Interviews by Brainard Carey: Recent Episodes
Brainard Carey
Lives of the most Excellent Artists, Architects, Curators, Critics, Theorists Poets and more, like Vasari’s book updated. (Interviews with over 1200 artists and others about practice and lifestyle from Yale University radio WYBCX)
Portrait of Jimena Velarde-Alvarez in her studio, 2026, Portrait by Silver MikiverJimena Velarde-Alvarez (b. 2001, Lima, Peru) is a Peruvian artist based in New York. She received her BFA in Painting from the Rhode Island School of Design and currently lives and works in Brooklyn, NY.
Emerging from attention—to and over time—Velarde-Alvarez’s work develops through a process of accumulation and return. Working primarily across painting, drawing, and sculpture, she approaches image-making as a practice of sustained attention, returning to an image as it gradually emerges and evolves. Through repeated encounters, her work follows the echoes of time as they surface and recede.
In her paintings, carefully considered compositions and an atmosphere of restraint allow light, shadow, and architecture to emerge in quiet relation to one another. Spacious interiors, recurring windows, doorways, and thresholds create spaces where atmosphere becomes an active presence within the image. Through translucent figures, shadows, and layered surfaces, Velarde-Alvarez traces the subtle ways time gradually reveals the contours of things.
Across painting and writing, layering becomes both material and metaphor. The accumulation of paint and language mirrors the ways memory, attention, and time are sedimented within the self: how the past accumulates and is continually rewritten, and how these layers can only be accessed through stillness, yet never be fully recovered.
Parallel to her painting practice, Velarde-Alvarez’s writing opens another point of entry into the work. Through poetry, diary fragments, and text-based pieces, language serves as both companion and counterpart—a space for reflection and self-examination that deepens and expands the questions posed by the paintings rather than explaining them.
Deeply rooted in personal experience, Velarde-Alvarez’s practice continues to evolve alongside her, unfolding through and remaining open to the questions that emerge over time.
Velarde-Alvarez’s work has been exhibited in the United States and Peru. She is currently presenting her first solo exhibition, La sombra del tiempo, at Margot Samel, New York.
Jimena Velarde-Alvarez Autopsia I, 2026 Graphite and dried pedals on board 13 x 15 in | 33 x 38.1 cm (framed) | 7 1/2 x 9 1/2 in | 19.1 x 24.1 cm (unframed) Image courtesy of the artist and Margot Samel, New York. Photo by Matthew Sherman.Jimena Velarde-Alvarez El peso de las cosas al caer, 2026 Oil on canvas 92 x 68 in | 233.7 x 172.7 cm. Image courtesy of the artist and Margot Samel, New York. Photo by Matthew Sherman.Jimena Velarde-Alvarez Puente, 2026 Oil on canvas 38 x 30 in | 96.5 x 76.2 cm. Image courtesy of the artist and Margot Samel, New York. Photo by Matthew Sherman.Jimena Velarde-Alvarez Adentro, 2026 Walnut, found keyhole, graphite, paper, light 10 x 6 1/2 x 6 1/2 in | 25.4 x 16.5 x 16.5 cm. Image courtesy of the artist and Margot Samel, New York. Photo by Matthew Sherman.
Meena Hasan (born 1987, NYC) received her B.A. from Oberlin College in 2009 and her MFA from Yale School of Art in 2013, where she won the Carol Schlosberg Memorial Prize for Painting. In 2010, she was awarded the Terna Prize Affiliated Fellowship at the American Academy in Rome and in 2025 she was an artist-in-residence in the Winter TNT Residency hosted by Transmitter and Tiger Strike Asteroid Galleries in NYC.
She has participated in group exhibitions at the Kristen Lorello Gallery, NYC, Klaus von Nichtssagend Gallery, NYC, Center for Book Arts, NYC, The Stedelijk Museum, Den Bosch, The Netherlands, Deitch Projects, NYC, Nathalie Karg Gallery, New York, NY, the 2022 New England Triennial at the deCordova Sculpture Park and Museum and Fruitlands Museum and at BRIC Arts and Media in Downtown Brooklyn in Spring of 2023 among others.
Recent two-person and solo exhibitions have been shown at The Old Stone House of Brooklyn, NY, Main Window, Dumbo with Deanna Evans Projects, NYC, and Stowaway Gallery, Los Angeles, CA all in 2025. Meena has taught Painting at Rutgers University – Newark, Pratt Institute’s Painting MFA program, the School of Visual Arts at Boston University and Studio in a School, NYC. She is currently the Graduate Program Director and Associate Professor in Painting at RISD, Providence and lives and works in Brooklyn, NY.
Meena Hasan, jaali 1 (after matisse’s seated odalisque with haiti textile, 1926) acrylic, Flashe, Okawara paper, Tyvek, image transfer, copper pipe, climbing rope, carabiners, 85 x 40 inchesMeena Hasan, jaali 1 (detail, after matisse’s seated odalisque with haiti textile, 1926) acrylic, Flashe, Okawara paper, Tyvek, image transfer, copper pipe, climbing rope, carabiners, 85 x 40 inchesMeena Hasan, Terrible Beauty, at Main Window Dumbo, Was On View: June 5 – August 20, 2025, 1 Main Street, Brooklyn, NYMeena Hasan, Terrible Beauty (Detail), at Main Window Dumbo, Was On View: June 5 – August 20, 2025, 1 Main Street, Brooklyn, NY
Lola Stong-Brett (b. 1996, London, United Kingdom; lives and works in Margate) most recently graduated the Tracey Emin Artist Residency (2024) following studies at the Edinburgh College of Art (2016). Her first solo exhibition, For That, I’ll Always Smile, was presented at Carl Freedman Gallery, Margate in 2025. While her work has been included in numerous group exhibitions across the United Kingdom and in Mexico City, Sometime Somewhere Someone Is Dancing marks Stong-Brett’s debut in the United States.
Working at a scale that envelops the body, Stong-Brett’s mark-making is deeply diaristic. Cartoon-like figures emerge from fields of heightened gestural abstraction, recording fluctuating inner states to form an entwined world of direct expression. Across the paintings, figures intertwine, drift apart, cling to one another, or reach beyond each other’s grasp. With great emotional immediacy, the works evoke the complex, shifting choreography of human connection—the experience of holding on and letting go, like witnessing someone you love move beyond you.
Within this symbolic setting, Popeye returns from earlier works alongside Bimbo and a newly introduced female figure. Part childhood nostalgia, part reference to tattoo culture, Popeye first entered Stong-Brett’s paintings as an emblem of raw humanity. The artist recalls initially being drawn to the character’s visual language before discovering the significance of Max Fleischer’s early animations, in which Popeye emerged as one of the first distinctly working-class cartoon characters, depicted within commonplace settings in sharp contrast to the polished fantasy worlds of early Disney. Over time and through repeated use, however, Popeye’s original allegorical charge has loosened and expanded. Evolving into a more fluid emotional architecture, the figure retains its cultural and personal history while remaining open enough to be inhabited by multiple identities and relationships—at times forming a stand-in for the artist herself and the people closest to her.
Lola Stong-Brett On Stage Where You Once Danced, 2026 Oil on canvas 2 panels, overall: 74 3/4 × 130 inchesLola Stong-Brett Yellow Christ And Raft, 2026 Signed and dated verso Oil on canvas 76 3/4 × 133 7/8 inches (overall) 76 3/4 × 66 15/16 inches (each)Lola Stong-Brett It’s Like I Can Still Feel Your Arms Around Me, When You’re Standing Behind Me, 2026 Signed and dated verso Oil on canvas 70 7/8 × 59 1/16 inches
Caitlin Keogh (b. 1982 in Anchorage, Alaska) lives and works in New York. Her work has recently been included in group shows at Fondation Carmignac, Porquerolles, France, and The Church, Sag Harbor, NY. Keogh has been the subject of solo exhibitions at the Institute of Contemporary Art, Boston, MA; Melas Papadopoulos, Athens, Greece; and MoMA PS1, Long Island City, NY. In 2021, Keogh completed a mural in the city of Holbaek, Denmark in conjunction with Holbaek Art, and in 2019, she participated in Art Basel Parcours, Basel, Switzerland. Her work has also been exhibited at the Berkeley Art Museum and Pacific Film Archive, CA; MoMA Warsaw, Poland; the Whitney Museum of American Art, New York, NY; Künstlerhaus Bremen, Germany; the Costume Institute at the Metropolitan Museum of Art, New York, NY; and the Queens Museum, Flushing Meadows, NY.
Her work is represented in the collections of the Institute of Contemporary Art, Boston; the Whitney Museum of American Art, New York; Amorepacific Museum of Art, Seoul; the Rollins Museum of Art, Winter Park, Florida; and the Rhode Island School of Design Museum, Providence.
Caitlin Keogh 07.10.25, 2025 Colored pencil on paper mounted on panel 16 3/8 x 11 5/8 x 3/4 in (41.5 x 29.5 x 2 cm)Caitlin Keogh Beige Matrix, Woman With Opera Glasses, 2026 Acrylic on canvas 72 x 96 in (183 x 244 cm)Caitlin Keogh Ultramarine Matrix, La Fornarina, 2026 Acrylic on panel, postcard 23 1/4 x 13 in (59.1 x 33 cm)
Peter Acheson was born in Washington, DC, in 1954 and received his BFA from Yale University in 1976. An early member of Williamsburg’s art scene in the 1980s, he relocated to upstate New York in the 1990s, where he continues to live and work in Columbia County.
His paintings range from textured abstractions to restrained gestures that draw on a wide range of influences, including nineteenth-century French painting, Blinky Palermo, Raoul De Keyser, Bill Jensen, and Forrest Bess, alongside close observation of the landscape surrounding his studio.
Acheson’s concern is less with resolving these references than it is to allow them to coexist, permitting his paintings to act as habitats where various traditions and approaches can meet without hierarchy. This carries through to Acheson’s playful way of treating his compositions, leaving them caught between styles, simultaneously structured and chaotic, with direct references and happenstance similarity.
His work has been exhibited at Anton Kern Gallery, New York; Steven Harvey Fine Arts, New York; Gordon Robichaux, New York; Brennan & Griffin, New York; Novella Gallery, New York; John Davis Gallery, Hudson, New York; the American Academy of Arts and Letters, New York; Elizabeth Harris Gallery, New York; and Baumgartner Gallery, New York. His work has been discussed in Hyperallergic and The Brooklyn Rail.
Peter Acheson Four Levels, 1983 – 1984 Oil on wood 8 7/8 x 11 1/8 inches (22.5 x 28.1 cm) Photography Izzy Leung, Courtesy Anton Kern GalleryPeter Acheson Untitled, 2020 Oil and stick on wood block 2 x 6 1/4 x 1 3/4 inches (5.1 x 15.9 x 4.4 cm) Photography Izzy Leung, Courtesy Anton Kern GalleryPeter Acheson Untitled, 2010-2012 Oil on wood 10 1/4 x 6 3/8 inches (26 x 16.2 cm). Photography Izzy Leung, Courtesy Anton Kern GalleryPeter Acheson Untitled, 2019 Oil on canvas 16 x 20 inches (40.6 x 50.8 cm) Photography Izzy Leung, Courtesy Anton Kern Gallery
Yuya Saito (b. 1982, Japan) lives and works in Brooklyn, New York. He makes wall-based works and freestanding sculpture in laminated and bent wood, a language he has developed over more than a decade out of the craft of bent-wood furniture-making.
Saito’s work has been presented internationally at such institutions and venues as Rockefeller Center, New York; Brooklyn Army Terminal, New York; National Art Center, Tokyo; and Setagaya Art Museum, Tokyo.
Public commissions include installations for the Brooklyn Army Terminal, New York (2026) and Art Link at Yokohama Red Brick Warehouse (2022). He is the recipient of the TRiCERA Award and Jury Award at IAG Awards 2021, as well as the Special Jury Award at Independent Tokyo 2020.
Yuya Saito, Ground Rules, Installation ViewYuya Saito, Ground Rules, Installation ViewYuya Saito, Ground Rules, Installation View
Portrait of Shaun Leonardo, 2024. Photo by Argenis Apolinario.Shaun Leonardo (b. 1979, Queens, NY) is a multidisciplinary artist whose work negotiates societal expectations of manhood, namely definitions surrounding Black and brown masculinities, along with its notions of achievement, collective identity, and experience of failure. Leonardo received his MFA from the San Francisco Art Institute and has received support from Creative Capital, Guggenheim Social Practice, Art for Justice, and A Blade of Grass. His work is currently included in the traveling group exhibition Get in the Game: Sports, Art, Culture, open now at the Perez Art Museum Miami.
Leonardo’s work has also been featured at the Guggenheim Museum, the Norton Museum of Art, the San Francisco Museum of Modern Art, the Crystal Bridges Museum of American Art, the Queens Museum, the High Line, and the New Museum, and profiled in The New York Times, Artnet News, and CNN. His solo exhibition, The Breath of Empty Space, was presented at MICA, MASS MoCA, and The Bronx Museum, and his first major public art commission, Between Four Freedoms, premiered at Four Freedoms Park Conservancy in 2021. Numerous institutions hold Leonardo’s work in their collections, including the Bowdoin Museum of Art, the JP Morgan Chase Corporate Art Collection, the Los Angeles County Museum of Art, El Museo del Barrio, the Portland Museum of Art, the Shelley and Donald Rubin Foundation, and the Smithsonian National Museum of African American History and Culture. The artist lives and works in Brooklyn, NY.
Shaun Leonardo, Self-Portrait Icon (Sculpture), 2007. Marble. 24 x 6 x 24 inches (61 x 15.2 x 61 cm). Courtesy of the artist and Cristin Tierney Gallery, New York.Shaun Leonardo, Self-Portrait Superhero 4 (Sleeping Giant), 2008. Sign enamel on plywood cutout. 48 x 70 x 3/4 inches (121.9 x 177.8 x 1.9 cm). Courtesy of the artist and Cristin Tierney Gallery, New York.Shaun Leonardo, Champ (Mike Tyson), 2014. Charcoal on paper. 76 1/8 x 64 inches (193.4 x 162.6 cm). Courtesy of the artist and Cristin Tierney Gallery, New York.
Izzy Barber (b. 1990) is originally from Gowanus, Brooklyn, and lives and works in Queens, New York. Barber paints from life: immediacy and physical presence are at the heart of her practice. Working on-site, in public, often at sunset and into the last light of day and night, her highly impressionistic, at times three-dimensional brushwork charges her paintings with the physical and temporal proximity of their making.
Barber earned her MFA from the New York Studio School in 2017 and her BA in Studio Arts & Human Rights from Bard College in 2011. Her exhibition Badlands (2026, Pièce Unique, Massimo De Carlo, Paris) follows her solo exhibitions There Is No Time (2024, James Fuentes, Los Angeles), Waiting Game (2023, Studio d’Arte Raffaelli, Trento), Crude Futures (2022), and Maspeth Moon (2021) (both at James Fuentes, New York). Her work has been shown at James Fuentes, New York; Massimo De Carlo, Milan; Galleria Franco Noero, Turin; David Zwirner Platform; the New Orleans Arts Center; and the 2012 Brucennial, among other venues. She is a three-time recipient of the Elizabeth Greenshields Foundation Grant. Publications include Waiting Game (2023) and JFP03: Izzy Barber (2021).
Charles Moffett is pleased to present Clay Pigeons, New York-based artist Izzy Barber’s first exhibition with the gallery, organized in collaboration with James Fuentes.
In an era defined by speed and digital reproduction, Barber remains committed to observation, material experimentation, and the visceral experience of painting from life.
The new body of work includes paintings the artist made during three month-long cross-country road trips taken in 2025 and 2026. Working at the extremities of plein-air painting, Barber placed herself in unfamiliar and, at times, charged environments, allowing direct experience and the inherent limitations of her distinctive practice to shape her work. Her resulting paintings unearth the latent tensions stretching across the empty highways, border walls, and deserts of the United States.
Motivated by a relentless drive for exploration, Barber paints with the heightened visual clarity and charged excitement that come from her physical presence with her subject matter. Working on-site in public spaces, she captures compositions swiftly, painting wet-on-wet and infusing her paintings with a luminous quality, often punctuated by vivid flashes of color. Loose, gestural brushwork and a sensitive rendering of light and shadow combine with moments of sharp structure. Barber’s aim is never the precise replication of the scene before her, but rather to create paintings that capture and distill the full sensory experience of a place as she feels it.
As 2025 began, Barber recognized a profound sense of disconnection from the country, isolated in New York City and consuming news largely alone while staring into a private screen. Out of a need to physically confront our current national reality, Barber went west. The intimately scaled paintings that emerged embody that process of firsthand observation and, when seen together, hold a range of contradictions and complexities that characterize our era. Clear blue skies in Ajo, Arizona, are pierced by the insistent vertical stripes of the U.S.-Mexico border wall. Quiet nights in the rural towns of Cedarville, California, and Bassett, Nebraska, are placed in juxtaposition with paintings of armed National Guard troops on the streets of Washington, D.C.
This exhibition does not provide a simplistic or definitive narrative but instead offers a view of one artist’s unfolding, firsthand, impressionistic record of contemporary American life. Engaging directly with the potent subject of the nation’s immigration system, the paintings in Clay Pigeons expand both backward in time and across geographic locations. Connections emerge between paintings of the historic Japanese internment camp site at Tule Lake, California, the active immigrant detention center in El Paso, Texas, and the immigration court at 26 Federal Plaza in downtown Manhattan. Barber concluded each of her trips by driving back to New York City, at times painting from the passenger seat of a moving vehicle, underscoring the literal ties that connect all of these places.
Izzy Barber, Ajo, AZ (2025), photo: Max YawneyIzzy Barber, Coronado National Park, US/Mexico (2026) photo: Max YawneyIzzy Barber, Interstate (2026) photo: Max Yawney
Nick Fusaro (b. 1989) is based in Brooklyn, NY. He received his MFA in Sculpture from Hunter College in 2022 and his BFA in Sculpture from Pratt Institute in 2012. His sculptural practice combines humble materials, collections, and iteration to emphasize the effects of memory on lived experience.
Fusaro also studied at the Gerrit Rietveld Academie in 2011 and is the founder of Three Four Three Four, an artist-run gallery in New York. He has shown at Gordon Robichaux (Manhattan, NY ), Parent Company Gallery (Brooklyn, NY), Marwan (Amsterdam, Netherlands), Jupiter Woods (London, UK), Fisher Parrish (Brooklyn, NY), Strobe Gallery (New York, NY) and Long Story Short (New York, NY).
Fusaro has made a habit of drafting new artworks behind a character or archetype when ideating. In this instance, as the exhibition’s title suggests, he has poised himself as The Foreman. The Foreman is an overseer. He doesn’t design or create plans, he simply executes them. He is the figure at the helm of process, navigating projects from renderings to realities. Imagined in the shape of a clown, the character of The Foreman is featured prominently in a panel at the gallery’s back wall, overseeing the exhibition like a construction site. His authority is subtly undercut by his choice of dress, and the delicate safety pin that holds him to the wooden panel. His intention, ability, and capacity are in question, but nevertheless, for better or for worse, it’s The Foreman who is in charge.
Foreman, 2026, 48″ x 48″ (122cm x 122cm) Aluminum Roofing Paint, Felt, Nickel Tacks, Graphite on paper, safety pin, on panelA Dozen Plus Three, 2026, 23.5″ x 16″ x 4″ ( 60cm x 40cm x 10cm ) Silk-velvet, poplar, aluminum foilThe One Through the Clumsy Hole, 2026, 32″ x 22″ x 18.5″ ( 81cm x 56cm x 47cm ) Poplar, Pine, Plywood, Roofing Nails, Aluminum Roofing Paint, Chestnuts, Railroad Ties, Wire, Custom Plywood PedestalNodules (N_5), 2026, 19″ x 8″ x 8″ ( 48cm x 20cm x 20cm ) Polyester Resin, Epoxy Resin, Insulation Foam
photo by Karla Del Orbe.Adelisa Selimbašić (b. 1996) is an Italian-Bosnian artist living and working in New York. In 2021, she graduated from the Venice Academy of Fine Arts with a Master’s in Painting. Her pictorial research aims to imagine a world in which the sense of inadequacy does not exist, opening to a nonconventional perception of the body. Through scenes drawn from everyday life and an essential figurative approach, the artist reinterprets the idea of femininity, focusing on the complexities of human experience, desire, tension, and the need for physical contact.
Her practice is based on a dense and almost tactile painterly presence, achieved through careful manipulation of color: working with a contained palette, Selimbašić mixes pigments directly on the canvas, allowing the tones to meet and transform, pushing toward a plasticity that challenges traditional representations of the female body. In recent years, she has presented numerous solo exhibitions in institutional and international gallery contexts.
Among her most recent solo exhibitions: When we become each other, curated by Rebis Rebis (Delfina Pattacini and Gaddo Amunni), Lubov Gallery, New York (2026); The Dancefloor, curated by Michele Spinelli, z2o Sara Zanin, Rome (2026); For My Eyes Only, Manifesto Gallery of Contemporary Art, Sarajevo (2025); The Space in Between, curated by Delfina Pattacini, Tommaso Calabro Gallery, Milan (2025); Dust Bunny, curated by Michele Spinelli, z2o Project, Rome (2024); Why Is It So Hard to Declare Yourself?, Galleria Ipercubo, Milan (2023); In parallel, Selimbašić has participated in numerous group exhibitions in Italy and abroad.
installation view Where we become each other, Lubov gallery, curated by Rebis Rebis (Delfina Pattacini and Gaddo Amunni), New YorkTanisha, 2026, oil in canvas, 14x 16 inchesBay,2026, oil in canvas, 14×16 inches
Giulio Noccesi by Ethan James GreenGiulio Noccesi (b. 1996, Florence, Italy) is a painter based in Turin, Italy. He has participated in group exhibitions at Minor Gallery, Copenhagen, DK (2025); Monti8, Rome, IT (2024); Candysnake Gallery, Milan, IT (2024); and D Contemporary Gallery, London, UK (2023). He received a degree in Printmaking from Fine Arts Academy, Florence in 2018.
“In Maurilia, the traveler is invited to visit the city and, at the same time, to examine some old postcards that show it as it used to be: the same identical square with a hen in the place of the bus station, a bandstand in place of the overpass, two young ladies with white parasols in the place of the munitions factory. If the traveler does not wish to disappoint the inhabitants, he must praise the postcard city and prefer it to the present one…”– Italo CalvinoIn Italo Calvino’s novel Invisible Cities, Marco Polo recounts his explorations along the Silk Road to the emperor Kublai Khan, each chapter detailing its own city. Calvino’s non-linear, combinatory prose asks us to think beyond the borders that separate cities, presenting metaphysical themes that are specific to each place described, yet which permeate the text as a whole. We are implored to consider the relationship between history and memory; above all, we must consider how ideas take shape across chapters to form a composite aesthetic experience.The paintings on view in Fermo per sempre make a similar demand of the viewer. Like Calvino’s postmodern cartography, Giulio Noccesi’s paintings construct a subjective map of his native Italy, an intricate network of isolated yet interrelated scenes. Each painting is simultaneously autonomous and contingent, an intimate, self-contained reflection of his life and a reference to the Italian art historical canon that animates his compositions.Giulio Noccesi, La tua ex con un altro (Your ex with someone else), 2024. Oil on canvas, 19.75 x 19.75 in (50 x 50 cm). © Giulio Noccesi; Courtesy of New York Life Gallery, NY.Giulio Noccesi, Paesaggio di campagna (Countryside landscape), 2025. Oil on canvas, 15.75 x 11.75 in (40 x 30 cm). © Giulio Noccesi; Courtesy of New York Life Gallery, NY.Giulio Noccesi, Renault Scenic, 2024. Oil on canvas, 23.5 x 23.5 in (60 x 60 cm). © Giulio Noccesi; Courtesy of New York Life Gallery, NY.
Johanna Calle was born in 1965 in Bogotá, where she lives and works. Following her studies in the visual arts at the Talleres Artísticos of the Universidad de los Andes in Bogotá from 1984 to 1989, Calle received a British Council scholarship in 1992 to earn a master’s degree at the Chelsea College of Art and Design in London. Her work draws on a range of archival and deciphering techniques, often associated with everyday life, to address the violence of recent Colombian history and evoke the victims of forced disappearances.
Johanna Calle has been honored with numerous prestigious awards, including major prizes and honorary recognitions in Colombian art salons (1996–2003), a fellowship at the Cité Internationale des Arts in Paris (2001), and international grants and residencies in Europe and the United States (2008–2013).
She has been included in international biennials such as the Sydney Biennale (2016), the São Paulo Biennial (2014), SITE Santa Fe (2014), and the Istanbul Biennial (2014).
Selected exhibitions include Arquitecturas, Bienvenu Steinberg & C, New York (2026); Museum of Contemporary Art Denver (2024); Hayward Gallery (2020); Josée Bienvenu Gallery, New York (2019); La Maison de l’Amérique latine, Paris (2017); Museum of Modern Art (2017); Silentes 1985–2015, Museo de Arte del Banco de la República, Bogotá, traveled to Museum Amparo, Puebla, Mexico (2015); Fondation Cartier pour l’art contemporain (2013); the Drawing Room, London (2013); Wattis Institute for Contemporary Arts in San Francisco (2012); Museum of Latin American Art in Long Beach, California (2012); Sàn Art in Ho Chi Minh City, Vietnam (2012); and San Francisco Museum of Modern Art (2011).
Her work is included in institutional collections such as the Museum of Modern Art; Tate Modern; San Francisco Museum of Modern Art; Museum of Modern Art, Buenos Aires; Fondation Cartier pour l’art contemporain; Museum of Fine Arts, Houston; Museum of Latin American Art, Long Beach; Museum of Bogotá; National Museum of Colombia, Bogotá; National Bank of the Republic of Colombia, Bogotá; Cisneros Fontanals Art Foundation, Miami; Sur Collection, San Francisco; Comfenalco Antioquia, Medellín; Enersis Collection, Santiago; and Teorética Museum, San José.
Johanna Calle Arquitecturas, 2026 Signed and dated on the back Nail polish on chromogenic print (anonymous photograph) Framed in Optium Museum Acrylic 3.5 x 3.5 in (image)Johanna Calle Arquitecturas, 2026 Signed and dated on the back Nail polish on chromogenic print (anonymous photograph) Framed in Optium Museum Acrylic 3.5 x 3.5 in (image)Johanna Calle Abstractas, 2026 Signed and dated on the back Erased found chromogenic print (anonymous photograph) Framed in Optium Museum Acrylic 3.5 x 6 in (image)
Anna Johnson studied English, Australian literature and Fine Arts at the University of Sydney graduating with a bachelor of arts in 1987. The following year she was appointed Art Editor of Interior Design magazine. Since then, Johnson has been a professional art writer and author contributing to Vogue (UK and Aus), Vanity Fair, Conde Nast Traveller, The Sydney Morning Herald and as a senior arts writer for Artist Profile Magazine. She is the author of several monographs and has been a critic for both television and radio.
Holding many detailed artist interviews, provided an immersion in contemporary art three decades deeper than a conventional art school education. Raised in New York in the early 70s, time in her father’s loft studio on the Bowery, as well as the artist enclaves at Max’s Kansas City and Fanelli’s Bar in Soho had a formative impact. Making the gallery rounds each Saturday as a small family, laid the foundations of a lexicon steeped in both Colour Field and Lyrical abstraction. Establishing her own full time studio practice in 2017, three solo shows in Sydney followed, including a museum show at the NERA Museum in Australia. Johnson’s distinct griffe strikes a different chord to the dominant animism of Australian painting. Seven visits to Japan over the last decade, inspired her austere and symbolic use of space. The subtle rituals and expansive space within Heian screens, and calligraphy have been fused to a hyper-sensual use of colour.Her consuming project ongoing are the ‘Nymphaea Nymphaea’ paintings, works that speak directly to the expansive and progressively minimal paintings of the late and post-Impressionists. As her works grow larger and more complex the scope of creating an entire environment without spatial periphery is approached.
Anna Johnson, Beau Rivage, 2026, Oil stick and acrylic on linen, 78 3/4 x 72 7/8 in | 200 x 185 cm © Anna Johnson. Photo: Morgan Waltz / Off PhotographyAnna Johnson, Nuage et Vide, 2026, Acrylic on linen, 78 3/4 x 70 7/8 in | 200 x 180 cm © Anna Johnson Photo: Morgan Waltz / Off PhotographyAnna Johnson, Tohji, 2025, Oil stick and acrylic on linen, 60 1/4 x 54 in | 153 x 137 cm © Anna Johnson. Photo: Morgan Waltz / Off Photography
Bat-Ami Rivlin is a New York-based sculptor working primarily in found and surplus objects.
Notable exhibitions include Boat, Plastic, Tire, L21, Spain (2023-24); Simple Sabotage, Kunsthal NORD, Denmark (2023-24); The Socrates Annual, Socrates Sculpture Park, NY (2023-24); COLAPSO, Tenerife Espacio de las Artes, Spain (2022); EN-SITIO, Museo de la Ciudad de Querétaro, Mexico (2022); whereabouts, Hessel Museum of Art, CCS Bard, NY (2022); No Can Do, M23, NY (2021); and more.
Rivlin’s work was featured in publications such as Artforum, BOMB, Brooklyn Rail, Flash-Art, Emergent magazine, Artnet, PIN-UP, Office Magazine, The Paris Review, Public Parking, and more. Rivlin holds an MFA from Columbia University. She is the recipient of the Monira Foundation Residency, Sculpture Space Residency, Socrates Sculpture Park Fellowship, A.I.R. Gallery Fellowship, among others.
Bat-Ami Rivlin, Untitled (radiators, zip ties), installation view at Management, New York, 2026. Courtesy of the artist and Management. Photo by Inna Svyatsky.Bat-Ami Rivlin, Untitled (radiators, zip ties), installation view at Management, New York, 2026. Courtesy of the artist and Management. Photo by Inna Svyatsky.Bat-Ami Rivlin, Untitled (radiators, zip ties), installation view at Management, New York, 2026. Courtesy of the artist and Management. Photo by Inna Svyatsky.
Jesse Egner is a queer artist and educator based in Brooklyn, New York. Often taking the form of playful and absurd photographic portraiture of himself and other individuals, his work explores themes such as queerness, body image, relationships, collaboration, and humor.
He received his BA from Millersville University of Pennsylvania in 2016 and his MFA from Parsons School of Design in 2020. His work is included in the permanent collection at the Kiyosato Museum of Photographic Arts, and has been exhibited and published globally.
He is a NYSCA/NYFA Artist Fellowship recipient and has participated in residencies at the Santa Fe Art Institute in Santa Fe, New Mexico; Bunnell Street Arts Center in Homer, Alaska; Studio Vortex in Arles, France; Yaddo in Saratoga Springs, New York; the Vermont Studio Center in Johnson, Vermont; TILT Institute in Philadelphia, Pennsylvania; and the Saltonstall Foundation in Ithaca, New York.
His solo exhibition, “I Want to See How Things Play Out,” which was previously exhibited at Blue Sky Gallery in Portland, Oregon in June 2025, will be opening at Flow Space Gallery in New York City on June 11th.
Mirrored Hold, 2020, 24 x 30 inches, archival pigment printLite Brite, 2021, 37.5 x 30 inches, archival pigment printOK Hooker (Hooker, Oklahoma), 2022, 30 x 24 inches, archival pigment print
Nicola Tyson was born in 1960 in London, England. She attended Chelsea School of Art, St. Martins School of Art and Central/St. Martins School of Art in London, and currently lives and works in New York.
Primarily known as a painter, Tyson has also worked with photography, film, performance and the written word, in addition to running Trial BALLOON, an NYC project space in the early 90s.
In 2023, Nicola Tyson: Selected Paintings 1993-2022, the most comprehensive overview of the artist’s work to date, was published. In 2011, Tyson released the limited-edition book Dead Letter Men, which is a collection of satirical letters addressing famous male artists. Her unique archive of color photos documenting the London club scene of the late 1970’s — Bowie Nights at Billy’s Club — was the subject of shows, both in New York and London, in 2012 and 2013.
In 2025, Tyson was commissioned for Hayward Gallery’s public project banner. Tyson has mounted solo exhibitions at Petzel Gallery, New York (2026, 2025, 2024, 2020, 2016); Nino Mier Gallery, Los Angeles (2024); Nino Mier Gallery, Brussels (2022); Sadie Coles HQ, London (2021, 2017, 2013); The Contemporary Art Museum St. Louis, St. Louis (2017); The Drawing Room, London (2017); Nathalia Obadia, Paris (2015); Susanne Vielmetter Gallery, Los Angeles (2014); White Columns, New York (2012), among others.
She has participated in group exhibitions at the Design Museum, London (2025); The Modern Art Museum of Forth Worth, Fort Worth (2022); Art Institute of Chicago, Chicago (2021); Drawing Room, London (2021, 2018); Drawing Center, New York (2020); Whitechapel Gallery, London (2018); Cleveland Institute of Art, Cleveland (2016); Wexner Center for the Arts (2013); and Museum of Modern Art, New York (2012); among others.
Tyson’s work is included in major collections such as Museum of Modern Art, New York; Whitney Museum of Art, New York; Solomon R. Guggenheim Museum, New York; Philadelphia Museum of Art, Philadelphia; Museum of Contemporary Art, Chicago; UCLA Hammer Museum, Los Angeles; San Francisco Museum of Modern Art, San Francisco; Walker Art Center, Minneapolis; Corcoran Gallery of Art, Washington, D.C.; and Tate Modern, London.
Nicola Tyson, Random Attachments, 2026 Charcoal, conte, pastel on sanded paper 50 x 38 in 127 x 96.5 cm. Photo: Meg Symanow Courtesy of the artist and Petzel, New York.Nicola Tyson Nature Nurture, 2026 Charcoal, conte, pastel on sanded paper 50 x 38 in 127 x 96.5 cm. Photo: Meg Symanow Courtesy of the artist and Petzel, New York.Nicola Tyson Motherload, 2026 Charcoal, conte, pastel on sanded paper 50 x 38 in 127 x 96.5 cm. Photo: Meg Symanow Courtesy of the artist and Petzel, New York.
Christina Kruse, the New York-based artist whose practice navigates the shifting terrain of value, perception, and collective meaning, opens her latest solo exhibition Field Agents this April 2nd, 2026 at New Discretions. Curated by Tamar Dresdner, the exhibition unfolds as a study in instability – where systems of belief are unsettled and reassembled in response to a world in flux. Working across sculpture, wall relief, and collage, Kruse positions negotiation not as resolution, but as a condition of existence – an ongoing recalibration between competing truths.
Bruchlinien (Fault Lines), 2026Bedingter Anspruch (Contingent Claim), 2026Der Erbe (The Heir), 2026Der Porter (The Porter), 2024
In this new body of work, Giordanne Salley constructs shifting tableaus that attempt to visualize not time itself, but the feeling of the passage of time. Our experiences of life can often feel like we are riding along on time’s arrow. Days repeat and build like the rhythm of waves lapping at the shore. Each tide brings forth trash and treasures, bits of flora and fauna, before the lunar cycle pulls them back out to sea. So too does one’s conscious experience of life move through time, accumulating, folding in on itself, and gradually building into the future.
Ripples and corrugations form over Salley’s images, diffracting their shapes into myriad frames. Like peering at the bottom of the sea through the waves, we see the subjects dance in the minute turbulence. In pieces like Endlings, these scenes verge on abstraction. Though semi-psychedelic in their optical qualities, Salley’s paintings are rooted in the natural world. Animals and human forms bathe in the undulations, adding a moment of specificity while also acting as a tether to reality and a reminder that these patterns depict the fluctuating surface of water.
Coursing through glowing layers of energy, works like Infinity Loon pair discernible imagery with vibrating geometry. The waterfowl, leaving a wake in the paint behind it, upsets the lines and creates a cascading pattern that echoes toward the edges of the frame. Though often based around real-world subjects, in these new works, Salley does away with the horizon line in an effort to flatten the surface and invoke a feeling of the infinite. Repetitive and continuous, her lines and patterns are full of potential as they press onward and outward.
Finding her color by applying paint in numerous thin layers, Salley works around predetermined lines, building up meditative markings of the hours spent. With every new application, the image grows richer. The use of collage and underdrawing affords each canvas a nuanced texture, both physical and visual. In Time Flows, Salley combines these elements as “a sort of scaffolding to hang the painting on or around.” Intense investigation rewards the viewer with subtle glimpses into the artist’s process. Each piece becomes a palimpsest, offering ghostly reminders of the past that push through to the final image.
At the heart of all of this is a potent rumination on universal themes through the lens of Salley’s own subjectivity. Like time, so too do ideas of love, loss, and memory ebb and flow infinitely like the tides. Slipping through fingers like the ocean in our hand, the present is instantaneous and always on the way out. Salley slows down these moments, capturing them in paint and offering a moment of contemplation and reverie, reminding us that everything is always changing and evolving. Reflecting the world around it, offering vital nourishment to life, and functioning as a symbol of the incomprehensible vastness of time and consciousness, water is transformative.
Subtle Bodies, 2025, 12 x 14 in, oil and paper on canvasQuasi-Material Woman, 2026, 40 x 48 in, oil and paper on canvasTime Flows, 2026, 60 x 78 in, oil and paper on canvas
Splat Daisies, is a solo exhibition of dreamlike paintings and sculpture by Sarah Alice Moran. Splat is a cartoon word and the spaces in these paintings draw on that system of suspended rationale. By loosening the rules of scale, gravity, and time, Moran creates dreamy pastoral scenes where humans, animals, and nature coexist without hierarchy. The show explores the quiet, almost mystical bonds between humans and animals, and the ways they shape our emotional lives.
Moran paints wet-on-wet, letting thin washes of color blend and bleed across the canvas. Sunflowers dissolve into daisies, shadows become shapes, and light seemingly glows from the flowers themselves. Her compositions balance the elastic logic of cartoons with a sophisticated command of color and atmosphere. Figures, rainbows, and blossoms appear in different configurations while animals move through these spaces less as narrative agents but as symbolic or devotional presences.
Among them, inevitably, is the artist’s dog Pepper. Pepper died early in the making of this series, and her prolonged illness ushered in an extended period of anticipatory grief. During this time, Moran found solace in researching ancient Roman dog epitaphs—concise, tender monuments that affirmed the endurance of this bond across millennia.
The result is a body of work that is a meditation on companionship, loss, and remembrance—a garden for Pepper to inhabit and for the artist herself to heal within. Two large-scale column paintings, inspired by the artist’s research on ancient Rome, create an architectural space – a temple – for the sculptures to operate as a shrine, and visitors are encouraged to bring their dogs; milk bones will be provided.
Sarah Alice Moran, Bodega Flower Dream, 2025, Acrylic on canvas, 11 x 14 inchesSarah Alice Moran, Good Night P, 2026, Acrylic on canvas, 60 x 48 inchesSarah Alice Moran, Sun (Flower) Bather, 2026, Acrylic on canvas, 11 x 14 inches
De Mont’s practice emerges from her work as an intuitive guide, leading immersive experiences in which participants are invited into states of openness and release. It was within these rituals that she began making photographs — images conceived not as portraits but as reflections, offering back to each subject a picture of themselves liberated from the hierarchies of identity and status. The camera, in De Mont’s hands, becomes a kind of witness to what she describes as a direct encounter with the divine.
What results is a body of work of striking formal beauty and genuine spiritual weight. A figure floats in a glacial pool, arms wide, body small against the massive indifference of boulders and jade-green water — surrendered, but also luminous. A woman lies curled on a sand dune at dusk, the full moon burning above her in a wide blue sky, the curve of her back answering the curve of the earth. Throughout, De Mont is drawn to moments when the border between the human figure and its surroundings seems to dissolve — not in romantic idealization, but in something closer to fact.
De Mont is particularly drawn to the feminine as a site of intuition and receptivity, and she often photographs two or three figures together, finding in that small gathering an amplification of communion — bodies acting as extensions of each other and of the earth itself. “We are incredibly sophisticated energy beings, I hope to capture a transmission that is contagious, that makes our bellies soften with peace and belonging.” It is a quality her pictures genuinely carry. They ask something of the viewer — a willingness to be still, to look, to feel the pull of a life that is waiting.
Stella De Mont is based in Los Angeles. This Life Wants You is her first solo exhibition with Benrubi Gallery.
Stella De Mont, Owls, 2024Stella De Mont, Glory, 2024Stella De Mont, Cradled, 2025
Michalik has exhibited internationally in art institutions, fairs, university galleries, community spaces, and commercial galleries the current show of this interview at Kathryn Markel.
Her paintings have been published internationally in Architectural Digest, Michalik’s newspaper, “Devour,” was published in collaboration with Brooklyn based Raw Meat Collective, and was recently acquired by the Museum of Modern Art Library in New York. It was displayed in the exhibit, “Please Knock: A Teen Album of Art” at MoMA through October 1st, 2023. Her painting “I Feel with my Eyes,” is in the permanent collection of WAG-Qaumajuq and is currently on view in the exhibition “Backyard Florilegium” through March 31, 2025.
Michalik lives and works in Brooklyn, NY.
Tess Michalik, Possession, 2026 oil on canvas 48 x 40 in.Tess Michalik, Could Heaven Ever Be Like This, 2025 oil on canvas 45 x 32 in.Tess Michalik, Love Crimes, 2025 oil on panel 30 x 24 in.
David Smalling portrait © Stefen PompeeBorn in 1987 in Kingston, Jamaica, David Smalling lives and works in New York City. He studied Mathematics at Yale University, where he also trained at the Yale School of Art, and holds a Ph.D. from Harvard University.
Drawing from the tradition of Mannerism and the Dutch Golden Age, Smalling’s paintings examine how contemporary social codes and gender norms shape identity and behavior. Through carefully constructed domestic and ceremonial scenes, he explores themes of belonging, aspiration, and restraint, questioning the roles we inherit and perform.
The exhibition of all new paintings on wood panels takes its title from the Elizabethan collar, the veterinary device colloquially known as the “cone of shame”—a protective apparatus designed to prevent an animal from tearing at its own sutures. The collar, as depicted in Cone of Shame, becomes a metaphor for conditional belonging: entry into a space that promises safety and prestige while quietly limiting autonomy.
David Smalling, Party Favor, 2026 Oil on panel 61 × 91.5 cm — 24 × 36 in. Courtesy of the artist and Templon, Paris – Brussels – New York. Photo © Charles Roussel.David Smalling, Cremaster, 2025 Oil on panel 51 × 61 cm — 20 × 24 in. Courtesy of the artist and Templon, Paris – Brussels – New York; Photo © Charles Roussel.David Smalling, Follicular, 2025 Oil on panel 91 × 61 cm — 36 × 24 in. Courtesy of the artist and Templon, Paris – Brussels – New York. Photo © Charles Roussel.
Catherine Birk (b. 1994, she/her) is an artist and researcher currently based in Chicago, IL.
Her interdisciplinary practice brings transgender studies, queer theory, and critical theory into the expanded field of painting. Catherine earned her MFA in Painting at the University of Wisconsin – Madison (2024), and BAs in Studio Art and Art History from the College of Charleston (2016). Solo exhibitions include My mother is a horse., at the Chazen Museum of Art (Madison, WI).
She has exhibited in group shows nationally, including at Redux Contemporary Art Center (Charleston, SC), Trout Museum of Art (Appleton, WI), Arts + Literature Laboratory (Madison, WI), Real Tinsel (Milwaukee, WI), and D. D. D. D. (New York, NY).
Catherine Birk | hut (interference), 2025 Oil, acrylic, cold wax medium and netting on canvas 13 x 15.5 inchesCatherine Birk | dam (for Morandi), 2025 Oil, acrylic, cold wax medium, and Dragon Skin Silicone on panel with artist’s frame 17 x 21 inchesCatherine Birk | hut (for Strega Nona), 2026
27 cast beeswax slabs; dried herbs and essential oils of rosemary, thyme, basil, sage, and
oregano; cast urethane rubber; bolts
Dimensions variable: 11 x 14 inches each
dean erdmann lives and works between San Diego, CA and Brooklyn, NY. dean erdmann is an interdisciplinary artist in moving and still images, sculpture, and installation. Their sculptural practice evolved from their image-making practice. They live and work between Brooklyn, NY and San Diego, CA.Their work has been exhibited at ONE Archives, Mexicali Biennial, Hammer Museum, REDCAT, 21st Century Museum of Contemporary Art, Kanazawa, Spiral Hall, Tokyo, Kavi GuptaBerlin, the Sheila Johnson Design Center, Torrance Art Museum, and Public Fiction, among many others. Their permanent public commission for the LA K-line Leimert Park Station opened Fall 2022. Over the following years, they collaborated with an evolving team of dedicated artists and producers—Grace Whiteside, Celeste Wilson, Christopher Duffy, Esteban Salazar-Cucalon, Michael Haddy, and James Corporan, —while receiving support from fellowships and residencies at Vera List Center for Art and Politics, Urban Glass, and The Chinati Foundation.Installation view: dean erdmann, Vitrum, Company Gallery, 2026dean erdmann, 700cc, 2026 Hot mold blown glass and steel armature 28 x 18 1/2 x 14 indean erdmann, (detail image) razr 2 (front), 2026 Hot blown mold glass 23 x 23 x 9 in
Rochelle Voyles (b. 1989, Toledo, Ohio) is a Brooklyn based multi-disciplinary artist whose works explore the cyclical nature of humanity’s patterns and the underlying impulses that drive behavior. Mining historical textile diagrams and found images, Voyles arranges fragments of different moments meticulously in collage on-wood cut sculpture. She dislocates, interrupts, and re-purposes found images in order to decontextualize her experience of reality and decipher our collective relationship to photographs.
