Art and Cake’s weekly art calendar has changed. Facebook was getting too tedious trying to cull through so many events each day with their new feature of adding many days to an event. We have decided to post only that weeks events and add more in depth information to help you decide where to go each week. In addition, each week will be a different contributor to keep the content fresh, relevant and edgy.
Enjoy and as always thank you for your continued support!!
(If you would like to submit an event or press release, send to email@example.com with a high res jpeg for publication)
This weeks Lineup contributed by Kristine Schomaker
Fragile Thoughts at Judson Studios, In Discussion
143 Pasadena Ave, South Pasadena, CA 91030-2917
January 9th 6-8pm
Judson Studios cordially invites you to a historical perspective on early 20th century public health and Elizabeth Milbank Anderson. Ms. Anderson is the subject of Fragile Thoughts, the latest installation work by artist, Jane Brucker. The piece is a collaboration with Judson Studios, the oldest family-run stained glass workshop in America.
Physiologist and historian of medicine, Jeremy Wasser, PhD will introduce viewers to the health concerns of Milbank’s day and her philanthropic efforts that extend into the 21st century. Brucker’s newest work, which consists of seven antique chairs embedded with stained glass, can be viewed through January in the Judson Gallery. The chairs are arranged to reflect a “council circle,” evoking discussions of concern, shared wisdom and public value.
Thank you to Pasadena Art Alliance and Loyola Marymount University for project grants that allowed Judson Studios to invite Brucker to create and learn alongside its master craftspersons.
Keep It Fresh: Group Exhibition
Angel City Brewery
216 Alameda St, Los Angeles, California 90012
January 10th 6-10pm
Keep it Fresh is a juried art exhibition which invites artists to show LA how they will “keep it fresh” in the new year by submitting a newly finished artwork, creating a new style or by submitting a piece that is signature of what they are known for.
Curated by Visual Culture Consulting, this exhibition benefits Art Share-LA and POW WOW Worldwide, two art organizations which impact artists by providing opportunities to exhibit, create and so much more. Proceeds from the exhibition artwork sales will be divided between the featured artists and these impactful art organizations.
Keep it Fresh will be featured at Angel City Brewery from January 10 – February 3, 2019 with an opening reception Thursday, January 10 from 6 – 10PM.
Serge Serum: Lingered Memories
206 S Ave 20, Los Angeles, California 90031
January 11th 7-11pm
LAST Projects is pleased to present Serge Serum: Lingered Memories, a solo painting exhibition.
Serge Serum is a self taught, Los Angeles based artist. His primary focus is portraiture, which he approaches through mixed media painting and photography. “Lingered Memories” focuses on past trauma, personal vices and lingering thoughts.
Serum’s flayed and mottled figurative paintings, combine delicate lines, soft hues, neutral ground , and a particular attention to the details of costume, with a depiction of human flesh in explosive and abraded textures and layers.
Serum’s formal portraiture, and tense and enigmatic narrative scenes, alternate between the discomfiting and achingly tender.
“You can paint someone how they are, but a million other people can paint them the same way. [You] imitate a photograph knowing that it is always going to be more real, and I got angry at that, and just threw paint everywhere. I try to make beautiful things ugly. I like to combine the two.” – Serge Serum
Meat Market—On the Cutting Board
Highways Performance Space
1651 18th St, Santa Monica, California 90404
January 11th and 12th 830-10pm
Sometimes you have to strip away the surface layers to really get to the meat (and meaning) of the matter. Will what lies beneath be tough? Raw? Juicy? Hard to swallow? Delectable? Bloody? Hot?
For tickets go to http://www.meatmarketart.com
Shows both Friday and Saturday night at 8:30pm.
Meat Market is an empowering series of wearable art objects developed by Stephanie Sherwood and Katie Shanks taking the derogatory notion of a woman as meat to consume, and transforming it into something beautiful, powerful and enigmatic. Meat Market: On the Cutting Board uses burlesque—a performance medium imminently suited to the continued exploration of ideas of commodification and objectification of the female body while more overtly exploring the implied sexualization therein. Playing on a narrow line of revulsion and arousal, heavy subject matter is packaged with equal parts humor and horror—making it palatable for general consumption.
Augmented Reality Workshop with Selwa Sweidan
Camera Obscura Art Lab
1450 Ocean Ave at Broadway in Santa Monica
January 12th 2-4pm
Saturday, 1/12 2pm – 4pm
Cost: $10 – NOTE: RSVPs HERE INDICATE INTEREST, BUT TO TAKE PART, COMPLETE THIS FORM. Payment taken at the door, limited spots available with priority given to form respondents.
