Of course, the downside with there being so many folks is you were bound to have missed some cool stuff. To think of it, you probably missed a lot of cool stuff. But fear not, here’s a list of the raddest creators that may of flown under your radar.

Who: LA-based cartoonist, metalhead, and Catholic school survivor Gabe Martinez.

What: Martin The Satanic Raccoon, a comic about (you guessed it) a devil worshiping raccoon.

You should have picked up: Gabe’s latest collection of illustrations 101 Drawings of Jesus, 101 Drawings of Hitler: The 1st Installment, which features your favorite son-of-God and totalitarian dictator in some less than usual artistic renditions (I know, that’s a total oxymoron). Examples? Just imagine Jesus dressed as psychedelic Super Mario analog and Hitler drawn as Mickey Mouse from Fantasia with a swastika emblazed shooting star flying overhead and you’re somewhere along the right path.

Who: Jason and Eric, The Brothers Washburn

What: Only the coolest art journal/activity book/B&W periodical on the planet, Color Ink Book

You should have picked up: Every issue of Color Ink Book features a slew of amazing artists, but few of them have ever gotten their own toy based on their work. That’s all the more reason why you should snatch up one of the “Lurker” resin figures modeled after fan-favorite artist Skinner’s character of the same name. BONUS: they even glow in dark, which is great for adding a little bit of light to your already bleak existence.

Who: Stephen Linquist, Travis Linquist, and Miguel Cervantes

What: A reeducation on the demise of our favorite pre-historic pals, fittingly entitled, The Dinosaurs Are Dead: The Truth Behind the Extinction.

You should have picked up: Quite possibly one of the best deals at the show, these guys were selling The Dinosaurs Are Dead book (a hardcover no less!) and t-shirt for only 10 bucks. Since I only own about four t-shirts as it is, I was all over this. What really sold me was when I asked Stephen to give me his elevator pitch for the book, in which he gladly replied, “It’s The Walking Dead meets Jurassic Park.” He was right, except his book has a whole lot less Jeff Goldblum and way more gruesome decapitations.

Who: Avi Ehrlich

What: The one and only Silver Sprocket Bicycle Club

You should have picked up: Oakland’s galactic pioneers, The Phenomenauts, might as well be a group straight out of a comic book, so why not give them one of their own? Avi and the gang at Silver Sprocket thought so too, and the end result is Adventures in the Third Dimension, the band’s latest release which comes with a “Martian” green vinyl EP and a full size comic book, marking the space explorer’s 2D debut.

Who: Cartoonist and Dogpatch resident Ray Sumser

What: An acrylic, 6′x9′, 1,546 cartoon character manifesto called “The Comicosm” (pictured above).

You should have picked up: Ray had some cool oversized prints of “The Comicosm” for sale, but the big thing to keep your eyes open for his next project, “The Cartoonuum“. Similar to his previous work, it’ll be a celebration of Saturday morning nostalgia, but this time around it’ll feature over 2,000 characters and will scale 11 feet in width; Ray will be showcasing both paintings at the Treehouse Gallery on October 23rd, so check it out and show your support for the inner 5 year old in all of us.

Words & photos by Sean Logic
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Check out the official Alternative Press Expo website for info on guests, creators, and next year’s show.

Related posts:

1. Al Burian Goes To Hell
2. Papercutter #8
3. BFF: Brainfag Forever

What made you jump into the whole touring aspect? You’ve toured quite a bit with bands, and usually on a whim.

Portugal the Man was really one of the only bands that I looked at and said “I want to shoot them”. I manifested the idea of following a band on tour, only because I got a gig with Portugal The Man shooting them for a magazine. Sheepishly I approached their manager about shooting them, and surprisingly from there I got flown out to Chicago to shoot them again. At that moment I knew I didn’t want to leave, and I didn’t. I stayed on for the rest of the tour. It was an on the fly decision.

You’re on you’re own for the most part, but do you consider yourself to be in the industry?

I do consider myself to be in the industry. A part of it at least. The photography industry is very difficult. I think every year it starts to get more intense. There isn’t a correct way to pursue this, but I’ve had to do it my way. I don’t have a degree in business or a big diploma saying that I’m some fancy photographer. Photography is like any art. There are many paths to take, but there is no formula, or “right” way to do it. I’ve realized that a lot of the industry is based on decisions. Making hard decisions is a part of the job. Most people aren’t used to having that much responsibility, especially about the stability of their job.

