Sarah Sohn was the 2011 School of the Art Institute of Chicago Awardee for the Edes Foundation Prize.
Sarah holds an M.F.A. in painting from The School of the Art Institute of Chicago, Illinois and a B.F.A. from Art Center College of Design in Pasadena, California. In 2011, she was awarded a fellowship at the Fine Arts Work Center in Provincetown, Massachusetts. Ms. Sohn’s paintings have been included in numerous group shows in New York, Los Angeles, Chicago and Washington, D.C. Her museum shows include the Provincetown Art Association Museum in Provincetown, Massachusetts, and the National Portrait Gallery at the Smithsonian Institution, Washington, D.C.
Ryan Muncy was the 2010 Northwestern University Awardee of the Edes Foundation Prize.
Praised for “superb” performances by The New York Times as well as his ability to “show off the instrument’s malleability and freakish extended range as well as its delicacy and refinement” by The Chicago Reader, Ryan is a saxophonist who performs, commissions, and presents new music. His work emphasizes collaborative relationships with composers and artists of his generation and aims to reimagine the way listeners experience the saxophone through contemporary music. He is a recipient of a Fulbright Fellowship in France, the Kranichstein Music Prize, and has participated in the creation of more than 125 new works for the instrument. His debut solo album Hot was released by New Focus Recordings in 2013, described as “absorbing” (Alex Ross) and “one of the year’s best albums” (Time Out New York). Based in New York City, Ryan is the Saxophonist and Director of Institutional Giving for the International Contemporary Ensemble (ICE) and holds the Doctor of Music degree from Northwestern University’s Bienen School of Music.
Nadav Assor was the 2010 School of the Art Institute of Chicago Awardee of the Edes Foundation Prize.
Nadav’s work performatively mediates cities, bodies and personal narratives via lo-fi reenactments of appropriated military-industrial technologies, examining technological mediation as an essential and transformative human condition. Nadav has exhibited internationally in festivals, music venues, museums and galleries in North America, Israel, Europe and Asia. Some recent venues for his work include ISEA Vancouver, Transmediale Festival in Berlin, European Media Arts Festival, the Soundwave Biennial in San Francisco, Residency Unlimited NYC, Spectrum NYC, Hyde Park Art Center in Chicago, the Koffler Center in Toronto, Julie M Gallery Tel Aviv, Xuzhou Museum, China, and many others. Assor’s work has been featured in publications such as Art Forum, Art Monthly, Haaretz, ArtAsiaPacific, the Creators Project, Motherboard, and more. Nadav holds an MFA as a Full Merit Fellow in Art & Technology from the School of the Art Institute of Chicago (2010). He is among the 2011 awardees of the Israeli Ministry of Culture’s Young Artist awards. Since 2012, Nadav has been an Assistant Professor of Expanded Media and a Fellow at the Ammerman Center for Art & Technology in Connecticut College.
Cut Stories, his Edes year project, is an installation in which 8 monitors of varying sizes serve as one semi-circular, layered screen, displaying any of six short, true personal narratives covering a range of subjects, from an intimate night conversation in Brasil ending with a man running through the fog holding a severed cow leg, to an American sex scene involving fractured bones and religion, to other tales of surgeries, injuries and car accidents: all transgressions into the participants invisible personal spaces.
The visitor to the installation enters a darkened space in which a panorama of faces is spread over the arc of monitors. It is a constantly panning image shot from the center of a circle of seated participants: most are listening to the story being told by one of them.
Beyond these, in the shadows is the Apparatus: another circle of people, all holding cameras of every type, documenting the event, rotating, contracting and expanding around the inner circle in a dance of mediation. This seemingly continuous image of seated people is actually comprised of adjacent windows into consecutive points of time within the single, constantly panning video: these are tiled next to each other so as to create the illusion of continuous space. The effect of this is that only the central monitor is showing the current, audio-synced, real time. The others are showing adjacent participants at moments that are increasingly further away from the present, towards either the future (left) or the past (right).
Rachel Walshe was the 2010 DePaul Awardee of the Edes Foundation Prize.
“In Chicago Walshe made a name for herself as a director of plays by and about women at DePaul and with the Rivendell Theatre Ensemble, where she earned a best-director nomination in the 2009 Jeff Awards for These Shining Lives . . .
Walshe relocated to her native Rhode Island in 2010. There, with support from the Edes prize, she continued to develop her sills in the role of visiting artistic director at Providence’s Perishable Theatre,
which is widely known for its annual International Women’s Playwriting Festival as well as its regular program of new work by women.
Walshe’s new title opened doors, enabling her to network with other women directors and playwrights throughout the country. In addition to producing the theater’s 15th women’s playwriting festival, Walshe directed Carson Kreitzer’s 1:23, a harrowing work taken directly from the confessions of two women convicted of killing their own children.
‘The Claire Rosen and Samuel Edes Foundation Prize for Emerging Artists gave me a sturdy launching pad,’ she continues. ‘I’ve been invited to direct a number of plays throughout New England — my home — which is very exciting. I feel blessed and very charged that my year was so successful in that respect.’ ”
Leigh-Ann Pahapill was the 2010 University of Chicago Awardee of the Edes Foundation Prize.
She designs site-responsive projects where architecture is systematically examined as a means to dis-locate subject, object, and place. Her work is an attempt to invert and sustain the processes of representation as a means to provoke reflection on the logics, grammars, and other complexes of interpretation that comprise culture.
Pahapill’s 2010 Edes Award project, The Screen as the Juncture of the Infra-Ordinary, initiated a period of research into the material, epistemological, and ideological particularities of the screen, the white cube of the gallery, and the black box of the theatre. These spaces of representation were explored as hybrid scenes of exchange with the potential to materialize the realm of translation and mediation that is experience. Her award year started off with a residency at the Banff Centre for the Arts in Alberta, Canada and finished with an exhibition of the works produced in residence at Galerie Catherine Bastide in Brussels in 2011.
Pahapill’s recent solo exhibitions include Screen Space, Melbourne, AU (2015); Box13 Artspace, Houston, TX (2014); Window (re/production re/presentation) Asheville, NC (2013); Penelec Gallery, Allegheny College, PA (2013); and the Cornell Fine Arts Museum, FL (2011 & 2012). Recent group exhibitions include Hyperbole at the History Museum at the China Academy of Art (IMPACT9 2015); It Was Better in Real Life Than Real Life at Zayed University, Abu Dhabi (ISEA2014); and PROOFOFPROOFOFCONCEPT at the Ontario College of Art and Design University Graduate Gallery (2013). Pahapill joined the faculty of the School of Art at Bowling Green State University in Ohio as an Assistant Professor in 2012.