Laboratory of Synchronous Planes — An Experimental Augmented Reality Workshop for Artists & Poets.
“Augmented Reality” (AR) was coined to describe an interactive experience where the real-world is enhanced by computer-generated information. A popular example is the Pokémon GO app.
Participants will explore digital and analog interventions to augment spatial and temporal experience. This experimental workshop is open to any level of technical literacy. Artists, designers and poets are all welcome. Participants will conduct analog sketches for “augmenting” time and space, and will discuss and try digital processes as time and technology permits. A variety of workflows and tools for creating an augmented reality intervention will be demoed and shared. This workshop is for all who are interested in experimenting with augmented reality as an aesthetic and technical tool.
Presented concurrently with Roseate, a pop-up exhibition by Laura Darlington.
Selwa Sweidan is an artist, educator and researcher of emerging technologies including immersive sensorial experiences and speculative quantum computing systems. Her work investigates embodied methodologies and systems innovations. Selwa is adjunct faculty at Santa Monica College’s Bachelor Interaction Design program. She attained her BA from Smith College and an MFA (STEM) from ArtCenter College of Design.
Adam D. Miller – Between Planets
ODD ARK Los Angeles
7101 North Figueroa Unit E, Los Angeles, California 90042
January 12th 4-8pm
Odd Ark • LA is pleased to present Between Planets, an exhibition of new drawings by Adam D. Miller. The show will open January 12 and remain on view through February 24, 2019. An opening reception will take place on Saturday, January 12, from 4 to 8pm.
The exhibition focuses on 4 large-scale vibrant and multi-colored drawings arranged on one wall of the gallery. Drawn with colored pencil on paper, Miller’s works are the result of repetitive and deliberate mark-making, similar to chisel marks on carved stone. The results are a combination of patterns and geometric shapes that are tightly organized to compose a quilt-like matrix whose sectional elements comprise a whole. As the patterns expand and contract, simultaneously pulling the viewer inward and outward, large shape-shifting faces emerge, and like the ancient carvings on Easter Island, they reveal little.
In the works of Miller, there is a sense that these forms are archetypal, permeating through the strata of time, from our ancestors’ hallucinations and pareidolia, to the distortions of our own image reflected in the black mirror of our current tech-gnosis. Through art and archetypes, knowing one’s self charts a path to finding the ‘Others’.
A limited edition artist book has been produced to coincide with Between Planets, featuring full-color reproductions of the works in the exhibition with text by Benjamin Weissman and an excerpt from a short story by Robert E. Howard.
Adam D. Miller (b. 1982, Bellevue, Washington) lives and works in Los Angeles. He received his Master of Fine Arts from Art Center College of Design, Pasadena, in 2008 and a Bachelor of Arts from The California State University of Sacramento in 2005. His work has been exhibited in group exhibitions in Los Angeles, New York, Arkansas, Texas and Japan. Miller has had solo shows at Steve Turner Contemporary Gallery in Los Angeles and Rocksbox Contemporary in Portland, Oregon, amongst others.
Cole Case Like A Tuning Fork Struck Upon A Star
E. C. LINÁ Gallery
4480 W Adams Blvd, Los Angeles, California 90016
January 12th 5-8pm
Like A Tuning Fork Struck Upon A Star is comprised of large-scale landscape oil on linen paintings and a selection of works on paper. The exhibition title is taken from a passage in The Great Gatsby that captures a moment where expectations, fantasies and realities are all about to intersect: The paintings’ subject matter are about those moments, and to Case the very acts of drawing and painting themselves are also those moments.
In Case’s new work, he is combining the past with the present. His landscape painting merges a robust plein air drawing practice with a practiced, deliberate, conceptualism-inflected in-studio follow-through. People are making their first appearances in his new work. Some are transparent, some opaque, but they are not the primary subject or focus. They are transient presences in the duration-based worlds he paints.
Lisa Adams “A Piebald Era”
Garis & Hahn
1820 Industrial Street, Los Angeles, California 90021
January 12th 5-8pm
Garis & Hahn is pleased to present A Piebald Era, marking Downtown Los Angeles-based painter Lisa Adams’s debut solo show with the gallery. Occupying the liminal space between abstraction and representation, the imaginary and the real, Adams’s highly original paintings depict scenes which lie at the intersection where nature meets the brutality of the man-made, as filtered through a uniquely otherworldly prism. Derived from the artist’s photographs and experiences as well as her personal imaginings, Adams’s idiosyncratic paintings are an admixture of fact and fantasy, amalgamated fragments manifesting in a disjointed whole, a skewed world that is seemingly falling apart.