She received her BFA in Fine Arts/Printmaking from Pratt Institute in 2012. She is an upcoming resident of the Wassaic Project, and was a resident at The Peter Bullough Foundation, the Byrdcliffe Arts Colony and the ChaNorth Residency. She has shown at galleries in New York such as Below Grand, 81 Leonard Gallery, Trestle Gallery, Peninsula Art Space, Field of Play Gallery, and Collarworks. Voyles has been published in blogs and online such as Collé, Shoutout LA, Paradice Palase, and The Jealous Curator.
Her recent solo show “Unreliable Narrators” at 81 Leonard has been featured as a March 2026 editors select in Impulse Magazine, and as an editorial feature on Art Rabbit. Additionally, the show received favorable reviews in Art Spiel and White Hot Magazine.
Neptune in Pisces, 2026Mixed media; collage, paper, and wood, 20 x 23 in.
The Bowline at Dusk, 2025 Mixed media; collage, paper, and wood 32 x 31 in.Returned in Fragments, 2026 Mixed media; collage, paper, wood 8 x 7 in.
Sebastiaan Bremer and son TobiasBremer turns photographs—found or snapped—of himself, his family, and appropriated imagery into trippy, dust-laden memories that, through his layered pointillist technique, reveal the subconscious and the real world in the blink of an eye. By laboriously painting his poetic braille over fast snapshots, he slows down time to render hauntingly beautiful interior landscapes—spaces where personal memory, art history, and cultural symbolism converge.
He maintains an extensive archive of images, ranging from intimate family photographs to pages sourced from historical flower books, particularly those rooted in the Dutch tradition of floriculture. Carefully sorting through this material, Bremer selects images that resonate with his memory, using them as the groundwork for each piece. His recurring engagement with floral imagery—tulips, roses, irises, and other blooms—places his work in dialogue with a long lineage of Dutch still life painting, while simultaneously reconfiguring it through a contemporary, psychological lens.
Once an image is chosen, redeveloped, and printed to size, Bremer begins to draw intricate webs of small dots with white retouching paint across the photographic surface. Paradoxically, this process obscures sections of the original image while redefining others, embedding new layers of meaning. His ethereal markings spread organically, like mycelial growth, evoking both proliferation and decay. Thin washes of coloured India ink are occasionally added, creating visual sensations akin to the colours perceived behind closed eyes.
Within his flower works, blooms become more than decorative motifs—they function as mutable symbols, at once seductive and unstable. Expanding, dissolving, and recombining across the surface, they evoke associations ranging from the intimate to the historical, from cycles of growth to the fragility of life. Drawing on the legacy of tulip imagery in the Netherlands—where beauty, commerce, and speculation have long been intertwined—Bremer’s practice reflects on the enduring entanglement of desire, value, and transience. His flowers carry echoes of memento mori traditions, embodying both vitality and inevitable decay, suggesting the delicate balance between joy and loss.
Each piece varies in its level of abstraction, shifting between figuration and dissolution. The visceral quality of Bremer’s work lies in its inventiveness and technical complexity, while his compositions maintain a fine balance between the intricate and the bold. Whether rooted in a fleeting emotion, a resurfacing memory, or the symbolic charge of a flower in bloom, each work opens onto layered worlds—where the personal and the historical, the aesthetic and the existential, unfold simultaneously.
Sebastiaan Bremer, Cunning stunts, 2025Sebastiaan Bremer, However humanity, 2025Sebastiaan Bremer, One foot resting on the ground, 2025
Leonardo Madriz (b. 1987, Louisiana) is an interdisciplinary artist based in Brooklyn, NY. He makes expanded cinema installations and material assemblages regarding the inter- and inner-states of belonging.Madriz holds an MFA from Hunter College, NY (2021) and a BFA from Louisiana State University (2010). Residency awards include Sharpe-Walentas Studio Program (2024-25), Bemis Center (2024), Wassaic Project (2024), and Vermont Studio Center (2014). Solo shows include Sisyphus Altered at Strobe, New York, NY (2023) and Can’t Forget, Dying to Know at NARS Foundation, Brooklyn, NY (2023). His installation Letters to Home was selected for CURRENTS New Media Festival in Santa Fe, NM (2022), and a reformatted excerpt of Letters to Home II was presented by the DUMBO Projection Project (2025). Recent group exhibitions include Repair at Shadow Walls for Upstate Art Weekend, NY (2025) and I’m Not Alien, I’m Discontent at the Hessel Museum, Annandale-on-Hudson, NY (2024). Permanent collections include the LSU Museum of Art. He is currently an adjunct faculty at the International Center for Photography.Leonardo Madriz, Sentinel Adorned in the Leavers’ Wake, 2025. Image by Gustavo Murillo, Courtesy of Parent Company Gallery. Leonardo Madriz, Down Is the New Up (Möbius Recalibrates), 2025. Image by Gustavo Murillo, Courtesy of Parent Company Gallery. Leonardo Madriz, Sentinel of Lacrimosa Guerrero, 2026. Image by Gustavo Murillo, Courtesy of Parent Company Gallery.
Photo: Emma JenkinsonTorbjørn Rødland (b. 1970, Stavanger, Norway) makes photographic images that pointedly address their viewers, evoking a wide range of emotional and intellectual states. Curiosity, humor, criticality, artifice, reverence for the natural world, and romanticism appear throughout his work and often in the same image. Rødland also emphasizes the formal attributes of his photographs, pushing the medium toward modes of visual expression more commonly associated with painting, and forging links between twentieth-century art photography and twenty-first-century approaches to image-making common to advertising and social media. Often prompted by non-photographic imagery that he transforms into real-world photographic subjects, Rødland portrays scenes designed to generate psychological reaction through his depiction of highly sensory qualities. The physicality present in the work is driven by his use of film-based cameras and chemical darkroom processes. Torbjørn’s first exhibition at David Kordansky Gallery’s New York location, Bones in the Canal and Other Photographs, is on view now through April 25, 2026.
Rødland, The First Curtain, 2024-2026Rødland, Forgetting Victoria, 2025Rødland, Tavener’s The Lamb, 2024-2026
Kevin Umaña (b. 1989, Los Angeles, CA) is an artist who lives and works in Brooklyn, NY. Spending his early years between Los Angeles and El Salvador, Umaña’s personal history has profoundly shaped his visual language.
In El Salvador, he was immersed in a rural environment rich with natural textures, vibrant flora, and traditional crafts. While in Los Angeles, he confronted the intensity of city life and the pressures of assimilation. This duality seeded the fragmented forms and layered symbolism that define his art today. His practice continues to carry echoes of Latin American patterns, nature’s geometry, and American architectural influences, all reimagined through abstraction.
Umaña received his B.F.A from San Francisco State University in 2014. In 2025, Umaña received the Louis Comfort Tiffany Foundation Award. He has completed residencies at the Josef and Anni Albers Foundation (2024); Anderson Ranch (2024); Sharpe-Walentas Studio Program (2023-24); Archie Bray Foundation for the Ceramic Arts, Helena, MT (2023); The Center for Book Arts, New York (2019). In 2017, Umaña created a permanent installation at the United Nations Headquarters in New York City. Institutions owning his work include The United Nations Art Collection, New York; Everson Museum of Art, Syracuse, NY; Munson, Utica, NY; Fidelity Mutual Funds Collection; Center for Book Arts Library, New York; and The Marin Museum of Contemporary Art, Novato, CA. In 2026, Umaña will be participating in the MacDowell Fellowship in New Hampshire.
Kevin Umaña, Revisiting the Roman Walls, 2026. Acrylic, oil, flock, ink, sand, marble dust, salt, resin, ceramics on canvas, 24 x 18 x 2 3/4 inches.Kevin Umaña, Sanguine and Spiraling, 2023. Acrylic, oil, vinyl paint, flock, ink, sand, gouache, ceramics on canvas, 24 1/4 x 18 1/4 x 1 1/2 inches.Kevin Umaña, The Clothesline Appearing as Aqueducts, 2025. Glaze on stoneware, 12 5/8 x 10 7/8 inches
Rob Davis was born in 1970 in Norfolk, Virginia. He graduated from The School of The Art Institute of Chicago in 1997 with a degree in painting. His work has been exhibited both internationally and, in the U.S., It has been included in exhibitions at the Kunstmuseum Kloster Unser Lieben Frauen, Magdeburg; Museum of Contemporary Art Chicago; The Andy Warhol Museum, Pittsburgh; Museum of Contemporary Art, North Miami; Chrysler Museum Norfolk, VA; Sommer Contemporary Art, Tel Aviv; Luce Gallery, Turin; Rental Gallery, Long Island; and Untitled Gallery, New York. Davis currently lives and works in New York.
Rob Davis, Clothesline, 2026 oil on linen 48 x 56 inchesRob Davis, Truck, 2026 oil on linen 48 x 48 inchesRob Davis, Window, 2026 oil on linen 48 x 36 inches
Jeffrey Heiman is a painter whose work draws on personal memory and art historical references to explore intimacy, absence, and the surreal within domestic or imagined space. Blurring figuration and negative space, his paintings evoke a liminal sense of presence and emotional residue.
He has been an Artist in Residence at the Vermont Studio Center (Johnson, VT), the Byrdcliffe Artist Colony (Woodstock, NY), Neddy Artist Award Finalist 2022 (Seattle, WA), and recently earned his MFA in Painting from Bard College, he currently lives and works in the Hudson Valley.
Jeffrey Heiman, Flip, 2026, oil on canvas, 48 x 30 inches, courtesy the artist and Freight+Volume Gallery.Jeffrey Heiman, Washing in the Sink, 2026, oil on linen, 34 x 40 inches, courtesy the artist and Freight+Volume Gallery.Jeffrey Heiman, Jenny Sleeping, 2025, oil on canvas, 48 x 60 inches, courtesy the artist and Freight+Volume Gallery.
Painting by Caroline von Grone, Omar the ProphetOmar Kholeif is an artist, author, curator, cultural historian and professor of global art theory and practice at the Glasgow School of Art and Program Leader of the Graduate Program in Curatorial Practice with the University of Glasgow.
Luísa Correia Pereira World Child Front Cover Courtesy of Sternberg Press and artPost21They work and operate under numerous guises, including as the avatar of Doctor O—The World’s Leading Pop Physician (TM).
Born in Cairo, Egypt, they were raised in Glasgow, Scotland, Los Angeles, CA, and elsewhere. An author of over two dozen volumes on art, a curator of over 100 exhibitions, they are the co-founding director of artPost21, a not-for-profit publishing and broadcast platform for artists and their dreamwork.
Simone Fattal imagine otherwise Cover Courtesy Sternberg Press and artPost21Their recent books include, Nil Yalter: Circular Tension (2024), Otobong Nkanga: Stitched Dreams (2024) and Internet_Art: From the Birth of the Web to the Rise of NFTs (2023).
Huguette Caland imagine otherwise cover Courtesy of Sternberg Press and artPost21In 2025 their long-awaited critical biography on Huguette Caland was published as part of imagine/otherwise. Forthcoming in 2026 is Luísa Correia Pereira: World Child, published by Sternberg Press. Forthcoming projects include the curated group exhibition, Fellow Travelers at Tabari Art Space, Dubaiand a survey exhibition of their creative practice at The Third Line curated by Sofia Victorino.
A note: On the interview concerning the 3 channel video “Same as me” from 2002 shows an abbreviated day in the life of a total of 18 different versions of the artist. Only viewed three at a time, the possible variations are synchronized across time and space or arise in daydreams of elsewhere or other than. For Campbell, the process of making the video revealed the thesis of the work. “It was very challenging to learn how to reenact my self…. it was hard to keep up with myself.”
Beth Campbell, (USA, born in Illinois), demonstrates the inextricable entanglements of past, present, and future through her thought-provoking sculptures, installations, ceramics and works on paper. Equal parts humorous, prescient and morbid, Campbell confronts an overwhelming multiple future, culled from research on the philosophies that fueled the early internet and AI. Campbell is best recognized for her drawings and mobiles that draw from a specific moment in her life, multiplied into a profusion of speculative possibilities. The drawings, each titled with the opening line, “My potential future based on my present circumstances…”, mimic the form of a tree diagram, a graphic structure used to visualize probability and hierarchy. This diagram becomes Campbell’s means to channel anxieties about an overwhelmingly multiple future. She began to make these drawings about her life as an artist in New York City in the late 1990’s. In them, she suggests taking a moment to look both forward and backwards, taking into account actions and positions and the circumstances that led to them.
Beth Campbell earned her BFA from Truman State University in 1993 (Kirksville, MO) and her MFA from Ohio University in 1997 (Athens, OH). She has held over a dozen solo exhibitions at galleries and institutions, including The Aldrich Contemporary Art Museum, Ridgefield, CT (2017); Sculpture Center, Cleveland, OH (2010); “Following Room” at The Whitney Museum of American Art, New York, NY (2007); Kate Werble Gallery, New York, NY (2020, 2017, 2012); the Public Art Fund, New York, NY (2007); White Columns, New York, NY (2000); and Nicole Klagsbrun Gallery, New York, NY (2008, 2005, 2004). Her work has been shown at MoMA PS1, the New Museum of Contemporary Art, the Brooklyn Museum of Art, Artists Space, and the Bloomberg Financial Offices in Conjunction with Sculpture Center. Campbell has also been featured in exhibitions at the Carnegie Museum of Art, (Pittsburgh, PA); Manifesta 7 (Italy); The Andy Warhol Museum, (Pittsburgh, PA); Contemporary Arts Center, (Cincinnati, OH); OK Center, (Linz, AT); and EX3 Centre for Contemporary Art, (Florence, IT). She has a large commission permanently on view in the Landmarks program at the University of Texas at Austin (Austin, TX).
Campbell received a Guggenheim Fellowship (2011), a residency at John Michael Kohler Arts Center, Arts/Industry Residency (2010), a Louis Comfort Tiffany Fellowship (2009) a Pollock- Krasner Foundation Grant (2006) and a Rema Hort Mann Foundation Art Grant (2000). She currently lives and works in Brooklyn, NY.
Beth Campbell, My Potential Future Based on Present Circumstances (11/3/25), 2025 Pencil on paper 50 × 38 ½ inches (127.00 × 97.79 cm) Courtesy of the artist and Kate Werble Gallery, New York Photo credit by Adam Reich photographyBeth Campbell, There’s no such thing as a good decision (fawn), 2025 Powder coated steel rod and wire, enamel paint 40 × 40 × 33 inches (101.60 × 101.60 × 83.82 cm) Courtesy of the artist and Kate Werble Gallery, New York Photo credit by Adam Reich photographyBeth Campbell, lost socks, 2024 Tinted porcelain 2 ¼ × 6 ½ × 6 ¾ inches (5.72 × 16.51 × 17.15 cm) Courtesy of the artist and Kate Werble Gallery, New York Photo credit by Adam Reich photography
Clementine Keith Roach, 2020 Courtesy P·P·O·W, New York. Photo: Teddy ParkClementine Keith-Roach (b. 1984) received a BA in Art History from University of Bristol, Bristol, UK and now lives and works in Dorset, UK.
She has exhibited at P·P·O·W, New York, NY; Ben Hunter Gallery, London, UK; MOCA, Los Angeles, CA; Blue Projects, London, UK; Centre Regional D’art Contemporain (CRAC), Sète, France; The Villa Lontana, Rome, Italy; Open Space Contemporary, London, UK; Pervilion, Palermo, Italy and London, UK; The Herbert F. Johnson Museum of Art at Cornell University, Ithaca, NY; Wellcome Collection, London, UK; Kasmin, New York, NY; and Villa Lontana, Rome, Italy; among others.
She is also an editor of Effects, a journal of art, poetry and essays. Keith-Roach’s work was featured on the cover of Art in America’s September 2022 issue illustrating Glenn Adamson’s article Monuments for the Moment, which contextualizes her vessels alongside other influential sculptors including Baseera Khan, Julia Kunin, and Martin Puryear. She presented her first solo exhibition with P·P·O·W in 2024, and her fourth solo exhibition with Ben Hunter Gallery in 2025.
Clementine Keith-Roach, Eternal return, 2024 terracotta vessel, plaster, wood, steel, epoxy putty and acrylic paint 23 5/8 x 42 1/2 x 37 3/4 ins. 60 x 108 x 96 cm Courtesy of Clementine Keith-Roach; Ben Hunter Gallery, London; and P·P·O·W, New York Photo: Damian GriffithsClementine Keith-Roach, I is another, 2024 terracotta vessel, plaster and resin composite, wood, steel, epoxy putty and acrylic paint 20 1/2 x 58 1/4 x 29 7/8 ins. 52 x 148 x 76 cm Courtesy of Clementine Keith-Roach; Ben Hunter Gallery, London; and P·P·O·W, New York Photo: Damian Griffiths
Based in Brooklyn, NY (b. 1986, Taishan, China), Ye Zhu is an interdisciplinary artist focused on painting, public art, and social practice. He has presented solo exhibitions at DIMIN (2023) and Harkawik (2022) in New York, NY; at Moskowitz Bayse (2021) in Los Angeles, CA; and at the Andrew Freedman Home in the Bronx, NY (2022). His work has been included in group exhibitions at The Sugar Hill Museum in Harlem, NY (2022–23), Gavlak Gallery in Los Angeles (2023), Galerie Marguo in Paris, Harper’s (2023, 2021), and James Fuentes (2021) in New York. Over the past year (2024–25), he completed residencies at the Lower Manhattan Cultural Council (LMCC), Dieu Donné Workspace in Brooklyn, and Wave Hill in the Bronx. Zhu has created numerous public projects, including a tribute installation for healthcare workers at the Yale School of Medicine (2022), a billboard project with Kingsgate Project Space in London (2021), A Universe in Strafford, NH (2021), and CONSTELLATION on Governors Island (2021), featured in The New York Times. He is a founding member of Haven Arts Park (2020–2023), an initiative dedicated to transforming contaminated land into an art park, and was a recipient of the Andrew W. Mellon Foundation grant (2022–2023).
The Cosmos of Seeds, 144″ x 96″Ego Decay, 96″ x 48″Star Studded Snail, 42 x 39
Ron Norsworthy is an interdisciplinary artist whose broad practice engages the fields of art, architecture, filmmaking and design. Informing his work is a foundational belief that the rooms, spaces and environments we inhabit and interact with speak volumes not only about who we are now, but also about our dreams, aspirations and our struggles as well. Through the creation of collaged reliefs, decorative objects, textiles and installations, his work carries the viewer through a non-linear, layered story of his life, one shaped by his lived experience as a queer person of the global majority.Norsworthy was born in South Bend, Indiana and currently lives and works in Connecticut and New Jersey, respectively. His work has been exhibited at the Studio Museum of Harlem, NY; The Old Stone House, Brooklyn, NY; Visual Arts Center of New Jersey, Summit, NJ; The Wassaic Project in Wassaic, NY; Five Points Gallery, Torrington, CT; Standard Space, Sharon, CT; Project for Empty Space, Newark, NJ; the International Quilt Museum, Lincoln, NE; the New York Historical Society, NYC; the Governor’s Island Art Fair, Governors Island, NY; the Armory Show, NY; Paris Photo; and it is also in the permanent collection of the Newark Museum of Art. In 2023, Norsworthy was awarded a MacDowell Fellowship in Visual Arts.
Ron Norsworthy, Do You Know What You’re Looking For?, 2025, Mixed media collage in relief on wood panelRon Norsworthy, More or Less, 2025, Mixed media collage in relief on wood panelRon Norsworthy, Trying to Remember the Future, 2025, Mixed media collage in relief on wood panel
Xanthe BurdettXanthe Burdett (b. 1995) is an artist from Devon currently living and working in London. Her practice is led by painting but also encompasses drawing and installation. She graduated from MA Painting at the Royal College of Art in 2024, and received her BA in Education, English and Drama at Cambridge University. Her work explores the relationship between the body and nature, questioning the notion of the body as nature itself. Through a personal mythology deeply rooted in place, Xanthe weaves bodies and stories into layered works where the boundary between the human and non-human shifts and stretches. Her pieces, which move between extreme scales, evoke a dynamic interplay as strange, otherworldly creatures emerge through the layers of glazing. Xanthe approaches her practice as a mesh, with her paintings existing within an interconnected web. One thread extends to the monumental hunting tapestries at the V&A, another to the way light dances across a fallen tree on the riverbank of her childhood.
Xanthe is a recipient of the De Laszlo Foundation Young Artist Award and has been shortlisted for the Jacksons Painting Prize.
Xanthe Burdett, The Lily Pickers , 2025 Oil on linen 72⅞ x 55⅛ in (185.00 x 140.00 cm)Xanthe Burdett, Voices caught in the earth , 2025 Oil on linen 13¾ x 11¾ in (35.00 x 30.00 cm)Xanthe Burdett, Psychopomp, 2025 Oil on linen 28 x 42 Inches (71.12 x 106.68 cm)
Katie Simmons is an artist, educator, and wildlife biologist from the Appalachian mountains in east Tennessee. She holds baccalaureate degrees in art history, visual art, and wildlife biology and her MA in education and MFA in drawing and fiber art. Katie is an instructor of drawing and fiber art at Colorado State University and Front Range Community College. Her artwork has been exhibited internationally in numerous group and solo shows in the United States, western Europe and South America. Her research on feminist aesthetics, the uncanny, and the commodification of bodies through sex trafficking has also been published and presented at regional and national conferences. Katie has been the recipient of the Charlie and Gwen Hatchette Creativity Award, the Keith Foskin MFA Scholarship, the Boynes Artist Award, the Oak Springs Garden Foundation Residency, Centrum Residency, and a finalist for the Women United Art Prize and Prisma Art Prize. She is also a vocal advocate for the Sexual Assault Victim Advocate Center in Colorado. In her free time, Katie loves ultra trail running, spending time with her family, and watching bad tv with her dog.
Katie’s work has most recently been exhibited in a solo exhibit at Metropolitan Community College’s Gallery of Art and Design and she has upcoming shows this spring and summer at the Sanger Gallery in Key West, Florida, the Gregory Allicar Museum of Art in Fort Collins, Colorado and Manifest Gallery in Cincinnati, Ohio.
Pinecone Quilt I (Side A and B) 2025 Plastic refuse, embroidery thread, found curtains and bed sheets with ballpoint pen drawing and homemade walnut bark ink 85 x 85”Digitalis purpurea, 2025 Ballpoint pen and ecoprinted common foxglove (Digitalis purpurea) on silk 70 x 48”Invasive Species I: Rubus phoenicolasius, 2025. Ballpoint pen and homemade natural dye made from wineberry (Rubus phoenicolasius) on cardstock, 50 x 38″
Paul Scott in print studio with cut Wild Rose detailPaul Scott (b. 1953, United Kingdom) is a UK-based artist, living and working in Cumbria, with a diverse practice and an international reputation. Creating individual pieces that blur the boundaries between fine art, craft, and design, he is well known for his research into printed vitreous surfaces, as well as his characteristic blue-and-white artworks in glazed ceramic.
Scott’s artworks can be found in public collections around the globe, including the National Museum, Norway; the Victoria and Albert Museum, London, UK; National Museums Liverpool; the Carnegie Museum of Art, Pittsburgh, PA; and the Brooklyn Museum, Brooklyn, NY. Commissioned work can be found in a number of UK museums, as well as in public places in the north of England, including Carlisle, Maryport, Gateshead, and Newcastle upon Tyne. He has also completed large-scale works in Hanoi, Vietnam, and at the Guldagergård public sculpture park in Denmark.
A combination of rigorous research, studio practice, curation, writing, and commissioned work ensures that his practice continues to develop. His work is fundamentally concerned with the reanimation of familiar objects, landscape, pattern, and a sense of place. He was professor of ceramics at the Oslo National Academy of the Arts (KHiO) from 2011–2018. Scott received his Bachelor of Art Education and Design from Saint Martin’s College and his PhD from the Manchester Institute for Research and Innovation in Art and Design in England. His current research project, New American Scenery, has been supported by an Alturas Foundation artist award, Ferrin Contemporary, and funding from Arts Council England.
Cumbrian Blue(s), New American Scenery, Souvenir of Portland OR Black Lives Matter (After Killen & Howard)/Trumpian Campaigne, No.5, 2021. Transfer print collage on partially erased Staffordshire transferware souvenir plate by Rowland & Marsellus, c.1900
10.25″ Dia. x 1” DCumbrian Blue(s), New American Scenery, Residual Waste (Texas) No.5/1, 2022
Transfer print collage, shell-edged pearlware platter, 13″ H x 17.25″ W x 1.25” DCumbrian Blue(s), New American Scenery, The Sleep of Reason, Wood Cuts (After Spode’s Woodland/Wild Rose) 2, 2024
Transfer print collage on pearlware plate with Kintsugi, 11″ Dia. x 0.5″ DCumbrian Blue(s), New American Scenery, Sampler Jug, No.7 (After Stubbs), 2021
Transfer print collage on pearlware jug, 15″ H x 14″ W x 11.75″ D
Aglaé Bassens, Photo: Jenny GormanAglaé Bassens(b. 1986, Belgium) has a BA in Fine Art from the Ruskin School of Drawing and Fine Art, Oxford University (2007) and an MFA in Fine Art Painting from the Slade School of Fine Art, London (2011). Her work has been exhibited internationally, with solo presentations at the Institute of Contemporary Art, Miami; HESSE FLATOW, New York; 12.26, Dallas; Nars Foundation, Brooklyn; CRUSH Curatorial, New York; and Cabin Gallery, London; as well as group exhibitions at Gowen Contemporary, Geneva; STEMS Gallery, Paris; The Valley, Taos; and Workplace Gallery, London. Bassens’s works can be found in the permanent collections of the Institute of Contemporary Art, Miami and Colección SOLO, Madrid, Spain. She lives and works in Brooklyn, NY.
Aglaé Bassens (b. 1986) What was that, 2025 Oil on canvas 39 3/8 x 51 1/8 inches. Photo courtesy of the artist and HESSE FLATOW, New York. Photo: Jenny Gorman.Aglaé Bassens (b. 1986) Stone Tiles, 2025 Oil on canvas 51 1/8 x 39 3/8 inches. Photo courtesy of the artist and HESSE FLATOW, New York. Photo: Jenny Gorman.Aglaé Bassens (b. 1986), Deflated, 2025, Oil on canvas, 51 1/8 x 39 3/8 inches. Photo courtesy of the artist and HESSE FLATOW, New York. Photo: Jenny Gorman.
Janet Echelman is an artist known for sculpting at the scale of buildings and city blocks, creating large-scale, fluid installations that merge art, architecture, and engineering. Her work transforms with wind and light, inviting viewers into immersive experiences rather than static observation. Echelman uses unconventional materials—from atomized water particles to fiber stronger than steel—blending traditional craft with advanced computational design. Her monumental works anchor public spaces across five continents, in cities including New York, London, Sydney, Shanghai, and Singapore.
Permanent installations in locations such as San Francisco, Vancouver, and Porto continually evolve with shifting light and air. Echelman’s unconventional path includes a degree from Harvard, five years living in a Balinese village, and graduate studies in both painting and psychology. Oprah ranked Echelman’s work #1 on her List of 50 Things That Make You Say Wow!, and she received the Smithsonian American Ingenuity Award in Visual Arts, honoring “the greatest innovators in America today.” Recipient of the Guggenheim Fellowship, she has taught at MIT, Harvard, and Princeton. Her interdisciplinary approach challenges artistic boundaries and redefines urban space through experiential public art.
Her recent book, Radical Softness The Responsive Art of Janet Echelman is now available.
Remembering the Future, on view at MIT Museum, and its maquette at Sarasota Art Museum retrospective. Photos: Anna OlivellaStudy (Butterfly Rest Stop 1/9 scale), on view at Janet Echelman: Radical Softness, Sarasota Art Museum through April 26, 2026. Photo: Ryan Gamma.Noli Timere, Echelman’s sculpture-dance collaboration with choreographer Rebecca Lazier, currently traveling the eastern seaboard. Photos: Julie Lemberger
Isaac Lythgoe is a sculptor, painter and writer based In Paris, FR. His practice is world-building; reimagining narrative traditions and modes of storytelling, he creates interconnected works that probe power structures, contemporary ethics, and shifting social norms. Within this constructed universe, arcs of romance and mortality intersect, inviting viewers to consider how collective memory is formed—and what future societies might resemble. This temporal drift between past and future is mirrored in Lythgoe’s aesthetic language, where tensions between the natural and the synthetic unfold through form, material, and gesture.
Recent and forthcoming shows include Phantasmagoria: Folkloric Sculpture for the Digital Age, The Henry Moore Institute, Leeds, UK, (2026), Would I lie to you, Duarte Sequeira, Seoul, KR (2024), Production Residency at Lafayette Anticipations, Paris, FR, (2024), Cute!, Somerset House, London, UK, (2024), After Laughter Comes Tears, MUDAM, Luxembourg, LX, (2023) amongst others.
Beautiful losers, 180cm x 140cm, oil on canvas, 2025.I pretended there was nowhere to love, 80cm x 60cm, oil on canvas, 2025Everyone’s a bad guy, 110cm x 80cm x 80cm fibreglass, carbon fibre, epoxy, cast aluminium, scarab beetles
Samuel Guy (b.1991) is an artist and educator based in Brooklyn, NY. Through prolonged observational paintings he explores the multifaceted nature of the self, its murkiness, its chance quality and its socially buttressed construction. Through costuming and a deep relationship to the history of portrait painting he re-presents himself in various forms. The chameleon nature of these self portraits positions the artist as both real and potential, blurring those distinctions and positioning the image of the individual as within a larger cultural context. Often reflections on manhood, these paintings interrogate how it is performed, engaging with the imagery in complicated ways, ranging from the satirical and ironic, to the honorific, and even funerary.
He has presented his work nationally, including recent solo and two-person exhibitions Stages Of Presence at Vardan Gallery, LA with Jenny Brillhart (2025), Hitchhike From Saginaw at Auxier Kline, NY (2025) Bildungsroman at Vardan Gallery, LA (2023) and A Distant Mirror at Auxier Kline, NY (2022). Guy has received numerous awards and fellowships including from the Constance Saltonstall Foundation, Elizabeth Greenshields Foundation, and Colman Foundation. Guy is featured in New American Paintings Issue No. 165. A three person upcoming show can be found here.
Samuel Guy, “Hobo’s Lullaby”, Oil on panel, 10 ¾ x 8 ¾ x 1 ¾ inches, 2025Samuel Guy, “A Prairie Home Companion”, Oil on panel, 19 ¾ x 14 ¼ x 1 ¾ inches, 2025Samuel Guy, “Axe”, Oil on panel, 19 ¼ x 4 ½ x 1 ¾ inches, 2025
photo by Janna TewSophie Haulman is a Brooklyn-based ceramicist and sculptor from Wilmington, North Carolina. She received her BFA (2019) from Virginia Commonwealth University’s department of Sculpture + Extended Media. While maintaining her practice, she is also a ceramics teacher and works in ceramic production and fabrication. Her evolving work explores the sensuality of space, the body and the unknown through material-based experimentation, contemplation on process, investigation of tactile form, and a constant surrender to fate.
“every month grass came” is a contemplation on mortality and the temporary nature of all that we possess – our bodies, relationships, experiences, memories, desires. As beings of the natural world, we evolve, erode, disintegrate; how do we construct a coherent sense of identity from an existence that is ever-changing?
These ceramic works question and explore these themes of impermanence, loss, and the unknown through a material which has the capacity to long outlast our own bodies while bearing moments of our time within it. Its physical fragility but potential for permanence challenges the transitory nature of self. Sophie Haulman reflects on the idea of resiliency as crucial to surviving one’s evolution.
Haulman’s work is just as much about the labor and fate of process as it is about the result, considering “process” as both an action and a passage of time. Each piece was handbuilt with slow, methodical, repetitive movements encapsulated within the material body, resulting in forms that question themselves and occlude the transformations of their identities.
The title and show are dedicated to Steffan Elijah Haulman, the artist’s deceased brother. His photo, seen daily on the side of her refrigerator, is held up by four contemplative word magnets that have become a kind of mantra: every | month | grass | came.
Sophie Haulman reckon with, or memento mori 2, 2025 Ceramic, glaze 60 × 60 × 3/4 in 152.4 × 152.4 × 1.9 cm. photo by Sophie HaulmanSophie Haulman, the well, or memento mori 1, 2025 Ceramic, glaze 13 1/2 × 19 1/2 × 19 1/2 in 34.3 × 49.5 × 49.5 cm, photo by Janna TewLeft to Right – Sophie Haulman Untitled 2, 2025 Ceramic 18 × 8 × 10 in 45.7 × 20.3 × 25.4 cm, Untitled 1, 2025 Ceramic 18 × 8 × 9 in 45.7 × 20.3 × 22.9 cm. photo by Sophie Haulman
Elijah Gowin uses photography to speak about ritual, landscape and memory. He was born in Dayton, Ohio in 1967 and received his BA in Art History from Davidson College in 1990 and MFA in Photography from the University of New Mexico in 1997. His photographs are in the collection of the National Gallery of Art, Houston Museum of Fine Art, and the Virginia Museum of Fine Art, among others. His awards include the John S. Guggenheim Fellowship in 2008 as well as grants from the Charlotte Street Foundation and the Puffin Foundation. He founded Tin Roof Press to publish his books on art and photography including “The Last Firefly” in 2024 and “Of Falling and Floating” in 2011. Presently, he is a Professor in the Department of Media, Art and Design at the University of Missouri-Kansas City where he directs photographic studies. Gowin is represented by the Robert Mann Gallery, New York, Photo Gallery International, Tokyo and Bond Millen Gallery, Richmond, Virginia.
Elijah Gowin, Tree 1. Date: 2012 Size: 15.33x 23, Pigment inkjet printElijah Gowin, fireflies in trees, selangor river, malaysia, 2017 Size: 22”x30.75”Elijah Gowin, House 1 Date: 2014. Size: 15.33”x 23” Pigment inkjet print
James Horner is a queer chronicler who educates the public and diverts discrimination from his community. Horner focuses on ordinary queer folk, their issues, and LGBTQ+ icons like Marsha P. Johnson, a rights activist. The artist focuses on painting, but also experiments with drawings, sculptures, and zines. Using a simple color palette, Horner starts his figurative works with a line drawing and develops them to be muscular, abstract, and sometimes humorous.
A native New Yorker, Horner has an M.F.A. in painting from Lehman College and is an artist and board member at the Amos Eno Gallery in Manhattan. He has a 40-year retrospective exhibition at the gallery, “Making of an American Dandy,” as well as an exhibit, “Queer Today – Love, Power, Freedom,” with his art collective, Magenta Lounge.
Horner exhibits artwork mainly around the United States – at The Bronx Museum, The Tulsa Artists Coalition Gallery, Satchel Projects, public art shows in Chicago, and The Leslie-Lohman Museum of Art. Recent residencies include the DNA Artists Residency and Atelier Artist Residency, and his work has appeared in Out and Advocate magazines.
Friday Night Throwdown,” 2010, Acrylic, paper, fabric, and marker on canvas, 95” x 48”“Keith Haring – Pop Icon,” 2024, Acrylic on paper, 22” x 30”“Homebody,” 2024, Acrylic and leather/metal belt on canvas, 22” x 28”
Jeanine Brito (b. 1993, Germany) is a painter living and working in Montréal, Canada. Layered in theatrical and fairy tale imagery, she uses her likeness to play with ideas of gender and desire. Her paintings have permeated the cultural consciousness, appearing in Harris Reed’s debut runway collection for Nina Ricci, on an album cover by Clara Luciani, on the cover of the highly reviewed debut novel by Sophie Kemp, and many other crossover collaborations.Recent exhibitions include All the Better to Eat You With, Nicodim, Los Angeles (2025), The Amber of This Moment, Nicodim, Bucharest (2025), The Grumpy Girls, Nicodim, New York (2024), The Invitation: A Fairytale by Jeanine Brito, Nicodim Upstairs, Los Angeles (2023), So Softly and Sweetly, La Causa Galeria, Madrid (2022), You Me Me You curated by Rachel Keller, Nicodim, Los Angeles (2022), New Mythologies II, Huxley Parlour, London (2022).All the Better to Eat You With, 2025 acrylic on canvas 66 x 94 in. 167.6 x 238.8 cmThe Lovers, 2025 acrylic on canvas 66 x 50 in. 167.6 x 127 cmGood Girls, 2025 acrylic on canvas 66 x 50 in. 167.6 x 127 cmImpresario, 2025 acrylic on canvas 34 x 26 in. 86.4 x 66 cm
Ryan Crotty earned his BFA in painting from the University of Nebraska-Lincoln and his MFA in painting from Syracuse University. His work has been exhibited extensively both nationally and internationally.Recent solo shows include a solo presentation at Untitled Art with High Noon, Miami, FL; Ever So Slightly Off, Rutger Brandt Gallery, Amsterdam, NL; and Underlying Issues, Galerie Robertson Ares, Montreal, QC. Recent group exhibitions include The Stage is Yours! curated by Eric Gauthier, Exo Gallery, Stuttgart, DE; Spectrum, Galerie Bessaud, Paris, FR; and Tone Poem, The Hole, Los Angeles, CA.His work has been featured in publications such as the New York Times, the Washington Post, Hyperallergic, Artillery, and Design Milk. Crotty lives and works in Auburn, Nebraska.Ryan Crotty, “Sub Rosa,” 2025, acrylic, gloss gel, and modeling paste on linen, 36″ x 30″Ryan Crotty, “Get a Move On,” 2025, acrylic gloss gel, and modeling paste on line, 60″ x 48″Ryan Crotty, “Exit Strategy,” 2025, acrylic, gloss gel, and modeling paste on linen, 48″ x 36″
Sigrid Sandström earned a BFA at Academie Minerva, Groningen, The Netherlands (1997); attended Skowhegan School of Painting and Sculpture, Skowhegan, ME (2000); and received an MFA in Painting from Yale University, New Haven, CT (2001).
Sandström has exhibited her work internationally in solo exhibitions at museums including Vandalorum Museum, Värnamo, Sweden; Västerås konstmuseum, Västerås, Sweden; Frye Museum, Seattle, WA; and at galleries including Anat Ebgi, Los Angeles / New York; Perrotin Shanghai and Tokyo; Inman Gallery, Houston, TX; and Cecilia Hillström Gallery, Stockholm, Sweden.Sandström’s work is in the public collections of the Museum of Fine Arts Houston, Houston, TX; Moderna Museet, Stockholm, Sweden; Borås Konstmuseum, Borås, Sweden; Malmö konstmuseum, Malmö, Sweden; The Public art Agency, Sweden; Ulrich Museum of Art, Wichita, KS; Västerås konstmuseum, Västerås, Sweden, and Yale University Art Gallery, New Haven, CT.Sandström is currently a professor at the Academy of Fine Arts, University of the Arts, Helsinki, and has previously held positions as a professor at the Royal Institute of Art in Stockholm (2010-2020) and an Assistant Professor at Bard College, New York (2005-2010). Sandström lives and works in Stockholm, Sweden.Sigrid Sandström, Ravel V, 2025 Acrylic on canvas Frame 40″ x 59 ⁵⁄₈” x 1 ⁵⁄₈” Sigrid Sandström, Ravel X, 2025 Acrylic on canvas Frame 40″ x 59 ⁵⁄₈” x 1 ⁵⁄₈” Sigrid Sandström, Approaching Times Three, 2025 Acrylic on canvas Frame 40″ x 40″ x 1 ⁵⁄₈”
Maureen McQuillan (photo credit: Etienne Fossard)
Pictured in front of “Crystal Blue Persuasion,” her permanent public art installation, completed 2018, which spans three sides of the 36th Avenue N/W station in Astoria, Queens, and was commissioned by Metropolitan Transit Authority/Arts & Design.Maureen McQuillan creates process-focused, system-based paintings from multiple layers of ink and acrylic polymers that convey a deep but elusive sense of space. Vibrantly hued, she uses rippling, wave-like linear elements and undulating rounded forms to suggest shapes in nature as well as the human body. Her systematic approach to color results in a luminous and complex optical mix reflecting her interest in how our perceptions of color have changed as technology has advanced.
Born and raised in New York City, Maureen McQuillan is a graduate of Columbia University and the New York Studio School. Since the early 1990s she has been exhibiting her work in solo and group shows in galleries and museums throughout the United States as well as in France, the UK, Costa Rica, and Hong Kong.
McQuillan’s work has been reviewed and reproduced in many publications, among them The New York Times, The New York Daily News, The Brooklyn Rail, Two Coats of Paint, The Boston Globe, The San Francisco Chronicle, Artnews, Architectural Digest, and Art on Paper; and her work is held in public and private collections all over the world.
Maureen McQuillan, Untitled (C/T), 2025 Acrylic polymer, ink and acrylic on wood panel. 10 x 10 inches. Courtesy the artist and McKenzie Fine Art, New York.Maureen McQuillan, Untitled (C/B2), 2025 Acrylic polymer, ink and acrylic on wood panel 30 x 40 inches. Courtesy the artist and McKenzie Fine Art, New York.Maureen McQuillan, Untitled (C/RB/BG), 2024 Acrylic polymer, ink and acrylic on wood panel. 16 1/4 x 16 inches. Courtesy the artist and McKenzie Fine Art, New York.
Clare Grill (born 1979, lives and works in Queens, NY) received her MFA from the Pratt Institute in 2005 and attended the Skowhegan School of Painting and Sculpture in 2011.Recent solo exhibitions include Parlance, Derek Eller Gallery, New York, NY; Cutwork, Galería Marta Cervera, Madrid, Spain; and Wich Language and Oyster, M+B, Los Angeles, CA. Group exhibitions include Things I Had No Words For at the Center for the Arts, Virginia Polytechnic Institute and State University; Interisland (New Paintings from New York and Hawai’i), University of Hawaiʻi at Mānoa; Of Flesh and Air, Marta Cervera Gallery, Madrid, Spain; The Feminine in Abstract Painting, Milton Resnick and Pat Passlof Foundation, New York, NY; Deep! Down! Inside!, Hales Gallery, NY; and New Skin, curated by Jason Stopa, Monica King Gallery, New York, NY.Her work has been reviewed in Artforum, ArtNews, Hyperallergic, the Brooklyn Rail, The New York Times, The Los Angeles Times, and The Boston Globe.Clare Grill, Drape, 2025, oil on linen, 80 x 112 inches (diptych)Clare Grill, Dune, 2025, oil on linen, 94 x 73 inchesClare Grill, Flit, 2025, oil on linen, 46 x 42 inches
photo by Colin Outridge.The exhibition Change of Scenery, marks the painter’s third solo show with the gallery. It is the culmination of a year’s worth of travel across the U.S., as Brennan Hinton spent extended time in residency in Corsicana, TX, Martha’s Vineyard, MA, and Fishers Island, NY. Brennan Hinton’s practice focuses on the sustained act of observation, the plein-air discipline, and painting’s ability to capture the essence of a place. The time spent in three distinctive towns, each in its own ways divergent from Brennan Hinton’s familiar Ontario, required the artist to meet each place with open eyes and a fresh palette. To situate himself, Brennan Hinton leaned on two formative texts, Lonesome Dove by Larry McMurtry and Moby Dick by Herman Melville, which are each set in the same landscapes in which he painted.
Keiran Brennan Hinton (b. 1992, Toronto) lives and works in Toronto and Elgin, Ontario. He received his BFA from Pratt Institute in 2014 and his MFA from Yale University in 2016. His work is held in the permanent collections of the Ogunquit Museum of Art, Ogunquit, ME and The Dennos Museum Center, Traverse City, MI. Past international solo shows of Brennan Hinton’s work include exhibitions at MAKI Gallery, Tokyo, Japan (2022); Thomas Fuchs Gallery, Stuttgart, Germany (2021); Charles Moffett, New York, NY (2023, 2021); Nicholas Robert Gallery, Ontario (2022); and Francesco Pantaleone Gallery, Palermo, Italy (2019) among others. His paintings have been featured in institutional exhibitions at the Art Gallery of Ontario, Toronto, Ontario; James Castle House, Boise, Idaho; and Katonah Museum of Art, Westchester, NY.
Keiran Brennan Hinton, The White Pine, 2025. Oil on linen, 70 x 60 in. Photo by Lauren Finlay. Courtesy the artist and Charles Moffett.Keiran Brennan Hinton, Texas Sky (Sunrise), 2024. Oil on linen, 56 x 44 in. Photo by Daniel Greer. Courtesy the artist and Charles Moffett.Keiran Brennan Hinton, Fishers Island Living Room, 2025. Oil on linen, 9 x 12 in. Photo by Zeshan Ahmed. Courtesy the artist and Charles Moffett.