In your line of work, what has been the most fulfilling experience?

The most fulfilling experience I’ve had is a hard one. I’ve done so much with photography, and seen so many people and things. I was assisting a shoot for a friend, and it was shooting cats and dogs, [but] the handlers also have a lot of exotic animals. They happened to have two white Bengal tiger siblings—I was petting an endangered baby animal! Who in their life will get to experience that? Things that I would have never guessed.

You also had an amazing chance to work with the first ever Parkour Federation. How did this come onto your horizon?

Working with them has been so fate related. It was off of craigslist. I was browsing through, and found their posting looking for interns on an action sports show. They weren’t even looking for a photographer. I was the first person to contact them, and I got to talking to the co-owner of the World Federation of Parkour. I mentioned that I did photography and got the job from there. It’s been an amazing time too. The Federation is made up of some of the best Parkour athletes in the world. While I shot them, I get to ask if they can do crazy stunts, “Can you jump from this gap to this roof ledge, and do a flip here?” and they’ll do it. I feel sort of selfish knowing that I am endangering their lives for a photo (laughs).

What is your work like in a general week?

I’m constantly ping-ponging between LA and SF. I got to shoot the pride parade for the LA times, and then I drove back into LA that night. Got up the very next morning and shot a band for AP. I’m really throwing myself into this and going where the work is. At the same time I’m also having a blast doing the most random and interesting jobs.

You love this work, but more importantly, what makes this job worth it to you?

What is worth it, is that I’m keeping my word. I’m being honest with what I do, in a world saturated with photographers who are just looking for a paycheck. I’m being reliable. Secondly, I’m getting the exposure I want. I live very in the moment, and the real accomplishment with photography is growing and learning more. Building a long history of my work that I can look back on. This is more about getting my art out there for people to share in, and letting people see the work I truly love.

Interview by Nikolaus Bartunek
Photos courtesy Emily Ibarra

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Be sure to visit ediphotoeye.com to contact Emily and see more of her work

Related posts:

1. Artist Profile: S.A. Richard
2. Artist Profile: Roland Topor
3. Artist Profile: Andy Warner

Originally born in the Czech Republic, Kalousek has had an extensive art career spanning decades, but for his latest showcase, “For My Fronds On The Phasebook,” he’s incorporating his long-standing concepts on human interaction, nature, and technology all into one work.  It’s an experimental exhibit deconstructing our relationship with the organic and mechanical, examining how parts of our everyday lives represent larger aspects of life itself, and how they all fit into a sustainable relationship with one another.

Your work has taken form in every medium an artist can express themselves with, how do you go about choosing which will suite each project?

Everything is tailored to the place and time. I felt like the sculptures and the words were complimentary to the fronds and the phasebook, and it all creates a kind of sensory experience.

What are some of the themes and interlocking ideas that are at work in this exhibit?

Seemingly insignificant things around us that actually reflect our own essence; it’s just a matter of looking at them and mulling them over. The fronds and the friends and the Facebook create a cycle for me that has technology, emotion, relationships, and nature. In all my work the idea of change and freewill is recurrent. Here I’m combining a very natural form that is super organic and very strong—yet many people don’t know what it is—put it in a context of technology everyone knows. And you can make a pun, and maybe it’s heavy-handed with [the paper printed] “Facebook,” but there is a cyclical phase walking through and triggering the shredders, and really the shredders and fronds work off each other.

What’s your intention by juxtaposing an item like the fronds, a symbol of nature and life, with the shredders, a piece of technology whose main purpose is to destroy?

The destruction of materia, of paper, that may have meant an emotional meaning, like Facebook, and you juxtapose it with the fronds as feeding from it. I’m looking for complimentary features, some sort of call to the viewers. It’s not about [literally] “shredding the Facebook”, but it’s about something technical that’s temporal,  and the fronds remind us that there is something natural that is permanent.

What are your thoughts on technology influencing or affecting more “organic” and natural forms of human interaction?

There are multiple levels of permutation between social iconography—formal level, verbal content—the semiological level and self reflexive level—interactivity.  I’m intrigued by the multiple levels of contiguity between the facebook/phasebook, temporality/phase and frond/friends and, of course, shredders that reify physically the ephemeral nature of relationships.