Lee Quiñones – IF THESE WALLS COULD TALK
Charlie James Gallery
969 Chung King Rd, Los Angeles, California 90012
January 12th 6-9pm
“In a manner and as a matter of speaking, the studio walls have always been my visual sounding board.”
Four decades on from his influential mark on New York City’s graffiti movement of the late 1970s that eventually pushed the illicit visual vernacular of the subway graffitists through the lips of contemporary art society, Lee Quiñones has created intimate new works meditating on the passage of time and the organic process by which meaning speaks through his artistic practice.
IF THESE WALLS COULD TALK consists of a series of framed “tablets” – writings on slabs of drywall and wood paneling that once were the walls of Quiñones’s studio(s), which were painstakingly removed during recent years. Unlike the urban landscape largely hostile to his earliest artistic production, these walls have offered an inviting interiority for the artist to perform his spray bomb color tests that ultimately become the foundation of his paintings.
Absent any margins, borders, signposts or obstructions, it is from within these forests of colorful abstraction that Quiñones’s voice begins to break the surface in the form of self-addressed letters, musings, song lyrics and colloquial language. By allowing these words and markings the stillness to develop over time, Quiñones is able to resolve disharmonies in composition, color palette and even discover the titles for his paintings on canvas and paper, such as “Born from Many Apples” and “Nine Lives,” both new works that will debut in the show.
Ann Marie Rousseau & June Edmonds at LAUNCH Gallery
170 S La Brea Ave, Los Angeles, California 90036
January 12th 6-9pm
June Edmonds, recipient of 2018 City of Los Angeles, ‘COLA’, Individual Artist Fellowship, presents vibrantly layered surfaces primarily inspired by meditative practices. This series of abstract compositions explore how color and repetition serve as conduits to spiritual contemplation and interpersonal connection.
Color, space, rhythm and movement play a powerful role in the symbolism of Edmonds’ artworks. Saturated tones radiate outwards through ovoid shapes that resemble the patterning of layered feathers, fringe or undulating rays. Themes of personhood and the complexity of relationship are embodied in these works. The rhythmic, pulsating energy also conveys themes of counting, keeping time, and improvisation.
These motifs are inspired by Ghanian Adinkra symbols, where the circle represents “The Most High”. Expanding on the motif of the circle, many of Edmonds’ works morph to straight lines and micro-perceptions of the circle, with the sacred area of overlapping circles known as the ancient symbol, Vesica Piscis. This sacred geometry conveys associations of divine creation and the passing from the spiritual world to the physical, and invites the viewer to find a personal connection to the visual metaphors.
A.M. Rousseau employs drawing, painting and collage in a new series that integrates her ongoing interest in the subject of line with her earlier work as a photojournalist. As a kind of personal, archeological dig, Rousseau unearths images made decades earlier and gives them new life.
Using fragments of black and white images, often of people in windows and doorways or on city streets, Rousseau expands the notions of line and space in the existing photographic imagery and takes it into the realm of vision, insight, and reverie. Each artwork is a developed exploration of line as an elemental part of everything. Lines, both seen and unseen, are found everywhere in nature, including in the wind, in the trunks of trees, in the sounds of music, in the light of the sky, and in the waves of water. It is in their shaping and shading, their tonal gradations, thinness or thickness, and relation to the shards of photographic images, that her work portrays both a visual rendition of energetic processes of perception, and a display of the inner workings of the conscious and unconscious mind.
Caitlin Cherry: Threadripper
Luis De Jesus Los Angeles
2685 S La Cienega Blvd, Los Angeles, California 90034
January 12th 6-8pm
Caitlin Cherry’s new paintings propel her long-standing interest in the representation of black female bodies through new aesthetic strategies inspired by dystopic science fiction and malfunctioning technology. In our oversaturated screen-dependent culture, painting sheds its outmoded strategy of creating windows into literal and figurative worlds. Threadripper riffs on the promises of technology and marketing and the ubiquitousness of digital screens in order to rip apart representation at the seams.
