The world is filled with things made for a specific purpose. When their purpose has been fulfilled, or their valued properties diminish, there is often some material remainder. Our projects attempt to extract or exploit that history, a celebration of the human and biological labor embedded in materials, as a means of investigating the complex relationships between humans and things, objects and images, representations and their referents.  The work is an inquiry into the various forms of being, an elaboration of the western interest in found materials from Duchamp's experiments with ready-mades to driftwood figurines, from Rauschenberg's combines to ethnographic artifacts and religious reliquaries, a symbolic or tactical intervention, an antidote to expansionist economics, alternately apocalyptic and utopian.

Josh Greene is a San Francisco-based conceptual artist. His work usually is focused around creating interactions between people, and he is probably best known for his work with creating funds and grants, and by enabling others to create and show their art through a new medium, namely, his projects. In keeping with an interest in the interpersonal and relationships, he ran an unlicensed therapy practice (since ordered to cease and desist by the California Board of Behavioral Sciences). He has also focused on the distribution of wealth and the concept of money in his work selling money for less than its face value, giving away money on a street corner, placing the entire contents of his apartment for sale, and in buying signs from the homeless and having them redesigned by a graphic designer.

Joanna Spitzner is an artist whose recent work seeks to make direct connections between everyday experiences and larger social issues. It often takes the form of experimental organizations as artworks, including The Art School in the Art School, The Joanna Spitzner Foundation, Inc., The Union of Undercover Artists, CoAct, and the Urban Art Rangers. The forms her work takes are temporal; employing performances, exchanges, discussions, video, audio, and documentation. She has been has involved in several collaborative projects with artists in the UK, including Exit Review in Liverpool, UK; Exit Cork in Ireland; Press Corps at Static Gallery in Liverpool, UK; Prime: Part-Time; and Hen Weekend. She works with the Red House Arts Center in Syracuse as director of programming for Red House Art Radio, and internet radio station that produces and presents experimental audio, interviews, and independent music.

Marisa Olson's work combines performance, video, drawing & installation to address the cultural history of technology, the politics of participation in pop culture & the aesthetics of failure.

Her work has recently been presented by the Whitney Museum of American Art, Centre Pompidou-Paris, New Museum of Contemporary Art, 52nd International Biennale di Venezia, National Museum of Contemporary Art (Athens, Greece), Edith Russ-Haus fur Medienkunst, Nederlands Instituut voor Mediakunst/ Montevideo, the British Film Institute, the Berkeley Art Museum/Pacific Film Archive, the Sundance Film Festival, and elsewhere.

Lee Walton is an Experientialist whose projects and performances are full of humor, detailed planning, and interaction with the outside world.  Serendipitous combinations of rule and chance, Walton’s projects are always playful, precisely calibrated, conceptually on-target and deeply attentive to the everyday patterns and rhythms of contemporary city life. After a two-year affiliation with the Headlands Center for the Arts in Marin, Walton has received many accolades, from the Video Selections at the 8th Havana Biennale, to multiple residencies and fellowships as well as an induction into the collection of the Metropolitan Museum of Art, NY.

Julia Schwadron's paintings are derived from combinations of observations of landscapes, photographs, objects or images of other paintings.  Recently, she has been using the book covers of specific Self Help books to serve as a reflection of, or a mirror for our constant search for truth within ourselves.  She finds the trope of “painting as a window to the world” a useful starting point for the possibility that the subject of a painting can portray itself, and simultaneously conjure up far more complex relationships.

Darren Kraft uses powdered graphite to photorealistically reproduce icons and logos associated with consumer and political culture.