White Lie, 2015

Gary Aagaard , Tucson, AZ
White Lie, 2015
oil on canvas, 20 Inches x 16 Inches
Trash Heap Colossus, 2016

Brett Anderson , Evansville, IN
Trash Heap Colossus, 2016
Intaglio & screenprint, 18 Inches x 24 Inches
High Plains Cerberus, 2016

Brett Anderson , Evansville, IN
High Plains Cerberus, 2016
Relief Print, 16 Inches x 12 Inches
Anonymous, 2015

Kadie Sue Anderson , Rohnert Park, CA
Anonymous, 2015
Oil on Muslin, 36 Inches x 48 Inches
False Pregnancy, 2015

Kadie Sue Anderson , Rohnert Park, CA
False Pregnancy, 2015
Oil on Muslin, 36 Inches x 48 Inches
Snapped!, 2015

Kadie Sue Anderson , Rohnert Park, CA
Snapped!, 2015
Oil on Muslin, 36 Inches x 48 Inches
Security Breakfast, 2014

Mark Bauer , El Cerrito, CA
Security Breakfast, 2014
acrylic on canvas, 27 Inches x 36 Inches
Sailor’s Delight at Ask Not Harbor, 2014

Mark Bauer , El Cerrito, CA
Sailor’s Delight at Ask Not Harbor, 2014
acrylic on canvas, 31 Inches x 26.5 Inches
Nun (Triptych), 2017

Bartosz Beda , Moscow, ID
Nun (Triptych), 2017
oil on canvas, 28 Centimeter x 23 Centimeter
Henlich Menouver (triptych), 2017

Bartosz Beda , Moscow, ID
Henlich Menouver (triptych), 2017
oil on canvas, 42 Centimeter x 28 Centimeter
Primary Colors, 2016

Elizabeth Bennett , Cupertino, CA
Primary Colors, 2016
intervention on curb, 12 Inches x 36 Inches
Quinn’s Addiction, 2017

Joe Bottomly , Kalispell, MT
Quinn’s Addiction, 2017
oil on Canvas, 18 Inches x 14 Inches
Charles Bukowski, 2017

Larry Caveney , San Diego, CA
Charles Bukowski, 2017
Acrylic on canvas, 32 Inches x 32 Inches
Ed’s Box, 2017

Corinne Chaix , Venice, CA
Ed’s Box, 2017
acrylic, pastels, ink on paper, 30 Inches x 22
Pick up artist, 2016

Lindy Chambers , Bellville, TX
Pick up artist, 2016
Oil on Board, 24 Inches x 30
I used to be somebody, 2017

Lindy Chambers , Bellville, TX
I used to be somebody, 2017
Oil on Canvas, 30 Inches x 30 Inches
Give me one reason, 2027

Lindy Chambers , Bellville, TX
Give me one reason, 2027
Oil on Board, 30 Inches x 30
Ascension Above, Ascension Below, 2015

Ryan Colditz , Auburn, CA
Ascension Above, Ascension Below, 2015
Stereoscopic Mixed Media on Canvas, 18 Inches x 14 Inches
Resolution in Concentrate, 2016

Andrew DeCaen , denton, TX
Resolution in Concentrate, 2016
sculptural print (lithography), 20 Inches x 8 Inches x 8 Inches
Arrow - Desert Direction, 2017

Jimmy Descant , Salida, CO
Arrow - Desert Direction, 2017
Found object assemblage sculpture/Mixed media, 12 Inches x 32 Inches x 3 Inches
Mr. Fix-it, 2016

Darrin Ekern , Bakersfield, CA
Mr. Fix-it, 2016
Ceramics & Screwdrivers, 15 Inches x 12 Inches x 12 Inches
Connection, 2016

Sandy Frank , Sebastopol, CA
Connection, 2016
stoneware, oxides, paint, 60 Inches x 12 Inches x 12 Inches
Skyline 102, 2016

Cynthia Friedlob , Toluca Lake, CA
Skyline 102, 2016
Digital Print on Canvas, 8 Inches x 10 Inches
¡No Estoy Loca!, 2016

Marcelina Gonzales , Brownsville, TX
¡No Estoy Loca!, 2016
Oil & Enamel on Plexiglass, 30 Inches x 30 Inches
Goddess Lawn Chair, 2017