In tech, a Threadripper is a next-generation high-performance central processing unit (CPU) with superior speed and multitasking capability. Cherry’s Threadripper proposes that paintings, like digital screens, are luminous, addictive, and hyperreal channels for communication. Cherry breaks the illusion of the classical pictorial space—a device with deep roots in colonization and oppression—creating a parallel channel to the exploitation of black female bodies. Tilted, cracked, or malfunctioning LCD monitor technology becomes a lens through which to view a broken system of representation. This busted technology interrupts and morphs bodies and creates a pseudo-solarization effect—a tongue-in-cheek reference to skin color.
The results are overtly distorted female pop stars, influencers, idols, and sex-workers populating oil-slick rainbows of saturated color—an accelerationist re-appropriation of racist clichés and sexist stereotypes. Cherry’s mesmerizing characters are larger than life, proud of their bodies, and fully aware of the patriarchal gaze. These filters also act as a distancing mechanism: distortion is becoming. These subjective entities both flaunt and reject their objectivity, perhaps in acknowledgement that they have been created in equal parts by society, technology, and by their own selves.
Meg Cranston – Hue Saturation Value: The Archer Paintings
313 N Fairfax Ave, Los Angeles, California 90036
January 12th 6-8pm
The paintings in the exhibition were created to present Archer students with an array of color choices and allow them to vote for their favorites. It was an experiment to see if girls aged 10-18, (who are the most targeted consumers of fashion and cosmetics) would select colors similar to those dictated by the industrial color industry notably, the Pantone Corporation, or, have different choices. They were also asked to supply names for the colors.
Three of the paintings are based on primary colors, red, blue and yellow, and a fourth represents the “full spectrum” of color created from those primaries. By adjusting the level of white, black and the addition of complementary colors, Cranston experiments with the nearly infinite variety of tints, tones and shades of any given color. The title of the exhibition refers to the three main properties of color, hue, value and saturation with saturation having a double meaning both as chroma and industrial ubiquity.
After the voting was complete, Cranston used the results to create the final painting for the exhibition, Mr. Moseby’s Salmon Not Pink Shirt. The title was written by a student to describe one of the top voted colors #60 – a red/orange hue that is nearly identical to Pantone’s 2019 color of the year, Living Coral.
Following on from her 2017 exhibition at the gallery Same Composition, Different Hue, Different Titles, where Cranston investigated the tropes of high modernism and its abstract forms, specifically those of the architect and painter Le Corbusier, Cranston investigates the grid in this latest body of work, a fundamental and defining element of early twentieth century art onwards and a visual device which “functions to declare the modernity of modern art” in the words of critic Rosalind Kraus. Cranston’s grids however, are idiosyncratic, the mathematical and structural precision and rigor of those used in, say, minimal or conceptual art, subverted by Cranston’s personalized and handmade approach to their formal logic.
The colors in the works being chosen by “popular demand” as it were, reflect Cranston’s interest in shared experience, the cultural conditioning of our tastes and preferences in the realm of color, often influenced by wider cultural trends such as fashion in particular, and the subtle yet powerful influence of corporations like Pantone LLC.
Zhou Yilun: Ornament and Crime | Opening Reception
571 S Anderson St, Los Angeles, California 90033
January 12th 6-8pm
In today’s world, does one have a practical evolutionary advantage over his competition if he can toss a ball through a hoop from great distance with accuracy? If he can kick a ball into a net while others try to stop him? Hit a tiny ball in a tiny hole with a tiny stick? As technology progresses and the human body becomes increasingly obsolete, physical feats of coordination, strength, and agility are less necessary for survival, and more decorative ornaments that harken back to an archaic economy when physical superiority could be directly translated into evolutionary capital. Still, these are among the few traits that translate seamlessly from culture-to-culture across the globe.
“Ornament and Crime,” the 1910 lecture by Adolf Loos, famously equates the post-construction adornment of objects to villainy. Ornamentation, to Loos, is an afterthought, diverting attention from the inherent beauty of an object’s design and function; it is a superficial perversion of said object’s structural logic, obscuring the utilitarian dignity of the base materials of construction. He believed that the goal of creation should not be to conceal or disguise the bones upon which a structure is built, but to celebrate and cast light upon their socio-cultural necessity.
Ornament and crime are not synonymous to Zhou Yilun, however. His influences begin with the Western, Judeo-Christian canons he studied and was trained to emulate in school, but skew more heavily to the laborers he saw building, tearing-down, painting, and repainting the structures in the city surrounding him, and the American basketball players, hip-hop stars, and black celebrities he grew up mythologizing and imitating. Zhou lifts and distorts techniques inherited from the Renaissance, Baroque, and Romantic eras, revisiting, perverting, and parodying their ideas for the new globalist regime. This is Raphael going Apeshit with The Carters, Goya crossing-over Allen Iverson, Delacroix sipping Cristal and smoking blunts with Weezy, all broadcast to the far east over WeChat.
