas Project. In “Rotherwas Project 1,” the works of Seattle-born artist Amanda Valdez bring a new palette and iconography to the historic oak-paneled room. Influenced by feminism, quilt design, and non-Western as well as Western art, Ms. Valdez combines paint, fabric, and embroidery on canvas to yield abstract forms with undeniable relation to the human body.

Ms. Valdez is the recipient of numerous awards, including artist-in-residencies from Yaddo, MacDowell Colony, Bemis Center for Contemporary Arts, and the Joan Mitchell Center. She received her MFA from Hunter College in New York and BFA from the School of the Art Institute of Chicago. She resides in New York.

Related Events

Thursday, Sept. 8, 5:30–7:30 p.m.
The Mead unveils its renovated main gallery and opens six new exhibitions and installations that offer a fresh perspective on the Amherst College art collection. All are invited to join Amanda Valdez at the opening, which is followed by a reception.

Friday, Sept. 23, 12 p.m.
Amanda Valdez will be on campus for a noon lunchtime conversation that is free and open to the public.

Time & Tide: Amanda Valdez and Caris Reid at Denny Gallery

Time & Tide

Amanda Valdez & Caris Reid: Time & Tide at Denny Gallery Phase 1: opens April 7th & Phase 2: opens April 23

Denny Gallery is pleased to announce Time & Tide, a two-person exhibition by Amanda Valdez and Caris Reid.

Time & Tide is the third collaborative project between Valdez and Reid. They began with an interview for the publication Women Artists in 2014. This interview led to their two-person show in Dallas in 2015, called Diamond Seat, and a continued dialogue between the two artists. Both Valdez and Reid are deeply concerned with gender, power, symbolism, ancient traditions, and mysticism. While their interests are directly aligned, their shared source material manifests in two distinct aesthetics. Reid is a figurative painter, who works methodically in acrylic on panel. Valdez is an abstract painter using diverse media.

The exhibition Time & Tide is structured around the themes of duality, lunar cycles, and symmetry that are important to both artists’ work. This iteration of intensive joint research involved consuming text centered around the moon, leading them to 1970’s feminist lunar consciousness text, anthropological based text, astronomy text, mythological stories, and pre-Christian society text. Every culture has developed ideas and relationships to the moon, Valdez and Reid are mining those various stories, rituals, and beliefs to construct their works. The texts serve as conduits for dialog and development of this new body of paintings between the two artists.

The exhibition will occur in two phases, with two distinct but related iterations during the course of the show. The opening, April 7, coincides with the new moon, and the second phase will open on April 23, with the full moon. The exhibition will close on May 15.

Caris Reid’s work deploys symbolism and pattern to explore femininity throughout history and across cultures. The female figures directly meet the eye of the viewer and impress with the strength of their pose. These female archetypes are covered with iconography such as cats, flowers, eyes, peace signs, ying yangs, birds. Reid extensively researches symbols from ancient history through the contemporary emoticon. Reid was born in 1983 in Washington D.C. She received her B.F.A. from Boston University. She lives in New York City.

Amanda Valdez’s work is also deeply embedded in history, from western philosophy and abstract art history to non-western art practices and literatures. Her diverse influences include weaving, Islamic art, pattern & decoration, and color field painting. Her work explores the physical immediacy of the body, structured by imperfect symmetry and responding to gravity and material. Valdez was born in 1982 in Seattle. She received her B.F.A. from the School of the Art Institute of Chicago and her M.F.A. from Hunter College. She lives in New York City.

Please join us for an opening reception for the artists Amanda Valdez & Caris Reid on Thursday, April 7, from 6 to 8 p.m. Please join us again for the opening of the second phase of the exhibition on Saturday, April 23, from 12 to 2 p.m. Denny Gallery is located at 261 Broome Street in New York City. The hours are Tuesday to Sunday, 11 a.m. to 6 p.m. For further information, contact Elizabeth Denny or Robert Dimin at 212-226- 6537 or by email at elizabeth@dennygallery.com or robert@dennygallery.com

Honey Dip is now a Limited Edition Print!

“Honey Dip” is a limited edition 11 x 14 print of a painting by Amanda Valdez released by Double or Nothing. It is printed on a 250 gm cotton fiber archival paper and the printing process has been overseen by the artist. Each print comes with a hand-signed label. This is an edition of 50, and the print is shipped unframed. Click HERE to order!