Coco Hall , joshua tree, CA
Goddess Lawn Chair, 2017
Poly fleece, polyfill, faux fur, plastic, zippers, 33 Inches x 26 Inches x 23 Inches
I JUST START KISSING, 2017

Gini Holmes , Shasta Lake, CA
I JUST START KISSING, 2017
Fiber Art, 15 Inches x 15.5 Inches
Lifeline: Canyon, 2017

Karen Karlsson , Pomona, CA
Lifeline: Canyon, 2017
Encaustic monotype, 22 Inches x 14 Inches
Coherence II, 2016

Stevie Love , Littlerock, CA
Coherence II, 2016
Acrylic paint, faux fur, 25 Inches x 45 Inches
GDK 10, 2015

Donna Meeks , Beaumont, TX
GDK 10, 2015
silverpoint on panel, 6 Inches x 6 Inches
Innocence Lost, 2107

Sarah Merola , San Francisco, CA
Innocence Lost, 2107
Ceramic, 13 Inches x 11 Inches x 13 Inches
Polaroid, 2016

Matt Montella, North Abington Township, PA
Polaroid, 2016
Photography, 3.5 Inches x 2.9 Inches
Suburbia II, 2015

Lena Moross , Los Angeles, CA
Suburbia II, 2015
Watercolor & Ink on Paper, 36 Inches x 56 Inches
Pierosh_000033_114425_734242_4123

Robert Pierosh , Langhorne, PA
Pierosh_000033_114425_734242_4123
Silkscreen, 16 Inches x 20 Inches
Casita humilde, 2017

Mayra Ramos Chavez , Colusa, CA
Casita humilde, 2017
Oil on Canvas, 12 Inches x 16 Inches
Ocean (Every Drop), 2016

Robert Rosenblum , Woodland Hills, CA
Ocean (Every Drop), 2016
Photo Montage, 20 Inches x 30 Inches
The Mask I Wear, 2017

Yvonne Saldana , Stockton, CA
The Mask I Wear, 2017
Pen and Marker, 12 Inches x 9 Inches
Coming Out Party, 2016

Courtney Sanborn , Dover, NH
Coming Out Party, 2016
Embroidery, 4.75 Inches x 4 Inches
Fruit Fly Fight, 2017

Ruth Santee , Stockton, CA
Fruit Fly Fight, 2017
drawing with collage, 21 Inches x 17 Inches
Unpresidented, 2017

James Shefik , oakland, CA
Unpresidented, 2017
Photograph of sculpture, 24 Inches x 30 Inches
Opia, 2015

Catherine Spencer , Chagrin Falls, OH
Opia, 2015
Oil on Acrylic on Canvas, 20 Inches x 20 Inches
les demoiselles d’burkha, 2016

Michael Spillers , kasnas city, MO
les demoiselles d’burkha, 2016
pigment print, 28.75 Inches x 27.25 Inches
Assisted Living Services, 2016

David Talbott , San Diego, CA
Assisted Living Services, 2016
acrylic on canvas, 12 Inches x 24 Inches
RCA - Real Class Act, 2017

David Talbott , San Diego, CA
RCA - Real Class Act, 2017
acrylic on wood, 11 Inches x 14 Inches
The Homeless Problem (Winter), 2016

David Talbott , San Diego, CA
The Homeless Problem (Winter), 2016
acrylic on wood, 16 Inches x 20 Inches
Suburbia, 2017

Ronald Walker , Orangevale, CA
Suburbia, 2017
Gouache, 11 Inches x 14 Inches
Blue is Not a Neutral, 2017

Margi Weir , Detroit, MI
Blue is Not a Neutral, 2017
digital ink print on rag paper, 17 Inches x 11 Inches
Constructed Realities (Yellow Glove), 2016

Thomas Whitworth , Summerfield, FL
Constructed Realities (Yellow Glove), 2016
inkjet print, 20 Inches x 30 Inches
Constructed Realities (Black Book/Sad Nude), 2016

Thomas Whitworth , Summerfield, FL
Constructed Realities (Black Book/Sad Nude), 2016
inkjet print, 20 Inches x 30 Inches
honey bear, 2017

YIGE XIE , san francisco, CA
honey bear, 2017
oil on panel, 13 Inches x 13 Inches

Read the review in the Sacramento Bee.