Leslie Smith III (b. 1985) was born in Silver Spring, MD and lives and works in Madison, WI. Smith’s interests lie in our conscious effort to alter personal perception. Recent works explore Abstraction’s inherent personal and political properties as they relate to broadening notions of Black representation and expression. Smith creates paintings with a mindset that it’s possible to present a new interpretation of contemporary abstraction. One with expectations of a different sensibility than that offered by the 1950’s and 60’s, he offers an alternative worldview; one of inclusion and acceptance.
Leslie Smith III earned a BFA at the Maryland Institute College of Art and an MFA at the Yale School of Art. Smith exhibits nationally and internationally. His work can be found in the permanent collections of the High Museum of Art, Atlanta; the Virginia Museum of Fine Art, Richmond; the Birmingham Museum of Art; the Abroms-Engel Institute for the Visual Arts, Birmingham, AL; and the FRAC Auvergne, France.
Leslie Smith III, Ancestral Meeting, 2025 Oil on shaped canvas and sewn upholstery fabric, 36 x 45 1/2 in 91.4 x 115.6 cm. Copyright The ArtistLeslie Smith III, Under the Skin of Light, 2025 Oil on shaped canvas 45 1/2 x 36 in 115.6 x 91.4 cm, Copyright The ArtistLeslie Smith III, Night Scene From a Moving Train Window, 2025, Oil on shaped canvas and sewn upholstery fabric 36 x 45 1/2 in 91.4 x 115.6 cm. Copyright The Artist
Charisse Pearlina Weston (b. 1988, Houston, TX; based in Brooklyn, NY) is a conceptual artist who works across sculpture, writing, installation, and photography. Utilizing techniques such as concealment, repetition, and enfoldment, her work posits Black interior life as a central site of Black resistance.
Weston often integrates glass into her work due to its inherent nature. Whether it be through photographs, fragments incorporated into a canvas, or an element within a sculpture, the duality of the material speaks to Weston’s understanding of Black resistance. Both fragile and susceptible to shatter at the hand of an act of violence, glass is also highly malleable despite that risk. Etched and embedded into the surface of her works are poetic fragments, as well as historical and autobiographical images. These intimate moments are often concealed and ensnared through intentional folds, offering a layer of protection and privacy to the object on display.
The artist writes: “Central to the artistic methodology is the reuse and re-articulation of materials.” From photographs of past installations or fragments of discarded glass, Weston formulates “yet another representation of meaning’s capacity to shatter.” For the artist, “these recurrences develop into new forms that represent the ways in which repetition is both a symbol of black cultural production and its reliance on an order of temporal engagement in which the second time encodes an emergent originality.”
Charisse Pearlina Weston, untitled long before the squeeze, 2024 inkjet print on Hahnemühle canvas, matte medium, epoxy, frit, glass 44 x 132 inches (each) 88 x 132 inches (overall, unframed). © Charisse Pearlina Weston. Courtesy of the artist, Jack Shainman Gallery, New York and Patron Gallery, ChicagoCharisse Pearlina Weston III. final test of the prefixal squeeze, 2025 inkjet print on Hahnmühle canvas, oil stick, frit, epoxy, silicon carbide 49 x 74 x 9 inches. © Charisse Pearlina Weston. Courtesy of the artist, Jack Shainman Gallery, New York and Patron Gallery, ChicagoCharisse Pearlina Weston, untitled (after the squeeze and the fuse and the lift), 2025, fused Mirropane, Solarcool breeze surveillance glass, and Solexia glass panels with embedded and oxidized, photographic decal, lead, 26 x 51 1/4 x 28 inches (overall), 33 1/2 x 60 x 40 inches (with pedestal). © Charisse Pearlina Weston. Courtesy of the artist, Jack Shainman Gallery, New York and Patron Gallery, Chicago
Katy Stone is best known for her large-scale installations and wall sculptures. Working primarily in aluminum, Dura-Lar and plexiglass, her artworks are a proposition to reconsider landscape painting as an environmental, immersive dynamic. Suspended, or set in relief, the artist’s drawn, cutout, painted, and stitched-together elements possess a vibrancy, a spirited energy and effect. Echoing fleeting clouds, falling leaves, moving water, and scattered light, they spill, climb and spread across the wall. This mimesis of nature locates the work in an earthly sphere but in a palpably conjured world created via the distinctive visual language she has developed over the decades. Conveying a movement from one state to another, from one moment to another, from one material to another, her compositions become universal metaphors for phenomena in nature through which we can glimpse the sublime.
She received her BFA from Iowa State University and her MFA from the University of Washington and lives and works in Seattle.
Red Terrain. 2025 © Katy Stone; Courtesy of the artist and RYAN LEE Gallery, New York.Cedar Fall and Willow Wisp (installation view) oil on aluminum. 2025 © Katy Stone; Courtesy of the artist and RYAN LEE Gallery, New York.Cloud Dissolve/Pond (installation view) oil on aluminum. 2025 © Katy Stone; Courtesy of the artist and RYAN LEE Gallery, New York.
Lamar Peterson (b. 1974, St. Petersburg, Florida) is a painter whose work explores the psychological and social space between refuge and exposure. For more than two decades, he has rendered the everyday experiences of Black life with a language that merges stylized figuration, domestic ritual, and surreal distortion. Across both painting and collage, Peterson creates scenes where tranquility and unease coexist: suburban gardens bloom into uncanny environments, rooms soften and dissolve into landscape, and figures pursue moments of rest and care even as the outside world presses near.
Peterson’s visual vocabulary ranges from cartoon inflections and bold color to pared-down forms that verge on the symbolic. In his hands, a gesture—cooking a meal, tending a plant, pausing in thought—becomes a quietly radical act of autonomy. His subjects often appear in transitional spaces: windows, thresholds, and gardens that double as emotional terrain, reflecting the fragile distance between sanctuary and scrutiny, vulnerability and strength.
Peterson has held solo exhibitions at Deitch Projects, New York; Carl Kostyál, Stockholm; and Fredericks & Freiser, New York, where he is represented. He has also had institutional solo exhibitions at The Studio Museum in Harlem; the Orlando Museum of Art; the University Art Museum at SUNY Albany; and the Rochester Art Center, among others. His work has been featured in group exhibitions at SITE Santa Fe, The Drawing Center, the Kemper Museum of Contemporary Art, the Katonah Museum of Art, the International Print Center New York, and the Yale University Art Gallery.
Peterson received his MFA from the Rhode Island School of Design in 2001. He lives and works in Minneapolis, where he is Associate Professor of Drawing & Painting at the University of Minnesota.Lamar Peterson, The Proud Gardener, 2021, Oil on canvas, 70 x 85 inches. Courtesy Fredericks & Freiser, New York, Photo Credit: Cary WhittierLamar Peterson, The Worrier, 2024, Oil on canvas, 30 x 24 inches. Courtesy Fredericks & Freiser, New York, Photo Credit: Cary WhittierLamar Peterson, Exhilarated, 2025, Mixed media and collage on paper, 17 x 12 inches. Courtesy Fredericks & Freiser, New York, Photo Credit: Cary Whittier
Amiko Li (b. 1993, Shanghai) is an interdisciplinary artist who translates everyday stories and encounters into film, installation, and photography, to explore and contextualize the underlying complexities and themes, such as intimacy, waiting, and value.Li’s recent Exhibition and performance include Center for Art, Research, and Alliance, New York; The Shed, New York; Asia Art Archive, New York; Ulster Museum, Ireland; Haus der Elektronischen Künste, Switzerland; UCCA Center for Contemporary Art, China; Power Station of Art, China. Li’s work has been supported through fellowships and residencies at Delfina Foundation, London; Triangle Arts Association, New York; and Kunstlerhaus Dortmund, Germany.Amiko Li Kai, 2023, Inkjet print in aluminum frame, 20 3/16 x 16 3/16 x 1 in. Edition of 3 plus 1 APAmiko Li, Another Brief Moment, 2020, Inkjet print in aluminum frame 16 3/16 x 20 3/16 x 1 in. Edition of 3 plus 1 APAmiko Li, 12:54:21, 2021, Inkjet print in aluminum frame, 16 3/16 x 20 3/16 x 1 in. Edition of 3 plus 1 AP
My Pet Ram is pleased to present Towards the Sun, a solo exhibition of new paintings by Heather Drayzen, on view through November 9, 2025. This marks the artist’s second solo exhibition with the gallery. The gallery is located at 48 Hester Street on the Lower East Side. Gallery hours are Thursday–Sunday, 12–6 PM, and by appointment.Heather Drayzen (b. 1985, San Antonio, Texas) is a painter known for her intimate, small-scale depictions of quiet domestic life, often featuring herself and her loved ones. She currently lives and works in Brooklyn, New York. Drayzen received her BFA from the School of Visual Arts, New York, in 2007, and earned an MAT from the Rhode Island School of Design in 2008.Winter Bath, 2025, 14 x 18 inches, Oil on linenWinnie Rainbow, 2024, Oil on Linen, 20 x 16 inchesGiverny, 2025, Oil on Linen 18 x 14 inches
Linda Daniels creates vibrant abstract paintings.Linda Daniels (b. 1954) spent her formative years in California. She earned her B.F.A. in General Fine Arts from the California College of the Arts.
In 1984, she moved to New York City, where her first solo show debuted at fiction/nonfiction gallery in 1988. Over the following decades, her art was featured in numerous solo and group exhibitions across New York, Los Angeles, San Francisco, and Palm Beach.
Linda’s artwork has been reviewed in major publications including The New York Times, The Los Angeles Times, Artforum International, Art in America, and The Brooklyn Rail. In 1991, she was awarded a National Endowment for the Arts Fellowship in Painting.
Linda returned to California’s Central Coast in 2014, where she currently lives and creates her artwork.
Linda Daniels, Orange-Red with White, 16″x16″, AcrylicCanvas, 2018Linda Daniels, Orange-Yellow with White, 16″x16″, AcrylicCanvas, 2020Linda Daniels, Turquoise-BlueYellow-Green with White, 40″x80″, Acrylic on Canvas, 2021
Mark Barrow (b. 1982) and Sarah Parke (b. 1981) met while studying at the Rhode Island School of Design. They began collaborating in 2008, when Parke first started weaving fabric on which Barrow would paint. As weaving became the primary conceptual structure through which they approached all subjects, they adopted a joint artistic moniker to more accurately reflect how ideas are generated and spread. Their work focuses on the intersection of weaving (as a spatial and mathematical system) with other visual systems. It also focuses on its intersection with textiles more generally, a tradition that has had an outsized imprint on the history and development of culture and civilization.
Barrow Parke live and work in New York City. Barrow holds a B.F.A. in Painting from the Rhode Island School of Design and an M.F.A. in Painting from the Yale School of Art. Parke holds a B.F.A. in Textiles from the Rhode Island School of Design. They have exhibited widely in institutions including the University Art Museum, University at Albany, the Shirley Fiterman Art Center, City University of New York, New York; The Fabric Workshop and Museum, Philadelphia, Pennsylvania; The Rose Art Museum, Brandeis University, Waltham, Massachusetts; the Power Station of Art, Shanghai, China; Kunsthalle Bielefeld, Germany; and Musée d’art Moderne de la Ville de Paris, France. Their work is represented in public collections including Birmingham Museum of Art, Alabama; the Hammer Museum, University of California, Los Angeles, California; Yale Museum, New Haven, Connecticut; the Walker Art Center, Minneapolis, Minnesota; the University of Chicago, Illinois; and Columbus Museum of Art, Ohio.
c:\ Acrylic on Hand-Loomed Linen, 29 5/8 x 23 3/4 inches, 2022Woman IV, Acrylic and Embroidery on Hand-Loomed Linen, 15 3/4 x 19 3/4 inches, 20200N10N, Acrylic on Hand-Loomed Linen, 19 5/8 x 15 3/4 inches, 2019
Marisa Adesman (b. 1991, Roslyn, NY) received her MFA from the Rhode Island School of Design, Providence, RI in 2018 and her BFA from Washington University, St. Louis, MO in 2013. Adesman had her first museum solo exhibition, The Birth of Flowers, at KMAC Contemporary Art Museum, Louisville, KY in 2023. She has exhibited work widely including at the Contemporary Art Museum (CAM), St. Louis, MO; Black Mountain College Museum, Ashville, NC; Mead Art Museum, Amherst College; Amherst, MA; Anat Ebgi, Los Angeles / New York; and Mrs. Gallery, Queens, NY. Adesman’s work is in public collections including Museum of Contemporary Art San Diego, San Diego, CA; Deji Museum, Nanjing, China; and Museo d’Arte Moderna di Bologna (MAMbo), Bologna, Italy. Adesman lives and works in Chicago, IL.
Marisa Adesman’s surreal and thought-provoking paintings often depict ordinary objects in bizarre contexts and striking states of mystical transformation. She composes tableware, candles, houseplants, flowers, linens, kitchen utensils, and furniture into strange and unusual arrangements that destabilize our notions about the proper order of a house and home. These settings are often centered around the female form and are guided by Adesman’s visionary poetics of interior space. She examines the art historical meaning of the female figure as a pliable body designed for amorous desire and protection, but also sinister and capable of deception and corruption. Adesman’s compositions mingle ethereal and phantasmagoric imagery of the surrealist period with Dutch still life and vanitas paintings from 16th and 17th century Europe. Likewise, she retains all the attendant technical mastery which defined those artistic styles. Smooth and luminous surfaces combined with a masterful use of chiaroscuro, the skillful contrastingof extreme light and dark, reveals the hand of a remarkably detailed painter whose work demands to be viewed in person.
Marisa Adesman: Tug of War, Courtesy the artists and Anat Ebgi, Los Angeles / New York. Photos by: Marisa AdesmanMarisa Adesman: Deadheading, 2025, Courtesy the artists and Anat Ebgi, Los Angeles / New York. Photos by: Marisa AdesmanMarisa Adesman: The Turn, 2025, Courtesy the artists and Anat Ebgi, Los Angeles / New York. Photos by: Marisa Adesman
Amy Winstanley, Photo by Alan Dimmick.Amy Winstanley (b. 1983, Dumfries, UK) is based in Scotland. She received a BA (Hons) in Sculpture from the Edinburgh College of Art (2005) and an MA from the Sandberg Instituut, Amsterdam (2019).
Recent solo exhibitions include: Life Hum, Margot Samel, NY (2025); Focus, Workplace Gallery, London, UK (2025); Homing, Ginsberg Galeria, Lima, Peru (2024); Soft Spot, A_Place gallery, Glasgow (2024); Lost Hap, Margot Samel, New York, NY (2023); Slim Glimpses, Cample Line, Thornhill, UK (2023); Moral Limb, Stallan-Brand, Glasgow, UK (2021); Grief Bruise, Lunchtime Gallery, Glasgow, UK (2021); Inscapes, AndCollective Gallery, Bridge of Allen, UK (2016); Interconnections, Gracefield Arts Centre, Dumfries, UK (2015); Detritus and Other Stories, iota Gallery, Glasgow, UK (2014); and Wanderings, John Muir Birthplace Trust, Dunbar, UK (2011).
Recent group exhibitions include: Tiefkeller -6, Tiefkeller, Bonn, Germany (2025); Open Return, A_Place, Glasgow, UK (2025); Myriad, Ocean’s Apart, Manchester, UK (2025); Out of Earth, The Approach, London (2024), Opening, A_Place, Glasgow (2023); Strangers, Rongwrong, Amsterdam, Netherlands (2022); tangible/intangible, The Haberdashery, Glasgow, UK (2022).
Winstanley was nominated for the Sluijter prize for painting 2019 (Netherlands), and has been the recipient of the Hope Scott Trust award (2014) and the Creative Scotland Visual Arts Award (2010 and 2014).
Along with the artist collective ALKMY she has published short stories and images in What Ties Ties, Ties (2020) and What Thoughts Think Thoughts (2021) both through Print Art Research Centre, Seoul, Korea.
Amy Winstanley, Beautiful and Delicious, 2025, Oil on canvas, 26 x 24 in | 66 x 61 cmAmy Winstanley, Gifts, Omens, 2025, Oil on canvas, 70 7/8 x 59 in | 180 x 150 cmAmy Winstanley, They Are Just in the Other Room, 2025, Oil on canvas, 59 x 70 7/8 in | 150 x 180 cm
portrait by Catherine TaleseMelanie Vote holds a BFA from Iowa State University and an MFA in painting from the New York Academy of Art. Having grown up on a functional farm before living and working in NYC for over 25 years, her practice straddles these two worlds. Her work investigates the complexities of the human-land relationship, the cyclical nature of life, and the impossibility of permanence.
Vote was a recipient of a Pollock-Krasner Foundation Grant (2007) and was awarded residencies, including the Vermont Studio Center (2002), Jentel, WY (2009), AHAD, Abu Dhabi, UAE (2013), the Grand Canyon (2016), the Weir Farm, CT (2022), and Cill Rialaig, Ireland (2023).
Her work has been exhibited nationally and internationally. Exhibitions include work at The Aldrich Contemporary Art Museum (2003) and The Hangaram Art Museum (Seoul, South Korea) (2016). Solo exhibitions include, DFN Gallery, NY (2008), Hionas Gallery, NY (2011, 2016), Galleria Farina, Miami (2017), and Equity Gallery, NY (2020, 2025). Vote presented work in a two-person show curated by Liz Garvey of Garvey|Simon Gallery at DFN Projects in October 2023, followed by her solo exhibition, Consulting with the Light Eaters, at Equity Gallery in May 2025. Her work was also included in the group drawing exhibition, “We Were Never Here,” at Kaliner Gallery in August 2025.
Waiting (Portrait of Norman Allen Vote 1945-2025) Graphite and Watercolor on Paper, 2024, 12 x 16 inOveralls (Drawing) Graphite and Watercolor on Paper 2021, 11 x 8 in Bioluminous, Oil on Canvas, 2025, 70 x 112 inBioluminous, Oil on Canvas, 2025, 70 x 112 in
Willie Stewart (b. 1982, Gallatin, TN) lives and works in New Haven, Connecticut. He received his MFA in Sculpture from Yale University in 2018, and a BFA from The Cooper
Union in 2016.His work has been the subject of solo and two-person exhibitions at Morgan Presents, New York (2022); Morán Morán, Los Angeles, CA (2023, 2019); Nicelle Beauchene Gallery, New York (2023, 2021); and Pioneer Works, Brooklyn, NY, with Brent Stewart (2017). Stewart completed residencies at Pioneer Works (2016), and Skowhegan School of Painting and Sculpture (2014)Willie Stewart Beasts, 2025 Colored pencil, ink and gouache on cotton board, graphite, acrylic, oil and gouache on canvas over panel 80 x 64 inches 203 x 162.5 cmWillie Stewart The Last Supper, 2025 Ink on cotton board, acrylic over custom armature with hardware, acrylic, gouache, graphite and ink on canvas 67 3/4 x 80 x 12 inches 172 x 203 x 30.5 cmWillie Stewart Singers, 2025 Colored pencil, ink and gouache on cotton board, graphite, acrylic and gouache on canvas over panel 30 x 22 inches 76.2 x 55.9 cm
Matt Magee is an American contemporary artist known for his minimal geometric paintings, sculptures, prints, assemblages, murals, and photographs. Over a four-decade career, Magee has experimented widely with abstract and conceptual art practices. His compositions draw inspiration from personal history, numerology, and language. In his paintings and prints, he explores language through abstraction, repetition, reiteration, and the occasional tip of the hat to art historical precedents. His visual language relates to early hard-edge abstraction and finds inspiration in contemporary scientific, ecological, and technological ideas.His work is in the permanent collections of the Albuquerque Art Museum, NM; the Beinecke Rare Book and Manuscript Library at Yale University, CT; Black Mountain College Art Museum, NC; the Josef and Anni Albers Foundation, CT; Museum of Fine Arts, Houston, TX; Phoenix Art Museum, AZ; Scottsdale Museum of Contemporary Art, AZ; Tucson Museum of Art, AZ; and the University of New Mexico Art Museum, NM.
Matt Magee, Grapheme: 16 Squares, 2021, oil on primed paper. © Matt Magee; Courtesy of the artist and RYAN LEE Gallery, New York.Matt Magee, Black Grapheme, 2021, oil on panel. © Matt Magee; Courtesy of the artist and RYAN LEE Gallery, New York.Matt Magee, Ryan Lee Grapheme, 2025, acrylic and pencil on canvas. © Matt Magee; Courtesy of the artist and RYAN LEE Gallery, New York.
SCAD Savannah – Summer 2024 – Exhibitions – Anthony Akinbola – ”Good Hair” – Artist Portrait – SCAD Museum of Art, Gallery 109 – Photography Courtesy of SCADBorn in Columbia,Missouri, Anthony Olubunmi Akinbola, is a first-generation American raised by Nigerian parents in the United States and Nigeria. His layered, richly colored compositions celebrate and signify the distinct cultures that shape his identity. The artist’s signature Camouflage paintings, consisting of single and multi-panel works, utilize the ubiquitous du-rag as their primary material. Universally available and possessed of significant cultural context, the du-rag represents for Akinbola a readymade object that engages the conceptual strategies of Marcel Duchamp and other significant artistic predecessors. Throughout his work Akinbola unpacks the rituals and histories connecting Africa and America, addressing the power of fetishization around cultural objects.
His previous interview on Yale University radio can be found here.
Anthony Olubunmi Akinbola recently was recently selected for the Pullman Yards Artist Residency, which will begin in early 2026. He also recently completed his residency at Black Rock Senegal in Dakar. In 2024, he was named Artist-in-Residence at Dragon Hill in France and in 2022, Akinbola was selected to be in The Artsy Vanguard, an annual feature spotlighting the most promising artists working today. That same year, Akinbola was also awarded the Silver Arts Project residency in New York. In 2019, he was awarded the Van Lier Fellowship and named the eighth Museum of Arts and Design Artist Fellow, which resulted in a solo exhibition at the museum. Akinbola was also selected for the Anderson Ranch Art Center Residency in 2017.
Akinbola has exhibited his work in group and individual shows at renowned institutions such as the SCAD Museum of Art, Savannah, GA; the Institute of Contemporary Art San Francisco, San Francisco, CA; Schirn Kunsthalle, Frankfurt, Germany; The Queens Museum, New York; the Randall Recreation Center, Washington D.C.; the August Wilson African American Cultural Center, Pittsburgh, PA; the John Michael Kohler Arts Center, Sheboygan, WI; the Saint Louis Art Museum, St. Louis, MO; Kunsthaus Graz, Graz, Austria; the Bruce Museum, Greenwich, CT; and the Museum of Art and Design, New York, NY, among others.
Anthony Akinbola Brick “Sandstone”, 2025, durags on wood panel 48 x 48 x 3 1/4 inches.Anthony Akinbola Celestial “Space Jam”, 2025, durags on wood panel 36 x 36 x 3 1/4 inches.Anthony Akinbola Icarus, 2025, durags on wood panel panel: 72 x 72 x 3 1/4 inches.
Photo courtesy of Elizabeth Haynes.Deborah Zlotsky received a 2019 Guggenheim Fellowship and NYFA Artist Fellowships in Painting in 2012 and 2018. Her work is in a variety of public, private, and corporate collections in the US and abroad and she has been awarded recent residencies at MacDowell, Yaddo, the Bogliasco Foundation, and the Bemis Center.
Zlotsky is represented by McKenzie Fine Art and Markel Fine Art, both in New York City, Robischon Gallery in Denver, Sandler-Hudson Gallery in Atlanta, and Bernay Fine Art in Great Barrington, MA.
She has a BA in art history from Yale University and an MFA in painting and drawing from the University of Connecticut. She teaches at the Rhode Island School of Design and lives in the Hudson Valley.
Deborah Zlotsky, Ghost lines 3, acrylic gouache on panel, 2025, 14” x 11” Photo courtesy of Liz Dejeuness.Deborah Zlotsky, Not a line but a constellation, oil on canvas, 2025, 14” x 11” Photo courtesy of Liz Dejeuness.Deborah Zlotsky, Tragedy plus time, oil on canvas, 2025, 60” x 60” Photo courtesy of Liz Dejeuness.
Simone Kearney is a Dublin-born, Brooklyn-based multidisciplinary artist and writer.
Her practice is an inquiry — as much visual as it is psychological — into how experience is a cobbled, fragile thing, shapeshifting, subject to time, configured and reconfigured through our bodies.
In recent projects, she has been working with hand-carved stone sculpture, watercolor, and text, where the work starts to gather like archaeological fragments of the psyche. Dealing in the realm of what floats beneath the surface of consciousness — dreams, ruminations, and archetypal symbols — Kearney creates fields of objects that exist somewhere between rune and cartoon, between suggestive remnant and semi-emergent fact. In her playful receptivity to the raw stuff of stone, earth, pigment in water, or language itself, she explores all kinds of lively materialities. The tangible becomes an occasion for the intangible to reveal itself. Images arise from matter’s ambiguous zones of reference and into the nameable: as ovals, hands, eyes, vessels, ghosts, voids, animals, bodies. Forms are made and unmade.
Kearney currently has a solo show of sculptures and works on paper entitled DIGS at Guest Gallery in Brooklyn, NY, on view from September 20th – November 8th. She also will have sculptures in a group exhibition at Koki Arts in Tokyo, Japan, this October.
Some previous solo exhibitions include Putty’s Coronation, Brooklyn, NY; Undercurrent Gallery, Brooklyn New York; Artshack Gallery, Brooklyn, NY; and Annex Gallery, Lighthouse Works, Fisher’s Island, NY.
She is a NYFA grant recipient and is the author of Dim, Dahlia, Violet, Stone, (ITI Press, 2024), DAYS, (Belladonna Press, 2021), and My Ida (Ugly Duckling Presse, 2017). She teaches at Parsons School for Design and Rutgers University.
Hand (Riddle is everywhere/Because a grain shatters direction), 2025, alabaster, earth, pine pedestal, 11” X 11.5” X 36”Water Stone (xviii), 2024, watercolor on paper, 22” x 30”“Hole:Through (One by one, to see),” 2025, rhy … pine pedestal, 11” X 11.5” X 35
Brendan Fernandes, born in Nairobi, Kenya 1979. Currently based in Chicago, his practice addresses issues of race, queer culture, migration, protest, andother forms of collective movement. Constantly seeking to create new spaces and forms of agency, Fernandes’work often takes on hybrid forms: part ballet, part queer dance party, part political protest always rooted in collaboration and fostering solidarity.
Fernandes is a graduate of the Whitney Independent Study Program (2007) and has been the recipient of numerous awards, including a Robert Rauschenberg Residency Fellowship (2014), a Smithsonian Artist Research Fellowship (2020), an Artadia Award(2019), a Louis Comfort Tiffany Foundation Grant (2019), and most recently, the PlatformAward (2024). In 2024, he was also honored with the Creative Voice Award by Arts Alliance Illinois. His work has been presented at prestigious venues such as the 2019 Whitney Biennial at the Whitney Museum of American Art, New York; the Museum ofContemporary Art Chicago, Chicago; the Solomon R. Guggenheim Museum, New York, the Museum of Modern Art, New York; the J. Paul Getty Museum, Los Angeles; theNational Gallery of Canada,Ottawa; and the Musée d’art contemporain de Montréal, MAC;among many others. Fernandes is an Associate Professor in the Department of Art,Theory, and Practice at Northwestern University. He is represented by Monique MelocheGallery in Chicago and Susan Inglett Gallery in New York. Recent and upcoming projectsinclude performances and solo presentations at the Pulitzer Arts Foundation, St. Louis,MO; the Museum of Contemporary Art Denver, Denver, CO; the Fabric Workshop andMuseum, Philadelphia, PA; and Prospect.6, New Orleans, LA. In spring 2026, a major newcommission and solo exhibition will debut at the Driehaus Museum in Chicago.
Antelman both deconstructs the body and then reassembles it, not just as a way of imagining a deeper connection with nature, but also as a way of expressing how malleable the very idea of it has become. In place of a techno-utopianism, in which the steady advance of technology is uniformly celebrated, Antelman expresses an atavistic position instead, one which delights in the complexity of nature rather than seeking to explain or instrumentalize it. Her work reminds us that what is mysterious in the world often connects us to what is mystical in it as well.
Born 1971 in Athens, Greece, Maria Antelman received her MFA in New Genres from Columbia University and a BA in Art History from the Complutense University, Madrid. Her work has exhibited internationally, including at the Bemis Center of Contemporary Art, Omaha, NE; Pioneer Works, New York; Macedonian Museum of Contemporary Art, Thessaloniki; Visual Arts Center at the University of Texas, Austin; Botanical Garden I&A Diomidos, Athens; National Museum of Contemporary Art, Athens; Onassis Cultural Centre, Athens; Benaki Museum, Athens; Centro Nacional de Arte Contemporaneo, Cerillos, Chile and Yerba Buena Center for the Arts, San Francisco. Antelman’s work was included in Companion Pieces: New Photography 2020 at the Museum of Modern Art, New York. She has been the recipient of grants from the Onassis Foundation USA, as well as the National Museum of Contemporary Art and the J.F. Costopoulos Foundation, Athens. Antelman has taken part in artist residences including Silver Art Projects, Pioneer Works and the International Studio & Curatorial Program in New York. Antelman currently lives and works in Athens.
Maria Antelman, Conjurer, 2024. Archival pigment print, 21 1/2 x 27 1/2 inches. © Maria Antelman. Courtesy Yancey Richardson, New YorkMaria Antelman, Hypnos, 2020. Archival pigment print, 58 x 52 inches. © Maria Antelman. Courtesy Yancey Richardson, New YorkMaria Antelman, Hall of Mirrors, 2020. Archival pigment print, 39 x 19 inches. © Maria Antelman. Courtesy Yancey Richardson, New York
Benjamin Freedman is an artist whose practice spans multiple mediums including photography, video and computer-generated imagery with an interest in the restorative potential of photographic research and play.
He received his bachelor’s degree in photography at the Toronto Metropolitan University (TMU) in 2013 and his Masters at The Ecole cantonal d’art de Lausanne in 2023. While probing the relative truths and deceptions of photography, he purposefully adopts visual vocabularies from cinema and television in an effort to create expanded documentary projects. He has exhibited extensively across the greater Toronto area and internationally at the Aperture Foundation in New York City, Chung-Ang University in Seoul, Foto-Undustria Biennale in Bologna and in the Riga Photography Biennale in Latvia. He recently presented work at the Images Vevey Biennale, Vontobel in Zurich, Switzerland and at Ptolemy Gallery in Queens, New York.
Installation view: Benjamin Freedman: Surface Imperfect. Ptolemy, Glendale, NY, 2025.Installation view: Benjamin Freedman: Surface Imperfect. Ptolemy, Glendale, NY, 2025.Benjamin Freedman, “I Spy,” 2025. C-Print, 24 x 29 in.Benjamin Freedman, “Musings,” 2025. C-Print, 24 x 29 in.
Michelle Im creates ceramic sculptures that explore themes of home, displacement, and cultural identity in the context of globalization. Drawing inspiration from ceramic traditions, she examines how historical and cultural forces shape her experience as aKorean American. Using handbuilt figurative forms, Im addresses the psychological tension of embodying conflicting cultural ideologies such as individualism and collectivism. By portraying service workers such as flight attendants, she navigates the nuanced space between cultural dualities, using these figures to reflect on labor, performance, and community.
Michelle Im is a Korean-American ceramic artist based in Queens, NY.In 2024, she was selected as the Artist Fellow at the Museum of Arts & Design. Grants and awards include the Center for Craft Teaching Artist Grant, American Craft CouncilEmerging Artist Grant,Penland School of Craft Distinguished Fellowship, and Ceramics Monthly Emerging Artist Award.Shewas a Visiting Artist in Residence at the Archie Bray Foundation for the Ceramic Artsand has attended residencies atTownship10,Watershed Center for the Ceramic Arts, and Penland School of Craft. Herwork has received mentions byThe New York Times, ARTnews, and The Korea Times.She holds a BA in Biological Sciences & Art from the State University of New York atBuffalo and is a faculty member at Greenwich House Pottery in New York, NY
Joyce Weidenaar is a painter and monoprintmaker living in New York City. She began pursuing art ten years ago after retiring from a real estate career. Her works have been seen in solo and group exhibitions, and in private collections. Her paintings are rendered realistically but with unusual framing, bright colors and often a bit of whimsy. Her prints emphasize texture and are purely abstract. Joyce is a member of the National Association of Women Artists, Pleiades Gallery, The Art Students League of New York and the West Side Arts Coalition. Her paintings and prints are viewable on Instagram (@joyceweidenaar) and on her website (http://www.joyceweidenaarartworks.com). Her gallery talk at the Port Washington Public Library can be seen here. In addition to her art endeavors, Joyce is an avid ballroom dancer and skier.
Adam Cable (b. 1989) creates vignettes of American domestic life using found digital images. His work entwines perception and narratives into the reconstruction of these environments, highlighting ways that impressions and expectations inform experiences of space. These compositions blur the lines between picture and collage by overlaying keyword-sourced materials onto component shapes. Challenging the conventional idea of “home” as a blank canvas, Cable presents it as a complex space influenced by countless factors. Even seemingly static forms become imbued with emotions and meanings through the images he incorporates, reflecting the intricate dance between social norms and cultural values in our everyday surroundings.
Cable has shown in several group and solo exhibitions, including at the Amos Eno Gallery project space, NYC; The Painting Center, NYC; University of North Carolina, Asheville; PULSE Art Fair, Miami; Local Project, NYC; and The Plaxall Gallery, NYC. At the end of 2020, he co-curated “Annus Horribilis” with Float Magazine, a group exhibition of work created that globally significant year, while in 2021, The Wassaic Project included his work in the book Secrets of the Friendly Woods. Cable holds an MFA from the School of Visual Arts (2017) and a BFA from the University of North Carolina, Asheville (2013). He lives and works in Brooklyn NY.
Adam Cable, Am I There Yet?, 2022-23, archival pigment print, 24 x 18 inchesAdam Cable, Unrequited, 2024, archival pigment print, 20 x 14 inchesAdam Cable, Anywhere But Here, 2021, archival pigment print, 15 x 15 inches
Natalia Zourabova was born in Moscow, Russia in 1975, lives and works in Tel Aviv since 2004. She studied at the Russian Academy of Theater Art in Moscow (1995-2000) and the University of Arts in Berlin (2000-2003).Zourabova is primarily a figurative painter. She paints scenes that she knows intimately – oftentimes city streets in her neighborhood in Jaffa, or familiar interiors. Color is central to Zourabova’s work; her palette and the mood of her paintings range from naturalistic to absurd, and her paintings vary along the spectrum of realism to abstraction.Zourabova has exhibited various solo shows in Israel, at Haifa Museum of art (2024), Herzliya Museum of contemporary art (2019-20), Janco Dada Museum, Ein-Hod (2005); as well as at the Iragui Gallery in Russia (2008-2019), and had multiple solo exhibitions across Israel, Russia, France, Sweden and more. She has participated in group shows internationally at such venues as The Israel Museum (2015, 2018), Mediterranean Biennale (2020,2013), the Garage Triennial of Contemporary art (2020; Salaisons in Paris, France (2010); and the Vasternorrland Museum in Sweden (2000), among others.Zourabova, Nightlight, 2025, 90.5 x 127 in, Oil on CanvasZourabova, Evening Meal, 2024, 51.2 x 51.2 in, Oil on CanvasZourabova, Women, 2024, 47.25 x 67 in, Oil on Canvas
Artist Lin Wang. Photo by Joe Kramm. Courtesy of Hostler BurrowsLin Wang, China Oslo-based ceramicist Lin Wang produces large-scale still life installations and sculptural assemblages which investigate the corporeality and historic resonance of porcelain. Over centuries, porcelain’s combination of a kaolin-rich white clay body with deep cobalt glazes has registered the ongoing effects of contact and trade, as well as the phantasmic projections of a long-standing dialog between East and West. As an artist working between China and Norway, Wang’s interest in this interchange holds personal significance, tinged by her own wanderlust, homesickness, and experiences of cultural discovery. Since 2016, Wang has explored these themes through a cycle of exhibitions, video works, performances, and workshops titled Exotic Dreams and Poetic Misunderstanding.As a group, these works intersperse the iconography of traditional blue-and-white chinaware with imagery of sailors’ tattoos, Buddhist and Christian religious deities, and the fantastic creatures populating the terra incognita of early maps. Wang engages these varied histories, combining her own experiences as ceramicist and tattoo artist, traveler and immigrant, fantasist and materialist. Her craft-based interdisciplinary practice is structured by the many forms of sculptural tableaus (the scroll, the folding screen, the still life arrangement) — artistic scenarios rife with complex interactions between personal objects, symbols of status, reminders of mortality, and allegorical stand-ins. Throughout, the delicate materiality and translucence of porcelain — which itself summons comparison with bone and skin — is refigured not only as canvas but as a quasi-corporeal body, marked by the ambitions of commerce and the aftermath of empire.Wang received a bachelor’s degree in sculpture from the China Academy of Art and a master’s degree in fine art from the University of Bergen. Her central research project Exotic Dreams and Poetic Misunderstandings consists of an ongoing series of exhibitions over the past decade. In 2019, as part of the research for this project, she produced two solo exhibitions at the Kunsthall Grenland and the Vigeland Museum. She has completed numerous public commissions, including for the Hammerfest Hospital, Sarpsborg Library, and Tønsberg Courthouse. Her work is included in the collections of the Nordenfjeldske Kunstindustrimuseum, Oslo Kommune, Porsgrunn Kommune, and the National Museum, Oslo, Norway.Lin Wang, The Harbor Romance, 2025. Glazed porcelain, gold. 4.25" H x 12.25" W x 4.25" D. Photo by Joe Kramm. Courtesy of Hostler BurrowsDetail: Lin Wang, Porcelain Flesh Table, 2025. Glazed porcelain, stainless steel. 25" H x 124.5" W x 64" D. Photo by Joe Kramm. Courtesy of Hostler BurrowsLin Wang, I Never Saw the East Coast until I Moved to the West (Jar I), 2025. Glazed porcelain, gold. 19.5" H x 10" Dia. Photo by Joe Kramm. Courtesy of Hostler Burrows
Naomi Okubo’s work explores delicate and often uneasy relationships between individuals, society, and the spaces that shape them. Drawing on her personal experiences, particularly her complex relationship with her mother, she examines how guise, decoration, and inherited roles—especially restrictive notions of “femininity”—affect human interactions.In her early work, Okubo depicted women without faces as a symbol of the pressures to conform in Japanese society. Over time, these faceless figures have come to function more broadly as a mirror, allowing viewers to project themselves and reflecting both individual experiences and societal dynamics. In recent years, she has also been exploring the motif of the “greenhouse/home,” a confined yet seemingly nurturing space that resonates with her upbringing and contemporary life, highlighting how environments can both protect and constrain. Her works involve a complex, multi-layered process, where materials and techniques accumulate to convey the depth and contradictions of lived experience.Okubo earned her MFA from Musashino Art University in 2011 and lived in New York from 2017–2019 with grants from the Agency for Cultural Affairs of Japan and the Yoshino Gypsum Foundation. She has exhibited widely in Asia, Europe, and the U.S., including Fou Gallery, New York (2024/25); GALLERY MoMo, Tokyo (2023); ELSA ART GALLERY, Taipei (2022); and Yoshino Gypsum Art Foundation, Tokyo (2022). She served as a residency artist at mh PROJECT, New York (2019); Residency Unlimited, New York (2017); and Art Department of Halland Municipality, Sweden (2014). Her work has been featured by Airbnb Magazine, ZEIT-magazine, Contemporary Art Curator Magazine, Financial Times, Juxtapoz Magazine, The New Yorker, Vanity Fair, and a PBS documentary.Bird Collector, 2025, Acrylic on raw canvas, 57 × 44 in.Canary Cave, 2025, Acrylic on raw canvas, 38.2 × 51.3 in.Dancing in the Flames, 2025, Acrylic on raw canvas, 28 × 12.4 in.