Honey Dip_Print_E

Double or Nothing

Double or Nothing interviews Caris Reid and Amanda Valdez on the eve of their limited edition prints launching. They talk all things art, the moon, and their upcoming two person show Time & Tide at Denny Gallery in April.

Click the image to read more:

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MetaModern @ Denny Gallery



07.16.2015 – 08.29.2015

Denny Gallery is pleased to announce Metamodern, a group exhibition with artists Rachel Beach, James O. Clark, Austin Eddy, Justine Hill, Christopher Martino, Marcelyn McNeil, Brendan Smith, Russell Tyler, and Amanda Valdez. The exhibition will run from July 16 to August 29, 2015.

The exhibition will explore the idea of a contemporary cultural movement in painting and sculpture that has developed in dialogue with and in response to modernism and postmodernism of the 20th century. The title, “metamodernism,” is a term proposed by Dutch scholars Timotheus Vermeulen and Robin van den Akker to describe how contemporary artists oscillate in attitude and approach between enthusiastic modernism and ironic postmodernism, while addressing contemporary concerns with financial instability, ecological destruction, and post-digital existence. The prefix “meta” is used to mean “between,” as in oscillating between the polar ideas of selfhood and authority manifested in modernism and postmodernism. The artists in the exhibition are fluent in the language and forms of abstract expressionism, minimalism, and primitivism, and they incorporate sincerity, irony, focus, humor, skepticism, diligence and detachment into their work without considering those elements to be contradictory. The idea has been explored in exhibitions at the Museum of Art and Design, New York (No More Modern: Notes on Metamodernism, 2011) and Galerie Tanja Wagner, Berlin (Discussing Metamodernism, 2012). The exhibition at Denny Gallery will include a different group of artists with more practice-based concerns about historicity and innovation.

The exhibition includes two artists who are represented by Denny Gallery, Russell Tyler (b. 1981, lives in Brooklyn) and Amanda Valdez (b. 1982, lives in New York). Rachel Beach (b. 1975, lives in Brooklyn) is represented by Blackston Gallery in New York. James O. Clark (b. 1948, lives in Brooklyn) has been exhibiting in New York since the 1980s and recently had a solo exhibition at ltd los angeles. Austin Eddy (b. 1986, lives in Brooklyn) has had solo shows in Puerto Rico, Atlanta and Chicago. Justine Hill (b. 1985, lives in Brooklyn) received her MFA from U. Penn and has had solos in Miami and New York. Christopher Martino (b. 1979, lives in Brooklyn) recently graduated from the School of Visual Arts in New York. Marcelyn McNeil (b. 1965, lives in Houston) has a forthcoming solo with Kathryn Markel in New York. Brendan Smith (b. 1983, lives in New York) received his MFA from Yale and has exhibited with Louis B. James in New York.

Please join us for an opening reception for the artists on Thursday, July 16, from 6 to 8 p.m. Denny Gallery is located at 261 Broome Street in New York City.

Diamond Seat: New Paintings by Caris Reid & Amanda Valdez






Buddhist scholar Robert Thurman’s seminal text “Mandala: The Architect of Enlightenment” provided an expansive foundation in which both artists approached the Mandala form and history. Mandala is a sanskrit word that means “center” or “essence” . Resonating with the larger implications of what a mandala can be, Thurman ruminates that any circular structure can exist as a mandala; the sun and moon, a circle of friends, the breast or womb, or drop of blood or semen.

Traditionally a mandala can be an imitation of sacred architecture and yet simultaneously Thurman’s notion that any person can be a mandala then implies that every aspect of us is valid within our own mandala universes, and brings into focus the relationship between the microcosm and macrocosm.

“In a conventional sense, then, every being is a mandala, rather than just a point of awareness.  We are our environment as much as we are the entity in the environment”.

Reid and Valdez studied the text of Thurman together before approaching the work made for “Diamond Seat”, opening up their existing painting practices to a specific visual history, creating an intentionality to influence.  The title of the show is taken from a passage in Thurman’s text, referring to the sacred space under the enlightenment tree in Bodhgaya that is impenetrable by any spiritual and physical entity.

Valdez positions her body as that home and universe. Through her drawing practice she accesses the embodied shapes stored and felt through her body thus creating bizarre personal forms that she then engineers with fabric, embroidery, paint, and canvas. The forms reference a voided space, a hallowing, a sun, a home, the body, and a range of attitudes. They are times deviant, menacing, and playful while several seek to be a place of home or rest while still others shoot energy out through color and form.