Each of his artworks is formed from the same bricolage of identity—the sum of stretcher, wood, and canvases painted, deconstructed, and constructed again. Images of basketball heroes become deities, which in turn become the scaffolding and skin of his painted sculptures and often stretcherless paintings. Zhou’s practice is alive with Chinese bones and Western sinew and flesh, torn down and built back up with the same materials again and again, so that the elements that once existed as ornament are now integral to the identity and essence of each artwork itself. His works are impossible monuments to the necessarily unnecessary, yet beautiful feats of the human machine. The only crime is existence itself, and it is one to be celebrated.
Zhou Yilun was born in 1983 in Hangzhou, China. He graduated in 2006 from the oil painting department at China Academy of Art. He currently lives and works in Hangzhou.
Kiel Johnson – Prepping for the Edge
Alejandro Cartagena – Presence
2766 S La Cienega Blvd, Los Angeles, California 90034
January 12th 6-8pm
Kopeikin Gallery is pleased to present our first exhibition with Los Angeles artist Kiel Johnson titled: Prepping for the Edge. Although the artist is well known for his sculptures, this exhibit will feature Johnson’s watercolors over the past few years as he seeks to document various subjects through repetition and categorization. Johnson’s most recent works on paper are meditative and comprehensive inventories made up of ink and watercolor. Meticulous and small-scale renderings compiled become an elaborate network of objects. The exhibition opens on January 12th, 2019 with an opening reception with the artist from 6 – 8 PM. The show will be on view through March 9, 2019.
“I use boats and airplanes, space ships and covered wagons as representations of adventure and discovery. It is a human need to go beyond the boundaries and confines of the world that we inhabit. My work reflects this sense of exploration. To me nothing in the world is mundane; everything can be seen and made to express wonder. I am driven to create diaries of my world, my travels and the inventory of my existence.” – Johnson (in a recent interview with Art & Cake)
Apart from his small scale works on paper, Johnson creates large scale imaginative drawings and sculptures for interactive public programming for the youth and numerous public installations. His projects have been made accessible in notable institutions such as the LA Philharmonic and The J. Paul Getty Center, Los Angeles.
For his newest body of work, Cartagena has been collecting vernacular in and around Mexico City for the past two years. Fascinated with how images are constructed both as an aesthetic object and as a container of narratives and meanings, the artist has created his own archive. The series is read as a commentary on the current socio-political status of Latin America.
Cartagena explains his process and conceptual approach; “Through a meticulous and potentially failure-prone process, I am stripping these physical images from their direct representations by removing figures to create unique cutout silver gelatin prints. The result is a photographic structure that emerges from within the image and speaks to how we build what we see in most photographs. The photographic medium has used format, material, aesthetic and lighting structures to create a standard version of ourselves. Everything feels the same and what is left is a cultural construct of how we have built our identities through images. These new representations also connotate larger issues in my Latin America, where we have become ‘no one’ in the midst of our social and political crisis. In the end, it seems anyone can disappear, and no one will ever give us answers.”
Nina Palomba / Stephen Levey / Jennifer Verge / Pastey Whyte
3126 Beverly Blvd, Los Angeles, California 90057
January 12th 7-11pm
Nina Palomba entices us with Nini’s Weenies–a tasty combination of Japanese Pop Culture and Americana. Combining street style photography and Pop Art, this solo exhibition by Nina Palomba is one to dig into and enjoy to the last colorful bite. Fast cars, pin-up girls and of course the hot dog, these deep roots of American tradition and lifestyle have inspired people across the globe. Nina traveled to Tokyo to create, work and develop an immersive experience that combines popular American cartoon icons with a touch of Japanese flair. This fresh perspective on pop culture and the effects of American nostalgia showcases a new side of Nina’s work and a perspective of Japanese culture that will make you feel right at home.
A 4th generation Angeleno, Stephen Levey has undoubtedly developed an eye for the beauty the City of Angels has to offer, and it shows in his solo show titled After. Strictly using an iPhone, Levey pushes the boundaries of what’s expected from a phone camera, and has even gained attention from the Apple team for his work. Dazzling black and white photographs narrate the story of a desolate, romanticized LA, over to the decaying vehicles left in desert on the outskirts. See outstanding popular landmarks, as well as delicate details easily missed. Visit the show and you’ll see the world a little differently, After.