Alongside the rest of your works the piece entitled “Curiousity” stands out visually as something very different from the rest of the installations, can you delve a bit more into the concepts behind it?

A long time ago I found that old saw and it said, “No more saw dust.” And I thought, “What does that mean?!” Because English is my second language the grammar comes in, and a lot of wordplay comes in. “Saw” is past tense of “seeing,” but “seeing a box” is different than “sawing a box.” But when you “saw the box” it makes dust. Then people see [the installation] and become curious to find out what’s in the box, because that’s what they think it’s about. And then they’re curious, “What did you see in the box?” But no, it’s what I “saw”—I’m actually sawing it.

Let’s talk about the “Nutcraker” performance piece; how does that fit in with the exhibit as a whole?

It’s a sculpture, in itself it is supposed to convey another idea. You have walnuts in the helmet and that sets up a relationship between walnuts and punches and breaking them, shelling them. It makes sense that you could shell walnuts by putting them in the boxer’s helmet because you’re trying to “shell” the human head the same way.

What about your own physical interaction with the sculpture itself?

[The] preoccupation of the artist with his work and constant denial that surface from idealizing dead matter. There are plenty of examples of that in painting – a sculpture falling in love with his/her model [and] tries to recreate it for eternity via sculpting a perfect image…but in essence it contains same ingredients as the fronds installation.

The humorous part on a formal level where a boxing helmet filled with walnuts refers to a broader context of cracking, fighting, and pugility, where as the context of the title “Nutcracker” points in very different direction – fragile and charming ballet/fairytale. The third permutation/dimension is purely formal – the walnuts do resemble the brain very much, so the performance  is somewhat perfunctory, except as an exegesis of the boxing helmet purpose and and temporality of an artwork. Over the time an artist, most of them, gain unfavorable perspective on their creations.

WATCH ASHCAN’S EXCLUSIVE VIDEO OF JAKUB’S “NUTCRACKER” PERFORMANCE

Interview and video by Sean Logic
Photos by Jayne Liu

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For more info on upcoming exhibits and receptions, visit the SOAP Gallery website.

Related posts:

1. Book Release: Imperial, by W.T. Vollmann

The work was unconventional and inspired and it’s always a pleasure to visit a place that features emerging local artists. The space is a perfect mix of cozy home and exhibition room—I was fortunate enough to get a tour of the place and it’s an artist’s haven on the railroad tracks with an amazing view from the rooftop.

March’s show was dressed up with an ace DJ and was drooling dinosaur (complete with dino cookies, cupcakes, fruit snacks… oh, and drinks, too!) with some fierce artifice. Who doesn’t love dinosaurs?

Creation(-ism) mixed mediums and featured artists: Sergio Arreola, Arika Espiritu, Victoria Van Wey, Ashley Will and a dazzling live performance by The Riot Professor (are you seeing that keyboard melodica?!).

Here are some other highlights from the evening:

Light boxes by Sergio Arreola – yes, those are dinosaurs you see, and fornicators, too!

I’m calling this collection “The San Francisco Before Time” – the concept behind these photos is playful but they maintain a certain stillness that captivates. Photography by Arika Espiritu.

A few amazingly detailed works by Victoria Van Wey.

Ceramic unicorn and rocks by Ashley Will.

Words & photos by Vanessa Ta

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Come out and see what events and exhibits Zughaus are holding next by visiting their gallery space and blog.

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1. Tabi Tabi Po @ 1AM Gallery
2. Santos y Otros
3. Art Murmur in Temescal

You do paintings, illustrations, comics, and all sorts of different projects. How do you approach different mediums?

Everything is different. I get an idea and work it out in a sketch pad or scratch paper and see where it goes. Usually the best ideas come out of the shittiest paper.

A lot of the images in your work feature grotesque and surreal figures, is there a common significance to this theme?

I don’t know why, I start with this little funny, happy thing and then it just turns into something horrible. I don’t how it happens, but usually something funny comes out.

Like the paintings of people dying playing video games?

I liked the idea of doing some mundane activity that just kills you. For that one I think the idea came from playing Halo. I’d play it online and get some little kid from Germany shooting at me and I’d just want to shoot him in real life.

Speaking of which, I read your piece “Peace at Last in a Future Passed” was based on an old Transformers figure you had—how’d that come about?

