2019 Fellows | Fellowship for Visual Artists
Click any image or artist name below to learn more about each artist and see more of their work.
Detail: Slide Samples (lures, myths); 2018; 35mm slides, found and personal artifacts, resin, glass, steel, rust; 96 in. x 216 in. x 58 in.
AIYANA (Flower Arrangement); 2015; oil on canvas; 72 in. x 60 in.
Then They Came For Me; 2016; neon; 20.5 in. x 26 in.
Blue.Hour; 2014; projection, stereo sound, speakers, computer and screen; dimensions variable
Osmosis; 2018; acrylic on fabric over plaster and wood, 40 in. x 50 in. x 6 in.
Installation view of Untitled (Leonard Fink_Pier 48 Interior_1980) at Commonwealth and Council Los Angeles; 2017; black and white engineering prints on wall; approx. 13 ft. x 9 ft.
“Rihla”; 2017; digital photograph; 2.5 ft. x 3.5 ft.
Denim Chain on Trees (detail); 2016; located at the Bowtie Project on the Los Angeles River; polystyrene, denim, Aqua Resin; approximately 20 ft. x 60 ft. x 8 ft
Five Sheaths; 2017; installation shot at Chimento Contemporary; Los Angeles; cotton garments each 48 in. x 18 in. x 4 in. on wood hangars 54 in. tall. Photo by Ruben Diaz
Long Foot Pink; 2017; oil on aluminum on dyed linen; 68 in. x 38 in.
هنْاء بنت قَمّر / Hanna daughter of Ghamar; 2018; pink neon tubes; 9 in. x 36 in.
The text in Arabic is a matronymic with my mother’s name and the name I had before I changed it to Yasmine. Growing up, I rarely heard people say my mother’s name. Instead, she was referred to as ‘mother of (my eldest brother)’ and I was often referred to as the daughter of my father.
The text in Arabic is a matronymic with my mother’s name and the name I had before I changed it to Yasmine. Growing up, I rarely heard people say my mother’s name. Instead, she was referred to as ‘mother of (my eldest brother)’ and I was often referred to as the daughter of my father.
Paramount; 2016; mixed media on canvas with brass plated elements; 72 in. x 108 in.
Multiverso; 2016; installation, detail; Agua Fuerte; Chihuahua, Mexico; LED lamps, acrylic discs with spray enamel; 4 ft. diameter each; dimensions variable
In Leaf (Primary Time); 2015; at Hayward Gallery Project Space; London; UK; live performance; growing trees, video
Three; North Hollywood, CA; 2015; acrylic on concrete building facade and windows; 188 in. x 1618 in.
Gary Cannone Has Not Fallen; 2017; LED-embedded sign; 28 in. x 20 in. x 1½ in.
Acephalous Monster; 2018; performance; scene: “Apotheosis”; UV reactive solution, nylon “guts”, clear resin casting of Minotaur head
Holbein En Crenshaw (Washington Blvd. and Crenshaw Blvd., Los Angeles, CA); 2018; rubber, sulfur, tree and paint residue, wood glue, found cloths, found comforter, acrylic, latex paint on cotton; 138 in. x 150 in. x 5 in.
2019 FVA Fellows
2019 FVA Panelists
- Cecily Chambers, Founder, FORM Artists Inc.
- Ciara Ennis, Director and Curator, Pitzer College Art Galleries
- Amir H. Fallah, Artist (FVA Recipient)
- Erika Hirugami, Founder & CEO, CuratorLove
- Ivan Ontiveros, Curator
- Alison Saar, Artist
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