Reid’s ongoing interest between the intersection of the mundane and spiritual has led to a fascination with meditative practices that evoke, or claim to evoke, higher states of consciousness and healing, specifically hypnosis, and reiki.   The choreography of both practices being of as much interest to Reid as the outcome.   Working with Psychotherapist Andrea K. Baum M.E.D, Reid co-designed an audio meditation that she listened to before creating the paintings in “Diamond Seat”, the audio laced with words inspired by the High Priestess card in tarot and borrowing phrases used in hypnosis.   Incorporating the concentric geometric designs traditionally used in mandalas with her figurative work, Reid focused on the head and hand of the figure, using symmetry and repetition to create a rhythmic and hypnotic visual field. The repetition extends through out the paintings, many containing shared images, such as the sun at center, the crow, and the small white circle. Hands in Reid’s paintings are often engaged in dramatic postures in the vocabulary of dance, and reiki.   The paintings thematically explore spiritual spaces, and can also be used in meditative practice and self hypnosis by the viewer, by keeping their gaze locked at the center.  By incorporating this element, the artist extends an invitation for the viewer to mimic the meditative nature in which the painting was created, connecting the start of the process with the end result, adding an additional circular motion within the work.

16 May – 31 May 2015

#Bemis Painters: 1985 – 2015

wishing well, 2013

wishing well, 2013

July 16 – October 10, 2015
Opening Reception: Thursday, July 16, 6pm – 8pm
Project Space 4

Bemis Center was established in 1981 by artists for artists, and has since the beginning been devoted to supporting the creative impulse and advocating for experimentation beyond the expectations of any discipline. Richard C. Cox, visual artist and one of the show’s featured alumni, says his Bemis residency “provided a dedicated and uninterrupted period of intensive study resulting in an important step forward in the development of my work.” The #BemisPainters, 1982–2015 exhibition will reveal—through an installation of more than 30 works of art—that painting by Bemis artists-in-residence is an ever-changing genre that eludes definition.

Artists include: Samantha Bittman, Helen Brough, Richard C. Cox, Marc Dennis, Hamlett Dobbins, Echo Eggebrecht, Sarah Gamble, James Holmberg, Bob Koons, Alex Lukas, Ben Murray, Christina Narwicz, Pierre Obando, Jeremy Olson, Allison Renshaw, Steve Reynolds, Leslie Shows, Hyun Soo-Choi, John Sparagana, Aaron Storck, Mary Ann Strandell, Amanda Valdez, Quynh Vantu, Eric von Robertson, Joan Waltemath, and Lambert Wintersberger.

Timberland MarkMaker: Spring 2015









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I’ve teamed up with Timberland for a road trip as one of their featured Mark Makers this season. A Mark Maker is a cultural producer: somebody who is contributing to their field, whether that is in music, photography, style, or art. In December they visited my studio to hear more about my process and made this video: http://www.timberland.com/en/markmakers/amanda-valdez/ Please follow along (I’m on Instagram as @Thunderloves) as we traverse from Chicago to Austin and ending in Los Angeles on March 26th with an event featuring my work.  Please R.S.V.P. with me for the L.A. event.


New Print Edition

town fool

town fool



picked busy

picked busy

I created a suite of 3 prints this winter: picked busy, plunger, and town fool. All are hand block print, acrylic, graphite on paper, 20 x 20.5 inches, edition of 20. $600 unframed, $900 framed, $1,500 all three unframed, $2,700 all three framed. Please contact Elizabeth Denny for sales: elizabeth@dennygallery.com

A Chorus of Objects curated by Krista Saunders Scenna for SPRING/BREAK Art Show 2015

Lost & Found, 2013

Lost & Found, 2013

A Chorus of Objects

Curated by Krista Saunders Scenna trans·ac·tion:

“A Chorus of Objects” is a site-specific, group exhibition conceived for SPRING/BREAK Art Show 2015. The exhibition features five mixed-media artists whose work blends public and private negotiations with everyday objects, situations or the seemingly mundane. Each artist’s process involves transactions ranging from the exchange of goods and services to exchanges informed by language or the body. In each instance, the artist’s hand ultimately determines how reciprocal the arrangement (not always with the consent of the other party involved). In the complex realm of their artistic practice, these artists masterfully transact somewhere between the freeing intimacy of the studio and the external encounters of rudimentary life.