Yeah, it was Jetfire I think. I used the toy as a jumping on point; same kind of model, same kind of hand position. It started on this whole concept of airplanes that they’d crash and the people would just leave them. [The figure] was just there and was a result of the idea.

Do you still have it?

Yeah, it’s like one of only three toys from my childhood and it’s in severe disrepair.

From afar it’s hard to see, but when you get up close to your painting “Followers in the Fog” there’s all these intricate, hyper-detailed little characters—what’s the larger concept behind the piece?

It started when I was drawing people in line, at the grocery or the post office, and I just thought, “What would happen if people had to spend their entire life waiting in line?”

What about the “Buzz Bomb” painting?

Originally it was going to be the album art for this heavy-metal/hardcore band, and I thought the best thing I could do would be to kill myself in the painting. So I took some photos of my head and torso and put them under some tracing paper and started attacking my body, then pretty soon the head was just covered in maggots. I guess the idea is that it becomes this self-sustaining ecosystem, that one brain gives away to millions of little brains.

Interview by Frank Summa & Sean Logic
Photos by Sean Logic

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See more of Rob’s illustrations, paintings, and comics at robsato.com
For upcoming exhibits and events, visit the Giant Robot SF site at gr-sf.com

Related posts:

1. Artist Profile: S.A. Richard
2. For My Fronds on the Phasebook
3. All The Best @ Mission Comics & Art

Where are you from and where do you live now?

Los Angeles. I’m back in Venice. I was in Oakland for the last two years, in a ridiculously awesome studio called The Paper Mill. It used to be a paper mill – and it’s about 5,000 square feet. I was living there with a few other artists that are good friends of mine and really awesome: Seth Armstrong and Chris Russell and Michael Louis Young.

Unfortunately I had to leave, because my real life exists in LA. It was kind of a vacation up there. But I got a lot of work done.

What are the differences and similarities between LA and the Bay Area?

Differences are just enormous, starting with traffic and public transportation and size and infrastructure… and just the general feel of the people, at least that I was interacting with. Not just my friends, or artists and stuff, but everybody. I love San Francisco and Oakland… and I miss it. But it’s nice to have both, they’re close and I can always go back and forth. They’re both home to me.

At least in art, I feel a much bigger community in San Francisco and Oakland, and feel much more connected to it. But in LA… I feel a stronger connection to the business side of my life and art and film. LA is the place I grew up, I love it more than anything. It could be ugly… it’s never gonna change in my mind. All my friends and family are still down here too.

I’m sure there’s tons going on in LA.

Oh, there is. There’s definitely a lot, and especially like all the cities coming up with a bunch of galleries, Downtown, Culver City and Venice. There’s a lot of art here. I feel disconnected from it, a little bit. I think it’s because I do other things; I work in production, I work in film stuff, and I have a script that’s coming into a movie now, so I’m working with a lot more film people than I am with art people here. Whereas up there, I only kind of worked with art people.

Name the best street food in Venice.

I think every single one of those trucks comes through and… my studio is right off Venice and Abbot Kinney. All those trucks park out front of the Brig… I like the Kogi truck, the Korean barbeque is good. I had this one taco truck, these pork tacos with mango and peppers. That’s pretty awesome. I’ve tried all of them. I don’t like the hot dogs very much, but I think the rest of them are pretty good. There’s a barbeque one too, coming around lately, like a regular Southern barbeque, that’s good.

So… a lot then.

It’s pretty much all I eat, because it’s closer than Abbot’s pizza. So every day, if I’m in the studio, and don’t want to walk very far, I go there.

Favorite beer?

Everyone knows I’m a Budweiser man. But I switch over a lot. I kind of have this routine, my birthday is July 3rd, and I drink beer all summer and Fall, and then at Christmas I switch over to Jameson’s until my birthday again. Right now I’m not drinking too much.

What is your creative process when you’re painting?

In my mind, the look of it, like the feel of my work, it’s my feelings for California. Basically the images are coming from the feelings I have from the  sun, rock and roll music, and I don’t know if that sounds weird or if that makes sense… in my mind it makes sense, because the same feeling I get from the images I’m creating is the same feeling I get from those. A lot of people think it has a 60s or 70s feel to it. But I think it’s… it’s warm, it’s easy, the aesthetics are easy to appreciate.