Eva Lake studied art history and archaeology at the University of Oregon and painting at the Art Students League of New York. She has exhibited internationally since 1980. As a singer in post punk bands she recorded with Trap Records in the Pacific Northwest. Her day job was in makeup, beauty and fashion and this, plus her studies in art history, have formed the foundation and subject matter for much of her work. For over a dozen years she interviewed other art people on the radio, specifically KPSU and KBOO, and has written about art for various publications including Art Week, Visual Art Source, Preview and the Bay Area Guardian. Lake also curated exhibitions and worked at artist-run and commercial galleries including Lovelake, Chambers Fine Art, Portland Arts Collective and the Russo Lee Gallery. Born in Los Angeles, she then grew up on a dirt road in southern Oregon. Lake currently lives and works in Portland, Oregon and is represented by Frosch and Co in New York City and Modernism in San Francisco.Eva Lake, Crystal Helmet No. 4 Paper collage 17.5 x 14 2024Eva Lake, Egyptian Sculpture Helmet Paper collage 23.5 x 19.5 inches 2024Eva Lake, Giotto Helmet Paper collage 25.5 x 19.5 inches 2025
Robert Janitz (b. 1962, Alsfeld, Germany) is a contemporary painter known for his bold, abstract canvases that balance humor, gesture, and materiality. After studying Sanskrit and art history in Germany, he lived in Paris for many years before relocating to New York and later Mexico City, where he currently lives and works.Janitz is best recognized for his large-scale works featuring sweeping, textured brushstrokes that recall the motion of everyday acts—like buttering toast or polishing shoes—transforming mundane gestures into painterly abstraction. His practice often blends saturated color fields with playful surfaces, exploring perception, language, and the boundaries of painting itself.Over the past two decades, his work has been exhibited internationally in museums and galleries, including solo and group shows across Europe, the United States, and Latin America.His works are part of the permanent collections of the Musée d'Art Moderne de Paris, France; San Francisco Museum of Modern Art, San Francisco, USA; Amorepacific Museum of Art, Seoul, South Korea; the Collezione Maramotti in Reggio Emilia and the Hall Art Foundation, Reading, VT, USA.Robert Janitz, Studio Rats, 2025, Oil, wax, flour on linen, 25 × 20 inches (63.5 × 50.8 cm)Robert Janitz, Masquerade in the Park, 2024, Oil, wax, flour on linen, 25 ½ × 19 ½ inches (65 × 50 cm)Robert Janitz, Camino a Comala, 2024, Oil, wax, flour on linen, 51 × 39 inches (130 × 100 cm)
The artist photographed by Geoffrey Biddle.Avital Burg studied at Bezalel Academy, the Hatahana School, the Slade School of Art, and the New York Studio School. Burg was the artist-in-residence at the Interlude Residency, NY, and the Peleh Residency, CA. Her works are in prominent collections, including the Louis-Dreyfus Family Collection (NY), and the Bank Leumi Art Collection.Burg’s impasto paintings incorporate dry paint pieces from her palette into fresh layers, creating surfaces reminiscent of low-relief sculptures. Some canvases are painted over three or four previous works, signifying how each moment of creation encapsulates multiple points in time. The oil on canvas grows lush with life, prompting Burg to reflect on the impermanence of material existence and inviting guests into a rhythmic and meditative form of viewing. Cracks in the Pavement offers a glimpse into nature’s quiet cycles and beauty, often lost in the urban thrum of New York City. In Burg’s newest paintings, blue chicories push through the earth, wildflowers bloom in winter, then wither—making way for spring’s pink and lavender buds. The inevitability of impermanence is layered onto the canvas, with each painting titled after the street where the artist encountered the flower during walks to and from her Brooklyn studio.Avital Burg, Harlemville Road Purple Loosestrife, 2024, Oil on linen mounted on wood, 10 x 8 in. Image courtesy of the Artist and Fridman GalleryAvital Burg, Summer Crown Heights Flowers, 2024, Oil on linen mounted on wood, 10 x 8.5 in. Image courtesy of the Artist and Fridman GalleryAvital Burg, TJ Hyacinth (Week 35), 2023, Oil on linen, 30 x 26 in. Image courtesy of the Artist and Fridman Gallery
Yatika Starr Fields, 2025. Portrait © Tom Fields 2025Born in 1980 in Tulsa, Yatika Starr Fields is a member of the Cherokee, Creek and Osage tribes, as well as a member of the Bear Clan.Yatika Fields studied landscape painting at the University of Oklahoma’s Sienna, Italy summer program before enrolling at the Art Institute of Boston from 2001 to 2004. While living on the East Coast, the artist developed a keen interest in street art. His dynamic, vibrant graffiti works quickly attracted attention, generating public and private mural commissions across the country from Portland to Oklahoma City, Phoenix, Santa Fe, and Bentonville.In 2018, he completed Astonishment of Perception, a monumental site-specific mural in downtown Bentonville, as part of Crystal Bridges Museum’s Art for a New Understanding (2018–2019). Spanning the side of Cripps Law Firm’s two-story building, the work depicts lady justice peeking from behind her blindfold, highlighting the dissonance between America’s ideals and its judicial system in practice. Like many of Fields’s works, the mural blends abstract and stylistic elements, figuration, and allegorical narrative, all in a dynamic, saturated Pop-palette.After joining the water protectors at the Dakota Access Pipeline in 2016, Fields began to give the Indigenous history of hope and struggle a greater focus in his work. In the 2017 series Tent Metaphor Standing Rock, the artist recovered tents after the infamous February 22, 2017 police raid on the protesters, sewing the recovered material into shapes resembling coffins, sleeping bags, or kites. Fields first worked with tents—a mainstay of middle-class camping holidays— after witnessing Seattle’s brightly colored homeless encampments. His interest only increased after noticing the structure’s role in modern protest movements. The artist recombines the vivid material into traditional Indigenous patterns, anti-pipeline slogans like “Stop the Black Snake,” and into dynamic, compelling abstract compositions. In its totality, the series blurs the boundaries between political polemic and abstraction, between distress, resistance, and hope.The painting, America Realized (2017), also memorializes the experience at Standing Rock. The composition is explosive: Torrents of ice and fire swirl through prayer ties and collapsing tents, recounting the freezing weather, police force, and fires that the activists braved at Oceti Sakowin, the central camp in Cannon Ball, North Dakota. A surveillance drone flies across the top of the expansive canvas packed with razor wire, floodlights, and debris. The scale of the 6- by-6-foot composition allows for Fields to replicate the embodied, fluid performance of mural and street art. As in graffiti works, Fields blurs the line between abstraction and representation, creating stylistic compositions out of recognizable elements, and setting them against dynamic, swirling fields of color and twisting forms.Fields has participated in over 43 solo and group exhibitions at venues across the United States and Europe, including: the Southern Plains Indian Museum, (2008, Anadarko, Oklahoma); Chiaroscuro Contemporary (2008, 2009, 2010, 2011, 2012, 2013, 2014, Santa Fe); BlueRain Gallery (2015, 2016, 2018, Santa Fe); Peabody Essex Museum, (2015–2016, Salem, MA); Rainmaker Gallery (2017, Bristol, UK); the Grand Palais (2018, Paris); the Philbrook Museum (2018, Tulsa); the Crystal Bridges Museum of American Art (Bentonville, 2019); and the Gilcrease Museum, (2019, Tulsa). Fields’s paintings are featured in the collections of many museums across the country, including: the Heard Museum (Phoenix); the Hood Museum (Dartmouth College); Oklahoma State Museum of Art; the Peabody Essex Museum; and the Sam Noble Museum (University of Oklahoma).Yatika Starr Fields, Tahlequah, 2025 Polyester, nylon, aluminum rod and tyvek 67 x 50 inches 170.2 x 127 cmYatika Starr Fields, Impermanence, 2025 Polyester,
Madeline Peckenpaugh (b. 1991, Milwaukee, Wisconsin) renders depth through iterations of adding and subtracting paint, creating a semblance of deep and flat space simultaneously. Probing the slips in perception between corporeal experience, memory, and imagination, she shifts the scale of everyday elements, interlaces components, and depicts forms in both single tones and fluctuating textures. The viewer’s trained perception of the landscape can become questioned, as monumental structures begin to vaporize, and natural forms become paper thin. There is a reconciliation of opposites: deep space of the real world with the flat space of the canvas.Peckenpaugh received an MFA in Painting from Rhode Island School of Design, Providence, RI and a BFA from the Pennsylvania Academy of Fine Arts, Philadelphia, PA. Peckenpaugh’s work has been exhibited at Alexander Berggruen, New York, NY; Bremond Capela, Paris, FR; 1969 Gallery, New York, NY; F2T Gallery, Milan, IT; Andrew Reed Gallery, Miami, FL; PM/AM Gallery, London, UK; COMA, Sydney Australia; and The Rhode Island School of Design Museum, Providence, RI; among others. Her work is included in the public collections of the Institute of Contemporary Art, Miami, FL; the Woodmere Art Museum, Philadelphia, PA; Brown University, Providence, RI; and the Pennsylvania Academy of Fine Arts, Philadelphia, PA. She was recently an artist in residence at Palazzo Monti in Brescia, Italy. Peckenpaugh lives and works in Queens, NY.Madeline Peckenpaugh, In Orbit, 2025 oil on canvas 77 1/2 x 100 in. (196.8 x 254 cm.) Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Philipp HoffmannMadeline Peckenpaugh, Aries Moon, 2025 oil on linen 54 x 52 in. (137.2 x 132.1 cm.) Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Philipp HoffmannMadeline Peckenpaugh, Spring, 2025 oil on canvas 70 x 65 3/4 in. (177.8 x 167 cm.) Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Philipp Hoffmann
JD Raenbeau (b. 1985, Stony Brook, NY) currently lives and works in Rocky Point, New York.He received his MFA from The School of Visual Arts where he received the Paula Rhodes Memorial Award for Exceptional Achievement in Art Practice.He holds a BFA from Alfred University. Raenbeau has exhibited his work in New York, Brooklyn, Los Angeles, New Mexico, and the UK.His work has been featured in New American Paintings, Artsin Square Magazine, and Sensitive Content Magazine.He was recently an Artist in Residence at the Vermont Studio Center, The Golden Foundation for The Arts, and most recently was Artist in Residence at the Hafnarborg Museum in Hafnarfjordur, Iceland.© JD Raenbeau, “Canopy,” 2025, Oil on panel, 24 x 30 inches, Courtesy of CLAMP, New York© JD Raenbeau, “Full Moon,” 2024, Oil on panel, 12 x 16 inches, Courtesy of CLAMP, New York© JD Raenbeau, “X,” 2024, Oil on panel, 16 x 16 inches, Courtesy of CLAMP, New York
Abby Lloyd (b. 1988) is a multidisciplinary artist and independent curator based in New York City. Her work utilizes humor and familiar motifs to confront themes of loss, memory, and the emotional charge of objects.Lloyd’s recent solo exhibitions include On Display at Ptolemy (Queens, NY), Goodbye Dolly at Alyssa Davis Gallery (New York, NY), and Abby’s Room at Freddy (Harris, NY).She has organized several events and exhibitions, including the recent Artists & Recipes at Marvin Gardens (Ridgewood, Queens), based on her 2020 cookbook of the same name featuring over 40 artists.Her work has been featured in The New York Times, The Brooklyn Rail, Frieze, and Vice. She has performed and exhibited throughout the U.S. and internationally, including presentations at the Musée d'Art Contemporain (France), White Columns (New York), Kunsthall Oslo (Norway), Montez Press Radio (New York), and The High Line (New York).Installation view, Abby Lloyd: On Display, Ptolemy, Glendale, NY, 2025Abby Lloyd, It's fun, 2025 Acrylic on canvas 36 x 48 x 1 1/2 in 91.4 x 121.9 x 3.8 cmAbby Lloyd, Smiley Face, 2025 Metallic pewter paint on foam 10 x 10 x 1 1/2 in 25.4 x 25.4 x 3.8 cmAbby Lloyd, Jack, 2025 Foam, cardboard, acrylic paint, turntable 108 x 84 x 72 in 274.3 x 213.4 x 182.9 cm
Artist portrait courtesy of Julian Espino.Born in San Francisco in 1986, Tony Huynh graduated from the California College of the Arts and now works from his studio in Sacramento, CA.His paintings are part of international collections and have been included in solo and group exhibitions, including at the San Diego Museum of Art, CA; Crocker Art Museum, Sacramento, CA; Marin Museum of Contemporary Art, CA; Pablo’s Birthday, New York, NY; Scroll NYC, NY; and Galerie Christian Lethert, Cologne, Germany.Tony Huynh, Memento, 2025 oil on panel, in artist's frame 12 x 12 in 30.5 x 30.5 cm Image courtesy of Mikhail Mishin. Tony Huynh, Morning Ferry, 2025 oil on panel, in artist's frame 12 x 12 in 30.5 x 30.5 cm Image courtesy of Mikhail Mishin. Tony Huynh, Wish I knew, 2025 oil on panel, in artist's frame 10 x 10 in 25.4 x 25.4 cm Image courtesy of Mikhail Mishin.
Lexia Hachtmann (*1993 in Berlin) is a British-German artist. She completed her Art and Design Foundation Diploma in 2013 in Brighton and returned to Berlin to continue her studies in Fine Art Painting at Universität der Künste Berlin. Here, she obtained a Meisterschüler degree in the painting class of Prof. Mark Lammert in July 2021. Lexia Hachtmann is alumna of the 2022 Goldrausch Künstlerinnenprojekt and went on to study a Master of Fine Art (MA) in Painting at the Slade School of Fine Art, UCL London for which she received the DAAD Grant.Working in both figurative oil painting and printmaking, Lexia Hachtmann's work deals with conceptions around miscommunication, identity and social hierarchies. To her, the area of the canvas presents a space on which to comprehend, reenact and visualize universal feelings of isolation, intimacy and longing. Lexia Hachtmann's protagonists often move through displaced rooms, stagelike spaces of colour that are neither located in- or outside but rather depict moments of the in-between. Her figures often seem introverted and disconnected from one another, each in their own space, their own mind; fragile yet present. She is engaged in these motives that point to the thresholds; the boundaries between the private and public realm. This could be a physical and/or emotional space. The use of ambiguous objects and situations on the canvas enable her to create banal and yet uncomfortable situations. She aims to retain a certain ambivalence in her chosen subjects so that they may speak to our current and complex times by using fragmented, cropped, blurred, awkward and/or heavily enlarged images. In this way notions of both the fragmentary and the monumental are important trajectories in her work.Bella Donna, 145 x 130cm, Lexia HachtmannOut of Joint, 145 x 130 cm, Lexia HachtmannPräsentierteller, 51 x 45.5cm, Lexia Hachtmann
Iva Gueorguieva (b.1974, Sofia, Bulgaria, lives and works in Los Angeles, CA) received her B.A. from the Tyler School of Art, Philadelphia, PA.She has had recent solo exhibitions at Night Gallery, Los Angeles, Bradwolff & Partners, Amsterdam, and Gavlak Gallery, Palm Beach, FL.Her work is included in public collections such as the Los Angeles County Museum of Art, Los Angeles, CA; Minneapolis Institute of Art, Minneapolis, MN; Museum of Contemporary Art, Los Angeles, CA; Museum of Contemporary Art, San Diego, CA, among others.Iva Gueorguieva, Field 8, 2025 acrylic, charcoal and gauze on canvas 76.25 x 53 inchesIva Gueorguieva Animal 12, 2024 acrylic and gauze on canvas 72 x 50.5 inchesIva Gueorguieva, Kukeri: Birds, 2024 acrylic and gauze on canvas 78 x 50 inchesSketchbook of the artist referenced in the interview.
Graham Durward was born in Aberdeen, UK and currently lives and works in New York. Durward attended the Edinburgh College of Art (both Undergrad and Graduate) and studied in the Whitney Museum Independent Study Program.He has had solo shows at Maureen Paley, London; Marianne Boesky Gallery, New York; Peninsula, New York; Step sister, New York; Shrine, New York; White Columns, New York; Sandra Gering Gallery, New York; and more. He has also been featured in exhibitions at Peter Blum Gallery, New York; Gavin Brown, New York; and more. Durward’s work has been reviewed in Artforum, Art Newspaper, Art in America, and the New York Times.Graham Durward, International Male, 2025 32 h x 28 w inches Oil on linenGraham Durward, Jet Streaming, 2025 84 h x 60 w inches Oil on linenGraham Durward, Angel walking a dog, 2025 64 h x 52 w inches Oil on linen
Katja Farin works in figurative painting depicting the interactions between the subconscious and reality. The relationship between figures is uncertain; the everyday life of sitting at coffee shops, wandering in backyard gardens, answering boring phone calls becomes the backdrop for the internal dialogue with the self that contemplates traumas, coping mechanisms, dreams and distortions. The works are dream spaces that allow the viewer to peek into the interior worlds of the figures, their relationships with the self and others. Bright colors, glowing hands and distorted bodies create the dreamlike dysphoric space that these androgynous figures embody.Farin received a BA in Fine Art from the University of California, Los Angeles in 2018 and is a candidate for an MFA degree from the Slade School of Fine Art in London. Selected solo exhibitions include Friends Indeed (San Francisco), Era Gallery (Milan), Lubov (New York) and in lieu (Los Angeles). Their art has been included in group exhibitions at Pace Gallery (Hong Kong), Alexander Berggruen (New York), Shulmit Nazarian (Los Angeles), Wilding Cran (Los Angeles) and Nicodim (Los Angeles). Their work has been shown in several art fairs including NADA Miami, Miart Milan, KAIF Seoul and Art Taipei Taipei. They live and work in Los Angeles, CA and London, UK.Backstage Pages, 2025 Oil on canvas, 47 1/4 x 33 1/2 in | 120 x 85 cmDaytime Time Travel, 2025 Oil on canvas 82 3/4 x 59 in | 210 x 150 cmBlind Spot Mirror #1, 2025 Stoneware, rearview vehicle mirrors, glaze 23 x 22 x 4 in | 58.5 x 56 x 10 cm
Jovencio de la Paz (b. 1986) was born in Singapore, and currently lives and works in Eugene, OR. They received their BFA from the School of the Art Institute of Chicago, IL, in 2008, followed by an MFA from Cranbrook Academy of Art, Bloomfield Hills, MI, in 2012. De la Paz has been included in group shows at Museum of Contemporary Art Denver, CO; EFA Project Space, New York, NY; Museum of Craft and Folk Art, Los Angeles, CA; Jordan Schnitzer Museum of Art, Eugene, OR; Cranbrook Art Museum, Bloomfield Hills, MI; The Franklin, Chicago, IL; Uri Gallery, Seoul, Korea; among others.
In 2022, Jovencio de la Paz was named a United States Artist Fellow for their significant contribution to the field of craft.
The title of the exhibition, el lugar de los milagros / the place of miracles is a quotation from didactic signage at the necropolis of Mitla. Located in San Pablo Villa de Mitla, Oaxaca, Mexico, this archaeological site is ritually significant to the history of textiles. The walls of the pre-Colombian settlement depict traditional weave structures from the region, considered to be sacred pathways for the souls of the dead to traverse between the seen and unseen worlds. De la Paz likens the site to a massive computational device transmitting sacred data via circuitry of carved stone, aiding the spirit in its negotiation between worlds. Re-coding the mathematical pattern language of Mitla into digital weave structures, de la Paz confronts their own colonial displacement as an immigrant and cultural descendent of Spanish colonialism.
Hoda Kashiha (b. 1986, Tehran, Iran) is a painter whose work fuses humor, fragmented figuration, and political resonance. Trained at the University of Tehran (BFA, 2009) and Boston University (MFA, 2014), she spent several years in the U.S. before returning to Tehran in 2016. Her artistic language combines Persian miniature and pop influences—with digital collage, airbrushed flat shapes, and emotive cartoon references—to probe identity, gender fluidity, and everyday acts of resistance.
Kashiha’s recent solo exhibitions reflect her international trajectory and evolving visual strategy. In 2021, In Appreciation of Blinking at Parallel Circuit in Tehran, followed in 2022 by I’m Here, I’m Not Here at Passerelle Centre d’Art Contemporain in Brest. She was presented in Brussels in 2023 with Another World Is Waiting for Us at Galerie Nathalie Obadia. Most recently, she held her first New York solo exhibition, The Doubt Between Us Sways Like Hung Mirrored Eyes at episode, on view from April 12 to June 27, 2025. The show featured new paintings exploring surveillance, intimacy, and the shifting power dynamics between visibility and erasure.
Her work has been shown in notable venues like Palais de Tokyo, Gagosian & Jeffrey Deitch (Miami Art Week), and Helena Anrather in New York, and has been featured in Artforum, Frieze, and Art in America. She is a recipient of the Joan Mitchell Foundation Grant, MacDowell Colony Fellowship, and Esther B. & Albert S. Kahn Career Entry Award, and her works are held by the Howard Gotlieb Archival Research Center and Commonwealth Hotel collections.
Hoda Kashiha, Folding gaze, 2025 Acrylic on canvas 48 x 37.8 inches (122 x 96 cm) Image courtesy of the artist and episode, NY. Photography by Archtechtonic.Hoda Kashiha, The hole, 2024 Acrylic on canvas 14 x 18 inches (35.5 x 45.7 cm) 24 x 18 incehs (60.9 x 45.7 cm) Image courtesy of the artist and episode, NY. Photography by Archtechtonic.Hoda Kashiha, The nightmare, 2024 Acrylic on canvas 40 x 30 inches (101.6 x 76.2 cm) Image courtesy of the artist and episode, NY. Photography by Archtechtonic.
A photo of the artist: Judith Simonian with Charles YuenMany of Simonian’s works in the exhibition at JJ MURPHY Gallery are still lifes, such as “Marysia’s Salon” (2024), which was inspired by a visit to a Polish beauty parlor in her East Village neighborhood. “Bottle Symphony in Red” (2023) recalls Giorgio Morandi. Whereas Morandi’s still lifes are a delicate arrangement of vases, jugs, bowls, urns, and bottles, painted in muted colors—whites, browns, and tans—set against a neutral background, Simonian bombards our senses through her use of high-intensity reds, pinks, blue-greens, grays, blacks, and yellow ochre.
In “Inside Outside” (2023), the artist similarly portrays a room as an expressionistic whirlwind of vivid colors. Simonian’s paintings deal with intervals, or the spaces between points. Simonian’s still lifes often open up an interior space to an exterior one. In “Marysia’s Salon,” a photograph tacked on the wall suggests the world outside. “Bobby Pins of Manhattan” (2023-24) provides a glimpse of the city skyline through the window, including the landmark Empire State Building. “Cat in the Lamp” (2024) depicts a black cat inside an illuminated yellow lampshade in front of a large window that overlooks water.
Simonian employs careful framing to create meaning. It is possible to view several of her landscape paintings as political allegories. In “Greener Pastures” (2025), the shimmering image of the Statue of Liberty appears to be a mirage, while green brushstrokes seem to hint at water on deck or maybe even a school of fish. “Resting on Her Side” (2024) depicts rocky terrain and the bleak spectacle of a capsized ship.
Judith Simonian has had solo exhibitions of her work at 1GAP, Brooklyn; Edward Thorp Gallery, New York City; and John Davis Gallery in Hudson, NY. Her work has been shown in numerous museums, including The New Museum, NYC; MoMA/PS1, NYC; Islip Museum, NY; Montclair Art Museum, NJ; Weatherspoon Art Museum, NC; San Francisco Museum of Art, CA; Santa Barbara Museum of Art, CA; Newport Harbor Art Museum, CA; and the Madison Museum of Contemporary Art, WI. Simonian has been awarded many prestigious honors, including a John Simon Guggenheim Memorial Foundation Fellowship, an Adolph and Esther Gottlieb Foundation Individual Support Grant, and a National Endowment for the Arts Grant. She received her BA and MA degrees from California State University, Northridge. The artist lives and works in New York City.
Greener Pastures, 2025, acrylic on canvas, 24 x 32 inchesMarysia’s Salon, 2024, acrylic on canvas, 30 x 20 inchesEnter the Mountain Yellow, 2023, acrylic on canvas, 50 x 66 inches
phot of the artist by Ralph GabrinerDena Schutzer in her fifth solo show at Bowery Gallery in New York City titled “Agitation and Retreat”, describes the work saying, “Together, these oil paintings are a chronicle of observed moments in public and private spaces.” Schutzer’s imagery reflects this wide-open approach—what has caught her eye ranges from a view of a New York street in the giant shadows of looming new skyscrapers, to an intimate scene of the artist’s elderly mother taking a bath. Intuiting a kind of drama in these elements of direct perception provides what Schutzer calls the “initial jolt” that impels her to respond in paint.
For Schutzer this mysterious process—the joy and struggle of proceeding from that first sensation to a new, composed reality on the canvas–has everything to do with her pleasure in the possibilities of paint itself. Her loose but decisive brushwork and bold color tensions and harmonies—acid greens, clashing blues, pervasive violets—don’t let go of the viewer until one has taken in all the oppositions, juxtapositions, parallels from which her brushstroke emerges, still present as a brushstroke, but also, finally, as an essential part of a new and highly personal image.
Dena Schutzer has had 5 solo shows with the Bowery Gallery in NYC, and has been in group shows at The Painting Center-NYC, Westbeth-NYC, Washington Art Association-CT, Kingsborough College-Brooklyn, Brooklyn Waterfront Artists Coalition-BWAC, Hudson Park Library-NYC, Romano Gallery-NJ, Irvington Library, Yonkers Riverfront Library, TC Columbia U- Macy Gallery. She taught painting and was head of the art department at the Abraham Joshua Heschel High School in NYC for 21 years, has been a visiting teaching artist at schools throughout Westchester County and NYC. She illustrated six children’s books for Simon and Schuster, Knopf, and Scholastic among others, and her editorial illustrations have been published in newspapers and magazines including The NY Times, The New Yorker and NY Newsday.
Schutzer attended Skowhegan, NY Studio School, BFA from Suny at Purchase, MFA (in Film) from Yale University, MFA in Art Ed at Columbia University.
“Buildings, Yellow Cloud”, oil on canvas, 16”x12”, 2025“Arm Outstretched”, oil on canvas, 12”x16”, 2023“Four Men Working”, oil on canvas, 18”x20”, 2024
Julianne NashJulianne Nash (b. 1991, Massachusetts) is an artist whose work exists at the intersection between photographic collage and digital painting; she utilizes algorithms inherent to Photoshop in conjunction with traditional compositing techniques to create densely layered landscape images that contend with both personal and climate-driven grief. Color is an integral aspect of Julianne’s work; ranging from dark, depleted and disappearing images to artificially saturated color palettes driven by neural imaging algorithms. All of Julianne’s landscapes are of no specific place – rather are meticulously created collages of numerous photographs. Often inspired by places within the environment that evoke an unknown sadness, fear or discomfort, Julianne’s work explores the complex relationship between personal, cultural and natural histories visible within our ever-changing landscape.
This interview was done on the occasion of her exhibition, Flora non Grata at Amos Eno gallery.Julianne Nash,, Juniper and Sagebrush (22 Images), 2024. Dye-sublimation print on celtic cloth. 100 x 142″.Julianne Nash, Former Glacier (39 Images), 2022. Archival pigment print, mounted to sintra. 40 x 63″Julianne Nash, Artemisia Tridentata No. 3, 2024. Archival pigment print, mounted to sintra. 50 x 40″.
Elizabeth Ravn (b.1994, Brooklyn, NY) received a Bachelors in Fine Arts from the School of the Art Institute of Chicago, Chicago, IL in 2016.
She lives and works in Berlin.
Recent solo and group exhibitions include David Peter Francis, New York (2025); die raum, Berlin (2024); Deborah Schamoni, Munich (2023); SOX, Berlin (2023); KINDL Centre for Contemporary Art, Berlin (2022); ChertLüdde Bungalow, Berlin (2022); Kinderhook & Caracas, Berlin (2021); Kjøpmannsgata Ung Kunst, Trondheim, (2021); and Pina, Vienna (2019).
Elizabeth Ravn, Bild, 2024, oil on canvas, 39 3/8 x 31 1/2 inches (100 x 80 cm). Courtesy of the artist and David Peter Francis, NY.Elizabeth Ravn, Cubbyhole, 2025, oil on canvas, 43 1/4 x 35 3/8 inches (110 x 90 cm). Courtesy of the artist and David Peter Francis, NY.Elizabeth Ravn, November, 2024, oil on canvas, 43 1/4 x 35 3/8 inches (110 x 90 cm). Courtesy of the artist and David Peter Francis, NYElizabeth Ravn, Telephone, 2024, oil on canvas, 27 1/2 x 19 3/4 inches (70 x 50 cm). Courtesy of the artist and David Peter Francis, NY.
Carolina Fusilier (b.1985, Buenos Aires) is a multidisciplinary artist who explores the physicality of technology, notions of non-linear time, and post-human imaginaries at the intersections between organic and mechanical bodies, industrial and domestic settings. Her work takes various forms through moving image, painting, sound, and site-specific projects.Carolina Fusilier lives and works in Oaxaca, Mexico. She studied at the Universidad del Cine in Buenos Aires and completed postgraduate programs at Universidad Torcuato Di Tella (2011), SOMA in Mexico City (2016), and was a guest student at the Düsseldorf Academy under Rita McBride in 2018.
Recent solo and duo exhibitions include Imago, Margot Samel, New York, NY (2025); ¿Cómo se escribe muerte al sur?, Museo Anahuacalli, Mexico City, Mexico (2025); Isla Eléctrica, PEANA, Mexico City, Mexico (2024); Nuit Blanche, Toronto, Canada (2024); Espejo-Espectro, MALBA, Buenos Aires, Argentina (2024); Corrientes Mercuriales, Museo Jumex, Mexico City, Mexico (2023); Clepsidra, Daniela Elbahara Gallery, Mexico City, Mexico (2021); Kitchen with a View, Locust Projects, Miami, FL (2019); and Angel Engines, Natalia Hug, Cologne, Germany (2018).
Selected group exhibitions include Otr’s Mund’s, curated by Aram Moshayedi and Lena Solá Nogué, Museo Tamayo, Mexico City, Mexico (2025);Yendo de la cama al living, curated by Enrique Giner, Salón ACME, Mexico City, Mexico (2025); Breaking up of ice on a river, curated by Lilian Hiob, Margot Samel, New York, NY (2024); Casa Ideal, Proyectos Multipropósito, Mexico City, Mexico (2024); Linhas Tortas, Mendes Wood, São Paulo, Brazil (2023); Hic Sunt Dracones, Deli Gallery, Mexico City, Mexico (2023).
Carolina Fusilier, Súbitamente (IMAGO station), 2025, Oil on hexagonal canvas, stainless steel and speaker. Audio by Miko Revereza., 90 1/2 x 157 1/2 x 2 in | 230 x 400 x 5 cm. photo by Matthew ShermanCarolina Fusilier, Altar II (Imago Lab), 2025 Oil on hexagonal canvas, stainless steel frame 35 3/8 x 25 5/8 in | 90 x 65 cm. photo by Matthew ShermanCarolina Fusilier, War song II, 2025, Oil on hexagonal canvas, 31 1/2 x 19 3/4 in | 80 x 50 cm. photo by Matthew Sherman
Cianne Fragione (b. 1952) is a multidisciplinary artist. With roots in the San Francisco Bay Area Beat and Funk art milieus, she has developed her own process-oriented artistic vocabulary over the past four decades that crosses boundaries between abstract painting and sculpture, and between object and image. A striking combination of oil paint, mixed-media materials, found objects, and textiles characterizes her signature style. Each piece, whether two- or three-dimensional, is built slowly over lengthy periods, becoming a dense synthesis of influences and personal perspectives, including mid-century gestural abstraction and the physical fluency of her early training as a professional dancer. While a sense of space and movement dominates her two-dimensional works, her assemblage pieces tend to be denser and more corporeal. Her most recent works respond to two collections of poems by Italian poet and writer Eugenio Montale: Mediterraneo and Ossi di Seppia.
Fragione has exhibited extensively in solo and group exhibitions nationally and internationally, including at St. Mary’s College Museum of Art, Moraga, CA; Georgetown College, KY; Anya and Andrew Shiva Gallery, New York, NY; American University Museum, Washington, D.C.; John D. Calandra Italian American Institute of Queens College, CUNY, New York, NY; Associazione di Museo D’Arte Contemporaneo Italiano, Catanzaro, Italy; Harmony Hall Regional Center, Washington, MD; University of Scranton Art Museum, Scranton, PA; The Textile Museum, Washington, D.C.; Art in Embassies, Geneva, Sofia, Bulgaria, and Vilnius, Lithuania; Indianapolis Art Center, IN; and San Francisco Museum of Modern Art Gallery, CA.
Her works are held in numerous public collections, including the Baltimore Museum of Art MD; DC Commission Art Bank Collection; Art in Embassies Permanent Collection, U.S. State Department, Guadalajara, Mexico; St. Mary’s College Museum of Art, CA; Italian American Museum, D.C; Department of Special Collections, Cecil H. Green Library, Stanford University, CA; Comune di Monasterace, Calabria, IT; among other museum and private collections.
Motetti: Flowers Grow/ Salty Breath, 2024, oil-based paint, pigment, walnut and black ink, graphite, oil pencils,
on paper, 42.5 x 35 in (107.95 x 88.9 cm), Image by Martin SeckBundles: Seacoasts / Among Fragrances / Winds / Decoy, 2024, oil-based paint, pigment, string, lace, fishing lures, and bone on canvas panel, 8 x 5 x 2 in (20.3 x 12.7 x 5.1 cm), Image by Martin SeckThe Clouds Travel like White Handkerchiefs of Goodbye, 2020 oil-based pigment, collage, graphite, on mylar 54 x 65 in (137.16 x 165.1 cm) Image by Martin Seck
New York-based artist Ethan Cook engages with materialism and minimalism through his two primary media, woven canvas and handmade paper. Cook’s paintings are composed of colored fabric panels that have been hand woven on a four-harness loom, stitched together, and stretched on bars. Foregoing the notion that in order to paint one must apply pigment to canvas in some way – be it by brush, by knife, or by hand – Cook instead uses a loom to weave large swaths of colored fabric that make up his surfaces. For Cook, the performance of artmaking is at once meditative and intensely rhythmic. The grandness of the loom, with its thousands of moving processes and parts, generates a symphony of action that is both quick and unpredictable, developing a variety of idiosyncrasies like a pulled thread or skipped knot, producing a variety of textures that reveal that the works are indeed, handmade.
Cook has had solo exhibitions at Nino Mier Gallery, Los Angeles, Brussels, Marfa and New York; Megan Mulrooney Gallery, Los Angeles; Half Gallery, New York; Andersen’s Contemporary, Copenhagen; Galerie Philipp Zollinger, Zurich; T293, Rome; Loyal Gallery, Stockholm; Anat Ebgi, Los Angeles; Noire Chapel, Torino; Bill Brady, Miami; Sunday-S Gallery, Copenhagen; American Contemporary, New York; Galerie Jeanroch Dard, Paris; Rod Barton, London; Patrick de Brock Gallery, Knokke; and Gana Art Hannam, Seoul. Public collections include The Art Institute of Chicago, Museum Voorlinden, Jordan Schnitzer Museum of Art, Fondation CAB, and Juan Carlos Maldonado Art Collection. His work has been covered in the Los Angeles Times, the New York Times, the Brooklyn Rail, Interview Magazine, Architectural Digest, among other publications.
Ethan Cook, Battement, 2025 Signed and dated on verso Hand-woven cotton 45 x 55 in (framed)Ethan Cook, Sauter, 2025, Signed and dated on verso, Hand-woven cotton, 66 x 77 in (framed)Ethan Cook, Beam Bathing Broken Circle, 2025 Steel 80 x 48 x 12 in 203.2 x 121.9 x 30.5 cm
Within her work, Catalina Chervin (b. 1953, Argentina) depicts what the human mind intuits rather than what the eyes see—replacing empirical knowledge with subconscious feeling.
Chervin studied at the Escuela Nacional Superior Ernesto de la Cárcova in Buenos Aires and worked with the Robert Blackburn Printmaking Workshop in New York City.
Her work is held in prominent institutions worldwide, including The Metropolitan Museum of Art, New York; The Brooklyn Museum, New York; the New York Public Library; El Museo del Barrio, New York; the Art Museum of the Americas, Washington, DC; the Blanton Museum of Art (University of Texas), Austin; the Victoria & Albert Museum, London; The British Museum, London; and the Albertina Museum, Vienna.
Catalina Chervin Untitled, 2004 Hard and soft ground etching with spite bite aquatint, printed on Somerset White paper Master Printer: Lothar Osterburg, New York, 2004 Image size: 15 x 11 in (38.1 x 27.9 cm) Sheet size: 21 x 16 in (53.3 x 40.6 cm) Artist proof edition of 5Catalina Chervin Song 3, 2010 Hard ground and soft ground etching with dry point, printed on Rives De Lin with Kozo chine collé Master printer: Lothar Osterburg, New York, 2010 Image size: 15 x 11 in (38.1 x 27.9 cm) Sheet size: 21 x 16 in (53.3 x 40.6 cm) Edition of 20Catalina Chervin, IT 1, 2015, Hard and soft ground etching, printed on Somerset Textured White paper, Master Printer: Lothar Osterburg, New York, 2015, Image size: 15 x 11 in (38.1 x 27.9 cm), Sheet size: 21 x 16 in (53.3 x 40.6 cm), Edition of 20
Mark Mulroney was born in Redondo Beach when he was very young. He spent a lot of time alone in his room on restriction due to his poor behavior. While in his room, alone, he started to draw, mostly pictures of the Space Shuttle and Vikings. He liked being alone in his room so much that he decided to try and make a career out of it. He is now 52, living in Connecticut, and spending almost all of his time in a room, by himself, drawing.When not in his room he enjoys talking to his wife about how he doesn't want to go on hikesThe End.Mark Mulroney, What Black Hole?, 2025 Oil on Canvas 74 x 92 inches 188 x 233.7 cm, Courtesy of the artist and Mrs., Queens | Photography by GC Photo.Mark Mulroney Kal-El, 2025 Ink on Paper 71 x 46 inches 180.3 x 116.8 cm, Courtesy of the artist and Mrs., Queens | Photography by GC Photo.Mark Mulroney Clark 2, 2025 Oil on Panel with Gum 29 x 22 inches 73.7 x 55.9 cm, Courtesy of the artist and Mrs., Queens | Photography by GC Photo
Michele Abramowitz (USA, b. 1984, Berkeley, California) received her BA from Pomona College (Claremont, CA), her BFA from the Rhode Island School of Design (Providence, RI), and her MFA from the Milton-Avery School of the Arts at Bard College, (Annandale-on-Hudson, New York). Abramowitz has held solo exhibitions at A.I.R. Gallery, Brooklyn, NY (2021) and Kate Werble Gallery, New York, NY (2022).Her work has been exhibited at venues including the North Loop Gallery, Williamstown, MA (2022), UBS Gallery at Bard College, Red Hook, NY (2016), Falcon's Nest, Los Angeles, CA (2016) and Hart Street Studio, Brooklyn NY (2011). She currently lives and works in Brooklyn, NY.Michele Abramowitz, Ghost Crickets 2025 Oil and black gesso on polyester canvas 80 x 54 inches each panel; 80 x 178 inches total. Courtesy of the artist and Kate Werble Gallery, New YorkMichele Abramowitz, Detail, Ghost Crickets 2025 Oil and black gesso on polyester canvas 80 x 54 inches each panel; 80 x 178 inches total. Courtesy of the artist and Kate Werble Gallery, New YorkMichele Abramowitz, The Living Mud, 2025 Oil and black gesso on polyester canvas 48 x 40 inches Courtesy of the artist and Kate Werble Gallery, New YorkMichele Abramowitz, The Unworthy Augustina, 2025 Oil and black gesso on polyester canvas 54 x 40 inches. Courtesy of the artist and Kate Werble Gallery, New York.
Z.T. Nguyen (b. 1997, United States) is an artist currently based in New Haven, CT. He has exhibited at Klaus von Nichtssagend, New York; Asia Art Archive in America, Brooklyn; the RISD Museum, Providence; NARS Foundation, Brooklyn; and the Vincom Center for Contemporary Art, Hà Nội, among others. He has participated in residencies and fellowships at the Textile Arts Center, Brooklyn; The Alternative Art School & MAIIAM Contemporary Art Museum, online; and Asia Art Archive in America. Nguyen received his BFA in Painting from the Rhode Island School of Design (2019) and is currently on the cusp of receiving an MFA in Painting & Printmaking at the Yale School of Art (2025).Facts Are Bigger in the Dark Year: 2025 23.5 x 36 x 6 Squid ink, graphite, colored pencil, and acrylic on letter-sized sheet of paper; found chairHold Me 2024 Acrylic and graphite on letter-sized sheets of paper 32.125 x 40 inchesInfinity 2024 16 x 10.4 inches Acrylic and graphite on letter-sized sheets of paperObey 2025 Acrylic and graphite on paper 10.9 x 8.5 inches
courtesy of Ruiz-Healy Art, New York / San AntonioNicolás Leiva is renowned for his exuberant sculptures and paintings that capture various expressive personal visions. Vessels, boats, abstract forms, flying carriages are transformed into ceramics in an explosion of lush primary colors embossed with metals like silver and gold. Animals and vegetables commingle in a garden of flowers amidst otherworldly places of shelter, are replicated as box-like reliquaries, and plate-like medallions in miniature close-up show territories transitioned from his works on paper. His imaginative world unfolds in infinite realms like a Möbius strip. Highly gestural, organic, or geometric, Leiva presents a host of archetypes in his emblems of flight, safety, and delight.Born in 1958 in Tucumán, Argentina, Leiva graduated from the Fine Arts School of the Universidad Nacional de Tucumán. He continued his studies in Buenos Aires and moved to Miami in 1990. In 1996, he extended his practice to sculpture and ceramics. He lives part-time in Faenza, Italy, where he works with a variety of materials at the workshops of Ceramica Gatti. His work is the subject of the 2005 monograph Nicolas Leiva: The Fire of Self and Multiplication with scholarly text by Ricardo Pau-Llosa and Mariza Vescovo published by Bandecchi & Vivaldi in Italy. He has had many important solo and group exhibitions in the US and internationally, notably his 2023 solo exhibition, Historia de un día, Museo de Bellas Artes Laureano Brizuela, Catamarca, Argentina. Leiva was recently selected for the 2023 Miami Individual Artist (MIA) Grant, Miami-Dade County Department of Cultural Affairs in Miami, FL. His works are in the permanent collections of the Museo de Arte Latinoamericano de Buenos Aires (MALBA); The Snite Museum of Art at the University of Notre Dame, Indiana; the Berardo Collection in Lisbon, Portugal; the Gollinelli Collection in Bologna, Italy; and the Museum of Art of Fort Lauderdale in Florida. The Civic Museum of Marble, Carrara, Italy; Museo Maria Zambrano, Malaga, Spain; José Luis Cuevas Museum, Mexico City, México; Museum of Latin American Art, Long Beach, CA; and Fundación Federico García Lorca, Madrid, Spain.Nicolás Leiva, Sopera, 2015 Signed and dated on the underside Majolica ceramic with gold and platinum lustrous Ceramica Gatti, Italy 17 x 18 x 17 in. courtesy of Ruiz-Healy Art, New York / San Antonio.Nicolás Leiva, Sopera, 2015 Signed and dated on the underside Majolica ceramic with gold and platinum lustrous Ceramica Gatti, Italy 17 x 18 x 17 in. courtesy of Ruiz-Healy Art, New York / San Antonio.Nicolás Leiva, Sea Flora, 2024 Signed and dated on the underside Majolica ceramic with gold 35 x 15 x 15 in. courtesy of Ruiz-Healy Art, New York / San Antonio.Nicolás Leiva, Arbol de los Sueños (Tree of Dreams), 2017 Signed and dated on the underside Majolica ceramic with gold and lustrous Ceramica Gatti, Italy 30 in diameter. courtesy of Ruiz-Healy Art, New York / San Antonio.
Duane Michals (b. 1932, McKeesport, PA) is one of the great photographic innovators of the last century, widely known for his work with series, multiple exposures, and text.Michals first made significant, creative strides in the field of photography during the 1960s. In an era heavily influenced by photojournalism, Michals manipulated the medium to communicate narratives. The sequences, for which he is widely known, appropriate cinema’s frame-by-frame format. Michals has also incorporated text as a key component in his works. Rather than serving a didactic or explanatory function, his handwritten text adds another dimension to the images’ meaning and gives voice to Michals’ singular musings, which are poetic, tragic, and humorous, often all at once. View this post on Instagram A post shared by Brainard Carey, Director of Praxis Center (@praxiscenterforlearning)
Stephen Bron [b. 1993] is a painter living and working in Brooklyn. He received his BFA in painting at The Cooper Union in 2015, and received his MFA in Painting at NYU in 2017, and attended the Yale Norfolk Summer School in 2014. Bron has presented solo exhibitions with Albert Merola Gallery, Provincetown, MA, Auxier Kline Gallery, New York and Galerie Thomas Fuchs, Stuttgart, Germany.Stephen Bron, A Visible Breeze, 2025 oil on linen 30 x 40 inchesStephen Bron, Underfoot (The Divine Soil) #6, 2024-2025 oil on linen 12 x 9 inchesStephen Bron Strangers In The Garden, 2025 oil on linen 12 x 9 inches
Larissa Bates (b. 1981, Burlington, VT) was raised between Vermont and Vara Blanca, Costa Rica. She received a BA from Hampshire College, MA. Recent exhibitions include Taymour Grahne, London, Myriam Chair Galerie, Paris; and Monya Rowe Gallery, NY. In 2024, her work was included in the group exhibition “Gilded: Contemporary Artists Explore Value and Worth” at the Weatherspoon Art Museum, Greensboro, NC, which traveled to the Hunter Museum of American Art, Chattanooga, TN and the Hood Museum of Art, Dartmouth, Hanover, NH. Bates’ work is in the permanent collection of the Hood Museum of Art. Exhibitions have been reviewed in The New York Times, The New Yorker, Artforum, among many others. Bates lives and works in Dobbs Ferry, New York and is represented by Monya Rowe Gallery, NY.LARISSA BATES, MotherMen Luncheon/La Merienda de los MadreHombres, 2024-2025 egg tempera on panel 16 by 20 inchesLARISSA BATES, Spring Cleaning/Limpieza de Primavera, 2024-2025 gouache and egg tempera on panel 20 by 16 inches LARISSA BATES, Patricia del Carmen, I didn’t know your Name, 2023 gouache, gold leaf, acryla ink and acryla gouache on panel 36 by 30 inches
Mara De Luca'sportrait by Lile Kvantaliani(b. 1973, Washington D.C.) paintings evoke a sense of atmospheric abstractions that bring to mind dusk, sunsets, and planetary orbs. Throughout her work there is a sense of reflected ambient light. De Luca's work today extends the celebration of illusionism, romanticism, and the sublime with a deeply informed response to modernist painting.De Luca received an MFA from CalArts, Los Angeles, CA and a BA from Columbia University, NY. Her work has been displayed at the Museum of Contemporary Art, San Diego and is in prominent collections, including the Buck Collection at UC Irvine, JP Morgan Chase, New York; Fidelity, Boston; Alexander Plaza Berlin, Germany; New York Medical College, New York; and the University of Oslo, Norway. She has been reviewed in Artforum, Cultured Magazine, The Los Angeles Times, Artweek LA, and others. De Luca is a recipient of the 2019 California Community Foundation Fellowship for Visual Artists. She has taught Painting at UC San Diego, UC Irvine, UC Davis and UC Riverside.Based in Los Angeles for over two decades, De Luca now lives and works in New York.Mara De Luca, Western Gate 1, 2024 mixed media on canvas with copper plated element 54 × 96 inches (137 × 244 cm)Mara De Luca, Western Gate 2, 2024 acrylic on primed and unprimed canvas with brass plated element 59 x 132 inches (150 x 335.5 cm)Mara De Luca, Cut Western Clouds, 2024, mixed media on cut canvas with copper plated elements, 48 x 42 x 3 inches (122 x 106.5 x 7.5 cm).