Get out of your comfort zone with Jennifer Verge’s solo show titled Naked Truth. Verge is a Canadian born visual artist with a distinct urban industrial pop art style that incorporates mixed media, assemblage, and powerful messages. With a love for using power tools, she came into her style incorporating found and recycled objects into her work, giving it a rustic yet nuanced appeal. Making use of uplifting text, it’s apparent that the artist sees the world with a bright side, and even states that she is inspired by people who “really live the hell out of life” and aims to transfer that call to adventure to her viewers through her work.
Pastey Whyte takes us on a journey in his solo exhibit titled “Hand Painted Pop” – a title borrowed from a traveling MOCA exhibit of the from the early 90’s featuring artists such as Warhol, Lichtenstein, Twombly, Johns, and Rauschenberg. Pastey was living in Chicago at the time, and felt called to develop his own voice of “hand painted” imagery. Pulling media and content from museum pamphlets, ticket stubs, vintage ads and social imagery of men and women, down to drawings and writings from his daughter, Pastey Whyte pulls together a personal yet universally relatable narrative about what it means to be an American, living in America, at this point in time.
Helen Rae at The Good Luck Gallery
The Good Luck Gallery
945 Chung King Rd, Los Angeles, California 90012
January 12th 7-10pm
Composed using colored pencil and graphite, Helen Rae (b.1938) creates dense, profoundly fractured drawings that are instantly recognizable and inescapably alluring. A bold use of color and sophisticated command of design culminates in a torrent of pattern and texture. Rae returns triumphantly to The Good Luck Gallery with all new work January 12, 2019.
Using fashion magazines as a point of departure, Rae elevates the source material to expose a world of momentous, subversive vision. A crease in the fabric of a jumpsuit receives the same attention as the model wearing it, as every subtle variation in color and texture is magnified.
For the last thirty years Rae has worked out of First Street Gallery, a progressive art studio for adults with developmental disabilities, now in Upland, CA. Laboring with dedication and singular focus, Rae works five days a week, vigorously merging colored pencils into paper, pressing so hard that a subtle texture can often be detected.
Already a veteran of numerous group exhibitions, in 2015 Rae burst onto the international art scene after receiving her first ever solo exhibition at The Good Luck Gallery. Since then she has gained momentum, receiving features in Vogue, Vulture, and The Los Angeles Times among many other publications. Rae’s first New York solo exhibition opened at White Columns in September 2017.
Helen Rae fashions fantastical dream worlds like no other and The Good Luck Gallery is thrilled to welcome her back for her third solo exhibition!
Opening Reception: Continuant
Full Blede Issue Launch
6727 7/8 Hollywood Blvd, Los Angeles, California 90028
January 13th 1-5pm
CONTINUANT explores retaining identity, even though the body’s state and relations may change.
Organized by Sacha Baumann Featuring Chelle Barbour, Sydney Mills, Jaklin Romine, Camilla Taylor
A broadsheet featuring contemporary writing and art,
FULL BLEDE is independently published by Sacha Baumann.
In Issue Seven: The Continuant, the broadsheet’s collaborators explore that which retains its identity even though its states and relations may change.
Contributors: Cody Bayne, April Bey, Yuri Boyko, Gary Brewer, Zoe Crosher, Michael DeSutter, Jed Donaldson, Kaye Freeman, Wylie Garcia, Joy Garnett, C. Coleman Griffith, Elmer Guevara Ric Heitzman, February James, Kim Kei, Christopher Kuhn, Karen Lofgren, Aline Mare, Joseph Masotta, Sydney Mills, Jaime Muñoz, Yemisi Oyeniyi, Lydia Maria Pfeffer, Jaklin Romine, Tessie Salcido Whitmore, Marty Schnapf, Kristine Schomaker, Julia Schwartz, Molly Segal, Nicolas Shake, Arine Sulukdjian, Camilla Taylor, Katya Usvitsky, Michelle Vaughan, Adam Void, Lindsey Warren, Alexis Zoto.
The masthead is a nod to the newspaper terms “full bleed” (edge-to-edge printing) and “lede” (the introductory section of a news story that entices the reader to keep reading). Combined, FULL BLEDE expresses an intent to publish content that is intriguing, unadulterated, and beyond the edge of
standardized borders of convention.