The process for me is… daydreaming. I have a lot of books for sketching, drawing, and also just thoughts. The project I’m working on is sort of about California, it has an implied narrative to it. Sort of a loose storyline that goes through it. It’s 50 paintings, in five sets, with ten in each set, which are just different content – the style is the same all the way through. And there are 100 smaller illustration pieces that I’m gonna do in the book also. The book is called “I Can Only Give You Everything” and is going to be out this fall.

In (the series of) paintings there’s one in the forest, there’s one that’s a tragic shipwreck kind of series, there’s an oiling series, in the same feel of “There Will Be Blood” California history, there’s a cowboy one… and there’s an architecture one.

I’m about halfway through the paintings for the project. I’m finishing the cowboys and I’m about to start the oiling one, and that’s going to be just awesome.

It sounds like a lot of work.

Yeah, it’s a lot of work. For me, I like to do a lot of work all at once and then push it out into the world, instead of one at a time. I think some artists are staggered, slowly putting stuff out. For me it’s a lot easier to have a whole idea and be able to just hit it. The book I’m really excited about. A lot of people that like my work… a lot of people I want to connect with, are unable to afford some of the bigger pieces. This way, they can have the whole collection, you know, in their hands, look through it, appreciate it, have it on the bookshelf.

Ten of the paintings, I’m doing a thing where the people, the fans, I created a fan page for it, which is I guess gaining momentum right now. It’s really cool to be able to communicate with all of these people all at the same time. I think that’s a new thing for art too, for artists to have that open communication. So.. the 10 most popular paintings of the project… based on this feedback I’m getting from all these people, are going to be turned into prints. My friend Connor at Forthrite Printing in Oakland, he’s doing really nice 8-color silkscreens on archival paper, in a series of 100. So that’s going to come out when the book comes out too. I did a test run of that last year when I did this thing with Urban Outfitters, and they sold out immediately, so that was really fun because all these people get their own piece.

What materials do you usually work with?

Acrylic house paint on wood panels. Then I cover it with with a resin which is cool because it makes it look like a layer of glass on top. Makes it really pop, especially with my style it works really well.

Who or what are your influences and inspirations?

Growing up, I was skateboarding and into music, so my biggest influences for creative things were coming from those. That was the time that Ed Templeton, Aaron Rose and the Beautiful Losers stuff, all the artists there like Thomas Campbell, Mark Gonzales… all those guys were whose work I encountered most often. I really appreciated the way that it was connected to the same things I was connected to.

I guess it would be them. But then, I love Egon Schiele, of all those traditional artists you can go to out there. And I really, really love old traditional, really nicely rendered oil paintings. It couldn’t be farther from what I’m doing, but artists have always been painting naked chicks, and I get kind of a lot of comments about that from some people. But artists have always been doing it. Maybe it’s my style, flashier or poppier, and some people consider it a more contemporary kind of thing.

Aside from painting, do you have any other creative outlets?

In college I studied English, and I was originally going to go into film, I started working in film, and I was always doing my art thing. So, when I was finishing up college, I wanted to focus on something I loved to do, and I didn’t necesarily have enough time dedicated to every day. So that way, I was able to read and write every day. It’s hard to do the same thing all day, every day, so you have to have other ways… to work, and so with writing I can work still at the same speed, and in the same way, exploring my mind, getting these ideas out, without getting burned out on painting, and then I can go right back to painting, and that way I never am not working, but I don’t lose the energy. I don’t have a dry spell with the painting or the writing, I can keep switching back and forth.

So… I wrote a script last spring that it looks like we’re going to go into production on this summer, which is fun. It’s in the horror genre, but it’s not the typical horror movie. It’s more towards a regular drama, and there’s no supernatural stuff. It’s really cool — we’ve got a lot of people excited about it, and the people I’m working with to make it are excellent, at the top of their game. So I think that it might turn out really well.

Anything else?

My dog is awesome. And the score is now 49-43, it’s still early, but the Lakers are going to win. And you can write that.

Interview by Justin Allen
Art courtesy SA Richard

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SARichard.com
CLICK HERE to become a fan on Facebook

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2. Artist Profile: Emily Ibarra
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Smith opened Mission Comics & Art last September after the economic downturn left him without a job. “I lost my job in October in 2008 and thought ‘What am I gonna do now? What do I really want to do?’,” he remembers. Citing the recent closing of a few comic shops in The City, particularly in the Mission, Smith took it upon himself to do something about it.

