Fred Eversley
Sirius is the brightest star in the night sky and one of Earth’s nearest neighbors. Blue supergiant Rigel, and blue-white Vega are the brightest stars in their respective constellations—Orion and Lyra. These works articulate the artist's longstanding interest in the concentration of solar energy in parabolic form, for the first time in print. A NASA engineer who left the field to practice art in 1967, Eversley constructed centrifuges and casting equipment from used aerospace components, spinning these giant multi-hued fish-eye lenses from colored acrylic. Eversley was recognized in a solo show at the Whitney Museum in 1970. He was included in “Soul of a Nation: Art in the Age of Black Power,” at Tate Modern, the Brooklyn Museum, and Crystal Bridges, and his work is collected by MOMA, NY, LACMA, the Whitney Museum, and the Guggenheim.

Barbara T. Smith
Barbara T. Smith installed her iconic “Field Piece” at Cirrus in 1971—one hundred eighty “blades of grass” molded from translucent fiberglass. Smith is a foundational figure in West Coast performance art. She was born in 1931 in Pasadena, did undergraduate work in painting, art history, and religion at Pomona College and received her MFA from the University of California, Irvine in 1971. Smith was a founding member of F-Space Gallery in Irvine, where her early performances emphasized ceremony and corporeality. Early pieces, including “Ritual Meal” (1969), “Feed Me” (1973), and “Celebration of the Holy Squash” (1971) have become iconic in the history of performance and are legendary examples of the artist’s demanding yet generous work. Her work explores the physicality of the mineralogical, vegetal, and corporal to speak to both the concrete materiality of our existence, and her existential amazement of our shared embodiment in the world. Smith’s work has been featured in multiple exhibitions, including in “iWACK! Art and the Feminist Revolution (2008–09),” “The Radicalization of a ’50s Housewife” at UCI, and “State of Mind” at OCMA and the Bronx Museum. Her retrospective “The 21st Century Odyssey Part II: The Performances of Barbara T. Smith” was held at Pomona College Museum of Art in Claremont and Kennedy Museum of Art, Ohio University.

Judy Chicago
Long recognized for her pioneering work in investigations and celebrations of the feminine, Chicago worked with environments from at least 1967, when she, Eric Orr, and Lloyd Hamrol created atmospheric conditions using dry ice at Century City in Los Angeles. Her colored smoke works, which she describes as “feminized atmospheres” have a long history in her practice, from works such as “Smoke Bodies” and “Immolation IV” (1972) to “A Purple Poem for Miami” (2019). This print features Chicago in a celebratory performance for her eightieth birthday.

Math Bass
Math Bass’s digital work uses paired-down signs reminiscent of of the work of Giovanni Pintori or Massimo and Lella Vignelli. In these prints, vaguely suggestive anatomical signs cavort with playful architectural referents—flat, arched entries, staircase risers, and domed turrets. Bass has gained increasing recognition for their ambiguous, coded visual syntax, which draws on corporal, architectural, and linguistic forms in open and playful narratives. Their work has been exhibited at Hammer Museum, Los Angeles (2018); Mary Boone Gallery, New York (2018); The Jewish Museum, New York (2017); Yuz Museum, Shanghai (2017); and MoMA PS1, New York (2015), and is included in the permanent collections of Los Angeles County Museum of Art, CA; the Hammer Museum, Los Angeles, CA; and Yuz Museum, Shanghai, CN.