Today we’d like to introduce you to Jennifer Wolf.

Jennifer, let’s start with your story. We’d love to hear how you got started and how the journey has been so far.
I grew up in Southern California hiking in the foothills and swimming in the Pacific. After graduating high school, I spent a couple of years at Santa Barbara City College knocking out my general education requirements, a more affordable approach to college for someone working their way through school. I did well in city college and was admitted to several universities, I chose UCLA in order to stay close to my roots in Ventura, CA

Vogue Magazine's review of Stretching the Canvas, featuring Emmi Whitehorse

In describing the world, Caleb Cain Marcus dismantles the building blocks of visual processing by eliminating perspective, scale and implied narrative. Engaging with his work necessitates no prior knowledge which forces the experience to be in the present and compels us to sense, see and feel the world in a new way. Cain Marcus' photographs are combined with layers of paint to create deep, complex and evocative color. His belief is that through color we experience pieces of the universe that otherwise could not be expressed. —Richard Nonas, from the Introduction to Iterations

David Benjamin Sherry’s spectacular photographs of contested lands.

View the Tony Berlant:Tilt in Time catalog here.

Tony Berlant has been a busy man lately. The 77-year-old artist, a crucial influence in the West Coast Pop Art Movement of the 1960s, recently debuted a solo exhibition of new work at Kohn Gallery in Hollywood — and after six decades of making art, “Fast Forward” may be his most energetic show to date. The exhibition of cut metal collages — sculptural paintings, you could call them — is exploding with color and texture, in range and form. The works are blanketed with tiny, geometric cutouts bolted to wood panels with hundreds of slender, glistening sharp nails; they walk the line between assemblage, Pop Art and abstraction.

“What makes sense to me now is to make things you’d like to keep,” says Berlant. “That’s the simple way of putting it. If you really want to keep it, then you know it’s good—it’s worth making because it’s satisfying.” Berlant, a towering figure with the gait of a retired football player, strikes a slightly imposing figure that he tempers with a measured baritone, mostly used to deflect conversations away from himself or his practice. “When you’re making collages or assemblages, things fall apart if you glue them, and I like the noise, I like hammering it,” he says.