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  Fourth of July #2, Independence, Missouri by Mike Sinclair
  
  11"x14": Edition of 500, each $50
  30"x40": Edition of 2 each $2000
  
  This Fourth of July celebration took place on the lawn of the Truman Presidential Library in Independence, Missouri. July nights are slow to get dark enough to set off fireworks and I remember this evening included some speeches, introductions of prominent citizens and a band concert that included a few numbers with a children's choir. I think the Declaration of Independence was read aloud. The lawn was full of people—some picnicking, some just there for the fireworks. A group of Civil War enactors had set up camp at the far edge of the lawn.
  
  Towards dusk, a few vendors started moving through the crowd selling multi-colored plastic circles, like mini hula-hoops, that when activated, glowed in the dark. They were irresistible to kids bored with waiting so long for the main event and each vendor had a trail of children following him. Soon the lawn was spotted with the glowing necklaces.
  
  At dark, the fireworks began. The haze in the picture is a combination of Missouri’s humid summer weather, fireworks, and smoke from Civil War-era cannons fired while Tchaikovsky’s 1812 Overture played. -Mike Sinclair
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  Why You Should Buy Art by William Powhida
  
  14"x11": Edition of 500, each $50
  
  When I was in Miami during Art Basel last December, I conducted an interview with New York Times journalist Damien Cave who repeatedly asked, "What's the alternative to the art market?" The question is not an easy one to answer.
  
  Short of radical social and economic reform, which seems incredibly unlikely in our pro-Capitalist, market-trusting society, I struggled to articulate my thoughts surrounded by the spectacle of Basel. While I was down there, I also saw Jen Bekman's booth at PULSE and it reminded me that one of my answers to Mr. Cave should have immediately been "access." Access to contemporary art is often restricted by high prices, including my own, that put it out of reach of the majority of people who love art. 20x200 offers a way to make art and the experience of buying art accessible to the broader public than the limited pool of collectors who have the means to buy unique and often wildly expensive art objects. Art, in many ways, is a luxury commodity and the larger question remains, "what is enough?"
  
  I believe that it's a matter of scale; prices leap from hundreds to hundreds of thousands based on branding and marketing. I hope that established artists who command hundreds of thousands of dollars for their art will consider what it means to sell to a very small collector class. Are they really reflecting their own creative expression or the tastes of the ruling class? I don't begrudge their wealth or values, but I do believe that art is made freely and for more than those who can afford to own it. -William Powhida
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  And Still We Gather With Infinite Momentum 1 by Justin James King
  
  8"x10": Edition of 200, each $20
  11"x14": Edition of 500, each $50
  16"x20": Edition of 20, each $200
  30"x40": Edition of 2, each $2000
  
  All we see when we stand in front of the landscape are archetypes: preconceived notions and pre-experienced views. Landscape is a manifestation of culture; our perception grows out of how we have seen the landscape represented and how it has been delivered to us historically and in popular culture. -Justin James King
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  Things Happen by Wendy MacNaughton
  
  11"x14": Edition of 500, each $50
  16"x20": Edition of 100, each $100
  
  Since settling in San Francisco, I have traveled mainly by public transportation where I observe, draw and paint hundreds of my fellow passengers. I also create maps that convey geography as a transient psychological experience, and personal diagrams that plot feelings and thoughts as mathematical territory. This is one of those diagrams. -Wendy MacNaughton
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  Kite Hill by Paul Octavious
  
  8"x10": Edition of 200, each $20
  30"x40": Edition of 2, each $2000
  
  For the past two years I have visited a beautiful mound of earth that I have come to call "the hill." Each time I come to the hill, a new story is told to me as if the hill is my stage and the locals are the actors in this daily play. On this particular day, over two-hundred people gathered on the hill and flew kites of all different kinds. Seeing this for the first time was a moment I won't soon forget. -Paul Octavious
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  House Plant 3 by Carrie Marill
  
  17"x22": Edition of 20, each $200
  30"x40": Edition of 2, each $2000
  
  Doing a Lot with Very Little is the result of my endeavor to create a series of non-narrative work. I am using recognizable imagery and the language of systems to create a dialog; the mathematical and the organic cohabitate, creating a world of exploration and curiosity.
  
  I chose to paint house plants after coming across some elegant images in a Japanese architecture book. I've painted them before and found myself returning to plants when I needed a break from the detailed birds I had been working on over the past year. I like the quiet and contemplative way drawings of ordinary house plants can say so much, through very little. -Carrie Marill
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  Nethermead by Joseph O. Holmes
  
  11"x14": Edition of 500, each $50
  24"x30": Edition of 10, each $1000
  
  In addition to specific projects, I pursue a variety of urban landscape studies around New York City. And yet after several years of this, I realize I’m barely scratching the surface. Just when I think I’ve got a handle on capturing these famously gritty streets, I turn a corner and realize just how infinitely deep and rich this town really is.
  
  My snow storm images of Brooklyn’s Prospect Park are cases in point. At first glance, they might be mistaken for wilderness landscapes. Then, lamps lining a path come into focus, and faint hints of distant benches. Tiny details emerge and wilderness trekkers become a dog walker or a couple on a park hike. New York City proves to be as hard to pin down as ever. Even when I'm the middle of other projects, exploring other ideas and subjects, the promise of discoveries like these send me back out into the city to try to nudge it into revealing itself again. -Joseph O. Holmes
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  Bookshelf 20 by Jane Mount
  
  17"x22": Edition of 20, each $200
  30"x40": Edition of 2, each $2000
  
  When I look at a shelf of books I see huge clouds of ideas stuffed down into humble packages. We people like to show off our books on shelves like merit badges, because we're proud of the ideas we've ingested to make us who we are, and want to display our insides for others to see, hoping to make a connection or impression. I think this is endearing and charming, and also makes me feel a bit sad for us. And yet when I paint someone else's bookshelf and they have some of the same books I do, I feel inordinately joyful about it, and about them. -Jane Mount
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  Jump by Thomas Prior
  
  11"x14": Edition of 500, each $50
  30"x40": Edition of 2 each $2000
  
  This photograph is part of a series shot at Blackrock diving tower on the west coast of Ireland in August and September of 2009. The series is one of a few short projects dealing with dangerous recreation in beautiful places.
  
  This kid had done two or three similar jumps the day before. I was out on the platform but the angle wasn't good. When he showed up the next day, I moved to shore and waited and waited until this happened. -Thomas Prior
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  April, May, June, July 2009 by Kate Bingaman-Burt
  
  30"x24": Edition of 10, each $1000
  note: this image is cropped to show detail
  
  I started Obsessive Consumption in 2002, when I decided to photograph all of my purchases, and in turn, created a brand out of the process to package and promote. I am currently hand-drawing all of my credit card statements until they are paid off, drawing something I purchase every day and continuing to make piles of work (zines! pillows! photographs! buttons! more drawings!).
  
  The drawings in this edition document the things that I bought over the course of one week, two weeks, one month and four months in the summer of 2009. -Kate Bingaman-Burt