Eun-Ha Paek in her studio in Brooklyn, 2024. Photo by Helmi Korhonen. Courtesy of Hostler BurrowsBrooklyn-based multimedia artist Eun-Ha Paek’s sculptures give physical form to the artist’s inner narratives and personal history, while exploring broader themes of identity and human experience. Paek’s hybrid approach to ceramics is informed by her background in animation and film. Her attempts to roll increasingly smaller, tighter coils eventually led her to introduce 3D printing to her practice, enabling detail that would not be possible by hand. The resulting pieces, while finally static, are created through a process that in many ways mimics stop motion animation. Paek’s work, across media, investigates questions of identity through storytelling. Hints of recognizable references and motifs are present in her figures, but this host of characters is the unique product of a visual language developed to give shape to the artist’s internal dialogue.Born in Seoul, South Korea, in 1974, Paek currently lives and works in Brooklyn, NY. She received a BFA in Film/Animation/Video from the Rhode Island School of Design, where she has also been a guest lecturer. Paek’s work has been exhibited throughout the United States and internationally, and she is the recipient of several awards and grants including the Windgate Scholarship and Rudy Autio Grant from the Archie Bray Foundation. Paek’s animated films have screened in the Guggenheim Museum, Sundance Film Festival, and venues around the world. She has been a guest lecturer at the Fashion Institute of Technology, a visiting critic at the Maryland Institute College of Art, and she currently serves on the faculty at Parsons School of Design/The New School.Eun-Ha Paek, Pied Piper, 2025. Glazed stoneware. 17" H x 15.5" W x 9.5” D. Photo by Joe Kramm. Courtesy of Hostler BurrowsEun-Ha Paek, Duck Lips Redux, 2024. 3D printed glazed stoneware. 17.5" H x 14" W x 8” D. Photo by Joe Kramm. Courtesy of Hostler BurrowsEun-Ha Paek, Mongmong Mountain, 2025. Glazed stoneware, gold leaf. 17" H x 22" W x 16”D. Photo by Joe Kramm. Courtesy of Hostler Burrows
Fanny Allié was born in Montpellier, South of France. She received her Master’s Degree from the Ecole Nationale Supérieure de la Photographie (The National School of Photography) in Arles, France in 2005 and moved to New York City.Princeton University, Equity Gallery, Hyatt Centric (Philadelphia), DOT Art, A.I.R Gallery, New York City Department of Parks & Recreation, Fresh Window, Chashama and St Eustache Church (Paris, France), Hudson Yards Alliance have organized solo exhibitions and public installations of her work. Tappan Gallery, Owen James Gallery, NYU/Gallatin Gallery, Dorsky Gallery, Freight + Volume, BRIC Rotunda Gallery, Dekalb Gallery/Pratt Institute, UConn University, Mana Contemporary, Hamburg Museum of Arts and Crafts, The Bronx Museum, Teachers College Columbia University among others have featured her work in group exhibitions.Fanny is the recipient of various fellowships and residencies including AIM (Bronx Museum), BRIC Lab Fellowship, Emergency Grant (Foundation for Contemporary Arts), A.I.R. Fellowship Program, Robert Blackburn Printmaking SIP Fellowship, Elizabeth Foundation for the Arts Studio Program, Yaddo Residency, Dieu Donné Workspace Residency, NYSCA/NYFA Artist Fellowship (Craft/Sculpture), MacDowell Fellowship, Puffin Foundation Grant, Wildacres Residency and National Arts Club Artist Fellowship.Her work has appeared in the New York Times, The Guardian, Time Out, ARTnews, NY Magazine, Brooklyn Magazine, Hyperallergic, Le Monde Diplomatique, Blouin Art Info, DNA Info, Marie Claire Italy, AM New York among others.Her neon light sculpture “The Glowing Homeless” and sound installation will be exhibited at the Church of St. Eustache in Paris from December 18th 2024 until May 31st 2025.In 2025, Kaliner Gallery in New York City and Giovanni Bonelli Gallery (Milan, Italy) will present her work in solo exhibitions.Fanny lives in Brooklyn and works from her studio at the Elizabeth Foundation for the Arts in Manhattan, NY.Exhibits discussed are KALINER and Giovanni Bonelli.A Longing, March 6 - April 12, 2025, Installation view at Kaliner Gallery, 42 Allen St, NYCLadder Leg, 2024, found fabric, collagraph print and acrylic paint, 32.5in x 50inThe Night the Wind Learned to Dance, April 24 - May 25, 2025, Installation view at Giovanni Bonelli Gallery, Milan, ItalyShelved, 2025, found fabric and collagraph prints, 59in x 38.5inCircles, 2024, found fabric and collagraph prints, 55.5in x 55.5in
Photo by Dan McMahonBorn 1989 Atlanta, Georgia. She lives in Brooklyn, New York, and works in the Bronx, New York. Emma McMillan searches for the pulsing vitality of life through non-human figurative paintings. Drawing, collage, macroscopic photography, and archival research are avenues for abstraction of the animal form. For several years a local Spotted Lanternfly infestation has been a commentary on the current state of human and animal affairs. The series, now expanded across species, takes on lusty and religious overtones of reincarnation. Sampling psychology, the natural world, and pop culture, her gem-hued oil paintings are complex reflections on living and its mutations across time. Emma McMillan has had institutional exhibitions at Atlanta Contemporary ArtsCenter, Atlanta Georgia, “Project X” (2019) She has had solo exhibitions at Sebastian Gladstone, New York, 2025, Sebastian Gladstone, Los Angeles, 2024, PhilippZollinger, Zurich, 2024, and a solo booth with PhilippZollinger at Liste Art Fair Basel, in June 2024. Other solo exhibitions include “Bleu de Prusse” at Edouard Montassut, Paris, France (2019), “Ornament and Crime” at Lomex, New York City, New York (2018), and “Live Burial” at Bad Reputation Fine Arts, Los Angeles, California (2017). As well as select group and two-person exhibitions “Discard Phase” at Triest, Brooklyn, New York (2021), “Downtown Painting” at Peter Freeman, New York City, New York (2019), “Responsibility Fest” at Kunstverien Braunschweig Wolfe Island, Canada (2019).Emma McMillan, Imago, 2025 Oil, oil pastel on linen 55" H x 42" W. Image courtesy, Sebastian Gladstone, and the artist.Emma McMillan Crush, 2024 Oil on linen 36" H x 24" W. Image courtesy, Sebastian Gladstone, and the artist.Emma McMillan, Cocoon, 2025 Oil, oil pastel on linen 55" H x 42" W. Image courtesy, Sebastian Gladstone, and the artist.
Greg Chann has shown his work with Denise Bibro Fine Art, NYC; Dorsky Gallery, NYC; Margaret Thatcher Projects, NYC; The Drawing Center, NYC; among other spaces around the country. His work has appeared in The New Yorker, NY Arts, and Time Out New York.He has received a NY Foundation of the Arts Fellowship, and the NY Foundations of the Arts/Felissimo Award and lives and works in New York.Greg Chann, Stack XVI, 2024 Acrylic and ink 7 x 6 x 4 in.Greg Chann, Vertegres, 2024 Acrylic and ink 20 x 30.5 x 1.25 in.Greg Chann, Wall Stack IX, 2024 Acrylic and ink 15 x 13 x 3 in.
Photo: by Philip BennettJessica Helfand (b. 1960) is an artist and writer.She grew up in Paris and New York City, and received her BA and MFA from Yale University where she taught for more than two decades. She is the author of numerous books on visual and cultural criticism, and was the first-ever recipient, in 2010, of the Henry Wolf Residency at the American Academy in Rome.A 2018 Director’s Guest at Civitella Ranieri and a 2019 fellow at the Bogliasco Foundation, Jessica Helfand was also the 2020 Artist in Residence at Caltech. She lives and works in New England.A view of some of the paintings which will be on view from May 1 to June 1 at Jim Kempner Fine Art in New York. (Photo courtesy of the artist.)Agnes Grey, Anne Brönte, 1847, Mixed media and oil on canvas, 20 x 16 inches, 2024The cold wind had swelled and reddened my hands, uncurled and entangled my hair, and dyed my face of a pale purple; add to this my collar was horridly crumpled, my frock splashed with mud, my feet clad in stout new boots, and as the trunks were not brought up, there was no remedy … so having smoothed my hair as well as I could, and repeatedly twitched my obdurate collar, I proceeded to clomp down two flights of stairs, philosophizing as I went.Claudine, Claudine in Paris, Colette, 1901, Mixed media and oil on canvas, 52 x 42 inches, 2025. Pointed chin, you’re attractive but don’t, I implore you, overdo that point. Hazel eyes, you persist in being hazel and I can’t blame you for it; but don’t retreat under my eyebrows with that excessive modesty. Mouth, you’re still my mouth, but so pale that I can’t resist rubbing those short, colorless lips with petals pulled from the red geranium in the window. (Incidentally it only gives them a horrid, purplish tinge that I promptly lick off.) As to you, my poor little white, anaemic ears, I hide you under my curly hair and secretly look at you from time to time and pinch you to make you redden. But it’s my hair that’s the worst of all. I can’t touch it without wanting to cry ... they’ve cut them all off, just below the ear—my auburn ringlets, my lovely, smoothly-rolled ringlets!
Alan Bray was born in Waterville, Maine, and grew up in Monson, a small slate-quarrying town set in the northern reaches of the Appalachians. Bray attended the Art Institute of Boston before graduating from the University of Southern Maine; he received his MFA in painting from the Villa Schifanoia in Florence, Italy. It was during this formative time in Florence that he was exposed to casein tempera on panel.Bray’s work has been the subject of no less than 25 solo exhibitions and is included in the public collections of the Portland Museum of Art, ME; DeCordova Museum and Sculpture Park, MA; the Farnsworth Museum of Art, ME; Arnot Art Museum, Elmira, NY; Zillman Art Museum, ME; Leigh Yawkey Woodson Art Museum, WI; Lyman Allyn Museum of Arts, New London, CT; Maine Savings Bank Collection, Memphis Cancer Center, Kohlberg, Kravis, Roberts, Menlo Park, CA; among others. The artist lives and works in Sangerville, Maine.As both a naturalist and a painter, Bray is drawn to what often goes unnoticed. “I paint what is right around me,” he says. “Occasionally it’s a big subject, but more often it’s a bird’s nest or a farm pond.” Like the subtle geometry of his compositions, Bray’s preference for modest, unassuming subjects—backwater meanders over mountaintop vistas—is deliberate and quietly profound. He has become an expert observer of bogs and shorelines, rock slides and fallow fields, daybreaks and dusks, the shifting edges of seasons. In the overlooked landscapes of his native Maine, Bray uncovers a deep sense of spirituality that gives his work its quiet power—transformative in its presence, not merely descriptive.Bray paints in casein, a milk-based tempera that has virtually no drying time. Necessarily, his paintings are technically complex because they consist of thousands of tiny brush strokes, built up in layers, out of which the images – the vision – advance from the foundation of a mirror-smooth, absolute void of white ground. It is a method of painting that follows directly from his method of exploring his subjects.Alan Bray, Neighbors, 2025 Casein on panel, 11 x 14 in.Alan Bray A Whisper Breaks the Silence, 2024 Casein on panel, 15 x 20 in.Alan Bray Refuge, 2024 Casein on panel, 16 x 20 in
Zuriel Waters was born in 1984 in Philadelphia, PA, and lives and works in Brooklyn, NY. Received an MFA in Painting from the Rhode Island School of Design in 2010 and a BA in Interdisciplinary Studies from San Diego State University in 2007.Has shown work in group exhibitions throughout New York City at galleries such as Underdonk, Marvin Gardens, Tappeto Volante, CANADA and others and has recently had solo shows at Left Field Gallery in Los Osos, CA, My Pet Ram in NYC and Kathryn Markel Fine Arts in NYC.Tongue Drum, 2025 acrylic pigment-dyed burlap, canvas and twill, upholstery thread, felt, eye-hooks 28 x 42 in.Elle, 2024 acrylic on denim, thread, industrial felt, cotton duck, hardware 35 1/2 x 21 in.am/pm, 2025 acrylic pigment-dyed burlap, canvas and twill, upholstery thread, felt, eye-hooks 43 x 28 in.
Laurie Sheck’s novel A Monster’s Notes, a reimagining of Mary Shelley’s Frankenstein, was long listed for the Dublin Impac International Fiction Prize. Her book of poems, The Willow Grove, was a finalist for the Pulitzer Prize.Her work has appeared widely in the Paris Review, the New Yorker and elsewhere. She has been a Guggenheim Fellow, a fellow at the Radcliffe Institute for Advanced Study at Harvard, and at the Cullman Center for Scholars and Writers at the New York Public Library. A member of the MFA Creative Writing faculty at the New School, she lives in New York City.This interview focuses on her new book, Cyborg Fever.
Portrait of artist in studio, 2016 Photo: Don Stahl Courtesy of Susan Inglett Gallery, NYC.Hope Gangloff (b. 1974)attended The Cooper Union for the Advancement of Science andArt. She is well known for her vibrant portrait and landscape paintings that combine a distinctive bright palette with intricate line work. Her early portraiture garnered attention for its intimate observation of relatable moments, from a road trip with friends to a late-night houseparty. Gangloff's work was recently exhibited in "Forces of Nature: Voices That Shaped Environmentalism" at the National Portrait Gallery, Washington D.C. and in "Women PaintingWomen" at the Fort Worth Modern, with an upcoming solo exhibition at Susan Inglett Gallery,NYC, from 1 May–7 June 2025.Solo exhibitions include the Cantor Arts Center, StanfordUniversity; the Broad Art Museum, East Lansing; and Aldrich Contemporary Art Museum, Ridgefield. Her work can be found in the permanent collections of the Grinnell CollegeMuseum of Art, Grinnell; National Portrait Gallery, Washington, D.C.; the Broad Art Museum,East Lansing; the Kemper Museum, Kansas City; and Pennsylvania Academy of the Fine Arts,Philadelphia, among others.Hope Gangloff, James (Case-Leal), 2025 (Detail) Acrylic on linen 36 x 26 in. Copyright The Artist Courtesy of Susan Inglett Gallery, NYC.Hope Gangloff, 'Bittersweet' barn, 2025 (Detail) Acrylic on canvas 48 x 72 in. Copyright The Artist Courtesy of Susan Inglett Gallery, NYC.Hope Gangloff, Matthew (Holtzclaw) & Prakash (Puru), 2025 (Detail) Acrylic on wood panel 80 1/2 x 48 in. Copyright The Artist Courtesy of Susan Inglett Gallery, NYC.
Marek Wolfryd (b.1989, Mexico City) lives and works in Mexico City. He is a multidisciplinary artist that explores the intersection of artistic and economic narratives in the context of culture, history, and society. Through a wide range of media, such as process art, readymades, sculpture, installations, video, and performance, Wolfryd reviews cultural movements and their aesthetic discourses, generally delving into micro-historical phenomena surrounding these great chronicles. Through long-term research projects, Wolfryd builds a conceptual framework that exposes the complexity of certain narratives that exist both within and outside the spheres of symbolic influence of the Western world. His works reflect and explore the means of mass production, consumer culture, copyright, authorship, and the mechanisms of art creation and distribution.His work has been shown in Aparador LA, Los Angeles, General Expenses, Mexico City, Tiro al Blanco, Guadalajara, Mexico, Chalton Gallery, London, United Kingdom, Aoyama Meguro, Tokyo, Japan, Museo de la Ciudad de Querétaro, Querétaro, Mexico, Ekkisens Art Space, Reykjavik, Iceland among others. Wolfryd holds a BA from ENPEG “La Esmeralda” and has studied at SOMA.Marek Wolfryd, “The Great Logic of Contents that Bind the World into Existence or “Season's Greetings!””Marek Wolfryd, Koon's Blue Balls, 2024 Blown Sphere, Polyurethane Foam, Screws and Resin 12 H x 24 W x 12 D in. 30 H x 61 W x 30 D cm.Marek Wolfryd, Jasper Jaar or the Influx of Consuming What we Ideologically Perceive as American From Both Sides of the Ecuador, 2024 Oil on Canvas 51 H x 78 W in. 130 H x 198 W cm.
Riley HollowayRiley Holloway studied Graphic Design at The Art Institute of Dallas, during which time he completed a Portrait Workshop at The Florence Academy of Art in Italy. Following his studies, Holloway was awarded a 3-month artist residency at The Fairmont Hotel in Dallas, which culminated in his first solo exhibition in the hotel’s gallery. The artist is a Hunting Prize finalist.Holloway has exhibited internationally, with recent notable solo exhibitions including those at backs/ash in Paris, Erin Cluley Gallery in Dallas, Bloom Galerie in Geneva, Bode Projects at the Investec Cape Town Art Fair, The African American Museum of Dallas, and First Amendment Gallery in San Francisco. Love Galore at Massey Klein Gallery is the artist’s first solo exhibition in New York City.In 2023, Holloway’s Records on Repeat was one of twelve works selected for acquisition by The Dallas Museum of Art (DMA) through the Dallas Art Fair Foundation. The artist’s work is held in other prominent collections including The University of Oregon, Stanford University, The Dean Collection, and The Fairmont Dallas. The artist lives and works in Dallas, TX.Riley Holloway, Love Galore, 2024 Oil and oil pastel on canvas 48 x 48 x 1.25 inchesRiley Holloway, Flowers for You, 2024 Oil and oil pastel on canvas 27.5 x 41.5 x 1.25 inchesRiley Holloway Love on Display, I, II, III, 2024 Oil and oil pastel on canvas 10 x 20 x 1.5 each
Violeta Maya (b. 1993, Madrid, Spain) lives and works in Madrid and received her BA from Central Saint Martins College of Art and Design in 2015. Recent solo exhibitions include Me atrevo a decir que esta pintura está viva, Nicelle Beauchene Gallery, New York (2025), Precisamente porque el rosa me incomoda, Alzueta Gallery, Barcelona, ES (2023), Todo en constante cambio y yo aquí observando, Nicelle Beauchene Gallery, New York (2023), ¿Verde Azulado o Azul Verdoso?, Alzueta Gallery, Palau de Casavells, Girona, ES (2022), and A mi nadie me preguntó si quería nacer, pero bueno, aquí estoy, Alzueta Gallery, Madrid, ES (2022).She was recently featured as part of the Olivia Foundation’s Spotlight Series and has been included in group exhibitions at Jack Siebert Projects, Los Angeles (2025), Fernberger Gallery, Los Angeles (2024), Alzueta Gallery, Madrid, ES (2023); and GÄRNA Gallery, Madrid, ES (2022), among others.Violeta Maya, Me atrevería a decir que esta pintura está viva, 2024, Pigments and acrylic on canvas, 80 1/4h x 119 3/4w in.Violeta Maya, Miedo a lo desconocido, 2024, Wood, acrylic on silk, 81 1/4h x 20w x 4 3/4d in.Violeta Maya, Infinitas versiones de una misma I, 2024, Pigments and acrylic on canvas, 78 1/2h x 48 3/4w in.
Diane Burko’s work in painting, photography, and time-based media considers the marks that human conversations make on the landscape. A Professor Emerita of the Community College of Philadelphia with additional teaching experience at Princeton University, Burko has received multiple grants from the NEA, the Pennsylvania Arts Council, the Leeway Foundation and the Independence Foundation. She has received a Lifetime Achievement Award from the Women’s Caucus for Art.After focusing for several decades on monumental geological formations and waterways through landscape painting, Burko has shifted in the past 20 years to analyze the impact of industrial and colonial activity on those same landscapes. Burko’s practice seeks to visually emulsify interconnected subjects– extraction, deforestation, extinction, environmental justice, indigenous genocide, ecological degradation, climate collapse– so viewers might feel their connection viscerally through the beauty of her work. While her work deals with impending climate catastrophe, rather than lingering in dystopia, it celebrates the sublimity of the landscape by honoring the intricate geological and political webs that shape the identity of a place.Burko has exhibited extensively nationally and internationally, including shows at London’s Royal Academy of Art, Minneapolis Art Institute, National Academy of Sciences, Phillips Collection, RISD Museum Tang Museum, Wesleyan University Center for the Arts, and the Círculo de Bellas Artes in Madrid. She has been awarded residencies in Giverny, Bellagio, the Arctic Circle, and the Amazon Rainforest. In 2021, her solo exhibition Seeing Climate Change at the American University Museum was cited in the New York Times as one of the best shows of 2021. Her most recent solo show, Diane Burko: Bearing Witness, open January 31 to March 8, 2025 at Cristin Tierney Gallery was her first solo exhibition in New York in over 40 years.Throughout her practice, Burko especially cherishes her collaborations with researchers in the sciences. She learns the most from “bearing witness” to the land.Diane Burko Summer Heat 1 & 2 2020 Mixed Media on Canvas, 84 x 162 in. overall. Courtesy of the artist and Cristin Tierney Gallery. Photo by Adam Reich.Diane Burko Amazon 34 2024 Mixed Media on Canvas, 20 x 20 in. Courtesy of the artist and Cristin Tierney Gallery. Photo by Adam Reich.Diane Burko Unprecedented Study 1 2021 Mixed Media on Canvas, 20 x 20 in. Courtesy of the artist and Cristin Tierney Gallery. Photo by Adam Reich.
Photography by Balarama HellerAaron Gilbert (b. 1979, Altoona, PA) lives and works between New York and Los Angeles. Gilbert received a BFA in painting from Yale University in 2005 followed by a MFA in painting from the Rhode Island School of Design (RISD) in 2008. Gilbert also holds an Associate of Science in Mechanical Engineering Technology from Penn State University (2000).Gilbert’s work has been exhibited with Sant’Andrea de Scaphis, Rome; PPOW Gallery, New York; Chris Sharp Gallery, Los Angeles; Lyles & King, New York; and Deitch Projects, New York. Gilbert’s work is in major public collections including the Whitney Museum of American Art, Brooklyn Museum of Art, Hammer Museum, Studio Museum in Harlem, Columbus Museum of Art, High Museum, and RISD Museum. Aaron Gilbert has also been the recipient of many awards including the Colene Brown Art Prize in 2022, Louis Comfort Tiffany Foundation Grant in 2015, and was named the 2010 “Young American Painter of Distinction” by the American Academy of Arts and Letters. Gilbert has held residencies at Fountainhead Residency (2013), Yaddo (2012), Lower Manhattan Cultural Council Workspace Residency (2008), and American Academy in Rome Affiliate Fellowship (2008).Aaron Gilbert's debut exhibition with Gladstone Gallery, World Without End, is on view through April 19, 2025.Aaron Gilbert • g • o • p • u • f • f •, 2025 Oil on linen 66 x 129 inches (167.6 x 327.7 cm) © Aaron Gilbert Courtesy of the artist and Gladstone Photography by David RegenAaron Gilbert The Fourth Way, 2024 Oil on linen 108 x 74 3/8 inches (274.3 x 188.6 cm) © Aaron Gilbert Courtesy of the artist and Gladstone Photography by David RegenAaron Gilbert Judah (Al Green), 2024 Oil on linen 21 3/4 x 28 7/8 inches (55.2 x 73.7 cm) © Aaron Gilbert Courtesy of the artist and Gladstone Photography by David Regen
Rei Xiao was born in Istanbul, Turkey, and earned her BFA at the School of the Museum of Fine Arts at Tufts University in Boston, Massachusetts, with additional study at Central Saint Martins at the University of Arts, London, United Kingdom.She has exhibited her works in shows in Istanbul, London, Boston, and New York City and has held artist residencies at ChaNorth, Vermont Studio Center, and The Macedonia Institute.Her first solo exhibition, "The Flea and the Acrobat," was shown in Fragment Gallery in 2025. She is also a recipient of the Elizabeth Greenshields Foundation Grant and a finalist for the Bennett Prize.CYCLONE V10 ABSOLUTE, 2024 Oil on linen 24 x 42 in | 60 x 106 cmIT WAS DARK INSIDE THE WOLF, 2022 Oil on canvas 48 x 60 in | 121 x 152 cmBALL AND CHAIN, 2022 Oil on canvas 28 x 36 in | 71 x 91 cm
At first glance, Mung'ora's work offers glimpses into everyday life in Nairobi, capturing moments ranging from bustling cityscapes to intimate portraits.Yet, upon deeper reflection, Mung'ora's canvases reveal a profound commentary on the fragmentation of urban landscapes, where physical and socialboundaries delineate diverse experiences from street to street. Through meticulously layered compositions, Mung'ora intertwines historical referenceswith modern-day scenes, highlighting the enduring imprints of past lives while emphasizing the disparities inherent in Nairobi's evolving environments.Mung’ora is a member of Brush Tu, a Nairobi-based artists’ collective, and has exhibited widely including: A Tapestry of Contemporary Africa, MoCaL.I., New York (2024); Common Ground, NCAI, Nairobi (2023); African Identities, AKKA Project, Venice (2022); Walking the Edge, Afriart Gallery,Kampala (2022); 1-54 Contemporary Art Fair, New York (2022); Fragments, Antoine Dupin, Rennes (2022); A Gathering of Small Fires, MontagueContemporary, New York (2021); Sacrifice Pasture, One Off Gallery, Nairobi (2021); Kikulacho, British Institute in East Africa, Nairobi (2018);Remains, Waste & Metonymy II, British Institute in East Africa, Nairobi (2017); Stranger Times, Circle Art Gallery, Nariobi (2017), among others.He was the winner of the 2016 Manjano Art Prize in Nairobi, a finalist in the 2018 edition of the Barclays L’Atelier competition, and a finalist in the 2020EPI competition.His works form part of many notable collections, including the I&M Bank Collection, MFA Boston (promised), New Orleans Museum of Art (promised),Rodney Miller Collection, Nicolas Jay Collection, Rift Collection, Sir John Rose Collection, among others. His work been featured in the Artnet, Art inAfrica, the New York Times, and the Nation, among others.Installation, ‘Song of Lawino,’ a solo exhibition by Kenyan artist Elias Mung’ora held at Indiana State University's Yang GalleryInstallation, ‘Song of Lawino,’ a solo exhibition by Kenyan artist Elias Mung’ora held at Indiana State University's Yang GalleryUnplanned Move 2 2024 Mixed Media on Canvas 71 x 71 inSelf Portrait 2024 Signed and Dated on Front Mixed Media on Canvas 71 x 71 in
Graham Marks produces exuberant, coil-built ceramics adorned with vibrant glazes, which combine functionalism with visual delight. Of late, Marks has embraced loose, sinuous forms from which coils of clay spill in dynamic and improvisatory compositions. His candelabras and flower vases contain a wild energy all their own, full of brash, linear abandon. In their merging of pattern and embellishment, they recall the intricate crafts of eighteenth-century France, bringing rococo flourishes to the timeless theme of utilitarian vessels.Marks taught ceramics at Kansas State University, Rochester Institute of Technology, and the Cranbrook Academy of Art, where he was Head of Ceramics from 1986 to 1992. His work has been exhibited internationally and collected privately; it is held by numerous public institutions including the Philadelphia Museum of Art, Yale University Art Gallery, Detroit Institute of Art, the Everson Museum, the Museum of Art and Design, the Cranbrook Museum of Art, the Stedelijk Museum, the Hermitage Museum, and the National Gallery of Australia. From 1992 to 1995, he studied acupuncture with J.R. Worsley, establishing a private practice which ran successfully for two and a half decades. In 2020, Marks returned to ceramics. He splits his time between Brooklyn and Alfred, NY.Graham Marks, Collection of Candelabras, 2023–24. Glazed stoneware, thrown, coiled, and pinched. Dimensions vary. Courtesy of Hostler Burrows. Photo by Joe KrammGraham Marks, Pair of Candelabras, 2024. Glazed stoneware, thrown, coiled, and pinched. Dimensions vary. Courtesy of Hostler Burrows. Photo by Joe KrammGraham Marks, Collection of Malinalco Candelabras, 2023. Glazed stoneware, thrown, coiled, and pinched. Dimensions vary. Courtesy of Hostler Burrows. Photo by Joe Kramm
Adam Erlbaum received a BA in Mathematics from The Colorado College in 2002. He has attended the Pennsylvania Academy of the Fine Arts, the University of the Arts, and the MFA program at the Vermont College of the Fine Arts.Erlbaum has exhibited in Philadelphia, Aspen, South Carolina, and St. Louis. He paints at The Mill Studios in Philadelphia.Adam Erlbaum "Yellow Alleys," 2024 Oil on canvas. 24 × 30 × 2 1/2 in.Adam Erlbaum "Blue Break Vertical," 2024 Oil on canvas. 30 × 24 × 2 1/2 in.Adam Erlbaum "Yellow Over Blue," 2024 Oil on canvas. 30 × 24 × 2 1/2 in.
Emil Lukas Infinite Edge 6 February – 15 March 2025 New York, NY – 9 January 2025: Sperone Westwater is pleased to present new work by Emil Lukas.His fifth solo exhibition at the gallery is comprised of paintings and works on paper utilizing materials which have characterized his practice: thread, acrylic, ink and larvae. Lukas’ circular thread paintings, Fuse and In Wave (each 60 inches in diameter) combine an actively painted reflector behind an accumulation of thread.The artist’s new series of lattice paintings, including Glass in Moving Water, explores what happens when we process two complementary paintings at the same time. The artist creates an underpainting on the canvas, then layers a second composition on a raised pattern of dots. The combined acrylic-on-canvas works engage the viewers’ position and distance in the surrounding architecture of the gallery.Born in Pittsburgh, Pennsylvania, in 1964, Emil Lukas has exhibited throughout the United States and abroad. Solo museum shows include “Emil Lukas: Connection to the Curious,” The Aldrich Contemporary Art Museum, Ridgefield, CT (2005); “Emil Lukas,” The Weatherspoon Museum, Greensboro, NC (2005); “Things with Wings,” The Mattress Factory, Pittsburgh, PA (2005); “Moderate Climate and the Bitter Bison,” Hunterdon Museum, Hunterdon, NJ (2008); “Emil Lukas,” Morris Gallery at the Pennsylvania Academy of Fine Arts, Philadelphia (2016); “Emil Lukas: Entre dos líneas tenues,” Museo de Arte Contemporáneo Atchugarry, Uruguay (2023) and “Emil Lukas: Four Modes,” Lafayette College Art Galleries, Easton, PA (2023).Emil Lukas, In Wave, 2024, thread over wood, plaster, aluminum frame with paint and nails, 60 x 60 x 6 inches (152,4 x 152,4 x 15,2 cm)Emil Lukas, 4.24 Light Years, 2024, ink on glass and paper with graphite and charcoal in painted frame, 15 x 12 x 2 inches (38,1 x 30,5 x 5,1 cm)Emil Lukas, Dendrite, 2025, acrylic on canvas over wood panel, 55 x 79 x 3 inches (139,7 x 200,7 x 7,6 cm)
Stephanie H. Shih in the studio, Brooklyn, NY, 2025. Photo: Robert BredvadStephanie H. Shih (b. 1986, Philadelphia, PA) renders outdated consumer goods as trompe l’oeil sculptures that reveal the tensions within American domestic life. Turning everyday items—a Thighmaster, a self-help book, many pantries’ worth of condiments—into intricately painted ceramic objects transforms each into a permanent artifact. Seen together, the works play with notions of timelessness and obsolescence, nostalgia and disillusionment.Shih has exhibited work at James Cohan, New York, NY; Jeffrey Deitch, Los Angeles, CA; Berggruen Gallery, San Francisco, CA; Alexander Berggruen, New York, NY; Cantor Arts Center, Stanford, CA; Berkeley Art Museum and Pacific Film Archive, Berkeley, CA; Santa Barbara Museum of Art, Santa Barbara, CA; Bradbury Art Museum, Jonesboro, AR; and the American Museum of Ceramic Arts, Pomona, CA. The artist has also been the recipient of numerous awards and residencies including the NYSCA/NYFA Artist Fellowship, New York, NY; residency at The Corporation of Yaddo, Saratoga Springs, NY as well as many others.Community work is central to Shih’s practice, and since 2017, she has used her art and platform to raise over half a million dollars in direct aid for victims of state violence. Want to help? Click here. She is currently based in Brooklyn, New York.Works from Stephanie H. Shih’s solo show Domestic Bliss (January 22-February 26, 2025) at Alexander Berggruen, New York. All works: 2023-2024, ceramic. Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Robert BredvadStephanie H. Shih Filet-O-Fish, 2023 ceramic 5 1/2 x 5 x 5 1/2 in. (14 x 12.7 x 14 cm.) Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Robert Bredvad. Included in Stephanie H. Shih: Domestic Bliss (January 22-February 26, 2025) at Alexander Berggruen, NY.Stephanie H. Shih Zen and the Art of Motorcycle Maintenance, 2024 ceramic 7 x 4 1/2 x 1 1/2 in. (17.8 x 11.4 x 3.8 cm.) Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Robert Bredvad. Included in Stephanie H. Shih: Domestic Bliss (January 22-February 26, 2025) at Alexander Berggruen, NY.
David Humphrey has maintained a forty-year commitment to making formally inventive, psycho-socially engaged paintings. Over this time he has continued to transform images from the public realm into imaginative hybrids of the social and eccentrically individual, the historic and vividly contemporary. His work celebrates the peculiar nesting within the familiar. Mixing various representational schema with improvisational abstraction, he tells stories of vexed intimacy, political/ socio reality, and imaginative projections crashing into the real.David Humphrey (b. 1955) has been the subject of 44 solo exhibitions including McKee Gallery, NY; Sikkema Jenkins, NY; Fredric Snitzer Gallery, Miami; and Contemporary Art Center, Cincinnati. His work is in the collections of several museums and public collections including Walker Art Center, Minneapolis; Carnegie Museum of Art, Pittsburgh; The Metropolitan Museum of Art, NY; Museum of Fine Arts, Boston as well as the Saatchi Gallery, London. He is currently teaching in the MFA program of Columbia. He was awarded the Rome Prize in 2008. Humphrey has had five solo exhibitions at Fredericks & Freiser.David Humphrey, Colored Drinks, 2024 Acrylic on canvas 72 x 60 inchesDavid Humphrey, Plant Thoughts, 2024 Acrylic on canvas 60 x 72 inchesDavid Humphrey, Wolf, 2024 Acrylic on canvas 54 x 44 inches
Amy Stober (b. 1994, New Jersey) lives and works in New York. Recent solo exhibitions include PAGE (NYC), New York (2024); A.D. NYC, New York (2022); and Springsteen Gallery, Baltimore (2021). Recent group exhibitions include Hesse Flatow, New York (2024); ensemble, New York (2024); Brunette Coleman, London (2023); Mickey, Chicago (2023); Chapter NY, New York (2022); T293, Rome (2022); Mickey, Chicago (2022); and Chris Andrews, Montreal (2022).Amy Stober, Good Luck Charm, 2024 Cast polyurethane and metallic pigments, 8.5 x 8.5 x 17 inches 21.6 x 21.6 x 43.2 cm. Courtesy of the artist and PAGE (NYC).Amy Stober, I <3 NY, 2024, Cast polyurethane, acrylic and metallic pigments, 4.5 x 6.5 x 4 inches, 11.4 x 16.5 x 10.2 cm. Courtesy of the artist and PAGE (NYC).Amy Stober, Girl, 2024, Cast polyurethane and acrylic, 24 x 13 x 5 inches 61 x 33 x 12.7 cm. Courtesy of the artist and PAGE (NYC).
Irina Lotarevich’s (*1991, lives and works in Vienna, Austria) sculptural practice is shaped by the intersection of her own subjective experience with larger systems. The minimal yet complex and specific forms of her sculptures reference architecture, bureaucracy, labor, language, and parts of her body, as well as the production and circulation conditions of the material itself.Lotarevich was born in Rybinsk, Russia in 1991 and immigrated to New York City as a child. She studied at Cornell University, Hunter College, and the Academy of Fine Arts Vienna. She currently teaches metalworking at the University of Applied Arts Vienna.Solo and duo exhibitions include: Settings, Silke Lindner, New York City (2025); Modular Woman, SOPHIE TAPPEINER, Vienna (2023), Refinery, SOPHIE TAPPEINER, Vienna (2020); Galvanic Couple, FUTURA Centre for Contemporary Art, Prague, Pensive State a two-person show with Anna Schachinger, SOPHIE TAPPEINER, Vienna (2019); Schemas, Kevin Space, Vienna (2017).Recently, her work has been included in group shows held at N/A, organised by Ginny on Frederick, Seoul; Scherben, hosted by Good Weather, Chicago (2024), Belvedere 21, Vienna; Silke Lindner, New York City; Centre d’art contemporain / Passages, Troyes (2023), HALLE FÜR KUNST, Graz; Salzburger Kunstverein, Salzburg; Kunstverein Bielefeld, Bielefeld; MUMOK, Vienna (2022), Museum of Applied Arts, Vienna (2021), among others.Lotarevich’s work is in the permanent collections of mumok (Museum Moderner Kunst Stiftung Ludwig), Vienna, the Museum der Moderne, Salzburg, and the Vienna Museum.Compressed Structure, 2025 Brass, patinated steel 8 x 65 1/2 x 2 1/2 in | 20.5 x 166.5 x 6.5 cmHousing (Lottery), 2025 Galvanized steel, cast brass, cast aluminum, found chains 64 x 37 1/2 x 6 1/2 in | 163 x 95.5 x 16.5 cmStuffed Cell, 2025 Patinated steel 2 3/4 x 10 11/16 x 7 1/8 in | 7 x 27.5 x 18 cm
Tess Bilhartz grew up in Dallas, Texas and currently lives and works in New York City where she teaches art at Borough of Manhattan Community College - CUNY.Recent solo exhibitions include ‘What on Earth’ at Below Grand (2020) and ‘Follow Me Down’ at Rubber Factory (2022), which was reviewed in the Brooklyn Rail and BOMB magazine.Her work has also been exhibited at Embajada, San Juan, PR, Primary, Miami, FL, and Island, New York, NY. Residencies include the Skowhegan School of Painting and Sculpture (2017), and the Sharpe Walentas Space Program (2013).Tess Bilhartz, Green, 2024 Oil on canvas 30 x 52 in 76.2 x 132.1 cmTess Bilhartz, Pink Flash, 2024 Oil on canvas 30 x 52 in 76.2 x 132.1 cmTess Bilhartz, Spin, 2024 Oil on canvas 30 x 52 in 76.2 x 132.1 cm
Taher Asad Bakhtiari (Iranian, b. 1982) Tribal Weave Project offers a contemporary distillation of the kilim flatweaves and densely-knotted gabbeh rugs that have long defined Iran’s cultural traditions. Asad-Bakhtiari’s tapestries are often built around large-scale triangular patterning and crossed by striated bars and lines—minimalist forms which interrupt the logic of warp and weft with jagged diagonals and vivid abstractions. They recall shimmering landforms, lines of motion, and the iconography of nomadic handicrafts, while also nodding to the simple geometries of mid-century avant-garde design and craft movement like those at Black Mountain College. Woven from hand-spun and naturally-dyed wool with the occasional inclusion of contemporary materials, these lace-like works seek to spur new creative wrinkles within a craft tradition dating back centuries.While Asad-Bakhtiari’s textiles honor his namesake heritage in the nomadic Bakhtiari Lur tribe and are realized in concert with today’s artisan weavers, he is especially noted for his innovations in fiber techniques and weaving methods. Many of his tapestries seem to breathe of their own accord, composed of airy weaves with almost translucent sections of exposed warps. Rippling and glimmering as light and air pass through their open network of threads, they uncover patterns within the fundamental crossbeams of the weaving process, making use of the empty space between the overlay of threads. Combining exposed warps, lace weaves, flatweaves, and dense pile carpet techniques, Asad-Bakhtiari composes tapestries that are at once formally straightforward, yet elegantly layered, graphic, and evocative.Asad-Bakhtiari is a self-taught artist whose practice revolves around three-dimensional objects, textiles, and experiences. His work is known for raising questions around utility within the trajectories of traditional artisan handcrafts. In addition to his Tribal Weaves, his resin-glazed series of Reclaimed Barrels transforms the ubiquitous aluminum oil barrel found around Tehran’s construction sites into functional works of art. Asad-Bakhtiari studied in Canada and Switzerland and resides between Tehran, Dubai, and New York.TAHER ASAD-BAKHTIARI, Tribal Weave, 2024, Gabbeh woven wool with exposed warp 118" L x 98.5” WTAHER ASAD-BAKHTIARI, Tribal Weave, 2024, Gabbeh woven wool with exposed warp 94.5" L x 66.25 “ WTAHER ASAD-BAKHTIARI, Tribal Weave, 2024, Gabbeh woven wool with exposed warp 86.5" L x 59” W
Marcelle Reinecke in the studio, 2024Marcelle Reinecke (b. 1989, New Orleans, LA) received an MFA from The Pennsylvania Academy of the Fine Arts (PAFA), Philadelphia, PA and a BFA from Marywood University, Scranton, PA. Reinecke also completed studies at the Studio Arts College International, Florence, Italy and was a Resident Artist at the Royal Drawing School, Dumfries House Trust, Cumnock, Scotland, U.K.Recent exhibitions include Monya Rowe Gallery, NY; Steven Harvey Fine Art Projects, NY; Margot Samel, NY; and Ruffed Grouse Gallery, Narrowsburg, NY.Reinecke lives and works in Philadelphia, PA, and is represented by Monya Rowe Gallery, NY.MARCELLE REINECKE, Offset Hook, 2024 acrylic and flashe on panel, 30 by 24 inches Courtesy of Monya Rowe Gallery, NYMARCELLE REINECKE, Meet In The Kitchen, 2024 acrylic and flashe on panel, 36 by 48 inches Courtesy of Monya Rowe Gallery, NYMARCELLE REINECKE, In The Pines, 2024 acrylic and flashe on panel 24 by 30 inches Courtesy of Monya Rowe Gallery, NY
Leo Frontini , Photo by Scott MacDonoughLeo Frontini (b. 2000, Cleveland, OH) has found painting to be an escape from reality while also bringing him closer to the world, relationships, and himself. His practice combines his complicated exploration of the subconscious mind and emotional tumult with an exhaustive knowledge of human anatomy, oil painting techniques, and draftsmanship that is unique in its range of influence. Exploring his work is like embarking on a journey that engages both the senses and intellect. His paintings are often accompanied by evocative poetry, an instrumental part of his practice in exploring the hidden allegories of his work. Frontinis’ compositions hold the viewer in captivation and contemplation—a kindling of transcendence.Leo Frontini received a BFA from Otis College of Art and Design (2023), studying great masters of the past in between frequent Life Drawing sessions. Frontini was raised in a creative household. In the solitariness of quarantine, Frontini began an intensive study of painting the figure. His visual intermingling of the past, present, and unknown provide a balance of harmony and tension. Launching his career upon graduation, Frontini had a solo exhibition with albertz benda Los Angeles in 2024, followed by a project exhibition with 1969 Gallery in New York. He will continue this trajectory with his first comprehensive solo exhibition at albertz benda New York in 2025.Leo Frontini, Source of Anguish, 2024, Oil on canvas 36 x 48 inches 91.5 x 122 cmLeo Frontini, Soliloquy of a sleepless night, 2025, Oil on canvas 72 x 60 inches 183 x 152.5 cmLeo Frontini, Cadence of Disruption, 2024, Oil on canvas 36 x 48 inches 91.4 x 121.9 cm
Antonia Caicedo Holguín photographed by Imogen Forte.Antonia Caicedo Holguín (b. 1997 in Colombia) is deeply influenced by her hometown of Cali, Colombia, from the people who inhabit the city to the vibrant salsa music and dance culture of the region. By exploring everyday life, memory, and imagination, Caicedo Holguín chronicles her life, friends, and family. “A key component of my practice is the playfulness of writing narratives. The characters I build hold the charm, depth, and presence of literary protagonists.” Drawing inspiration from contemporary painters like Paula Rego and Lynette Yiadom-Boakye, as well as old masters like Degas and Manet, her work often depicts fleeting moments of intimacy and moments of solitude. Often the subjects of Caicedo Holguín’s paintings seem to be in a state of introspection, or lost in reverie. She works with a variety of materials, including oil paint and unconventional materials like coffee grounds, coffee dyes, natural Latin American pigments, and found objects.Caicedo Holguín received her Master of Arts in 2023 from the prestigious Slade School of Fine Art, at University College London in London, England. She has exhibited internationally, and has received the following awards and grants: The Olive Award, in recognition of art process experimentation, The Slade School of Fine Art, UCL, 2023, The Sarabande Foundation, Emerging Artist Fund, 2023, The Chelsea Arts Club Trust MA Materials and Research Award, 2022, and The Elizabeth Greenshields Foundation Grant, 2021. She was a featured guest on the 250th episode of The Art Newspaper's podcast, The Week in Art, hosted by Ben Luke in 2023. She was featured in The Art Newspaper, in an article titled “Art stars of tomorrow? Four of my favourite artists from the Slade School degree show in London” by Dr. Chibundu Onuzo in 2023, and again in 2024 in the article “I commissioned an artist for the first time: here's what it taught me about what it really means to be a ‘collector’.” The artist lives and works in London, England.Antonia Caicedo Holguín, My Friend Hannah Uzor - Portrait in the Studio 2024 Oil and oil pastels on canvas 47 x 43 in (119.38 x 109.22 cm)Antonia Caicedo Holguín, Her Heart Sets the Beat, 2024 Acrylic, oil, and pastels on canvas 67.25 x 66.50 in (170.82 x 168.91 cm)Antonia Caicedo Holguín, Sunkissed 2024, Acrylic and oil on canvas, 47 x 43 in (119.38 x 109.22 cm)
Ana Gonzalez, Photo byJuan MooreAna González’s artistic practice celebrates the landscapes of her native Colombia and her partnerships with the indigenous communities dedicated to their preservation. Her work serves as a vibrant tribute to the sensory richness and cultural significance of these environments whilst highlighting their crucial role in historic ecosystems. Her oeuvre bridges multiple disciplines, including painting, photography, and sculpture.In her work González references to the 18th-century naturalist Alexander von Humboldt and his exploration of the interconnectedness of all living systems. Her Devastations series features textiles onto which the artist prints photographs of Colombia’s vulnerable environments which she then partially unravels by hand. The works preserve these spaces as sites of power, abundance, and renewal while referencing the slow disappearance of ancient ecologies.González has worked closely with Colombian Indigenous communities, leading social and humanitarian initiatives with the Sierra Nevada de Santa Marta communities, the Nukak people of Guaviare, and Misak women in Cauca. In collaboration with Cartier and the Amazon Conservation Team, González founded a health and social project in the Colombian Amazon. In November 2024 they completed a healthcare center in Murui Muina, Umancia, an indigenous settlement positioned at the intersection of three key regions: Putumayo, Caquetá, and Amazonas.Ana González is a graduate in architecture from Universidad de Los Andes in Bogotá, Colombia. She pursued advanced studies in Art and Gender at Trinity College in Dublin, Ireland, and completed a master’s in arts and media, focusing on Photography, Printing, and Publishing, at both the École Nationale Supérieure des Beaux-Arts and the École Supérieure de Commerce de Paris in France. Her work is part of significant private and public collections, including the Patricia Phelps de Cisneros Collection, the Havremagasinet Länskonsthall Museum in Sweden, the National Museum of Colombia, the Bogotá Museum of Modern Art (MAMBO), the Santa Barbara Museum of Art, CA, the JP Morgan Chase Art Collection, NY, the Bancolombia Art Collection and the Museo de la Universidad de Antioquia, Medellín, Colombia. She currently lives and works in Bogotá.Ana González, PALMAS DE CERA (WAX PALM TREES), 2024 sublimation printing on roughened tarp 58 1/4 x 58 11/16 inches. © Ana González Courtesy Sean Kelly, New York/Los Angeles.Ana González, RÍO VAUPÉS (RIVER IN THE AMAZON FOREST), 2024, sublimation printing on roughened tarp, 21 5/8 x 27 9/16 inches. © Ana González Courtesy Sean Kelly, New York/Los Angeles.Ana González, KYBA (DREAM), 2024, diptych graphite and acrylic on canvas. canvas: 63 x 47 1/4 inches (160 x 120 cm) each. © Ana González Courtesy Sean Kelly, New York/Los Angeles.