“I felt there was a need for another [comic book store],” he explains. “I really liked what was going on in the art scene here and wanted to be a part of it, so I thought about bringing those two things together.”

Currently, Smith is featuring an exhibit by local artist Josh Ellingson entitled “All The Best,” a collection of Ellingson’s own favorite pieces and works from the past few years.

As an artist, Ellingson is undoubtedly a product of the 80’s, holding everything from Transformers to He-Man as early childhood favorites. “Pop culture is just in me, I can’t escape it, I grew up with comic books and cartoons,” he modestly explains. “They’ve become our modern mythology.”

Through the years his palette of influences has drawn inspiration from all aspects of fine and commercial art, including old advertisements from the 50’s and 60’s. “A lot of those people never get named, but they were killer artists,” Ellingson comments. “They could draw the hell out of a Schlitz Beer can or a sandwich or something and it’d be gorgeous; you could hang it on a wall. I really respect that level of dedication to the art.”

One concept Ellingson also notices that comes up in his work is a clashing of personalities. “I’ve noticed a theme in my art that ends up being about conflict and scale.” This kind of underlying tone can be found in a number of his illustrations on display, most notably within a few of the pieces below.

Whether through Ellingson’s work he has on display, or the comics he puts up for sale, owner Leef Smith is looking to expose audiences to something new. “I think it should go both ways, exposing people to comic books as an art form, and also exposing comic book fans to fine art,” Smith affirms, also mentioning his desire to motivate and facilitate artists to experiment in new and creative mediums. “[Artists] can put out a comic book, then do a gallery show, then do a clothing line, really work in a number of forms and not pigeonhole themselves, and I think I’m part of another venue for that.”

As Smith casually leans against one of the bookshelves he surveys the crowd and comes to a conclusive smile and nod of accomplishment. Tonight is but one of many more showings he has in store for the year, all of which he’s hoping will show what San Francisco’s brightest have to offer. “There’s more diversity in comics than ever before,” he explains. “And I think that’s appreciated.”

Words and photos by Sean Logic

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For information on exhibits, events, and what’s in stock, visit the official Mission Comics & Art website.

To see more art or contact Josh, visit his online gallery.

Related posts:

1. Tabi Tabi Po @ 1AM Gallery
2. Creation(-ism) @ Zughaus
3. Santos y Otros

This time I kept it in Temescal, and cruised by 4707 Telegraph, Smokey’s Tangle next door, and the Royal Nonesuch. Next time I plan on extending my range by biking around; the galleries in the “Murmur” are spread throughout Oakland, in Temescal, West Oakland, and Uptown. The show at 4707 Telegraph was called Babylon.

I like this piece, by Shannon Shaw:

And this one, by Richie Bucher:

The show at the Royal Nonesuch Gallery was called Lending Library.

I really don’t want to be a hater, but didn’t I see something like this at 826 Valencia Pirate Store?

Visitors were invited to take one item from the drawers. This is what I picked.

Twins were a theme at the Lending Library.

I saw a 2-headed turtle in Venice Beach once.

I don’t know what is in these drawers.

–Justin Allen

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1. The Have Mercys | Great!

Words & Photos by Justin Allen.

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Santos y Otros Creatures will be on display through Feb. 11, 2010 at Creativity Explored, 3245 16th Street at Guerrero, San Francisco.

Related posts:

1. Art Murmur in Temescal
2. Ashcan Magazine Issue #2
3. Crawling Towards Literature

I’m from Southern California originally, though I spent my childhood on small islands while my father studied fish. Monsters are my favorite things to draw. I work freelance as a cartoonist, illustrator and designer, and spend the time I’m not working making comics and puppets. I publish my comics through my small press, Indrind Press, and sell them at a few small San Francisco bookstores. Right now I’m developing a muppets-style puppet show called Frown Town and I’m also working with my brother on a comic about our childhood in Corsica. My comic and illustration work is done entirely digital with a tablet. The puppets however are made out of felt, fleece, and foam from couch cushions scrounged from the streets of the Mission.

Words & Artwork courtesy Andy Warner.

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Check out new artwork, comics, and projects at andysaurus.com

Related posts:

1. Artist Profile: S.A. Richard
2. Artist Profile: Michael Frank
3. Artist Profile: Emily Ibarra