Curator's statement:

There is a circuit of juried shows and a circuit of judges for them and this ritualistic gravy train has come for me many times over the past twenty years or so. The tropes come and never go. The predictability sets in with what is submitted. Judges dilemma: Does one reward an artist for making an adequate version of a popular, established (maybe even a favorite) painter? If you go into one of these with the philosophical questioning of what originality is, well you’re gonna walk out hoping there isn’t such a thing, because the truly, truly original stuff submitted to these contests scalds your eyballs… (Jack Nicholson voice): You can’t handle originality!

For the first time in my memory, this exhibit brought overt political art, and not just a little bit of it. If art is the pulse, looking at all the work submitted tells me the pulse is moving on and the world we once knew has ended. 2014 has more in common with 1999 than it does 2017. The great artists from just a few months ago are sealed up on display in acrylic boxes (haven’t you heard?) …neutered. Where does that leave us? Well it basically leaves us lost. But that is good, because without a map or destination we are free. Free to fight the wars of our choice. A phrase on a FaceBook friend’s page caught my eye: “Art is a flag flying above a smoking battlefield” (Andrew Auten, 2017). That is 2017. This is my curation of that flag.

This show was curated, not juried. A juried show reveals how guilty a juror feels for their taste. The whole act of jurying is compromises made to compensate for none of the sculptors submitting being Louise Nevelson and none of the abstract painters being Robert Motherwell and none of the hummingbird painters being interesting and so on. A curated show is an exhibition. This show was approached as a curated art show. There is a theme to this show: Art Is A Flag Flying Above A Smoking Battlefield.

Basically, and unapologetically, this is an exhibition of flags flying above a smoking battlefield; it is meant to be personable and weird, icky in some places and exalted in others. It is 2017. Put this in a drawer or a box and see how weird it really was, how separated it was from the first half of the decade. Think about it when you look back on 2017 in 2030, okay? Some of these images mean something to me. Some of the art here would have made the “just jurying” cut, picking the little categories off with my jurying BB gun to make sure everything antiseptic and safe about art was assured. But with this curator you aren’t getting academic jargon meant to dissuade you from standing up. The work in this show was chosen as something for you to look up at thru the smoke of where you are in your mind and life right now.

The universal truth in which the curator is just some objective lout in the corner with his or her arms folded is gone. It was born in the salons of pre-modernity and it maybe made it to 2014… but since then a universe has come and gone, objectivity and the pretenses toward it are at best now fake theory. It is 2017, a new world, a smoking battlefield, and there is NO neutrality. None. You say something, you mean it. You post something, you believe it. The wars abound and there is no irony in picking a side (it could be a matter of life or death). We are erasing a binary while the chiaroscuro of the mundane sharpens. Breathe deep, for, as Devo sang, we’re going under. I fly the work in this show above our smoking battlefield.

—Mat Gleason, June 2017

 

Founder of the highly controversial Coagula Art Journal, Mat Gleason is an internationally recognized art critic and curator of contemporary art. Coagula, his brainchild, was the pioneer of institutional critique aimed at the myriad centers of power in the art world. The success of the publication was based on its irresistible skewering of fine art sacred cows. As David Bowie himself raved in a 1999 review of the Coagula anthology “Most Art Sucks”, the magazine… “is cruel, insensitive, unfair and thoroughly readable from cover to cover.”

Gleason’s sharp analytical tongue and ability to articulate aesthetics served him well in analyzing and critiquing competitive body painting in the Ru Paul-hosted “Skin Wars: Fresh Paint”, the television series where he sat as one of the regular judges in its lone season on network television. He has lost count of the number of exhibitions he has curated and while blogging, writing about art and continuing to publish a milder print version of his magazine, operates Coagula Curatorial, his gallery of contemporary art on Chung King Road in L.A.’s Chinatown. A southern California native who hates all of the Bay Area’s sports teams, especially the A’s, he lives with his wife (artist Leigh Salgado) and dog (Aybar) near the city of Vernon, just south of Downtown L.A.

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12th National Juried Exhibition Artists

*Juror’s Award