Rema Ghuloum

recipient of the 2020 Artist-Teacher Grant

Rema Ghuloum's BIO

Website: www.remaghuloum.com/

Rema Ghuloum currently lives and works in Los Angeles, CA. Rema received her BFA in Drawing and Painting from California State University, Long Beach in 2007 and her MFA from California College of the Arts in San Francisco in 2010. Rema was a recipient of the Davyd Whaley Foundation Artist - Teacher Grant in 2020, t he Pollock - Krasner Foundation Grant in 2018, the Adolf and Esther Gottlieb Foundation Emergency Grant in 2017, the Esalen Pacifica Prize in 2012, the Joan Mitchell Foundation Grant in 2010, and was an artist in residence at the Joan Mitchell Center in New Orleans in 2013 and 2018. Rema’s work has been reviewed in Art Forum, Hyperallergic, the Los Angeles Times, and Fabrik. She has exhibited nationally and internationally at venues like Edward Cella Art + Architecture, Et al. Gallery, Hawthorn Contemporary, the Cue Art Foundation, The Pit, UCLA’s New Wight Gallery, Five Car Garage, George Lawson Gallery, Torrance Art Museum, and Arka Gallery in Vladivostok, Russia. Rema is currently represented by Edward Cella Gallery in Los Angeles

Kyla Hansen

recipient of the Foundation’s 2020 Emerging Artist Grant.


Kyla Hansen's BIO

Website: www.kylahansen.com

Kyla Hansen is a Los Angeles1based sculptor who combines found objects, handcrafts, and Hollywood prop1house materials in a scrappy language from desert suburbia. She received her Masters of Fine Art from Claremont Graduate University in 2012 and her Bachelor of Fine Art from the University of Nevada, Las Vegas in 2009. Her work has been exhibited throughout the Greater Los Angeles Area, including Western Project, Torrance Art Museum, WEEKEND Space, the University of California, Long Beach, Raid Projects, UCLA New Wight Gallery. Her work has been recognized in several publications including Modern Painters Magazine’s 24# Artists#to#Watch#in#2013. Hansen lives and works in Los Angeles, CA.

Mecca Vazie Andrews

recipient of the Foundation’s Desert House Residency.

Mecca Vazie Andrews's BIO

Website: www.meccavazieandrews.com

I am an artist and educator based in Los Angeles, California. My work is almost exclusively lens based and engages with the moving image. My practice begins with a question that I believe is central to both design and media studies: what do the designers of our built environments and infrastructures claim to be doing, and what are they doing? Towards this end, the subjects of my work look to how political, economic, and social structures are inscribed within our built environments. But formally, I also see it crucial to subject my use of images to this same interrogation. Therefore, my work attempts to juxtapose two parallel questions: what does it mean politically to make a building, and what does it mean politically to make a picture of that building?

My recent work has become increasingly focused on tracing the role of the image as a means to communicate and legitimize particular ideas, narratives and agendas about globalization. This investigation begins with the selected point of view of the photographic image and traces its historical evolution, through its roots in pictorial representation, the advent of photography for scientific purposes, the role of cinema and the current digital proliferation of digital networks. In 2015 I completed a work titled All That is Solid Melts into Data, which asked the intentionally naïve question, is it possible to see the Internet? Eschewing any totalizing conclusion, the project looked to the role of the data center. The work served as a portrait of the physical structures that are required to make digital structures. The task of the work was to situate buzzwords such as ‘big data’ within the longer histories between images and knowledge production. This has led to a current project built on a similarly grand and vexing question: is it possible to see the economy? Under the working title The Unsatisfying Metaphor this project looks to the story of the World Trade Organization’s art collection to tell the story of art’s relation to economics. The work is on track to be completed by fall of 2019 in conjunction with the 20th anniversary of the WTO protest in Seattle in 1999.

Collin and Becky Stafford

recipient of the Foundation’s Desert House Residency.

Collin and Becky Stafford's BIO

Website: www.beckandcol.com

"Beck+Col are a Los Angeles based artist duo active since 2014. They create large scale installations and costumes using textiles as their primary medium. Through costume- based performance and video, they explore alternate universes populated with monsters. The monsters are at once silly, playful and exceptionally brutal. Beck+Col use humor and chaos to examine the crises that emerge from human exceptionalism. Their violent caricatures reveal the absurdity of oppressive social norms.

Their work has been exhibited worldwide. They have performed at Human Resources LA, REDCAT and the Hammer Museum. Beck received her BA from UCLA in 2010, and received her MFA from CalArts in 2019. Collin received his BA from California State University Northridge in 2010 and his MFA from California State University Los Angeles in 2014."