Benjamin Bertocci has been living and working in N.Y.C. since 2005. He was raised in Stockbridge, Massachusetts, attended Bard College at Simon’s Rock, UMASS Amherst, and Southern Illinois University, Edwardsville.He now works out of his studio in Long Island City Queens, and lives with his small family in nearby Astoria. Philosopher VII; Abomination Parent Transfixed Between Planes, Frozen, Destroyed (Fiscally Appreciative Parasitoid) 14”x11” Oil on Panel.The Last Beasts in the Sky Still Need to Play, Oil on Panel, 16”x20”.Promession III, oil on plastic entombed canvas 12” x 12” 2022.
Matthew Leifheit, Photo by Shala MillerMatthew Leifheit is an American photographer, magazine editor, and professor based in Brooklyn, New York. A graduate of Rhode Island School of Design and the Yale School of Art, Leifheit is Editor-in-Chief of MATTE Magazine, the journal of emerging photography he has published since 2010. Leifheit's photographs have appeared in publications such as The New York Times, The New Yorker, Aperture, TIME, and Artforum, and have been exhibited internationally. His work has been supported by residencies at the Corporation of Yaddo and The Watermill Center, receiving grants from the New York State Cultural Council and the Fund for Lesbian and Gay Studies at Yale, where he was awarded the Richard Benson Prize in 2017. He is currently full-time faculty at Massachusetts College of Art and Design in Boston.Gay Archive was presented at Union College Crowell and West Galleries and at Massachusetts College of Art and Design's Brant Gallery in the fall of 2024. "Matthew Leifheit: Gay Chorus" will be on view at REVERB Gallery in Tampa, Florida through February 14th. Selections from Leifheit's Gay Archive work will also be included in the Griffin Museum of Photography's upcoming exhibition "Nuclear Family," on view January 17th—March 30th 2025.Installation View of Matthew Leifheit: Queer Archive at Massachusetts College of Art and Design's Brant Gallery, November 2025John Pfleiderer Body Hair Collection* (undated, collected prior to Pfleiderer’s death in 1982) GLBT Historical Society, San Francisco, 2023 40x30” dye sublimation print with footnote.Harvey Milk Underwear, GLBT Historical Society, San Francisco, 2023 40x30” dye sublimation print on aluminumPedro Zamora Gift Image, 2024 22.75’’ x 32.75’’ offset lithography on newsprint, edition of 1000 copies.
Mark van Yetter (b. 1978) lives and works in the Poconos, PA. Van Yetter co-founded exhibition space Marquise Dance Hall (2007-2015), which started as a book and record store in New York, before transitioning to an itinerant gallery in Istanbul.Current and previous solo exhibitions include Plunderbund Charity, Ebensperger, Berlin, GE (2022); Damn View, Ebensperger Rhomberg, Berlin, GE (2019); False Friends... and Six Bottles, Kunsthalle St. Gallen, St. Gallen, CH (2019); Drawings 2005 - 2018: 20 Propositions at Salzburger Kunstverein, Salzburg, AT (2018); You can observe a lot by just watching, Bridget Donahue, New York, US (2018); We are what we walk between, Micky Schubert, Berlin, DE (2016); The Terrifying Abyss of Skepticism, Bridget Donahue, New York, US (2016); The mere knowledge of a fact is pale, Kunsthall Stavanger, Stavanger, NO (2016); Relentless Compassion, VI, VII, Oslo, NO (2015). Selected group exhibitions include Catechism, Bridget Donahue, New York, US (2022); Freedom & Independence, Ebensperger, Berlin, GE (2020); Any Day Now, Sprüth Magers, Berlin, GE, (2020); To confess, one must tell lies, Clages Gallery, Cologne, GE (2019); Nightfall, Mendes Wood DM, Brussels, BE (2018); All’estero & Dr. K.’s Badereise nach Riva: Version B, Croy Nielsen, Vienna, AT (2018); All’estero & Dr. K. Takes the Waters at Riva: Version A, A Plus A Gallery, Venice, IT (2018); Hütti, Ludlow 38, New York, US (2017); At the bar, MD Bar, Cologne, DE (2017); Monday is a Day Between Sunday and Tuesday, Tanya Leighton, Berlin, DE (2017); Group Show, Micky Schubert, Berlin, DE (2015); Eray Börtecene, Sonja Weissmann, Mark van Yetter, Institut für Bienenzucht, Düsseldorf, DE (2014). Van Yetter was the recipient of the Fürstenberg Zeitgenössisch Residency in 2016.Mark van Yetter, Jonas, Amelie & Loki, 2024 Pastel on paper, artist's pine frame 27.6 × 39.4 in. (70.10 × 100.08 cm). Copyright Mark van Yetter, Courtesy of the artist and Bridget Donahue, NYC, Photo by Charles Benton.Mark van Yetter, Umar, 2024 Pastel on paper, artist's pine frame 18.9 × 14.2 in. Copyright Mark van YetterCourtesy of the artist and Bridget Donahue, NYC, Photo by Charles Benton.Mark van Yetter, Untitled, 2024 Oil on paper, artist's pine frame 12 × 9.1 in. (30.48 × 23.11 cm) Copyright Mark van YetterCourtesy of the artist and Bridget Donahue, NYC, Photo by Charles Benton.
Gretchen Scherer (b. 1979, Indianapolis, IN) received a MFA from Hunter College, NY and a BFA from The University of Illinois at Chicago, IL. Scherer has been awarded residencies at Skowhegan School of Sculpture and Painting, ME and Vermont Studio Center, VT. Recent exhibitions include Richard Heller Gallery, LA; Patricia Low Gallery, Gstaad,Switzerland; Gowen Contemporary, Geneva, Switzerland; Taymour Grahne, London; and Monya Rowe Gallery, NY. Scherer’s work was highlighted in Harper’s Bazaar Latin Art Issue in “Artists to Follow in 2022”, and in New York Magazine by Jerry Saltz in “The Best Art Shows of 2021”.Scherer’s work was recently profiled in the Spring 2024 issue of Juxtapoz magazine (“Gretchen Scherer: If Rooms Could Talk”). Her work is also included in “New Surrealism: The Uncanny in Contemporary Painting” by Robert Zeller, published by Monacelli Press (2024), an imprint of Phaidon. The artist lives and works in West Creek, NJ and Brooklyn, NY.GRETCHEN SCHERER Sir John Soane's Museum, Drawing Office, 2024 oil and acrylic on panel 24 by 30 inches Courtesy of Monya Rowe Gallery, NY.GRETCHEN SCHERER Palazzo Borromeo, Isola Bella, Berthier Gallery, 2024 oil and acrylic on panel 18 by 24 inches Courtesy of Monya Rowe Gallery, NYGRETCHEN SCHERER Palace of Aranjuez, Porcelain Room, 2024 oil and acrylic on panel 18 by 24 inches Courtesy of Monya Rowe Gallery, NY.
Paula Siebra is a Brazilian painter born in Fortaleza, Ceará, in 1998. The artist focuses on images related to everyday life and scenes of intimacy using Brazilian northeastern culture as her starting point. Her paintings emerge from the exploration of established themes such as portraits, landscapes, and still lifes. These motifs, throughout her research, acquire a peculiar aspect: a certain simplification in the contours, added to a reduction in the contrast between chromatic tones, polarizing reality, and reverie - as if the artist were daydreaming about ordinary life.In addition to following a straightforward continuum from tradition, her paintings relate to an inherent visualness of her native land of Ceará and the Brazilian Northeast as a whole. She is particularly close to folk art since her interests encompass the synthetic form of clay objects, laces, and other textile works such as crochet and embroidery, as well as the geometric and colorful architectural features of traditional houses. Surrounding villages, household objects, and anonymous faces are elements of the landscape in which the artist is immersed, appearing as if clothed by a light mist that covers everything - alternately concealing or revealing them.Her recent solo exhibitions include As primeiras coisas [The earliest things], Mendes Wood DM, New York (2024); Cristalino Segredo, Mendes Wood DM, Brussels (2023); Noites de cetim, Mendes Wood DM, São Paulo (2022); Lembrança de algum lugar, Sobrado Dr. José Lourenço, Fortaleza (2022); O Soar das Horas, Nieuwe Gentweg 21, Bruges (2023) and Arrebol, Mendes Wood DM, New York (2021).Additionally her work has been including in group exhibitions such as Amadeo Luciano Lorenzato en conversation avec Lucas Arruda, Sanam Khatibi, Patricia Leite, Paula Siebra, Marcos Siqueira, Erika Verzutti et Castiel Vitorino Brasileiro, Mendes Wood DM, Paris (2024); 74º Salão de Abril, Centro Cultural Casa do Barão de Camocim, Fortaleza (2023); Arte Laguna Prize Exhibition, Arsenale di Venezia, Venice (2023); Close, Grimm Gallery, London (2023); A Gauzy Flame, Herald St, London (2023); Pequenas pinturas II, auroras, São Paulo (2022); My reflection of you, The Perimeter, London (2022); Corpo Ancestral - 21ª UNIFOR Plástica, Universidade de Fortaleza, Fortaleza (2022); Male Nudes: a salon from 1800 to 2021, Mendes Wood DM, São Paulo (2022).Additionally, here's a link to a Studio Visit.Paula Siebra, Uma carta | A letter, 2024, oil on canvas, 30 x 20 cm, 11 3/4 x 7 7/8 in.Courtesy of the artist and Mendes Wood DM, São Paulo, Brussels, Paris, New York, Photo credit: EstudioEmObraPaula Siebra, Mesa de cabeceira | Bedside table , 2024, oil on canvas, 40 x 50 cm, 15 3/4 x 19 3/4 inCourtesy of the artist and Mendes Wood DM, São Paulo, Brussels, Paris, New York. Photo credit: EstudioEmObraPaula Siebra, Mesa do almoço com quadro do Chico da Silva | Dining room table with a painting by Chico da Silva, 2024, oil on canvas, 70 x 100 cm, 27 1/2 x 39 3/8 inCourtesy of the artist and Mendes Wood DM, São Paulo, Brussels, Paris, New York. Photo credit: EstudioEmObra
Born in Los Angeles, Lily Ramírez’s painting practice has always hinged on her fascination with the with paint. She began working in acrylics at a young age, experimenting alongside her father who supported her burgeoning practice. The pair moved across the US, living briefly in Montana and Wyoming before re-settling in LA. “Everything I’ve done is based on what he taught me. I had a beautiful, natural childhood,” she says.Ramirez attended Otis College of Art and Design to study painting as an undergraduate, where she studied under artists Meg Cranston, Scott Grieger, and Soo Kim.Lily Ramírez Missoula, Montana, 2023 Oil Stick on Kozo Paper 30 x 24 inches 76.2 x 61 cm.Lily Ramírez Orange tree, 2023 Oil Stick on Kozo Paper 30 x 24 inches 76.2 x 61 cmLily Ramírez Probablemente, 2025 Oil and Oil Stick on Canvas 67 x 71 inches 170.2 x 180.3 cm.
James Little (b. 1952, Memphis, TN) holds a BFA from the Memphis Academy of Art and an MFA from Syracuse University. He is a 2009 recipient of the Joan Mitchell Foundation Award for Painting.In addition to being featured prominently in the 2022 Whitney Biennial at the Whitney Museum of American Art in New York, his work has been exhibited extensively in solo and group exhibitions around the world, including at MoMA P.S.1, New York; Crystal Bridges Museum of American Art, Bentonville; Studio Museum in Harlem, New York; St. Louis Art Museum, St. Louis; Virginia Museum of Fine Arts, Richmond; and the Smithsonian Institute, Washington, D.C. In 2022, Little participated in a historic collaboration for Duke Ellington’s conceptual Sacred Concerts series at the Lincoln Center, New York, with the New York Choral Society at the New School for Social Research and the Schomburg Center in New York. Recent solo exhibitions include: Petzel, New York (2024); Kavi Gupta, Chicago (2022); Dixon Gallery and Gardens, Memphis (2022); Louis Stern Fine Arts, West Hollywood (2020); and June Kelly Gallery, New York (2018).His paintings are represented in the collections of numerous public and private collections, including the Whitney Museum of American Art, New York; Virginia Museum of Fine Art, Richmond; The Studio Museum, Harlem, New York; The Menil Collection, Houston; Library of Congress, Washington, D.C.; Memphis Brooks Museum of Art, Memphis; Maatschappij Arti Et Amicitiae, Amsterdam; Saint Louis Art Museum, Saint Louis; Everson Museum of Art, Syracuse; New Jersey State Museum, Trenton; Tennessee State Museum, Nashville; and the Newark Museum, Newark.James Little Trophy Wives, 2024 Photo: Thomas Barratt Courtesy the artist and Petzel, New YorkJames Little The Problem with Segregation, 2024 Photo: Thomas Barratt Courtesy the artist and Petzel, New YorkJames Little Mahalia’s Wings, 2024 Photo: Thomas Barratt Courtesy the artist and Petzel, New York
A citizen of the world, Jerri Allyn (she/he/shimmher) is a community-based artist, educator, and activist who promotes civic engagement. Her work provides a forum for diverse voices that look at issues comprehensively. While challenging traditional gender roles and highlighting the experiences of underrepresented communities, his art explores complex themes including power dynamics and the intersections of body autonomy, race, and social class. Jerri’s diverse artistic practice encompasses various media: audio, video and sculptural tableaus, electronic billboards, 3-D books, and printmaking multiples, often culminating in site-oriented, interactive installations and performance art events.Allyn has exhibited internationally and received numerous prestigious awards. These include a Rockefeller Foundation Residency in Italy, an International Lila Wallace Reader's Digest Residency in Mexico, and grants from the Joan Mitchell Foundation, National Endowment for the Arts, New York Foundation for the Arts, the City of Los Angeles Department of Cultural Affairs, Lightening Fund, and The National Tanes Fund.Fr more information and research: Website link to Sx Cele popup, Safiya page. Safiya's Myth Busters. Ongoing Programs: Sx Celebrated: Comprehensive Sex Ed, Body Positive Movement, Sx Worker Rights - Human Rights Watch.Installation shot of work-in-progress popup, Sx Celebrated: Expanding Erotic Power, The Art Room, Los Angeles, CA, USA, Sept 28, 2024; photo: Cheri Gaulke.Safiya with photomontage portrait: Sapphrodite Goddess of Paraphilias / Safiya Discover an inner Deity, Sappic Energies, Erotic, Intimate needs? Your paraphilias are safe with me. Photo Montage, archival digital print on canvas, handsewn fabric frame, hung on rod; 6’H x 4’L; 2024. Excerpt of Performance: Stripper Co-op Dancers Seize the Means of Production, pictured: Kayla Tange, photo: Dan Monick.
Jim Osman was born in New York City. He received a BA & MFA from Queens College. He has had solo exhibitions at McKenzie Fine Art, Robischon Gallery, Lesley Heller Workspace, Long Island University and Dartmouth College. His work has been included in group shows at the Brooklyn Museum, Equity Gallery and University of Texas at San Antonio.He has received grants from the Brooklyn Arts Council, Parsons School of Design and a NYFA Artist Fellowship in Craft/Sculpture. He became a member of the National Academy in 2019.Mr. Osman taught courses in three-dimensional design and sculpture at Parsons School of Design for 22 years. He lives and works in Brooklyn, New York.Clock, 2024, wood, paint, 63 x 49 x 60 inches. Photo: McKenzie Fine Art.Dogleg with Target, 2024, wood, paint, 6 5/8 x 7 1/4 x 7 1/2 inches. Photo: Christian NguyenCedar Porch, 2024, wood, paint, 8 x 6 x 5 inches. Photo: Christian Nguyen
Bumin Kim is originally from South Korea and received her MFA in Drawing and Painting in 2015 from the University of North Texas, Denton, Texas. In 2017 she was awarded at the 30th annual international competition and exhibition, Materials: Hard+Soft.Her work has been shown by various institutions, including: Art Miami and Pulse Art Fair in Miami, FL; Dallas Art Fair in Dallas, TX; Art Aspen in Aspen, CO; San Francisco Art Fair in San Francisco, CA, Art Market Hamptons Fine Art Fair in Water Mill, NY; and Texas Contemporary Art Fair in Houston, TX. Furthermore, Kim’s work has been featured in publications, such as: New American Paintings, Fresh Paint Magazine, and Glasstire, and can be found in public and private collections throughout the United States, South Korea, Japan, and Europe. Bumin Kim completed an artist residency at Facebook’s headquarters in Austin, Texas in 2020, and her work was selected to be displayed at the Schneider Museum of Art in Ashland, Oregon in 2022.Meadow 5, 53 x 48 in, thread and acrylic on wood panel, 2024Winter Night, 35 x 35 in, thread and acrylic on wood panel, 2024Vexillum 1 (2023), 20 x 12 x 6 in, thread and wood, 2023
Kelly Reemtsen (b. 1967, Flint, Michigan) is best known for her bright and bold paintings of women carrying household tools such as chainsaws or axes. Her work often investigates the role of the modern woman, deconstructing societal perceptions of gender, power and femininity.Reemtsen's paintings are characterized by their thick impasto, stark white backgrounds, and anonymous figures. Reemtsen is currently based in Los Angeles.She studied fashion design and painting atCentral Michigan University and California State University Long Beach. Reemtsen has been involved with printmaking since the 1990s, studying etching and screen-printing in workshops and with educators across the United States.Kelly Reemtsen’s work has been exhibited widely in North America and is part of the Twentieth Century Fox and AT&T corporate collections.Kelly Reemtsen, In The Spot Light, 2024, Oil on panel, 44 x 44 inches.Kelly Reemtsen, Focal Points, 2024, Oil on panel, 60 x 60 inches.Kelly Reemtsen, Soften the Blow, 2024, Dark walnut wood, faux fur, lacquer. Each Axe: 36 x 12 x 3 inches.
Bernd Zimmer, born in Planegg in 1948, was a co-initiator of the Berlin Galerie am Moritzplatz, founded in 1977, and is a representative of “Heftige Malerei”. He studied philosophy and religious studies at the Free University of Berlin from 1973.His often large-format paintings initially focused on nature in deliberate contrast to the big city of Berlin. After a two-year stay in Rome, where he received a scholarship from the Villa Massimo, Bernd Zimmer has lived and worked in Polling in Upper Bavaria since 1984. Impressions from travel, nature, literature and philosophy are echoed in Zimmer's colorful works, as is his examination of the natural sciences and the cosmos, to which all forms of existence ultimately belong.Bernd Zimmer, Reflexion über 5 Kontinente, 2019/21 160 x 130 cm, Acryl/CanvasBernd Zimmer, Ladoga. Mittsommer. Feuerwerk, 2006 130 x 180 cm, Acryl/Öl) CanvasBernd Zimmer, Wandel (6), 2022, 160 x 130 cm, Acryl/Lwd.
Elise Engler’s art ranges from the personal to the political, to various combinations of those elements. Her work consists of meticulous, highly pictorial drawings and paintings that capture and document the material world in all its myriad details. Her projects are large in scope, but often intimate in format, and are a narrative investigation of the world seen through its innumerable, but countable, individual components, assembled in suites and series of works. Engler has received a New York Foundation for the Arts Fellowship in drawing, and an Adolph and Esther Gottlieb Foundation grant in painting. She has been the recipient of two MacDowell residencies, a Yaddo fellowship and a fellowship at Civatella Ranieri, In Umbria, Italy. She spent 2 months in Antarctica as an awardee of a National Science Foundation Antarctica Artists and Writers Grant. Her work has been written about in Art in America, The New Yorker, and The New York Times, among other publications, and she has shown in galleries across the U.S. and in Europe. Her project, A Year on Broadway, was featured on CBS Sunday Morning. Her book, A Diary of the Plague Year: An Illustrated Chronicle of 2020, Metropolitan Books/ Henry Holt/ MacMillan) was published in 2022. Engler lives and works in New York City.Box Camera, 2024 Oil on panel, 6 x 7 x 1 1/2 in 15.2 x 17.8 x 3.8 cm.January 6, 2021, 2023 Oil on canvas, 62 x 52 in 157.5 x 132.1 cmHomage to Florine Stettheimer’s Cathedral of Art, 2024 Oil on panel, 5 x 6 x 1 1/2 in 12.7 x 15.2 x 3.8 cm
Ever Baldwin lives and works in Catskill, NY. They hold a BFA in painting from The Maryland Institute College of Art and an MFA from The School of The Museum of Fine Arts in Boston.Recent solo exhibitions include The Ogunquit Museum of American Art, Ogunquit, ME; LeFebvre et Fils, Paris; Emma Gray HQ, Los Angeles, CA; and JAG Projects, Hudson, NY.Their work has been included in groups shows at Vielmetter, Los Angeles, CA; Modern Art, London; and Art Omi, Ghent, NY among others.Ever Baldwin, A new you, 2024, Oil on canvas in painted pine frame with 22k gold leaf, 60 x 40 x 10 inches.Ever Baldwin, Muffy, 2023, Oil on canvas in charred wood frame, 38 x 40 x 4 inches.Ever Baldwin, Hot and cold, 2024, oil on canvas in painted pine frame with aluminum, 38 x 30 x 4 inches.
Anne Brandhøj with the interactive sculptures she created for Designmuseum Danmark, which are permanently installed in the museum's garden.Anne Brandhøj is a Danish artist and designer whose practice centers around sustainability. From sourcing and harvesting timber to drying, processing, and finishing each piece by hand, her distinct designs take form around the natural irregularities of each length of wood. Its grain, knots, splits, and coloration guide her decisions and remain as elements of the final work. Rather than imposing her creative ideas on the material, Brandhøj works with the chance variations offered by nature, allowing her to incorporate offcuts that might otherwise end up as waste. Their unique textures and patterning are highlighted, polished into delicate eddies and currents that reveal the innate beauty of the material, whether made from oakwood, walnut, Douglas fir, cherry, or beech. In addition to her playful functional objects, she creates large-scale sculptures whose undulating vertical forms reiterate abstract motifs as though materializing the movement of sound—its waves, ripples, and echoes.“I die a little bit inside every time I see furniture with a smooth surface where you cannot see any structure, any knot, anything at all,” says Brandhøj. “It’s a shame when there is so much beauty in the wood to show.”Brandhøj received a bachelor’s and master’s degree in furniture design from the Royal Danish Academy of Fine Arts. She is a founding partner of Bly Studio, and currently serves as a teaching assistant at The Royal Academy. Brandhøj has exhibited throughout Denmark and internationally. In 2022, she was commissioned by Designmuseum Danmark to create a permanent sculptural installation for the museum, in collaboration with the Kay Bojesen Foundation.Inner Beauty Pedestals, 2023 Cherry 58.5" H x 17.5" W x 15.75” D 75", H x 12.5" W x 10.25” D 51.25", H x 10.25" W x 8.75” D.Works by Anne Brandhøj installed at Hostler Burrows New YorkSculpture, 2024, ash, 9.5" H x 7.5" W x 5.25" D, Rooting 11, 2023, maple and glazed porcelain, 8" L x 4.75" Dia. (collaboration with Signe Fensholt), Rooting 22, 2023, cherry and glazed porcelain, 17" H x 10.25" Dia. (collaboration with Signe Fensholt), Rooting 6, 2023, cherry and glazed porcelain, 10" H x 7" Dia. (collaboration with Signe Fensholt), Sculpture, 2024, cherry, 12.25" H x 7.5" W x 6.5” DPedestal, 2024, cherry, 16"H x 11.5" Dia.
Hilary Irons is a Maine-based painter and curator. She is gallery and exhibitions director at the University of New England.Hilary received an MFA from the Yale School of Art in 2008 and a BFA from Parsons School of Design in 2002, and she has attended residencies at the Albers Foundation, Skowhegan, MacDowell, the American Academy in Rome, the Pace House, Hewnoaks, Canterbury Shaker Village, and the Surf Point Foundation. She has written for The Chart, Art New England, Boston Art Review, and other publications.Her work revolves around opticality, the landscape, and material culture, exploring the ways in which our reading of space and objects are impacted by color, mark, and light.Hilary Irons, Legion of Mary, 2024, Oil, acrylic, and marble dust on panel 18h x 18w in 45.72h x 45.72w cm. Photo courtesy of the artist and Morgan Lehman GalleryHilary Irons, Ash Pail and Duck Askoi, 2022, Oil, acrylic, and marble dust on panel, 17 3/4h x 17 3/4w in 45.09h x 45.09w cm. Photo courtesy of the artist and Morgan Lehman GalleryHilary Irons, My Funny Valentine, 2022, Oil, acrylic, and marble dust on panel, 14h x 11w in 35.56h x 27.94w cm. Photo courtesy of the artist and Morgan Lehman Gallery
Alyina Zaidi at Alexander Berggruen, NY, 2024. Courtesy of the artist and Alexander Berggruen, NY.Alyina Zaidi (b. 1995, New Delhi, India) holds an MA in painting from the Royal College Of Art, London and a BA from Mount Holyoke College, South Hadley, MA. Her work has been included in exhibitions at Alexander Berggruen, New York, NY; Newchild Gallery, Antwerp, BE; Indigo + Madder Gallery, London, UK; Pippy Houldsworth Gallery, London, UK; and White Cube, London, UK, among others. Zaidi is a London-based artist from New Delhi and Srinagar. This is Zaidi’s first solo show with the gallery, following her inclusion in the gallery’s group show Katja Farin, Maria Farrar, Esme Hodsoll, Alyina Zaidi (March 1-April 5, 2023).In Lost in the belly of a whale, Zaidi establishes stronger narrative threads with more action than her previous work. Here, nomadic white strawberries attempt to herd their goats and are at war with imperial frogs. In the top left register of Facts and hearsay—an encyclopaedia of various natural and less natural phenomena, these frogs steal the moon. Angels purchase Moons for sale and, in Dubious benediction, guard pickle jars of frogs and moons. On occasion, the unreliable nature of history emerges where portions of the composition are swallowed by dark orbs Zaidi calls “the cave of the unknown.” These nebulous scenes offer a mode of abstraction for the artist and indicate that there is more to learn about this universe.Further embracing reality-warping unknowns, Zaidi’s paintings are filled with magic and mythology. As in previous work by the artist, cherry tomatoes and radishes become spirits, angels with opulent tentacled wings populate most paintings, chilis hang to ward off the evil eye, and rituals are performed around the moon for luck. New supernatural elements in this body of work include poltergeists who lurk in windows and sacred trees. In Zaidi’s painting Euphemia and the assassin, she alludes to a version of the story of Saint Euphemia’s martyrdom in which she was thrown into an arena with lions meant to kill her. In the Islamic tradition of indirect representation, rather than painting Euphemia as a person, Zaidi paints her as a bejeweled textile surrounded by lacy fabric. In a playful rendition of the tale, here, Euphemia is cradled in a hammock of lions’ tails.Alyina Zaidi, Perfumed veils and gauzy tails, 2024, acrylic on canvas, 16 x 16 in. (40.6 x 40.6 cm.). Courtesy of the artist and Alexander Berggruen, NY. Photo: Mark BlowerAlyina Zaidi, Dubious benediction, 2024, acrylic on canvas, 30 x 30 in. (76.2 x 76.2 cm.), Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Mark BlowerAlyina Zaidi, Facts and hearsay—an encyclopaedia of various natural and less natural phenomena, 2024 acrylic on canvas, quadriptych, overall: 77 x 200 in. (195.6 x 508 cm.), each: 77 x 50 in. (195.6 x 127 cm.). Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Dario Lasagni
Szot (b. 1976) has exhibited his work in many galleries across the United States from New York to Los Angeles and Texas. Szot's paintings have been exhibited in the Saatchi Gallery in London and, in 2014, the artist was invited to participate in the Whitney Museum Art Party. His work is in public collections, including Credit Suisse, and numerous private collections, such as Beth DeWoody and the Bass Family. The artist currently lives and works in both Los Angeles, CA and Brooklyn, NY.Ejecta, 80 x 58 inches, oil, metal leaf and charcoal on linen, 2024.Good Luck Flag (Diptych), 74 x 100 inches, oil, metal leaf and charcoal on linen, 2024.Soft Story, 52 x 70 inches oil, metal leaf and charcoal on linen, 2024.
Portrait Monica BonviciniCourtesy the artist, © Monica Bonvicini and VG-Bildkunst, Bonn 2022 / Photo by Olaf HeineBorn in Venice, Italy, Monica Bonvicini currently lives and works in Berlin, Germany. The artist studied at the Universität der Künste in Berlin and the California Institute of the Arts in Valencia, CA.Since the 1990s, Monica Bonvicini has had numerous exhibitions and projects around the world. Upcoming, the artist will have a major solo exhibition at Neue Nationalgalerie in Berlin (2022). Other significant solo exhibitions include Hurricanes and other Catastrophes at Kunstmuseum Winterthur, Switzerland (2022), I Don’t Like You Very Much at Kunsthaus Graz, Austria (2022), LOVER’S MATERIAL at Kunsthalle Bielefeld, Germany (2020), I CANNOT HIDE MY ANGER at Belvedere 21 Museum of Contemporary Art, Vienna (2019), As Walls Keep Shifting at OGR, Turin, Italy (2019), Monica Bonvicini at Berlinische Galerie, Berlin (2017), her hand around the room at BALTIC Center for Contemporary Art, Gateshead, Newcastle (2016), BOTH ENDS at Kunsthalle Fridericianum, Kassel (2011), Desire Deseise Devise at Deichtorhallen, Hamburg (2012), Monica Bonvicini at Frac des Pays de la Loire, Carquefou, France (2009), Monica Bonvicini / Tom Burr at Kunstmuseum Basel, Switzerland (2009), Focus: Monica Bonvicini–Light Me Black at Art Institute of Chicago (2009), NEVER MISSING A LINE at Sculpture Center, New York (2007), Monica Bonvicini at Palais de Tokyo, Paris (2002), among others.Bonvicini has earned several awards, including the Golden Lion at the Biennale di Venezia (1999); the Preis der Nationalgalerie für junge Kunst, from the Staatliche Museen zu Berlin (2005); the Rolandpreis für Kunst for Art in Public Space from the Foundation Bremen, Germany (2013); the Hans Platschek Prize for Art and Writing, Germany (2019); the Oskar Kokoschka Prize, Austria (2020).Monica Bonvicini’s works can be found permanently installed in Queen Elizabeth Olympic Park, London; on the waterfront at Bjørvika, before the Den Norske Opera & Ballett House, Oslo; the Istanbul Museum of Modern Art (2003-2019); and the Weserburg Museum of Modern Art, Bremen, among others.Monica Bonvicini, Chainswing Rings & Stripes 2024 Galvanized steel chains, chain quick fasteners, belting leather, rivets, galvanized steel rings Dimensions variable Courtesy the artist and Tanya Bonakdar Gallery, New York / Los AngelesMonica Bonvicini, Stay Home 2024 Silkscreen and tempera on Fabriano paper 78 3/4 x 59 inches; 200 x 150 cm (unframed) 82 5/8 x 63 inches; 210 x 160 cm (framed) Courtesy the artist and Tanya Bonakdar Gallery, New York / Los AngelesMonica Bonvicini, Installation view, Put All Heaven in a Rage, Tanya Bonakdar Gallery, New York, 2024. Photo by Pierre Le Hors Courtesy the artist and Tanya Bonakdar Gallery, New York / Los Angeles
Jammie Holmes in his Dallas studio, 2024. Photo by Daisy AvalosMorning Thoughts takes its title from a 1981 Gil Scott-Heron song by the same name. Throughout the song’s soft, spoken-word lyrics Scott-Heron meditates on the magical potential felt in the moment when night quietly turns to day—on the possibilities that radiate in the first light of morning, as the morning glory and daylily buds open. With his newest body of work, Holmes captures this moment of possibility alongside the inevitable moments of loss that follow as flowers wilt, as color seeps away—the dichotomy of morning and mourning. Underneath all of this,Morning Thoughts embodies the resilience of Holmes, of his community: morning glory and daylily flowers may wilt and die by dusk, but the plants and their roots remain. With Morning Thoughts, Holmes reminds us that hope and loss go hand-in-hand—but beauty remains for those willing to see it, that flowers bloom again in the morning.
Jammie Holmes’s first solo museum exhibition, Jammie Holmes: Make the Revolution Irresistible, was presented at the Modern Art Museum of Fort Worth, TX in 2023.
His work has been included in numerous group exhibitions, including:Afro-Atlantic Histories, which traveled to the Los Angeles County Museum ofArt, CA; the Museum of Fine Arts, Houston, TX; the National Gallery of Art, Washington, D.C.; and the Dallas Museum of Art, TX. His work has also been included in group exhibitions at the New OrleansMuseum of Art, LA; the China Center of International Contemporary Art Vancouver, Canada;Columbus Museum of Art, OH; Dallas Contemporary, TX; and many more.
Jammie Holmes – ‘Black Market’ (2024) – copyright of Jammie Holmes and courtesy of Marianne Boesky GalleryJammie Holmes – ‘Morning Glory’ (2024) – copyright of Jammie Holmes and courtesy of Marianne Boesky GalleryJammie Holmes – ‘Malcolm’ (2024) – copyright of Jammie Holmes and courtesy of Marianne Boesky Gallery
portrait_Henri-KisielewskiMichael Iveson (b. 1984, Northern Ireland) lives and works in London. Iveson is a painter, printmaker and installation artist whose works investigates social divisions, the interplay between the abstract space of advertising, fear and desire and their concrete manifestations through status, consumption and the lived environment.
Iveson has previously exhibited with Foreign & Domestic at the Salon de Normandy, Paris, in 2019, and at the Averard Hotel, London, in 2016 and 2018, with conceptual and site-specific architectural interventions in painted bubblewrap and experimental printmaking.Iveson, Palette (HTSI) no.5, 2024 erased magazine pages with extracted pigment 13 ¾ x 22 inIveson, Anonymous (watcher), 2024 extracted pigment on canvas with artist made frame 9 7/8 x 12 5/8 x 1 inIveson, Boots, 2024 extracted pigment on canvas with artist made frame 12 ½ x 14 1/8 x 1 1/8 inIveson, How much land does a man need?, 2024 extracted pigment on canvas with artist made frame 14 ¼ x 12 ¼ x 1 in
Kati Gegenheimer, photograph by Mark GibsonKati Gegenheimer was born in Bucks County, PA, in 1984 and lives and works in Philadelphia, PA, where she is an Assistant Adjunct Professor at the Tyler School of Art and Architecture.
She received a MFA in Painting and Printmaking from Yale University in 2013 and a BFA in Printmaking and Art History from the Tyler School of Art in 2007. Her works have been exhibited in solo exhibitions at North Orange, Montclair, NJ, 2022 and Gross McLeaf, Philadelphia, PA, 2021.Group and two-artist exhibitions include Kati Gegenheimer | Chenlu Hou, Kristen Lorello, New York, NJ, 2023, Mars in Cancer, David Peterson Gallery, Minneapolis, MN, 2023, Reveries, Peep Projects, Philadelphia, PA, 2022, and Good Pictures, curated by Austin Lee, Jeffrey Deitch, New York, NY, 2020. She is the recipient of a Yaddo Artist Access Grant and a smART Ventures Grant, and has been granted artist residencies at The Goldey House Artist Residency, the Elizabeth Murray Artist Residency, and the Pollock-Krasner Residency at Yaddo, Saratoga Springs, NY.Kati Gegenheimer, Shell Songs, 2024, Oil on linen, 24 x 18 inches, Courtesy of the Artist and Kristen Lorello, NY, Photo: Charles BentonKati Gegenheimer, Correspondence, 2024, Oil on linen, 24 x 36 inches, Courtesy of the Artist and Kristen Lorello, NY, Photo: Charles BentonKati Gegenheimer, Atlas of Feeling, 2024, Oil on linen, 24 x 18 inches, Courtesy of the Artist and Kristen Lorello, NY, Photo: Charles Benton
Francine Tint In the StudioOver more than five decades, Francine Tint has created a remarkable body of work. Her paintings display an exhilarating freedom of execution combined with an original and frequently surprising color sensibility, varying in size from 10 inches to nearly 20 feet. Her brushwork ranges from languorous and undulating swaths of paint to aggressive and agitated gestures. Her works speak of a powerful and unwavering commitment to the visual and emotional vocabulary of abstract painting, and they embody the artist’s personal and deeply held belief in the power of intuitive creation.
Tint’s direct heritage may be traced to Abstract Expressionism and Color Field painting. Her admiration for those artists is enormous, but she also reaches more deeply into art history. Artists who are touchstones for Tint include Édouard Manet, Francisco Goya, Pompeian frescoes from the Roman Empire, and especially J.M.W Turner for his reliance on inspiration and radical painting techniques. She is particularly fond of 16th-century Mannerist painters; Jacopo Pontormo’s idiosyncratic colors and anatomical and spatial distortions fascinate Tint. She also has a deep interest in Asian brush paintings. Recently, Tint has been mining her books on paleolithic cave paintings where she is captivated by their creators’ profound identification with the animals they depicted, an identification which extends to handprints stenciled directly onto the cave walls. She is reminded of the foot and handprints that appear in her paintings.
Tint’s work has been exhibited in over thirty solo shows in the United States and Europe, and is in the permanent collections of numerous museums including the Clement Greenberg collection at the Portland Art Museum and the Krannert Art Museum in Chicago. Her work is in private and corporate collections including Pepsi Co. and Mount Sinai Hospital.
Francine Tint, Golden Flutter, 2024, Acrylic on canvas, 54 X 39 in. (137.2 x 99.1 cm), Copyright Upsilon GalleryFrancine Tint, Impressions, 2024, Acrylic on canvas, 52 1/2 x 36 in. (133.3 x 91.4 cm), Copyright Upsilon GalleryFrancine Tint, Impressions, 2024, Acrylic on canvas, 52 1/2 x 36 in. (133.3 x 91.4 cm), Copyright Upsilon Gallery
Mala Iqbal was born in the Bronx in 1973 and grew up in a household where three cultures and four languages intersected. “The Edge of an Encounter,” a solo show of her paintings and works on paper is currently on view at JJ Murphy Gallery in New York until November 9, 2024. Other solo exhibitions were at Soloway Gallery in Brooklyn; Ulterior Gallery, Bellwether Gallery, and PPOW in New York; Taylor University in Upland, Indiana; Twelve Gates Arts in Philadelphia; and Richard Heller Gallery in Los Angeles.Her series of collaborative paintings, made with Angela Dufresne, was shown in October 2021 at the Richard and Dolly Maass Gallery, SUNY Purchase, and at LSU in Baton Rouge in November 2023. Her work has been exhibited in group shows throughout the United States as well as in Australia, China, Europe, and India. Her work has been reviewed in various publications including The New York Times, The Brooklyn Rail, Hyperallergic and The New Yorker. Iqbal has been awarded artist residencies at the MacDowell Colony, Yaddo, The Fine Arts Work Center, and the Hermitage Artist Retreat. She received a Joan Mitchell Fellowship in 2023. Mala Iqbal lives and works in New York City.Animals, 2024 Oil on canvas 12 x 16 inchesGhost Friend, 2024 Gouache and crayon on gray paper 4 x 6 inches.Interrupture, 2024 Oil on canvas 72 x 96 inches.
©Studio ROBIN KID – Portrait of the artist at his studio in the Paris area. Robin Kid (b. 1991), is a self-taught multidisciplinary artist from Dutch descent. Raised by his grand parents in a post war little mining town in the rural south of Holland, Robin had difficulties fitting in at school and preferred to rush home to find his refuge in front of the American programs on TV.
From re-runs of Davy Crocket, music videos on MTV to explosive fights on Jerry Springer and the commercials in between, Robin was mesmerized by the spectacle and power of American consumerism.
After dropping out of high school and a short-lived career at Mc Donalds, he decided he would teach himself to paint and sculpt through YouTube as a way to navigate today’s world by drawing on the one of his childhood. His work hijacks a variety of social, political and traditional imagery of the past and present, with rebellious, religious, fantastical and in some ways offensive undertones. He pulls intuitively from the world of advertising, the Internet, the entertainment industry and his childhood memories, to produce ambitious, enigmatic and thought-provoking narratives, which question our polarized world of the 21st century.
In parallel, Robin Kid’s solo exhibition The Future Is Old is on view at the Museum of Modern and Contemporary Art MOCO in Barcelona following his three-year solo exhibition at MOCO Amsterdam, and his monumental sculpture The State We Are In, In The Consciousness Of A Country’s Empty Mind as well as four paintings by the artist are on view at the Twenty-First Century Museum 21C in Louisville as part of the group exhibition This We Believe after its three-year exhibition at the 21C Museum in Chicago. ROBIN KID works are part of public, corporate and private collections in Switzerland, France, Netherlands, Spain, Germany, China, South Korea, the UK and the USA.
Searching for America by ROBIN KID – Solo show at TEMPLON NYC from Sept 04 to Oct 26 2024. 1 Left – SFA III and IV – Oil paint on canvas cast aluminum stainless steel various materials – Variable dimensions ©ROBIN KID. Courtesy the artist. 2 Middle – SFA VI – Oil paint on canvas cast aluminum stainless steel various materials – Variable dimensions ©ROBIN KID. Courtesy the artist. 3 Right – SFA VIII – Oil paint on canvas cast aluminum stainless steel various materials – Variable dimensions ©ROBIN KID. Courtesy the artist.It’s New Venom, 2023-2024 – ROBIN KID Oil on canvas, stainless steel, aluminum. 118 × 196 × 12 in. / 300 × 497 × 30 cm.Can You Tell Me The Way To Sesame Sreet?, 2023-2024 – ROBIN KID Oil on canvas, stainless steel, aluminum. 149 × 158 × 12 in. / 380 × 400 × 30 cm.
Adam Simon (born Hampstead, England, 1952) is a visual artist based in Brooklyn, NY, known both for his paintings and for projects addressing the presentation and distribution of art. Simon’s paintings often mine cultural phenomena, including newspaper layout and content, stock photography, iconic images from art history and (most recently) corporate logos. His current exhibition at OSMOS address, in NYC, combines fragments from past paintings.
Simon’s public projects began with Four Walls, an artists’ forum and exhibition space that featured one-evening exhibitions with discussion. Simon co-directed Four Walls first with Michele Araujo in Hoboken, NJ (1984-1988) and subsequently with Mike Ballou in the Williamsburg section of Brooklyn, NY (1990-1998). The Four Walls archives are now housed in the Smithsonian Archive of American Art. Simon’s other well-known public project was the Fine Art Adoption Network, in collaboration with the NYC nonprofit, Art in General. Beginning in 2006, over 350 artists posted images of works they were willing to give to adopters they selected from among those that solicited the works online. Over 600 works were adopted through FAAN.
Simon has exhibited his paintings in the United States and Europe. He has been the recipient of several awards and grants including a NYC Percent for Art commission and a Yaddo artist’s residency.
As Much As 18 x 14 inches, acrylic on canvas mounted on wood panel 2024 SeeSaw by Neatlight 48 x 36 inches, acrylic on canvas mounted on wood panel 2024Gloaming 48 x 36 inches, acrylic on canvas mounted on wood panel 2024
Soumya Netrabile (b. 1966, Bangalore, India) received a BFA from the School of Art Institute of Chicago and a BS in Electrical Engineering from Rutgers University. Recent solo exhibitions include Rachel Uffner Gallery (New York, NY); Andrew Rafacz (Chicago, IL); Anat Egbi (Los Angeles, CA); Gana Art (Seoul, South Korea); Pt.2 Gallery (Oakland, CA); and The Journal (New York, NY). Recent group exhibitions include Andrew Rafacz (Chicago, IL); Anat Egbi (Los Angeles, CA); Rachel Uffner Gallery (New York, NY); Trinta Gallery (Santiago de Compostela, Spain); Indigo + Madder (London, UK); and Karma (New York, NY). Netrabile has exhibited in art fairs in Chicago, Miami, New York, San Francisco, Dallas, Seoul, and Hong Kong. Her work is in the public collections of the Orange County Museum of Art (Costa Mesa, CA); Crocker Art Museum (Sacramento, CA); University Club of Chicago (Chicago, IL); Aïshti Foundation (Jal El Dib, Lebanon); and Museu Inimá de Paula (Belo Horizonte, Brazil). Netrabile lives and works in Chicago, IL.Soumya Netrabile, Passage, 2024, oil on canvas, 48 x 60 in (121 x 152 cm), courtesy of the artist and Rachel Uffner Gallery.Soumya Netrabile, Wild Donkeys at Blackrock, 2024, oil on canvas, 24 x 24 in (60.96 x 60.96 cm), courtesy of the artist and Rachel Uffner Gallery.Soumya Netrabile, Water tower, 2024, oil on canvas, 60 x 72 in (152 x 182 cm), courtesy of the artist and Rachel Uffner Gallery.
