Jennifer Pate

Finger Lickin' Good

2018

Beth Erze Title: Untitled Year: 2017 Medium: Crayon, Wax Crayon, Pencil on Paper Size: 7.5 x 6.25 inches Signed by the artist COA provided

Brittany Noriega The Piece That Fits Graphite on Archival Paper Year: 2021 Size: 35 x 27 x 1.3 inches Unique Framed Signed by hand COA provided Ref.: 924802-1047 This piece examines...

Artist : Ryan Wilks Title : The Get Together Materials : India ink on Arches paper Date : 12-15-2020 Dimensions : 22" x 30" Description : In the time of soc...

Artist : Jolynn Reigeluth Title : Carnival Carnivore Materials : India ink, graphite, collage and acrylic Date : 2019 Dimensions : 40" x 39" in. Jolynn Reigeluth is an artist and fr...

Eat Me 4941 by Kate Salenfriend Surrounded by artistic inspiration from a very early age, Kate Salenfriend learned most of her technical skills from her great-grandfather, Stewart ...

Original oil painting on wood plaque by Lauren Rinaldi measuring 9.5"h x 5"w. Lauren Rinaldi works using unbiased portraits of women’s bodies as a vehicle to explore ideas about b...

artwork dimensions (unframed): 15h x 20w inches LAURA TANNER GRAHAM’s drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing similar themes with authors such as Flannery O’Connor and Eudora Welty. As a Georgia native, Graham’s work seeks to understand the ways in which pattern and printed textiles are informed by social and political movements. Her narratives are tightly bound to antebellum traditions while balancing the changing ideals of the new generation of southern society. Graham received her MFA from the University of Illinois at Urbana-Champaign and a BFA from Florida State University. She has exhibited nationally in both group and solo exhibitions including the Weatherspoon Art Museum, the Ogden Museum of Southern Art, and the Athens Institute of Contemporary Art. She has also been a visiting artist at Tulane University and Valdosta State University. In 2016, Graham was awarded a fellowship and residency at the Ucross Foundation and the Vermont Studio Center. Graham is currently living and making work in Tucson, AZ. STATEMENT Firmly grounded in America’s expansive colonial history, my work interrogates how Southern culture has been idealized as “quintessential America” and the bedrock of traditional American values. Using my familiarity and position within Southern culture, I have created a new visual literacy to demonstrate how America’s nostalgia for tradition has been manipulated in an effort to isolate and disenfranchise. My drawings act as a visual archive of research that examines the consequences of American colonialism and addresses the sense of white fragility that continues to pervade Western culture. In the midst of widespread anxiety over the collective American identity, there has been a revival of many of the country’s unresolved historical battles, including contentious race relations, sexism, nativism, and an ever-growing wage gap. I employ the Americana aesthetic of the old South to parallel historical and contemporary acts of resistance to racial, economic, and gender diversity. Borrowing directly from the decorative arts, the meticulously hand-cut mylar and equally intricate drawing capitalizes on America’s propensity for nostalgia to lure the viewer into confronting injustices through the detached lens of that which has already happened. Through a combination of appropriated and invented imagery, my work contextually constructs contemporary accounts of systemic marginalization, executed under the guise of leisure, embellishment and luxury. The dense visual language invites investigation into the textured surfaces and leads the viewer to reflect on the social textures of contemporary culture while questioning their own complicity in current social constructs. Sourcing from period- specific textiles, turn-of-the-century advertisements, campaign posters, and found family photographs, the collaged images create a singular narrative composition that document the cyclical and systemic nature of marginalization in America. The methodology with which the drawings are constructed echoes historical layers of rules, regulations and hierarchies that are stitched into dominant white American myths. The resulting drawings are indexical in nature, recording the parallels between topics of current debate and 18th century Western expansionism. The disconnect between the delicate nature of the work and the unresolved cultural tensions that it reveals provides a visual record of the inconsistencies of American idealism. My current project explores the South as the embodiment of America’s pastoral traditions and values that are at the center of the “Make America Great Again” movement, a movement which has both exploited and is at odds with a social ideal that simultaneously proclaims itself to be “post- racial” and “post- gender” while identifying with a “pull-yourself-up-by-the-boot-straps” mentality. As one of the earliest colonized areas, the South is often portrayed as a region of racial and gender stability in the face of impending change. I am currently working with research institutions in the South to further understand how the architectural structure of the Southern plantation...

A funny kind of valentine Acrylic, pencil, flashe on canvas 12” x 12” 2019 BIO JENNY DAY is a painter who lives in Santa Fe, New Mexico. She earned an MFA in Painting and Drawi...