A conceptual trickster rooted in everyday life and American history, artist Quay Quinn Wolf both scavenges and consumes mundane materials in order to – literally and figuratively – weave new perceptions of black American identity. A visit to his studio reveals a playful yet poignant interaction of objects ranging from cotton and burlap to R&B albums and styrofoam. His woven pieces are primarily constructed of newspaper or found wood embroidered with synthetic hair typically used for African-American hair types. While he purchases the hair from his local 99 cents store, he also solicits donated materials from his employer, the Museum of Modern Art. All of these unassuming items are spoils from his daily transactions that he then manipulates behind closed doors.

Jennifer Grimyser also creates deeply thoughtful and, at times, humorous installations within the confines of her studio and, in the past year, beyond those confines as well. Like Wolf, Grimyser is rather spare and deliberate in her selection of materials but creates exchanges between her body, familiar objects and fragments of conversation. Her work also prompts an exchange with the viewer who is often compelled to laugh or sigh – as instructed by her installation “Sigh balloons”. In other moments, Jennifer alludes to mysterious transactions. In “Psst,” she creates an installation depicting said command etched into a grass lawn just beyond a fence. In each scenario, the objects don’t have a say and the viewer has no choice but to respond.

a communicative action or activity involving two parties or things that reciprocally

affect or influence each other – Merriam-Webster Dictionary

Painter Amanda Valdez is also engaged with dialogues created in and around the self. Her signature blend of viscous paints dripping across stitched fabric bodies reflects the intimate exchanges that define her process. She engages her full body with each massive canvas – painting, sewing and stretching to conquer it from head to toe. The expressive contours of her shapely compositions are informed, in the moment, by her memories of past physical experiences (floating on a lake, being pressed by another body, and dancing “ecstatically”, for example). While the abstract nature of Valdez’ paintings obscure these transactions, their tasty textures entice viewers to touch, lick and respond to these objects in some way – not unlike the communicative context Grimyser creates for her viewer.

Artist Nyeema Morgan has, quite literally, invited viewers to eat her artwork in her BRIC Arts project, “Forty Seven-Easy Poundcakes Like grandma Use To Make (2007-2012), 2013.” Both enamored and steeped in the quest for knowledge in our information age, Morgan initiated the project with an Internet search of poundcake recipes to compare to her grandmother’s beloved formula. In spite of the potentially daunting experience of the World Wide Web, Morgan discerned that after the first 47 recipes, the subsequent results were merely repetitions. What began as an intimate exchange in the family-oriented, domestic sphere, evolved into a transaction with volunteers who were each asked to bake one of the 47 recipes and then debut it for consumption at the opening reception.

Artist and dancer Simon Courchel perhaps orchestrates the most audacious transaction of the bunch. Armed with his camera and a keen eye towards urban sensitivities, Courchel commandeers the “plein air” studio of the New York City sidewalk to capture spontaneous, intimate moments of strangers in his midst. None of his subjects are aware of his gaze (the artist’s preference) or their leading role in Courchel’s carefully choreographed performance, yet he manages to surreptitiously probe a raw, authentic moment that the viewer can share unapologetically. Despite his physical distance from each “Beautiful Stranger”, the artist silently responds to them by positioning and repositioning himself as he waits “for the precious moment when their body moves into the ideal position on his stage.”

A Common Thread: Stitching and Embroidery at the San Jose Museum of Quilts and Textiles

secret oceans, 2014

secret oceans, 2014

A Common Thread brings together the artwork of seventeen contemporary artists from across the United States who examine and sometimes subvert the centuries-old tradition of needlework. Representing a sampling of a larger wave of stitching fanatics, the artists in A Common Thread find inspiration in the medium’s history, materials, technique, and process to create works that are surprising, provocative, and at times, deeply personal. The exhibit runs from March 7 – July 5, 2015, with an opening reception March 15, 2-4pm.

The show includes work from artists Emily Barletta (New York), Gwenn Beope (California), Chandra Cerrito (California), Joe Cunningham (California), Lauren DiCioccio (California), Josh Greene (California), Aubrey Longley-Cook (Georgia), Joetta Maue (Massachusetts), Stacey Page (Florida), Maggy Rozycki Hiltner (Montana), Jeana Eva Klein (North Carolina), Rebecca Ringquist (New York), LJ Roberts (California), Hadar Sobol (Texas), Jessica Tang (California), Claudia Tennyson (California), and Amanda Valdez (Brooklyn).