Hein Koh (b. 1976, Jersey City, N.J.) lives and works in Brooklyn. She graduated from Dartmouth College with a dual B.A. in studio art and psychology in 1998, and received her M.F.A. in painting from Yale University in 2004.
Koh has exhibited internationally, receiving features in Artforum, ArtNews, The Atlantic, The Brooklyn Rail, The Huffington Post, Hyperallergic, New York Magazine, The New York Times, Time Out New York, and The Wall Street Journal, among others. Her work is in the permanent collections of the Garage Museum in Russia and the Xiao Museum in China.
In 2019, the artist mounted her first public installation at Rockefeller Center with the Art Production Fund. In 2021, Koh presented her first institutional solo show at SCAD Savannah College of Art and Design Museum, titled ‘Hope & Sorrow’. The site-specific installation transformed the museum’s Jewel Boxes into gardens for larger-than-life anthropomorphized flowers—made up of the artist’s very own soft-sculptures of metallic spandex, velvet, and satin, set against vinyl backdrops and Astroturf. In 2022, her first exhibition catalogue was printed in conjunction with her solo show ‘On the Edge of a Precipice’ at the gallery. ‘Hope Springs Eternal’ marks our fourth solo project with Koh, and her first in the main gallery space at 16 East 55th Street.
Hein Koh, Awake, 2024, Acrylic and oil on canvas, 72 x 96 inches (182.9 x 243.8 cm)Hein Koh, Mammo, 2024, Acrylic, oil, and oil stick on canvas, 96 x 72 inches (243.8 x 182.9 cm)Hein Koh, Four Burners, 2024, Oil and oil stick on canvas, 30 x 22 inches (76.2 x 55.9 cm)Hein Koh, Drooping Flower, 2024, Acrylic, aluminum foil, archival spray varnish, armature wire, concrete, copper pipe, cotton string, duct tape, epoxy clay, fiberglass cloth, gauze, plaster, styrofoam, Weldbond glue. 62 x 26 x 29 inches (157.5 x 66 x 73.7 cm)
Dike Blair (b. 1952, New Castle, Pennsylvania) uses gouache, oil, his own photographs, and strategies appropriated from Postminimalist sculpture to create intimate tableaux that transform quotidian sights and materials into exercises in formalism. A writer and teacher as well as an artist, Blair came up in the downtown scene of 1970s New York among punk rockers and Postmodernists. In the early 1980s, against prevailing art world trends toward Neo-Expressionism, he began rendering scenes from his life in gouache on paper. These ongoing diaristic paintings are devoid of human figures but nonetheless evoke the specter of the artist whose daily life plays out at a remove across their finely-wrought surfaces. Blair lives in New York and Sullivan County.
Blair’s recent solo exhibitions include Edward Hopper House, Nyack, New York (2024); Karma (Los Angeles, 2023, New York, 2022); Various Small Fires, Seoul (2020); The Modern Institute, Glasgow (2019); Linn Lühn, Düsseldorf (2019); Secession, Vienna (2016); and Jüergen Becker Gallery, Hamburg (2016). In 2022, Karma presented an exhibition of Blair’s paintings of Gloucester alongside Edward Hopper’s paintings of the same small Massachusetts city. Blair’s work is featured in the collections of the Whitney Museum, New York; Brooklyn Museum, New York; The Morgan Library & Museum, New York; Los Angeles County Museum of Art; Dallas Museum of Art; and the Museum of Contemporary Art, Los Angeles, among others. Blair’s work is on view in Matinee: Dike Blair at Edward Hopper House, Nyack, New York through October 27, 2024 and at Karma, New York through October 26, 2024.
Dike Blair, Untitled, 2024, Gouache, pencil and chalk on paper, 15 x 20 inches, 38.1 x 50.8 cm, 16 5/8 x 21 5/8 inches, 42.23 x 54.93 cm (framed), © Dike Blair. Courtesy the artist and Karma.Dike Blair, Untitled, 2024, Gouache, pencil and chalk on paper, 15 x 20 inches, 38.10 x 50.80 cm, 16 5/8 x 21 5/8 inches, 42.23 x 54.93 cm (framed), © Dike Blair. Courtesy the artist and Karma.Dike Blair, Untitled, 2024, Oil on aluminum panel, 28 1/8 x 21 1/8, 71.44 x 53.66 x 2.54 cm, 28 3/4 x 21 3/4 inches, 73.02 x 55.24 cm (framed), © Dike Blair. Courtesy the artist and Karma.
Photo by Brad TroneMaja Ruznic (b. Bosnia and Herzegovina, 1983) fuses personal narrative, psychoanalysis, mythology, and esoteric thought into vivid paintings that hybridize figuration and abstraction. Painting variably with oils and gouache on immense and small scales alike, she extracts order from layers of diluted pigment. Ruznic’s practice is informed by her studies, from Slavic shamanism and alchemy to Jungian psychoanalysis and sacred geometry.Imbued with a discordant beauty, her compositions emerge without a premeditated outcome. Ruznic’s introspective, mystical approach places her into a lineage of visionarypainters including Paul Klee and Hilma af Klint. Ruznic lives in Placitas, New Mexico.Recent solo exhibitions include those held at Karma (New York, 2024, Los Angeles, 2023); Tamarind Institute, Albuquerque (2022); Karma, New York (2022); and Harwood Museum of Art, Taos, New Mexico (2021). Ruznic’s work is held in the collections of the Crocker Art Museum, Sacramento, California; Dallas Art Museum; EMMA – Espoo Museum of Modern Art, Espoo, Finland; Harwood Museum of Art, Taos, New Mexico; Jiménez–Colón Collection, Puerto Rico; Portland Art Museum, Oregon; Rachofsky House, Dallas; and San Francisco Museum of Modern Art. Her work was recently on view in the Whitney Biennial 2024: Even Better Than the Real Thing at the Whitney Museum of American Art in New York.Maja Ruznic, On the Other Side, 2023, Oil on canvas, 100 x 150 x 2 1/2 inches, 254 x 381 x 6.35 cm. © Maja Ruznic. Courtesy the artist and KarmaMaja Ruznic, Arrival of Wild Gods II, 2023, Oil on canvas, 100 x 150 x 2 1/2 inches, 254 x 381 x 6.35 cm. © Maja Ruznic. Courtesy the artist and KarmaMaja Ruznic, Geometry of Sadness, 2023, Oil on canvas, 100 x 150 x 2 1/2 inches, 254 x 381 x 6.35 cm. © Maja Ruznic. Courtesy the artist and KarmaMaja Ruznic, Arrangement of a Nervous System, 2023, Gouache on paper, 16 3/8 x 11 5/8 inches, 41.59 x 29.53 cm. 24 x 29 1/4 inches, 60.96 x 74.30 cm (framed). © Maja Ruznic. Courtesy the artist and Karma
Leora FridmanLeora Fridman is a writer whose work is concerned with issues of identity, care, dis/ability, and embodiment.She is author of Static Palace, a collection of essays about chronic illness, art and politics, Bound Up: On Kink, Power & Belonging,just out this month, and other books of prose, poetry and translation. She is currently faculty at the Eugene Lang College of Liberal Arts at The New School and Director of the New Jewish Culture Fellowship. A provocative look at historical trauma as bound, incarnated, and processed through intimate and sexual expression.In an autotheoretical journey through bondage, domination, and intimacy, Leora Fridman uncovers how Jewish historical trauma can be challenged and explored in embodied relations. Drawing on her experiences as an American Jew in Germany, Fridman delves into BDSM practices and experimental communities from Oakland to Berlin. This work weaves personal encounters with critical analysis founded in feminist theory, queer literature, Holocaust history, and memory studies. Bound Up begins with kink and leads us through a sensual and intelligent approach to intergenerational trauma and lived politics. What kind of healing can take place in the relational and physical realm? How can intimacy contradict and complement the process of political reparations? Fridman layers a nuanced understanding of shame, responsibility, and power with explorations of cinema, contemporary art, and popular culture to shed light on topics from personal and political relationships to victimhood and blame. Both timely and timeless, this work is an address to history and the contemporary moment, relevant to Jews, diasporic scholars, and all exploring ethical relationships with history and with other humans.
Margaret Cogswell- In Mother’s yukata, giving presentation on my work in Japanese at the opening for my mixed media installation- Karasu to Issyoni Kaerimasyo: A River of Memories in Ichinomiya, Japan- 8/24/2024.Margaret Cogswell is a mixed-media installation artist residing in West Shokan, New York. Cogswell is the recipient of numerous awards, including the John Simon Guggenheim Memorial Foundation Fellowship (2009), Pollock-Krasner Foundation (2017-18, 1991 & 1987) and the New York Foundation for the Arts (2007, 1993). Cogswell’s most recent project (2024), “ Karasu to Issyoni Kaerimasyo: A River of Memories”, was made possible by a generous grant from The Tree of Life Foundation. Cogswell was born in Memphis, Tennessee, and raised in Japan where she lived until she was 13 years old.Since 2003, the main focus of Cogswell's work has been an ongoing series of RIVER FUGUES projects exploring the interdependency of people, industry and rivers. RIVER FUGUES began in Cleveland, Ohio with Cuyahoga Fugues, a mixed-media installation inspired by and incorporating generations of stories reflecting the life and dreams embodied by the Cuyahoga River. Expanding on this idea, Moving the Waters: Ashokan Fugues was created for a solo exhibition at the Cue Art Foundation in NYC in 2014, and re-created in 2016 for a solo exhibition at the Kleinart /James Center for the Arts, Woodstock, NY.RIVER FUGUES have been commissioned by museums and art centers for exhibitions nationally and internationally including Moving the Water(s): Croton Fugues, at Mid-Manhattan Library of New York Public Library, in New York, NY ( solo 2017); Water Soundings, for the Zendai Zhujiajiao Art Museum, China (solo 2014); Wyoming River Fugues at the Art Museum, University of Wyoming, Laramie (solo 2012); Hudson River Fugues at Tang Museum, Skidmore College, Saratoga Springs, NY, (group 2009-2010); River Fugues for a traveling group exhibition at the BOZAR Centre for Fine Arts, Brussels, Belgium (2007), the Monaco Ministry of Culture (2008) and Chicago Field Museum (2009); Mississippi River Fugues, Art Museum, University of Memphis, Tennessee (solo 2008); Buffalo River Fugues at Hallwalls Contemporary Arts Center, Buffalo, NY (solo 2006); Hudson Weather Fugues at Wave Hill, NYC (group 2005), and Cuyahoga Fugues at SPACES Gallery, Cleveland, Ohio (solo 2003).All RIVER FUGUES mixed-media installation projects include a parallel body of works on paper. Recent exhibitions of such works include In the Elements at Kentler International Drawing Space in Brooklyn, NY (2022); Fragile Rainbow at Williamsburg Art and Historical Center, Williamsburg, NYC, NY (2022). Upcoming in March, 2023, Cogswell’s work will be included in an exhibition titled This Earth at the Concord Center for the Visual Arts (Concord, Massachusetts) for artists who were awarded residencies at the Montello Foundation in the Great Basin of Nevada in 2022.Margaret Cogswell, Karasu to Issyoni Kaerimasyo: A River of Memories (2024)Mixed-media installation: sunset “painted” with tulle; river= fishing nets over wire fencing mesh; LED candles on river; fishing nets on floor; black shadow on veneer board; fishing pole with bamboo & wire; photo in white fishing net; grey acrylic ground cloth on walls & bamboo structure; crows painted with sumi on washi paper stitched onto tulle and stretched over bamboo circle frame.Margaret Cogswell, Karasu to Issyoni Kaerimasyo: A River of Memories (2024) Detail of photo of artist at 4 years old with playmate in swing in hometown of Marugame, Japan.Margaret Cogswell, Departing - Fearlessly Buoyant (2024) Collaged watercolor, sumi ink, acrylic ink & color pencil on paper. 26” x 47” (unframed dimensions)
Artist Portrait by Alexander BedderAnthony Cudahy (b.1989, Fort Myers, Florida, US) received a BFA from Pratt Institute, NY in 2011 and completed an MFA at Hunter College, NY in 2020. He lives and works in Brooklyn, NY. Cudahy is a figurative painter whose tender scenes reveal the nuanced complexities of life. In masterful compositions he creates a world for unspoken stories, intimate moments and romantic gestures. Personal and poetic, Cudahy's figures coalesce with the atmosphere of their environments in fluid brushstrokes. At once dark and luminous, Cudahy's paintings often have a phosphorescent quality to them, as though they are lit from within. For the artist, how the paint is handled has its own narrative potential - the thick textures, light airy space, patterning and delicate marks are all active in the story he is creating. Alongside painting, Cudahy makes incredibly detailed colored pencil drawings, in an all-consuming process of mark making. Unlike his paintings which transform throughout the making, the challenging medium calls for the compositions to be decided beforehand. Cudahy devotedly collects images. His collection draws upon film stills, snapshots of his partner, ancient sites, hagiographic icons and the photography of his great uncle, Kenny Gardner (which his husband, Ian Lewandowski has been compiling). Cudahy returns to his collected images time and time again, for they have a potent quality, which sparks ideas and concepts for the works.Anthony Cudahy, Dowsing (studio), 2024, Oil on linen, 243.8 x 182.9 cm | 96 x 72 inAnthony Cudahy, Death instinct (for Bergman, for Tarkovsky), 2024, Oil on linen, 121.9 x 304.8 cm | 48 x 120 inAnthony Cudahy, Ian and Alex, 2024, Oil on linen, 182.9 x 182.9 cm | 72 x 72 in
Pieter Schoolwerth. Photo by Jason Mandella. Courtesy the artist and Petzel, New York.Pieter Schoolwerth (b. 1970, St. Louis, Missouri) lives and works in Brooklyn, New York. He works in a multitude of mediums including painting, sculpture, installation, and video.Since graduating from the California Institute of the Arts in 1994, Schoolwerth has exhibited nationally and internationally with notable solo shows at Kunstverein Hannover, Thread Waxing Space, New York; Greene Naftali, New York; Grand Palais, Paris; Miguel Abreu Gallery, New York; What Pipeline, Detroit; Capitain Petzel, Berlin; Kraupa-Tuskany Zeidler, Berlin and Petzel, New York; Twelvetengallery, Chicago.His work has been included in group exhibitions at Kunsthalle Bielefeld, Bielefeld; The Museum of Modern Art, New York; The Whitney Museum of American Art, New York; Centre Pompidou, Paris; The Aldrich Museum of Contemporary Art, Ridgefield; The Institute of Contemporary Art, Boston; Sadie Coles, London among others. From 2003–2013 Schoolwerth ran Wierd Records, and the Wierd Party in the Lower East Side of NYC, releasing music by 46 bands and producing over 500 live music, DJ, and performance art events. This is his third solo exhibition at Petzel GalleryPieter Schoolwerth, Texture Tile #6 (Noone Believes Anything, and They Believe Everything), 2023. Photo: Jason Mandella. Courtesy the artist and Petzel, New York.Pieter Schoolwerth, OpenWorld (Supporting Actor #12), 2024. Photo: Jason Mandella. Courtesy the artist and Petzel, New York.Below: Pieter Schoolwerth and Phil Vanderhyden, Supporting Actor, 2024, 4K video with sound by Aaron Dilloway. Courtesy the artist and Petzel, New York.
Torey Akers is an artist and writer based in Brooklyn, NY. She holds an MFA in painting from Cranbrook Academy of Art and an MFA in Creative Nonfiction from Hunter College.Her work has been featured at arts venues across the country, most recently in a solo show at A.I.R. Gallery in Dumbo, NY. Install image of "Besotted", a solo show at A.I.R. GalleryTzipporah, 2024, 38" x 19", ink on paper with sealant, cardboard, velour, sewing pins, mirrors, ribbonsUntitled, 2024, 12" x 5", printed chiffon
Sasha Sykes (b.1976) is an Irish artist with a research-based practice in rural Ireland, at the foothills of the Wicklow mountains. Her artworks and furniture pieces are hand made using acrylics and resins to explore, manipulate, and challenge the material language of the natural world through the embedding of plants, flowers, algae and fungi she collects from the landscape. Her architectural background infuses her work with a sense of rigor, and informs her strong approach to form and composition, exploring notions of history and usefulness in a 21st century context.The artist has worked all over the world including London (1999-2003) and New York (2003-2006) and has now settled in her native County Carlow where she lives with her husband and three children and works in a strawbale studio next door. Known for her use of hand-cast resins, embedding found objects and collected organic materials, Sykes tells stories of our landscape and social history. Her work is found in numerous private and public collections such as the National Museum of Ireland, The Office of Public Works, The Department of Foreign Affairs and The Department of Culture & Heritage, as well as prestigious hotels and corporate headquarters: from Carton House to the Bank of America. The New York Times stated that Sykes’ art is ‘for people who live in the city but dream of the country’. Noted honors include Gyre, which had critical success at the PAD fair in London, and being invited to exhibit in the ‘Best of Europe’ at the Michelangelo Foundation for Creativity’s 2018 ‘Homo Faber’ show in Venice, and receiving an inaugural Fellowship from the foundation in 2023.Blooom! Screen, 2014, Resin, acrylic & garden flora, 63 x 79 inchesVerdiculture Cocktail Tables, 2023, Resin, Acrylic & plant material 21 x 16 inches and 18 x 18 inchesBlue Hydrangea Console, 2023,, Resin, Blue Hydrangeas,, 34 x 10 x 33 inches
Louise P. Sloane (b. 1952) has been active as an abstract painter since 1974, infusing her works with personal text that motivates her own experimentation. The visual language of her paintings continues the legacy of reductive and minimalist ideologies, while celebrating color and the human inclination towards mark making. Sloane’s detail-oriented works are typically divided into rectangles or squares. The quadrangle has become a repetitive motif, often centrally featured within the context of a grid. In contrast with her iterative geometries, it is important to Sloane that the works present themselves as human made objects. Thick paint constructs repetitive handmade patterns, the physical motion of her brush strokes revealing the humanity of her practice. The surface holds Sloane’s signature extrusions. Painstakingly written and overwritten, Sloane’s inscribed text is a form of private meditation. Turned into a relief, and abstracted through color blocking, the text is interpreted through its physicality, not its meaning. Contrasting color choices intensify the dimensionality of the surface texture. Sloane uses color straight-up, without mixing. Blending takes place optically, as one color reacts to the other, red against green, or blue against yellow. The elements of mark-making, color, and geometry compete for the viewer’s focus, keeping the eyes and mind in constant motion, unifying her interests in the form of the square.Sloane’s work has been featured in numerous institutional collections, including the Hunterdon Museum of Art, Coral Springs Museum of Art, the Jane Voorhees Zimmerli Art Museum, and Cornell Museum of Art and History. Sloane’s works are in the permanent collections of the Heckscher Museum of Art, the New Britain Museum of American Art, the Nassau County Museum of Art, Yeshiva University Museum, the Southern Alleghenies Museum of Art, and the Virginia Museum of Fine Arts (the Sidney and Francis Lewis Collection).Louise P. Sloane Hot House, 2013 Signed, titled, and dated on the verso Acrylic paint and paste on aluminum panel 56 x 48 inches.Louise P. Sloane Patrician Blue, 1999 Signed, titled, and dated on the verso Acrylic paint and paste on panel 32 x 32 inches.Cool Tones, 1976, Signed, titled, and dated on the verso, Oil, paraffin, and pure pigment powders on, canvas, 54 x 48 inches.
Howard Fishman is a regular contributor to The New Yorker and The New York Times, where he has published essays on music, film, theater, literature, travel, and culture. His bylines have also appeared in the The Boston Glove, Rolling Stone, The Telegraph, Vanity Fair, The Washington Post, Artforum, San Francisco Chronicle, Mojo, The Village Voice, Jazziz, and Salmagundi. His play, A Star Has Burnt My Eye, was a New York Times “Critics Pick.” As a performing songwriter and bandleader, Fishman has toured internationally as a headlining artist for over two decades. He has released eleven albums to date, and is the producer of the album Connie’s Piano Songs: The Art Songs of Elizabeth “Connie” Converse. His book, To Anyone Who Ever Asks: The Life, Music, and Mystery of Connie Converse, was shortlisted for the Plutarch Award for Best Biography of 2023.To Anyone Who Ever AsksThe mysterious true story of Connie Converse—a mid-century New York City songwriter, singer, and composer whose haunting music never found broad recognition—and one writer’s quest to understand her life.This is the mesmerizing story of an enigmatic life. When musician and New Yorker contributor Howard Fishman first heard Connie Converse’s voice on a recording, he was convinced she could not be real. Her recordings were too good not to know, and too out of place for the 1950s to make sense—a singer who seemed to bridge the gap between traditional Americana (country, blues, folk, jazz, and gospel), the Great American Songbook, and the singer-songwriter movement that exploded a decade later with Bob Dylan and Joni Mitchell.And then there was the bizarre legend about Connie Converse that had become the prevailing narrative of her life: that in 1974, at the age of fifty, she simply drove off one day and was never heard from again. Could this have been true? Who was Connie Converse, really?Connie Converse, Schenectady, NY, 1955Supported by a dozen years of research, travel to everywhere she lived, and hundreds of extensive interviews, Fishman approaches Converse’s story as both a fan and a journalist, and expertly weaves a narrative of her life and music, and of how it has come to speak to him as both an artist and a person. Ultimately, he places her in the canon as a significant outsider artist, a missing link between a now old-fashioned kind of American music and the reflective, complex, arresting music that transformed the 1960s and music forever.But this is also a story of deeply secretive New England traditions, of a woman who fiercely strove for independence and success when the odds were against her; a story that includes suicide, mental illness, statistics, siblings, oil paintings, acoustic guitars, cross-country road trips, 1950s Greenwich Village, an America marching into the Cold War, questions about sexuality, and visionary, forward thinking about race, class, and conflict. It’s a story and subject that is by turn hopeful, inspiring, melancholy, and chilling.Credits for Talkin' Like You and Birthday song excerpt: The Musick Group.Age of Noon: Produced by Howard Fishman.
Jen DeLuna in her studioJen DeLuna (b. 1999), a Filipino and Colombian-American painter, explores the feminine through the lenses of affinity and vulnerability. DeLuna uses found and family photographs as the basis for her work, capturing the tension between movement and stillness, personal and public. Her figurative works in Dust and Sweat and Feigning Grace are wrapped in blurry hazes yet pierce through the surface with shining highlights, creating a simultaneously uncanny and invasive impression. Her mystifying and alluring style builds visual and emotional tension in her works, calling into question their own viewership.Jen DeLuna | The Soft Animal of Your Body, 2024, Oil on canvas | 24 x 24 in.Jen DeLuna | Etiquette, 2024, Oil on canvas | 12 x 12 in.Jen DeLuna | Timid Repetitions, 2024, Oil on canvas | 36 x 36 in.
Sarah Brenneman (b.1975, Middletown, OH) lives and works in West Orange, New Jersey. She received her degrees in painting from Columbus College of Art (BFA) and Virginia Commonwealth University (MFA).She has had several solo shows including with Garvey|Simon at Artisan Lofts (New York, NY - a two-person exhibition with Gary Petersen 2024); Gold Scopophilia (Montclair, NJ) in 2020 and with Jeff Bailey Gallery (New York, NY) in 2004, 2006 and 2011. She has exhibited both nationally and internationally most recently with La Grange Gallery, (Reims, France) in 2022.She has been awarded residencies with Skowhegan School of Painting and Sculpture, Millay Colony of the Arts, Chashama, Virginia Center for Creative Arts, Liquitex-Just Imagine Residency and VCCA, Moulin à Nef, Auvillar France. Brenneman’s paintings are included in many private and corporate collections including The Aspen Contemporary Art Collection, Citigroup, Cleveland Clinic, Sprint and The Progressive Corporation.Sarah Brenneman, Dove, 2024 Acrylic on Canvas 60.0h x 48.0w in.Sarah Brenneman Rust Register 2024, acrylic and watercolor on panel, 20 x 16 inSarah Brenneman, Open But Empty, 2023 watercolor on paper 9.0h x 6.0w in.
Elias Wessel in front of his work series “Nostalgia” at International Studio & Curatorial Program (ISCP) New York.Elias Wessel is an artist whose conceptual work moves between photography, painting and site specific installations with moving images and sound. He has had exhibitions at 1014 New York (formerly known as Goethe House); Palais Beauharnais, Paris; Art Collection of the Willy-Brandt-Haus, Berlin; NRW-Forum, Dusseldorf; Art Basel, Basel; Museum Pfalzgalerie Kaiserslautern (mpk); and Museum of Contemporary Art, Taipei among many others.His works are included in public and private collections such as the Spallart Art Collection, Salzburg; AXA Art Collection, Cologne; and the German Parliament’s Art Collection (Kunstsammlung des Deutschen Bundestages), Berlin. Recent publications include Textfetzen (Kulturverlag Kadmos, 2022) and Aesthetics of Conflict (Verlag Kettler, 2023). He is based in New York City since 2008 with regular stays in Germany.Picture Theory: Elias Wessel, “It’s Complicated” (2019-2022), Installation View, 2024Elias Wessel It’s Complicated – No. 2, 2019 Color photograph, archival pigment print Tabloid Edition: 24 1/2 x 18 5/8 in (framed) Original: 80 1/8 x 60 5/8 in (framed) Is Possibly Art – No. 2, 2021 Audio: 1:42 minElias Wessel It’s Complicated – No. 5, 2019 Color photograph, archival pigment print Tabloid Edition: 20 5/8 x 18 5/8 in (framed) Original: 67 5/8 x 60 5/8 in (framed) Is Possibly Art – No. 5, 2021 Audio: 1:59 min
Jack Arthur Wood in his studio. Photo by Bradley MarshallJack Arthur Wood Jr. is a visual artist, writer, curator and educator based in Ridgewood, Queens. Wood studied at Guilford College, in Greensboro, NC, receiving a BA in printmaking in 2012, and earned an MFA in printmaking from Texas A&M University—Corearned Corpus Christi in 2017. He has been a resident at The Skowhegan pus School of Painting & Sculpture, The Wassaic Project, The Jentel Foundation, Little Bear Hill, and Tiger Lily Press. Wood has had solo/two-person presentations at Rachel Uffner Gallery, New York, NY; My Pet Ram, New York, NY; Conduit Gallery, Ridgewood, NY; Paradice Palase, Brooklyn, NY; Not Gallery, Austin TX; The Weil Gallery, Corpus Christi, TX; Hudson & Jones Gallery, Cincinnati, OH; The Bakery, Vancouver, BC; and The Clay Street Press, CinThe Cincinnati, OHcinnati, OH. His work has been exhibited at Chart, New York, NY; . Geary Contemporary, Millerton, NY; Soloway Gallery, Brooklyn, NY; 5-50 Gallery, Queens, NY;Green House Gallery, Brooklyn, NY; Field of Play Gallery, Brooklyn, NY; Ortega Y Gasset Projects, Brooklyn, NY; O’Flaherty’s, New York, NY; The Ekru Project,KanBrooklyn, Kansas City, MO; No Place Gallery, Coulmbus, OH; Heaven Gallery, sas Chicago, IL; Pause OFF Gallery, Milford, OH; The Wassaic ProjChicago, Project, Wassaic, NY; Flatbed Press, Austin, TX; and Deanna Evans ect, Projects, Brooklyn, NY. Wood has recently curated exhibitions at Thomas VanDyke Gallery, Brooklyn, NY; Soloway Gallery, Brooklyn, NY; and Sweet Lorraine Gallery, Brooklyn, NY.Jack Arthur Wood, The Multiplicative Index of Metropolitan Contact Paths, 2024, acrylic, fabrics, glue, and paper on muslin, 60 x 72 inJack Arthur Wood, Immolator, 2024 acrylic, fabrics, and glue on canvas 60 x 52 in 152.4 x 132.1 cmJack Arthur Wood, Open City (Channel Changer), 2024 acrylic, fabrics, and glue on canvas 54 x 40 in 137.2 x 101.6 cm
Martina Grlić (b. 1982, Croatia) was educated at the Academy of Fine Arts, Zagreb, Croatia. She has exhibited at Fragment Gallery, New York, USA; Museum of Mali lošinj; Museum of Contemporary Art, Zagreb; Kunstlerhaus, Vienna; Ningbo Museum of Art, Ningbo, China, and the National Museum, Gdanjsk, Poland. She lives and works in Zagreb, Croatia.For her second solo exhibition in New York City, Martina Grlić presents new and recent works. At first glance, Martina Grlić's paintings might appear fragmented, fuzzy, or even incomplete. However, this is a deliberate artistic choice made to visualize the inconsistency of the recollection process. Interested in the intersection of personal and collective memory and a blurry line on which certain forms become semi-recognizable, the Croatian artist combines technical skill with conceptual depth to convey the understanding of human identity. Drawing on the metaphor theory, her Memory Projects are essentially rearranging and reappropriating visual allegories revolving around cultural, political, economic, or social legacies, as well as gender perspectives.Martina Grlić, Thousand wishes, 2023 Oil on canvas 19 3/5 x 16 1/10 in | 50 x 41 cmMartina Grlić, I’ll wear him like a scrunchie, 2023 Oil on canvas 47.2 x 39.3 in 120 x 100 cmMartina Grlić, Dissociated I, 2022 Oil on linen 66 x 55 in | 170 x 140 cm
Kejoo Park (B.1956, Daejeon, Korea) lives and works in Frankfurt and New York. She earned a BFA in Painting from Cornell University, studied at Pratt Institute and The Art Students League of New York, and earned an MLA in Landscape Architecture from Harvard University. Kejoo Park, a Korean-American conceptual and multimedia artist, utilizes a wide range of media, including painting, sculpture, performance, and sitespecific installations, to explore the intricate relationships between humanity and nature. Her work emphasizes the duality of internal and external existence and the dynamic interplay between natural and artificial elements. In her large-scale public art projects, Park seamlessly integrates diverse genres such as music, poetry, and philosophy, developing a unique artistic language. Drawing on her studies in art and architecture, she expands her practice to express the embodiment of both Western and Eastern cultures.As a landscape architect, she has collaborated with numerous architects on international competitions and projects across the globe. She also served as an Assistant Professor of Landscape Architecture and Ecology at the University of Stuttgart in Germany.Her work has been exhibited at Gallery Reitz, Zurich, Switzerland (2024); Gallery Uhn, Königstein, Germany (2023); Galerie Anna 25, Berlin, Germany (2023); Kunstverein Familie Montez, Frankfurt, Germany (2022); Galerie Uhn, Königstein, Germany (2022); Galerie Rieder, München, Germany (2021); Galerie Anna 25, Berlin, Germany (2019); Galerie Rieder, München, Germany (2019); Galerie Artstation, Zürich, Switzerland (2018); Galerie Hübner & Hübner, Frankfurt, Germany (2018); Galerie Rieder, München, Germany (2017); Galerie am Hirschengraben, Zurich, Switzerland (2017); Stadtgalerie, Bad Soden am Taunus, Germany (2017); Galerie Anna 25, Berlin, Germany (2016); Galerie Tuttiart, Luzern, Switzerland (2016); Galerie Hübner & Hübner, Frankfurt, Germany (2015); the Permanent Collection of Pierre Soulages at the Museum Ludwig, Koblenz, Germany (2014).Kejoo Park, Drinking Song of the sorrow of the Earth - from the series the Song of the Earth ( Das Lied von der Erde) mixed media, 180x180cm (diptych)Kejoo Park Landscape Rondo, 2020 Mixed media on rice paper and canvas 47.2 x 59 inKejoo_Park_ Homarge3 to Beuys from the Series Visible-Invisible, mixed media, 100x100
David Allan Peters in his studio, 2022.David Allan Peters (b. 1969 in Cupertino, CA) received his Bachelor of Fine Arts degree from the San Francisco Art Institute in San Francisco, CA, and his Master of Fine Arts degree from Claremont Graduate University in Claremont, CA.Peters has been the subject of recent solo exhibitions at Miles McEnery Gallery, New York, NY; Royale Projects, Los Angeles, CA; Museum of Art and History, Lancaster, CA; Weber Fine Art, Greenwich, CT; Ameringer | McEnery | Yohe, New York, NY; Royale Projects, Palm Desert, CA; and AKA PDX, Portland, OR.Recent group exhibitions include “Hybrid Spaces” (curated by Dr. Necmi Sönmez), Borusan Contemporary Art Collection, Istanbul, Turkey; “LA Painting,” Museum of Art and History, Lancaster, CA; Laguna Art Museum, Laguna Beach, CA; “Belief in Giants,” Miles McEnery Gallery, New York, NY; and “Hello My Name Is...Los Angeles,” Royale Projects, Los Angeles, CA.He is a recipient of the Nora Bartine Memorial Award from De Anza College, Cupertino, CA and his work may be found in the collections of Borusan Contemporary Art Collection, Istanbul, Turkey and the Laguna Art Museum, Laguna Beach, CA.The artist lives and works in Los Angeles, CA.DAVID ALLAN PETERS Untitled #3, 2024 Acrylic on panel 40 x 30 inches 101.6 x 76.2 cm. Courtesy of the artist and Miles McEnery Gallery.DAVID ALLAN PETERS Untitled #10, 2024 Acrylic on panel 72 x 60 inches 182.9 x 152.4 cm. Courtesy of the artist and Miles McEnery Gallery.DAVID ALLAN PETERS Untitled #16, 2023 Acrylic on panel 40 x 60 inches 101.6 x 152.4 cm. Courtesy of the artist and Miles McEnery Gallery.
David Anaya Maya was born in Bogot. D.C., raised in rural Colombia, and currently lives and works in New York City. After graduating as ‘Maestroʼ from Los Andes University in 2004, Anaya Maya has shown their work internationally and has explored an extensive range of materials, mediums and concepts. As an artist, curator, writer, teacher and art collective organizer, Anaya Maya has expanded seminal interconnections between peoples, bodies, identities, species, and ecosystems. They have been awarded with fellowships and residencies in Colombia, The Banff Centre in Canada, The Drawing Center in New York, and the New York Foundation for the Arts. Four of their drawings are part of the collection of the Leslie Lohman Museum of Art.Providentia installation, High Noon“Kikuyu,” 2023, oil on linen reinforced with epoxy resin, 10” x 7.5”“Coat of Arms,” 2023, oil and bronze powder on linen reinforced with epoxy resin, 10” x 17” x 2"“National Flower,” 2023, oil paint on dried linseed oil reinforced with epoxy resin, 1.25” x 1.75”
Florencia Escudero's sculptures include soft and handmade components printed with digitally-rendered imagery. Feminist theory, cyber culture, and an embrace of various techniques such as digital photo collage, hand sewing, and silk-screening place each sculpture in the realm of both the machine-made and the handmade. As the artist notes, "When making these pieces I am thinking about the history of feminist art that looks at the objectification of women's bodies. I want to flip the expectation and look at how objects become human." Escudero received an MFA in Sculpture from the Yale University School of Art in 2012. Her works have been exhibited at The Aldrich Contemporary Art Museum, Ridgefield, CT, Rachel Uffner Gallery, New York, NY, and Petzel Gallery, New York, NY, among other venues. She lives and works in Brooklyn, New York.Florencia Escudero Snakestone, 2024 Digitally printed and silkscreened satin and spandex hand-sewn over upholstery foam, resin, ceramic, colored sand, epoxy, cotton piping, and wood base 33 x 31 x 23 inches Courtesy of the Artist and Kristen Lorello, NY.Florencia Escudero Digital Medusa, 2024 Resin with abalone, starfish, epoxy, shells, 3D-printed plastic, temporary tattoo paper, eva foam, steel 22 x 24 x 15 inches Courtesy of the Artist and Kristen Lorello, NYFlorencia Escudero Echo, 2022 Digitally printed satin and spandex hand-sewn over upholstery foam, resin cast with watches, chains, and glitter, steel rod, chains 32 x 31 x 3 inches Courtesy of the Artist and Kristen Lorello, NY.
Areum Yang (b. 1994 Seoul, South Korea; lives and works in New York) graduated from Hongik University, Seoul, South Korea in 2017 and from the Hunter MFA program, New York, NY in 2021. She recently undertook residency at Skowhegan School of Painting and Sculpture. She has been included in group shows at Long Story Short, Los Angeles, CA; Analog Diary, Beacon, NY: Hauser & Wirth, New York, NY; Margot Samel, New York, NY, and Mamoth, London, UK. Yang was selected as the winner of the Silver Award for AHL T&W Foundation Contemporary Visual Art Awards and the KCC Young Artist Awards in 2021. Her work has been selected for print publication in Art Maze Magazine edition 23, Friend of Artists volume 15, and Whitewaller issue 33.The Day Before, 2024 acrylic, oil, fabric collage, oil pastel, pencil on poly cotton 82 x 74 inches. Courtesy of the artist and Derek Eller Gallery, New York, photo, Adam Reich. In Between Dreams, 2024 acrylic, oil, fabric collage, oil pastel, and pencil on poly cotton 70 x 60 inches. Courtesy of the artist and Derek Eller Gallery, New York, photo, Adam Reich. Morning Laundry, 2024 oil, acrylic, pencil, oil pastel, fabric collage on poly cotton 70 x 75 inches. Courtesy of the artist and Derek Eller Gallery, New York, photo, Adam Reich.
Raquel Rabinovich is a New York-based, Argentinian-American artist known for her monochromatic paintings and drawings as well as for her large-scale glass sculpture environments and her site-specific stone sculpture installations along the shores of the Hudson River.Born in Buenos Aires in 1929, she has lived and worked in the United States since 1967, currently residing in Rhinebeck, NY. Rabinovich has been the recipient of numerous grants and fellowships, including the 2011-2012 Lee Krasner Award for Lifetime Achievement from The Pollock-Krasner Foundation. She is included in the Oral History Program of the Smithsonian Institution Archives of American Art.Raquel Rabinovich, Avatars 1, 2022 Ink wash, pastel, and colored pencil on Essindia paper 14 x 20 in.Raquel Rabinovich, Avatars 2, 2023, Oil, wax, and colored pencil on canvas, 30 x 48 in.Raquel Rabinovich, Avatars 3, 2023, Oil, wax, and colored pencil on canvas, 30 x 48 in.
Nana Wolke by Inna Svyatsky / installshots.artNana Wolke explores the nature of perception, focusing her attention on modes of apprehension of space and time. Her series of works usually begins on film-like sets, where the artist records the unfolding of staged situations and improvised actions occurring in spaces spanning across social hierarchy. Wolke proceeds to assemble and edit both original and found footage to create distinctly monochromatic visual atmospheres and rhythms that she then translates into painting and sound installations. Using commonplace lighting to model space and generate the grain, textures and slippages of her images and sequences, Wolke utilizes a variety of devices chosen as much for their technical properties as for their social significance – e.g. CCTV equipment, home video camcorders, inventory cameras, intercom systems, etc. Considering the multiple viewpoints from which an action can be witnessed, Wolke’s work conjures a tension between observation and control, often inviting viewers to navigate environments that interrogate notions of access and inclusion – whether for economic, social, or security purposes. In so doing, Wolke reflects upon the conflation of desire and shame in contemporary modes of production and consumption of images and visual culture. By constantly confronting the logic of live actions, cinema, and paint, Wolke ultimately seeks to analyze the progressive inextricability between actual and artificial realities.Wolke holds an MFA from Goldsmiths, University of London. Solo exhibitions include Breed at Management, New York; Wanda’s at NiCOLETTi, London; High Seat at Castor Gallery, London; 4:28 - 5:28 am at VIN VIN, Vienna; and Some Girls Wander by Mistake at Fondazione Coppola, Vicenza. Group exhibitions include Over you/you at the 31. Biennial of Graphic Arts, Ljubljana; Daddy at G2 Kunsthalle, Leipzig; Painters Painting Painters: A Study of Muses, Friends, and Companions at the Green Family Art Foundation, Dallas; Love is the Devil: Studies after Francis Bacon at Marlborough, London; and No Angels at Wilhelm Hallen, Berlin among others. Wolke was also selected for the 2021 cohort of Bloomberg New Contemporaries.Nana Wolke 00:02:26,417 - - > 00:02:29,010 (Empire), 2023 Oil, sand, and iron dust on linen 70 7/8 x 94 1/2 inches / 180 x 240 cm. Image courtesy of the artist and Management, New York. Photography by installshots.artNana Wolke 00:00:00,000 - - > 01:36:06,960 (It’s good enough for Nancy. It’s good enough for Nancy), 2024 Oil on linen 24 x 36 inches / 61 x 91.5 cm. Image courtesy of the artist and Management, New York. Photography by installshots.artNana Wolke, 02:10:34,195 - - > 02:18:06,207, (Sleeping pills, sneakers, turtleneck, power cord), 2024, Oil and construction sand on linen, 24 x 36 inches / 61 x 91.5 cm. Image courtesy of the artist and Management, New York. Photography by installshots.art
Will Stovall (Ph.D. Yale University, 2018; M.F.A. Bard College, 2025) is an artist based in Washington, DC. He completed a dissertation on the institutional imagination of German philosopher Jürgen Habermas. His paintings were the subject of a solo exhibition at Ulrik and have been featured as cover illustrations for Oxford German Studies and Seminar: A Journal of Germanic Studies. In addition to his interest in visuality in the German philosophical tradition, he has presented research and organized exhibitions on the art history of Washington, DC, and is the editor of Of the Land: The Art and Poetry of Lou Stovall (Georgetown University Press, 2022).Eden and Inferno, 2020, oil on canvas, walnut frame, 15 x 10 in. (38.1 x 25.4 cm.). Courtesy of Ulrik, New York; Photo: Stephen FaughtFaces and Goalie, 2021, oil on paper pinned on linen, 6 3/4 x 5 1/2 in. (17.1 x 14 cm.) Courtesy of Ulrik, New York; Photo: Stephen FaughtWatchers, 2021, oil on linen, 4 1/2 x 5 1/4 in. (11.4 x 13.3 cm.) Courtesy of Ulrik, New York; Photo: Stephen FaughtWatchers [verso], 2021, oil on linen, 4 1/2 x 5 1/4 in. (11.4 x 13.3 cm.) Courtesy of Ulrik, New York; Photo: Stephen Faught
Gail Spaien lives in South Portland, Maine. She earned her B.F.A. from the University of Southern Maine and her M.F.A. from the San Francisco Art Institute. Spaien has received numerous fellowships including the Ucross Foundation; Varda Artist Residency Program; Millay Colony for the Arts; the Djerassi Foundation Resident Artists Program; and the Skowhegan School of Painting and Sculpture.Over four decades, Spaien’s work has been exhibited nationwide and abroad, including Taymour Grahne Projects (London); Vardan Gallery (Los Angeles, CA); the DeCordova Sculpture Park and Museum (Lincoln, MA); Provincetown Art Association and Museum (Provincetown, MA); Crocker Art Museum (Sacramento, CA); the Portland Museum of Art (Portland, ME); Ogunquit Museum of American Art (Ogunquit, ME); and Colby College Museum of Art (Waterville, Maine). After thirty years as faculty at the Maine College of Art and Design she is now full-time in the studio.Turquoise Window, 2024, acrylic on linen, 48 x 45 inchesPearl with Boots and Pheasants, 2024, acrylic on linen, 34 x 36 inchesThe Season Called Locking, 2024, acrylic on linen, 48 x 48 inches
Michael Gac Levin was born in Los Angeles in 1984. The artist earned an MFA from Pratt Institute in 2015 and a BA from the University of Chicago in 2006. Yellow Brick Road, a solo exhibition of paintings and drawings, took place at Hexum Gallery, Montpelier, VT in 2023. Gac Levin will present a solo show of new works at My Pet Ram in 2024, and will participate in A Cup is a Cup, a Tree is a Tree at Deanna Evans Projects. Gac Levin has recently shown in group exhibitions at Kaleidoscope and My Pet Ram, New York; and BOZOMAG, Los Angeles; as well as online with Taymour Grahne, Platform, and Deanna Evans Projects. His work has been featured in Artmaze Magazine and Maake Magazine, and he has completed special projects online for the Jewish Museum and SCREEN_.Talking Married Oil on canvas 20"x24" 2024Date Night Acrylic on canvas 24"x30" 2023
Michael Ambron is a painter and paint maker who works through wildly experimental and meditative approaches to making in order to hone in on a kind of overwhelming simultaneity of lived experience. From an investigation of and curiosity about one’s own perception, to the challenges and worries of living in uncertain and upsetting times, Ambron builds symbols, materials, and gestures into an expansive, floating, and timeless space. His paintings immerse the viewer in a loop of dreams, cartoon violence, lived experience, and world events, that create a vibrating sense of absurdity and urgency. Ambron received his BFA from Tyler School of Art and his MFA from The Ohio State University. He is currently based in Long Island City, NY where he is the owner and operator of Paint Makers Notes LLC, a small business that offers education, consulting, and paint making services to amateur and professional artists around the world.Boundaries, 2021, 63” x 66” x 2” - pigment, glass, stone chalk, acrylic, cellulose, marker, & pastel on canvas - photography for Ortega y Gasset Projects by Gidra Studios.Dilation, 2023, 50 x 52 x 3” - pigment, cork powder, glass, stone chalk, acrylic, cellulose, airbrush, marker, pastel and sand on canvas - photography for Ortega y Gasset Projects by Gidra Studios.No Time installation view Sell Your Dreams, 2024, 66 x 66 x 3" - pigment, marker, acrylic, cellulose, airbrush, & stone chalk on canvas (small painting: "Awake" 2024, acrylic, cellulose, pigment, marble sand, shellac & chalk on wood panel) - photography for Ortega y Gasset Projects by Gidra Studios.
Portrait by Sandy LevyDiego Singh (b. 1982, Salta, Argentina) has exhibited his work at the de la Cruz Collection, Miami, FL; Museum of Contemporary Art San Diego, CA; Pérez Art Museum Miami, FL; Fondazione Malvina Menegaz, Castelbasso, Italy; Braverman Gallery, Tel-Aviv, Israel; Mendes Wood DM, São Paulo, Brazil; Palazzo Fruscione, Salerno, Italy; Tomio Koyama Gallery, Tokyo, Japan; Fredric Snitzer Gallery, Miami, FL; Various Small Fires, Los Angeles, CA; Luhring Augustine, New York; and the Museum of Contemporary Art North Miami, FL, among others. Singh was awarded the Knight Foundation award in 2019 and 2015. He lives and works in Miami Beach, FL. His work is on view at Luhring Augustin Tribeca in a two-person exhibition with Tomm El-Saieh through June 8, 2024. Singh was awarded the Knight Foundation award in 2019 and 2015. He lives and works in Miami Beach, FL.Diego Singh, Sin Nombre I, 2023-24 Oil and acrylic on linen 96 x 72 inches (243.8 x 182.9 cm). © Diego Singh; Courtesy of the artist, Luhring Augustine, New York, and CENTRAL FINE, Miami Beach. Photo: Farzad Owrang.Diego Singh, Sin Nombre IV, 2022-24 Oil and acrylic on linen 96 x 72 inches (243.8 x 182.9 cm). © Diego Singh; Courtesy of the artist, Luhring Augustine, New York, and CENTRAL FINE, Miami Beach. Photo: Farzad Owrang. Diego Singh, Sin Nombre V, 2024 Oil and acrylic on linen 48 x 36 inches (121.9 x 91.4 cm). © Diego Singh; Courtesy of the artist, Luhring Augustine, New York, and CENTRAL FINE, Miami Beach. Photo: Farzad Owrang.
Photo: Elon Schoenholz, courtesy of David Kordansky GalleryFor over four decades, Raúl Guerrero (b. 1945, Brawley, California) has made work informed by his experiences navigating cultures as an American of Mexican ancestry in Southern California. In his paintings, photographs, video, and performance works, Guerrero utilizes language and cultural signifiers to examine notions of place as a way to understand personal concepts of self. An aspect of his work depicts—and critiques—colonial narratives in the Americas such as the settlement of the Great Plains, the history of Latin America, and imposed notions of the American “West.” With compositions fusing Mexican, American, and European visual traditions, he incorporates influences ranging from the readymades of Marcel Duchamp to conceptually-oriented practices associated with a preceding generation of California artists (including John Baldessari and Ed Ruscha) who emerged from Guerrero’s alma mater, the Chouinard Art Institute. A long-time exhibiting artist on the West Coast, Guerrero reflects an intellectually rigorous approach suffused with humor and a deep engagement with legacies of visual art from Southern California and the Southwest.Raúl Guerrero has been the subject of solo exhibitions at David Kordansky Gallery, Los Angeles (2021); Ortuzar Projects, New York (2018); Air de Paris (project space), Romainville, France (2014); Athenaeum Music and Arts Library, San Diego, California (2001, 2007, and 2013); CUE Art Foundation, New York (2010); Long Beach Museum of Art, California (1977); Museum of Contemporary Art San Diego (1989); and San Francisco Art Institute, California (1977). Guerrero was included in the California Biennial 2022: Pacific Gold at the Orange County Museum of Art, Costa Mesa, California (2022–2023), and was the recipient of an NEA Photography Fellowship (1979) and the San Diego Art Prize (2006). Guerrero lives and works in San Diego.Raul Guerrero, Fernando y Isabela: 1494, 2023 oil on linen 56 1/8 x 76 1/8 x 1 5/8 inches (142.6 x 193.4 x 4.1 cm) Photo: Jeff McLane, courtesy of David Kordansky GalleryRaul Guerrero, Del Taco, 2023 oil on linen 56 x 76 1/4 x 1 1/2 inches (142.2 x 193.7 x 3.8 cm) Photo: Jeff McLane, courtesy of David Kordansky GalleryRaul Guerrero, The Alhambra: 1492, 2024 oil on linen 96 x 76 x 1 1/2 inches (243.8 x 193 x 3.8 cm) Photo: Jeff McLane, courtesy of David Kordansky Gallery
Alison Kudlow (b. 1981) lives and works in Brooklyn. She earned a BA from the University of Southern California, a post-baccalaureate degree from Brandeis University and an MFA from the School of the Art Institute of Chicago in Studio Art. She has shown at galleries including Swivel, Parent Company, Field Projects, Tiger Strikes Asteroid, Flux Factory, UrbanGlass, Deanna Evans Projects, Doppelgänger Projects, Paradice Palase, Wavelength Space, and at Fullerton College in California. She is a member of Underdonk, an artist-run gallery. She presented a solo show, Meaningful Rituals in Irrational Times, at Elijah Wheat Showroom’s Brooklyn location in 2019. She was an invited resident at the Art Ichol Center in Maihar, Madhya Pradesh, India in January 2023. She is presenting a solo show at Deanna Evans Projects in Tribeca, NY May 17 - June 22, 2024.Suture, 2024, Ceramic, glass, rubber, 14 1/2 x 11 1/2 x 3 1/2 in. 36.8 x 29.2 x 8.9 cm.Bolbos, 2024 Ceramic, rubber, glass, iron hardware 28 x 22 x 13 in 71.1 x 55.9 x 33 cm. Thoracic Surge, 2024 Ceramic, glass, mother-of-pearl, bronze hardware 20 x 22 x 6 in 50.8 x 55.9 x 15.2 cm.
Sari Carel, Portrait. Photo by Argenis Apolinario. Courtesy KODASari Carel is a Brooklyn-based, interdisciplinary artist and environmental activist. Her projects consider interspecies communication, nature and the built environment, and how the senses inform perception. Sari Carel participated in a KODA Land + Environment artist residency in 2021. She was offered a studio space on Governors Island in partnership with Swale House, exhibited at FiveMyles and organized a tree-care and stewardship workshop with Trees NY in Brooklyn, NY. Recent exhibitions: The Sun Is A Mouth Of Blue at Melanie Flood Projects, Portland, OR; The Shape Of Play, a public art project in Boston’s North End, and Mud Songs For Anni at The Schneider Museum of Art’s Art Beyond in Ashland, OR. She has been awarded fellowships and residencies at Stundars Museum, Solf, Finland; Atelier Stipendium des Bundeskanzleramtes, Vienna, Austria; and Bundanon, Illaroo, Australia; Socrates Sculpture Park, Long Island City, NY; and LMCC Residency on Governors Island, NY, among others. She is a recent recipient of a commissions award for Korea Art Forum's 2024-2025 “Shared Dialogue, Shared Space” program.A More Perfect Circle, features a series of ceramic sculptures inspired by the single-use coffee cup, a ubiquitous object that brings into focus people’s daily experience of interacting with trash. It is informed by research the artist conducted in collaboration with Nicholas Hoynes, a PhD student in Environmental Sociology at NYU and visual interpretations of the data collected.Sari Carel, A More Perfect Circle, 2024, at Lentol Garden. Photo by Argenis Apolinario. Courtesy KODASari Carel, A More Perfect Circle, 2024, at Lentol Garden. Photo by Argenis Apolinario. Courtesy KODASari Carel, A More Perfect Circle, 2024, at Lentol Garden. Photo by Argenis Apolinario. Courtesy KODA
Alan Belcher, courtesy of Hunt GalleryAlan Belcher's concept-based work is decidedly multi-layered and object oriented. He has been recognized in the past as an originator of a tactile fusion of photography and object-making. A transparency of vision and simplicity of fabrication with a concentrated regard for materials remain hallmarks of his serial productions. A sense of humour and a reverence for both Pop and Poveric sensibilities, as well as a hands-on approach; invade much of his work. His lifelong study of the works by artists Manzoni, Fontana, Pascali, Balla, Boccioni, and Scarpitta inform much of his work history, and indeed the pieces included in this exhibition.Works by Alan Belcher are held in various public collections which include the National Gallery of Canada (Ottawa), Centre Georges Pompidou (Paris), Art Gallery of Ontario (Toronto), Le Consortium (Dijon), Musee des Beaux-Arts (Montréal), Deste Foundation (Athens), Fotomuseum Winterthur (Zurich), Walker Art Center (Minneapolis), Chase Manhattan Bank, Credit Suisse Collection, Dropbox HQ (San Francisco), The Progressive Insurance Art Collection (Ohio), MoCA San Diego, Morris & Helen Belkin Art Gallery at UBC (Vancouver), and Musée Nicéphore Niépce (Chalon-sur-Saône, France) —as well as numerous prominent private collections.Napoli, 2024, Neapolitan ice cream on canvas 10 x 16 x 3 inches 25.4 x 40.7 x 7.7 cm, courtesy of LFdocumentationVesuvio Vesuvio, 2024 Oil on canvas, pepperoni pizza, lava from Vesuvius 22 x 22 x 5 inches 56 x 56 x 12.7 cm, courtesy of LFdocumentationRoma, 2024, Oil on canvas, 24k gold on Bulgari soap 8 x 6 x 2⅜ inches 20.3 x 15.3 x 6 cm, courtesy of LFdocumentation
Alexander Brewington (b. 1996, Silver Spring, MD), lives and works in Ridgewood, NY. He holds an MFA from Pratt Institute, and a BFA in visual art from St. Johns University.His work was previously included in the group exhibition ‘Departure’ at Thierry Goldberg. Brewington has been in residence at Skowhegan School of Painting and Sculpture, and his work was featured in Hyperallergic and Canvas Rebel Magazine.Alexander Brewington She Who Walks out of the Dark, 2024 oil on wooden panel 36 x 48 inchesAlexander Brewington End on a High Note, 2023 oil on wooden panel 36 x 24 inchesAlexander Brewington Back on Track, 2023 oil on wooden panel 36 x 24 inches
Marianne NielsenMarianne Nielsen crafts delicate ceramic arrangements, which expose the synthetic and psychological aspects of the natural world. Through the lens of botany and a naturalist approach, she produces an herbarium of gestural forms that preserve the liveliness of plants. In reexamining the still life genre, her works evoke the ephemeral forms of overgrown spaces, crystalizing transient and fleeting moments. Nielsen’s subjects are found throughout nature as well as the decorative arts: in textile patterns, architectural elements, and the general abstracting of form across vernacular craft traditions. As a result, many of her works improvise on the basic format of vase, plate, or decorative dish. At other times, the artist isolates botanical scenarios and chance compositions from field and forest through the slow and detailed observation of her surroundings. Hers is an attention which aims not to simply comprehend the whole but to see each petal, stamen, burl, and stem for its rudimentary elements. Looking at Nielsen’s porcelain and stoneware sculptures, one finds an articulation of the vast taxonomy of natural forms nested within and alongside human culture.Nielsen graduated from the Design School Kolding in the department of ceramics and glass. Her work has been exhibited at the CLAY Museum of Ceramic Art, the Vejen Art Museum, the Biennale for Craft & Design in Copenhagen, and the Nordic Craft Pavilion at the Grand Palais in Paris. She is a recipient of the Annie & Otto Johannes Detlefs Ceramics Prize, the Danish Arts Foundation Award, the Danish Crafts Award, the Danish National Bank Jubilee Fund of 1968, and the Ole Haslund Foundation Grant. Nielsen’s works are in the collections of the CLAY Museum of Ceramic Art, Middelfart, Denmark; the Designmuseum Danmark, Copenhagen, Denmark; and the Vejen Art Museum, Vejen, Denmark.Marianne Nielsen, Broadleaf Bamboo, 2024, 6.75” H x 18.5” W x 8.25” D, Glazed stonewareMarianne Nielsen, Large Leaves, 2023, 10.25” H x 10.75” L, Glazed stonewareMarianne Nielsen, Leaf Crown no. 3, 2024 Glazed stoneware 7.75” H x 4.75” W x 4” D
Photo credit: portrait Melvin Way 1994, ARS artists rights society @ 2024 photo Andrew Castrucci, Melvin Way estate.This is an interview with the curator Andrew Castrucci.CO₂ Blues, scheduled since mid-2023, is the first exhibition of the enigmatic art of Melvin Way (1954-2024) since his passing, and the third solo show of his work with the gallery. It serves as a retrospective for a visionary who was one of the most admired self-taught artists in the contemporary art arena. Way's mostly small-scale drawings are strange and alluring concoctions of science and art that seem intent on revealing the secrets of the universe. They contain chemical and mathematical formulae, musical notes, abstract designs, and cryptic words and phrases. It is hard to look at one without becoming entangled in trying to figure out what it means. “I felt like I was seeing another kind of infinity, thought made visible, wild nerves, optical barnacles coming to hermetic life, delirium legible,” wrote New York Magazine’s senior art critic Jerry Saltz in a 2015 review in Vulture.The exhibition includes some of Way's most memorable creations including forays outside of his better-known ballpoint pen drawings, especially a selection of the artist’s xerography— he routinely carried his original ink drawings on his person for months at a time and was reluctant to release them for sale because they functioned as protective amulets. His raincoat pockets might be filled with as many as two hundred drawings. At times, his sweat, or a hard rainfall, would cause the ink to bleed, adding complexity to the already dense works. Andrew Castrucci, his lifelong advocate, has likened this process to a kind of baptism, a rite of passage before the works headed off into the world. Before the artist did surrender his works, he often made Xerox copies of them which inspired a new approach—Way then added blue and/or black ink to the copies. These xerographies comprise a small but significant portion of his oeuvre.Melvin Way (1954 - 2024) Fauvi, c. 1989 Ballpoint pen and Scotch tape on paper 10.75 x 8.5 inches. Melvin Way estate ,ARS artists rights society @ 2024.Melvin Way (1954 - 2024) Loki, 2020 Pen and paint on paper 12 x 9 inches. Melvin Way estate ,ARS artists rights society @ 2024.Melvin Way (1954 - 2024) D' SAIREN COPOTE, 2023-2024 Ballpoint pen and Scotch tape on paper 12 x 4 inches. Melvin Way estate ,ARS artists rights society @ 2024.
Polly Shindler (New Haven, 1977) received her M.F.A. in Painting from Pratt Institute and her B.A. in History from University of Massachusetts. She has shown throughout the U.S. as well as internationally at Rafael Pérez Hernando Gallery in Madrid and Cristea Roberts Gallery in London. She recently had her first solo presentation at NADA Art Fair in Miami and will have her first solo exhibition in April of 2024, both with Deanna Evans Projects. Current shows include Feels Like Home at JDJ gallery, May You Live the Rest of Your Life at BravinLee Programs and Cool and Collected at Kenise Barnes Fine Art.Previous solo shows include Time Management at Freight + Volume, Retreat, at Ortega y Gasset Projects and at the project space Tennis Elbow at The Journal Gallery, NYC. Art Fairs include SP-Arte representing Gisela Projects, São Paulo, BRA, Art Estampa representing Rafael Pérez Hernando Gallery, Madrid, SP, Untitled Art Fair with Pratt Institute Fine Arts and Art on Paper Fair representing 3 Walls, NYC. Polly was awarded the Martha Boschen Porter Grant, a fund of the Berkshire Taconic Community Foundation in 2023. Her painting Green Rocking Chair shown in Still Lives, a group show at Underdonk in Brooklyn, was featured in “Goings on About Town” in the New Yorker in September 2018.She was granted a yearlong curatorial residency at Trestle Projects in 2015. Shindler has attended residencies at Vermont Studio Center in 2013, the Wassaic Project in 2020 and 2022, and Provincetown for the DNA Residency in 2021 and 2023 and Yaddo in 2024. Two of her paintings were cover art for published novels, Early Morning Riser by Katherine Heiny and A Likely Story by Leigh McMullan Abramson. She lives in Millerton, NY in the Hudson Valley with her dog, Owen.Polly Shindler, Library Stacks 2024 Acrylic on canvas 8" x 10"Polly Shindler, Moon Garden 3 2024 Acrylic on canvas 24" x 20"Polly Shindler, Stargazing from the Balcony 2024 Acrylic on canvas 30" x 24"
Natasza Niedziolka Courtesy the artist and Sean Kelly, NewYork/Los AngelesFor nearly ten years, Niedziółka has primarily worked with embroidery thread that she applies by hand to stretched canvas. The canvas functions as a support, manufactured by a machine with a regular horizontal and vertical structure, on which the irregular manual stitching of the embroidery can be seen. In their visual appearance, Niedziółka’s works oscillate between textile picture and tapestry. The hatching – in the sense of stitches made close together, most often in a vertical row – is perhaps the most characteristic aspect of these works in which threads are woven into the canvas in a flat chromatic gradation.In their materiality and treatment of color, Niedziółka’s works strive toward immediate sensations: They want to be beheld, for it is only when beholders move in front of the picture that the threads can unfold their entire chromatic spectrum. Seen from the front or from the side, these stitches appear either as separate units or as one dense color field. What appears flat is sometimes revealed to be a loop extending out from the surface; and we can discern how parts of the canvas have been treated with a pigment pen or with ink and wax when we look very closely and recognize their different textures.Her works may therefore explicitly present themselves as pictures, yet their materiality deviates from that of conventional pictures. There is a temporal aspect to be found in the meditative time spent making each work, and there is a chromatic aspect – a curious shimmering of colors that is activated when we move around while looking at the work. And then there is the aspect of the pictures’ appearance, which we can only identify at second glance as embroidered compositions that are non-representational but are always charged with multifaceted associations.Natasza Niedziółka, At One, One&9, 2023-2024, signed, titled and dated by artist, verso, silk thread, crayon on linen, 50 1/8 x 60 11/16 x 1 inches (127.3 x 154.1 x 2.5 cm). © Natasza Niedziółka Courtesy: the artist and Sean Kelly, New York/Los, Angeles.Natasza Niedziółka, Zero6812, 2023-2024, cotton and silk thread, crayon on linen, 92 1/2 x 135 13/16 inches (235 x 345 cm). © Natasza Niedziółka Courtesy: the artist and Sean Kelly, New York/Los, Angeles.Natasza Niedziółka, Protest Song (The Bigger Picture), 2023-2024, silk thread, crayon on ryps silk, 110 1/4 x 74 13/16 inches (280 x 190 cm). © Natasza Niedziółka Courtesy: the artist and Sean Kelly, New York/Los, Angeles.
Armendariz was born in El Paso, Texas. He received his BFA from the University of Texas at San Antonio and MFA from the University of Colorado at Boulder. In 2008, Armendariz received the Artpace Supplemental Travel Grant for travel to Mexico City, and in 2013, he was selected to participate as the Artist-in-Residence in the Blue Star Contemporary Berlin Residency Program in partnership with Künstlerhaus Bethanien, Berlin, Germany.In 2017, Armendariz was selected to be the first Artist-in-Residence for the DoSeum in San Antonio, Texas. In 2017 and again in 2022, Armendariz was a selected to be an Artist-In-Residency at Anderson Ranch, Snowmass Village, Colorado.His artistic and conceptual aesthetic is heavily influenced by growing up near the U.S./Mexico border. Images that have cultural, biographical and art historical references are carved and burned into the surface of his paintings, drawings, and prints. Greek and Mesoamerican mythology plays an important part in the artist’s exploration of the complex relationship between humans and animals. As a figurative artist, Armendariz enjoys playing with traits of human anatomy and identifying possible connections with characteristics found in animals that allow a deeper understanding of humanity.Armendariz’s artworks can be found in prestigious collections, including the Denver Art Museum, Denver, CO; Davis Museum, Wellesley, MA; Amon Carter Museum of American Art, Fort Worth, TX; San Antonio Museum of Art, San Antonio, TX and The McNay Art Museum, San Antonio, TX.Richard, 'Ricky' Armendariz, Fool for Love, 2023,Signed and dated lower right, numbered lower left, Woodblock print, 26 x 22 in, 66 x 55.9 cm, Edition of 10.Richard 'Ricky' Armendariz, Novios, Sagittarius, 2022, Signed and dated lower right, numbered lower left, Woodblock print, 20 x 20 in, 50.8 x 50.8 cm, Edition of 5.Richard 'Ricky' Armendariz, The Predicament, 2023, Signed and dated lower right, numbered lower left, Oil on carved birch wood, 49.75 x 30.5 in, 126.4 x 77.5 cm
Trudy BensonTrudy Benson received her Master of Fine Arts from the Pratt Institute in 2010 and her Bachelor of Fine Arts from Virginia Commonwealth University in 2007.She has been the subject of recent solo exhibitions at Galerie Krinzinger, Vienna, Austria; Weber Fine Art, Greenwich, CT; SUNNY, New York; Massif Central, Brussels, Belgium; Miles McEnery Gallery, New York; and Ceysson & Bénétière, Saint-Étienne, France.Her work has been included in recent group exhibitions at Krinzinger Schottenfeld, Vienna, Austria; Eric Firestone Gallery, East Hampton, NY; m.simons, Amsterdam; Mother Gallery, Beacon, NY; Miles McEnery Gallery, New York; and Gaa Projects, Cologne, Germany.Benson’s work may be found in the collections of the Aïshti Foundation, Beirut, Lebanon; Beth Rudin DeWoody Collection, New York; Hudson Valley MOCA, Peekskill, NY; Portland Museum of Art, ME; Saatchi Gallery, London; Schwartz Art Collection, Harvard Business School, Cambridge, MA; and the Susan and Michael Hort Collection, New York.The artist lives and works in Newburgh, NY.In a departure from her first exhibition with Miles McEnery Gallery in October 2021, Benson’s compositions have turned to emphasize fine line work made with an airbrush. From afar, warped planes buzz with motion; when the viewer steps closer, densely-scribbled marks are revealed as the source rather than solid blocks of color. The paintings are rendered in color combinations from monochromatic palettes to power clashing hues, creating harmony in the unexpected.Trudy Benson, A Cross Across, 2023 Acrylic and oil on canvas 34 x 40 inches 86.4 x 101.6 cmTrudy Benson, Radiant Sky, 2023, Acrylic and oil on canvas, 60 1/4 x 80 inches, 152.4 x 203.2 cmTrudy Benson, Tests Her Limits, 2022, Acrylic and oil on canvas, 61 x 77 inches, 154.9 x 195.6 cm
Debbi Kenote in her studio, Brooklyn, NY. 2023. Photograph by Anastasiya Shelest. Courtesy the artist and Cristin Tierney Gallery, New York.Debbi Kenote (b. 1991, Anacortes, WA) has exhibited at galleries internationally, including shows at Kate Werble and Marvin Gardens in New York, Duran|Mashaal Gallery in Montreal, Cob Gallery in London, and Fir Gallery in Beijing. She received her BFA in Painting from Western Washington University and her MFA in Sculpture from Brooklyn College.Her work has been on display at several art fairs, including Art Toronto, Art Plural, Future Fair and SPRING/BREAK Art Show. Kenote has been published through Liquitex, Maake Magazine, Elle Magazine, Innovate Grant, Suboart, The Hopper Prize, Art of Choice, and Hyperallergic. Her work has been placed in several collections, including the OZ Art Collection and the Capital One Corporate Collection. She has been an artist in residence at the Ucross Foundation, Vermont Studio Center, Saltonstall Foundation, PLOP, Nes Artist Residency, and the Mineral School. In 2022 she was a finalist for the Innovate Grant and in 2021 she was shortlisted for the Hopper Prize. Kenote lives and works in Brooklyn, NY.Debbi Kenote, Wax Cap, 2024. Acrylic and dye on canvas, hinges. 48 x 96 inches (121.9 x 243.8 cm).Courtesy the artist and Cristin Tierney Gallery, New York.Debbi Kenote, Elm Cap, 2024. Acrylic and dye on canvas, hinges. 36 x 72 inches (91.4 x 182.9 cm).Courtesy the artist and Cristin Tierney Gallery, New York.Debbi Kenote, Amanita, 2024. Acrylic and dye on canvas, hinges. 36 x 72 inches (91.4 x 182.9 cm).Courtesy the artist and Cristin Tierney Gallery, New York.
Jakub Tomáš was born in Jihlava, Czech Republic, where he lives and works. He received a Master of Fine Arts in Painting at the Academy of Fine Arts, Prague, and studied previously at the University of West Bohemia and the Institute of Art and Design in Plzeň, CZ.He has shown widely in the Czech Republic, with recent solo exhibitions at Oblastní Galerie Vysočiny, Jihlava; Stage Garden Gallery, Rožnov pod Radhoštěm; Městská Galerie, Týn nad Vltavou; Šopa Gallery, Košice; GAVU Cheb; Galerie Václava Špály, Prague; Nová Galerie, Prague; and NEVAN CONTEMPO, Prague; and international exhibitions in Austria, Canada, France, and the United Kingdom.Jakub Tomáš, Family Meeting, 2023 Oil on canvas, 63h x 79w in. 160.02h x 200.66w cm. Courtesy of Asya Geisberg Gallery. Photo Credit: Etienne FrossardJakub Tomáš, Beekeepers, 2023. Oil on canvas. 63h x 47.25w in 160.02h x 120.02w cm. Courtesy of Asya Geisberg Gallery. Photo Credit: Etienne FrossardJakub Tomáš, The Field Robot of Myself II, 2023 Oil on canvas, 31.50h x 23.75w in, 80h x 60.33w cm. Courtesy of Asya Geisberg Gallery. Photo Credit: Etienne Frossard
C’naan Hamburger (b. 1984, Jerusalem, Israel; lives and works in New York, NY. MFA Painting Hunter College, 2023. BA, Tufts University, 2007.) Hamburger is the recipient of the Elizabeth Greenshields Foundation Grant in 2023 and 2022, and the AXA Art Prize honorable mention in 2023 and prize finalist in 2021.C’naan’s work is currently on view at Charles Moffett through April 20.Her work has recently been exhibited by Kate Werble Gallery in New York, NY, and is held in the permanent collections of the Bartow-Pell Museum, Bronx, NY, and UMass Dartmouth, Claire T. Carney Library Archives and Special Collections. C’naan has been an outdoor educator for over a dozen years. Before pursuing her artistic practice, she was a World Champion skateboarder, named best female skater of 2001 by Transworld Skateboard Magazine; and in 2000, she won the World Cup of Skateboarding and the Van’s Triple Crown in Women’s Street.C'naan Hamburger, Painting Class, 2023 Egg Tempera, pigment and ground NYC sidewalk on panel 11 x 12 inches (27.9 x 30.5 cm) Framed: 11 1/2 x 12 1/2 x 2 inches (29.2 x 31.8 x 5.1 cm). Photo by Andy Romer, courtesy of the artist and Charles Moffett.C'naan Hamburger, Theatre Is The Domestication Of An Audience, 2023 Egg Tempera, pigment and ground steel construction plate on panel 14 x 18 inches (35.6 x 45.7 cm) Framed: 13 3/4 x 18 1/4 x 2 inches (34.9 x 46.4 x 5.1 cm).Photo by Andy Romer, courtesy of the artist and Charles Moffett.C'naan Hamburger, Vanitas, 2023 Egg tempera, pigment and ground Manhattan Schist on panel 28 x 39 inches (71.1 x 99.1 cm) Framed: 29 3/8 x 40 3/8 x 2 inches (74.6 x 102.6 x 5.1 cm). Photo by Andy Romer, courtesy of the artist and Charles Moffett.
Khalilah Birdsong (b. 1977, Cleveland, Ohio and raised in Atlanta, Georgia, USA) is a visual artist who creates large-scale abstract paintings and installations. Birdsong has exhibited with galleries in Atlanta, Georgia, Cincinnati, Ohio, New York, New York and Hamburg, Germany.She has had solo and group exhibitions in the United States, Japan and Italy. Birdsong’s paintings are in private and corporate collections around the world, including commissioned works. In 2019, Khalilah was named by Contemporary Art Curator Magazine (London, England) as “100 Future Contemporary Artists in the World”. Birdsong was invited to participate in the XIIth Florence Biennale in Florence, Italy where she exhibited four large-scale paintings and installation work in the fall of 2019. In 2020, Birdsong was awarded a Hambidge Fellowship for the Creative Arts & Sciences. She currently lives in London, England where she recently completed her Masters of Fine Art at Goldsmiths, University of London.Khalilah Birdsong, Standing in Sacred Neutral, 2023 Acrylic and oil stick on canvas 63 x 83 x 1.5 in (160 x 210.8 x 3.8 cm) Inches.Khalilah Birdsong, The High Place, 2023 Acrylic on canvas 67 x 67 x 1.5 in (170.2 x 170.2 x 3.8 cm) Inches.Khalilah Birdsong, The Weathering, 2023 Acrylic and oil stick on canvas 63 x 83 x 1.5 in (160 x 210.8 x 3.8 cm) Inches.
Sara Stern is an interdisciplinary artist from New York City. Her recent projects prod histories of urban development with speculative fiction. Stern has exhibited and screened her work in the US and internationally, at venues including SculptureCenter (Long Island City, NY), Anthology Film Archives (New York, NY), the Museum of the Moving Image (New York, NY), The Jewish Museum (New York, NY), Ortega y Gasset Projects (Brooklyn, NY) and the Institute of Contemporary Arts Singapore (Singapore). Stern received a BA in Visual and Environmental Studies from Harvard College and an MFA in Visual Arts from Columbia University. She is the recipient of a Rema Hort Mann Emerging Artist Grant, the Fountainhead Fellowship in the Department of Sculpture + Extended Media at Virginia Commonwealth University, and several residencies at the Fine Arts Work Center in Provincetown, MA. In recent years, Stern has participated in The Watermill Center Artist Residency Program (Water Mill, NY), the Art & Law Program, the Object Movement Residency at The Center at West Park (New York, NY), and the Artist Residency at the Carving Studio and Sculpture Center (West Rutland, VT).Installation view, Sara Stern, "Study for a Scene", 2024, Ortega y Gasset Projects, Brooklyn, NY, curated by Adam Liam Rose. (Center: “The window felt shattered,” 2024, two-channel video (rear and front projection, color/sound), mirror floor, windowed partition, 11:49 min, looped. Right: “Curtain Call,” 2024, Kiln-formed glass, single-channel spotlight video projection, pulley, custom mount, dimensions variable. Left: "Beckett's Chew (Where Credit is Due)," 2024, cast glass, single-channel rear projection (BW/silent), custom mount, 59 sec, looped.)Sara Stern, “Curtain Call,” 2024, Kiln-formed glass, single-channel spotlight video projection, pulley, custom mount, dimensions variable.The window felt shattered (2 min excerpt) from Sara Stern on Vimeo.Excerpt from "The window felt shattered": "The window felt shattered", 2024, single-channel version of two-channel video installation, color/sound, 11:49 min, looped. Credits for The window felt shattered: Director, Editor: Sara Stern, Mime: Bill Bowers, Violin & Viola: Pauline Kim Harris, Sound Design, Mix, Recording, Engineering, Mastering: Kevin Ramsay, Theremin: Sara Stern, Sound recording at Harvestworks - New York City, Excerpt from Dongmae by Pauline Kim Harris, Lauren Cauley, Violin, Annaliese Kowert, Violin, Pauline Kim Harris, Viola, Andrew Yee, Cello, John-Paul Norpoth, Bass, Recorded live at The Stone - New York City (2019). Several lines of text adapted from Naomi Klein's Doppelganger: A Trip Into the Mirror World. Farrar, Straus and Giroux, 2023.
Elizabeth Heyert , photo credit Nina SubinElizabeth Heyert is an American photographer known for her experimental portrait projects. Formerly a world-renowned architectural photographer, Heyert established her reputation in the art world with her groundbreaking series THE SLEEPERS, THE TRAVELERS, THE NARCISSISTS, and THE BOUND.Heyert's photographs are in the permanent collections of the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, the J. Paul Getty Museum, and numerous private collections. THE BOUND, Heyert's limited edition artist's book of photogravures, was acquired by the Beinecke Library of Rare Books and Manuscripts at Yale University. Photographs from her latest series, METAMORPHOSIS, were featured in Personal Structures at the 2022 Venice Biennale. A book of those photos will be published in 2023.A short list of her other photography books includes THE TRAVELERS (Scalo), the award-winning book from her series of post-mortem photographs; THE OUTSIDER (Damiani) a conceptual portrait project shot in China; THE SLEEPERS (Sei Swann); THE NARCISSISTS (Silvana); METROPOLITAN PLACES (Viking Studio), a classic anthology of 20th century design which she wrote and photographed; and THE GLASS-HOUSE YEARS (Allanheld & Schram), a history of 19th century portrait photography.Heyert graduated from the Royal College of Art, London. A native New Yorker, she lives in Greenwich Village, and has a studio in the Chelsea arts district.Elizabeth Heyert, Man Flying Over a City Cyanotype, 39 x 28.3”, edition of 3Elizabeth Heyert, Man at the Bottom of an Ocean #1 Cyanotype, 39 x 28.3” edition of 3Elizabeth Heyert, Bound #11 Gelatin silver print, 60 x 47.25”, edition of 5
Tony Bechara, April 29 2018, ©Maku-LopezTony Bechara’s dynamic, color-saturated paintings create a pure field of physical perception. You can see a walk through of his show here.Each canvas is meticulously painted with multicolor areas of quarter-inch squares. Using strips of masking tape, Bechara arranges carefully formulated hues into a playful and invigorating optical surface, made up of a multitude of small colored units. The work’s overall rhythm is determined by a process that is systemic but designed to allow combinations of color to emerge by chance. Bechara cites influences across art history, including the colors of Matisse and Vuillard, the pointillism of Seurat and Signac, traditions of weaving and crafting, the precision of hard-edge abstraction, and the famed Byzantine-era mosaics at Ravenna. These influences are evidenced in Bechara’s approach to painting: he uses a tile-like grid as the basis for his explorations into the principles of color usage, particularly the intersection of organization and randomness. The division of the surface of the painting into small modular boxes is similar to pixels; the gaze is constantly in motion. Bechara presents the viewer with their retinal and neurological relationship to color, balancing one’s immediate impression of hue and the overarching logic of pattern.Tony Bechara was born in Puerto Rico in 1942 and today lives and works in New York City. A graduate of Georgetown University, Bechara attended Georgetown Law School and New York University before later studying at the Sorbonne in Paris and the New York School of Visual Art, benefiting in particular from the lessons of Richard Serra and Joseph Raphael. In the 1970s and 80s, Bechara was included in exhibitions organized by the Boulder, Colorado based Criss-Cross pattern printing collective and featured work in the group exhibition ‘Islamic Allusions’ at the Alternative Museum in New York. His work was included in the 1975 Biennial Exhibition at the Whitney Museum of American Art, New York. In 1980 he was granted a fellowship by the National Endowment for the Arts, and in 1981 he was included in ‘The Shaped Field: Eccentric Formats’ at MoMA PS1 in New York. Bechara has had solo exhibitions at the Alternative Museum in 1988; Artists Space in New York in 1993; and el Museo del Arte Puerto Rico in 2008. Recently, Bechara has participated in exhibitions ‘With Pleasure: Pattern and Decoration in American Art, 1972-1985; Museum of Contemporary Art, Los Angeles, CA, USA (2019), which travelled to the Hessel Museum of Art, CCS Bard, Annandale-on-Hudson, NY, USA (2021); ‘Point of Departure: Abstraction 1958-Present’, Sheldon Museum of Art, Lincoln, NE, USA (2021); and ‘Artists Choose Parrish’, Parrish Art Museum, NY, USA (2023).His work can be found in numerous public and private collections including the Metropolitan Museum of Art, New York, NY, USA; El Museo del Barrio, New York, NY, USA; el Museo del Arte, San Juan, Puerto Rico; the Sheldon Museum of Art, University of Nebraska, Lincoln NE, USA; Aldrich Contemporary Art Museum, Ridgefield, CT, USA; and the Massachusetts Institute of Technology, Cambridge, MA, USA.Tony Bechara, Abstract Composition, 1970-71 Acrylic on canvas, 208.6 x 166.4 x 2.9 cm82 1/8 x 65 1/2 x 1 1/8 in Collection of the Metropolitan Museum of Art, New York, NY, USA ©Tony Bechara, Courtesy Lisson Gallery.Tony Bechara, Random 28 (Blue version), 2023 Acrylic on canvas, 152.4 x 152.4 ©Tony Bechara, Courtesy Lisson Gallery.Tony Bechara, Perseus, 2010, Acrylic on canvas, 152.4 x 152.4 x 3.8 cm 60 x 60 x 1 1/2 ©Tony Bechara, Courtesy Lisson Gallery
New York based multidisciplinary artist Michael Dayton Hermann creates work that draws upon the inescapable bombardment of digital imagery to confront the familiar and examine the subconscious from unexpected perspectives. Hermann has exhibited consistently for the past 20 years following receipt of his MFA from Hunter College in NYC where he studied art theory with conceptual artist Robert Morris and executed his thesis under the advisement of Nari Ward. His polymath approach to life rejects easy categorization. He is as adept in his studio as he is in business, philanthropy, and public speaking aways centering the vital role visual art plays in society.He is the author of two books: Warhol on Basquiat and Andy Warhol: Love, Sex, and Desire and is a member of the board at Children’s Museum of Art. In his role at the Warhol Foundation, Hermann conceived Andy Warhol: Machine Made, a ground-breaking online auction of five unique NFTs presented by Christie’s, in addition to developing numerous high-profile Warhol projects including The Andy Warhol Diaries docuseries on Netflix and collaborations with Comme des Garçons, Dior, Tiffany, Absolut and many others, generating nearly $100M in revenue to support the philanthropic work of The Andy Warhol Foundation.The exhibit discussed is REconstituted at Baxter St, Camera Club of New York.Michael Dayton, Installation view of REConstituted at Baxter St, Camera Club of New York.Michael Dayton, Installation view of REConstituted at Baxter St, Camera Club of New York.Michael Dayton, Installation view of REConstituted at Baxter St, Camera Club of New York.
Vincent Donato Roselli (b. 1995) is a self-taught artist from Staten Island, NY.His first exposure to painting was graffiti, and he continues to incorporate old school street art methods in his practice. Vincent creates within a chaotic studio space, utilizing a variety of found substances from dust on the floor to old brush water left in glass jars.He has had solo exhibitions at 81 Leonard Gallery (NY), The National Arts Club (NY) and Chinatown Soup (NY) and has also shown work at venues including Prince Street Gallery (NY) and First Street Gallery (NY).Vincent Donato, Bliss, 2023, Mixed media, annealed steel wire on canvas; 74 x 52.5 in.Vincent Donato, Peg O’ my heart, 2022, Mixed media on linen, 60 x 50 in.Vincent Donato, Wreath #3, 2024, Annealed steel wire, doli, beeswax, found objects; 15 x 7 x 2 in.
Chase Biado, 2023, Photo by Ed MumfordChase Biado said bridging fantasy and art once felt off limits, as if he were “smuggling childhood interests into a contemporary conversation.” In reality, fantasy is a critical facet of adult life. “We're having these epic mythological experiences — in our heads and in our relationships,” he said. “But on the exterior, we’re going about our daily lives.” Biado's style, draped in jubilation, entices viewers to imagine, for a second, what else is possible.Chase Biado (b. 1985) lives and works in Los Angeles, CA. He received a BFA from Portland State University, Portland, Oregon in 2012. Biado exhibits both under his own name as well as one half of the artist duo A History of Frogs alongside his partner Antonia Pinter. Recent solo exhibitions of Biado’s include The Pit and Noon Projects in Los Angeles, CA. He has also shown with VODA, Seoul, South Korea; Marta, Los Angeles, CA; Bozo Mag, Los Angeles, CA; The Neutra VDL House, Los Angeles, CA; Helen’s Costume, Portland, OR; Ruscha and Co., Los Angeles, CA; and participated in DIMIN’s inaugural exhibition.Chase Biado, The Elf Disappeared, 2024.Chase Biado, Music for Field Mice, 2024.Chase Biado, Another Night in Elf City, 2023.
Dapper Bruce Lafitte (b. 1972 New Orleans) is a self-trained artist who began making and showing work in the aftermath of Hurricane Katrina to commemorate the then-decimated street culture of parades and marching bands of New Orleans. He has exhibited locally, nationally and internationally, notably at the Prospect Biennial, New Orleans, and in solo shows at the Ohr-O’Keefe Museum, Biloxi, MS; M+B Gallery, Los Angeles; Fierman Gallery, New York; Gryder Gallery, New Orleans; Atlanta Contemporary, Atlanta, and Vacant Gallery, Tokyo. Lafitte’s work has been in group shows and fairs at the Brodsky Center, New York; Dieu Donné, New York; Tatjana Pieters, Belgium; and the Outsider Art Fair, Paris. Lafitte’s next solo exhibition, The Game is Mine, will be at Alchemy Gallery starting March 7. Lafitte’s work is held in the permanent collections of the New Orleans Museum of Art, and has appeared in The New Yorker, Harper’s Magazine and Victory Journal. In 2009, he was a recipient of a Joan Mitchell Foundation artist award and was a mentee by renowned curator and tastemaker Diego Cortez prior to his passing in 2021.Canal and Carrollton Ave on a Saturday, 62x42 inches archival ink on acid free paper, 2023Canal and Claiborne Ave Saturday Night, 62x42 inches archival ink on acid free paper, 2024Fat Tuesday in the Lafitte Projects, 62x42 inches archival ink on acid free paper, 2024
Mathieu Malouf"I am genuinely trying to make beautiful paintings. Not beautiful by contemporary standards of beauty, but something more atemporal or enduring. My paintings are not anchored in any particular period. I like art that is beautiful, even if that makes no sense in our era. No one discusses whether things are beautiful or not anymore. It’s more difficult to paint women than men. I have only painted men—nude men, gay men, famous men. I think men can be more ugly and weird, and it doesn’t really matter; they are more forgiving. But painting women is more difficult. I started noticing how intensely omnipresent women were in art, and I thought that I probably have something to learn from that; by trying to paint women, maybe I’ll discover why. It is a way for me to learn about something that people have traditionally thought is beautiful. Painting women is a way to address art history itself. The Odalisque as a historical genre intrigues me. This was a woman who was essentially enslaved, but she was always richly adorned and confidently portrayed. She looked empowered to me, like Manet’s Olympia. The women in my paintings are not goofy like some of my male subjects tend to be. They are not cynical or sarcastic. Maybe painting beautiful women right now is like a comedian today telling a joke from the 1920s. Penguins have been lingering in my mind for a while. Unlike women, there are not a lot of penguins in art, maybe in a Sigmar Polke. My attraction to them began as a formal one. They are very aesthetically minimal: only three colors and simple shapes. They are crisp and uncomplicated. My painted penguins are materially simple, they are loose and flat, painted in acrylic–unlike the women, who are painted in oil and highly modeled. These two subjects are hard to paint at once, as they occupy different parts of the brain. Maybe there is an allegory there." - Mathieu MaloufMalouf lives and works in New York. He has been featured in exhibitions at institutions such as Swiss Institute, New York (2018); Le Consortium, Dijon (2018); LUMA Foundation, Zürich (2017); Artists Space, New York (2017); Stavanger Art Museum (2014); Kunsthalle Lüneburg, (2014); and SculptureCenter, New York (2012). Work by the artist is included in museum collections worldwide, including the Astrup Fearnley Museum of Modern Art, Oslo; Hirshhorn Museum and Sculpture Garden, Washington, DC; and Whitney Museum of American Art, New York.Mathieu Malouf, Untitled, 2023-24 Acrylic and ceramic plates on canvas 86 x 92 inches (218.44 x 233.68 cm)Mathieu Malouf, The Writer, 2023-24 Oil and ceramic plates on canvas 60 x 70 inches (152.4 x 177.8 cm)Mathieu Malouf, The Legionnaire, 2023-24 Oil and acrylic on canvas, artist’s frame 35 x 29.5 x 2.5 inches (88.9 x 74.93 x 6.35 cm)
Tom Burckhardt was born in New York City in 1964. He attended SUNY Purchase and graduated with a BFA in painting in 1986, after which he attended the Skowhegan School of Painting and Sculpture. His work has been the subject of over thirty solo exhibitions at institutions including the McNay Art Museum in San Antonio, TX; the Hudson River Museum in Yonkers, NY; and the Knoxville Art Museum in Knoxville, TN. Burckhardt was a participant of the 2016 Kochi-Muziris Biennale in Kerala, India and an artist in residence at the Yaddo Foundation in New York State in 2019 and Pepper House, Kochi, India in 2020. He has received numerous grants and awards, including three grants from the New York Foundation for the Arts, a Joan Mitchell Foundation Grant, a Guggenheim Foundation Grant, two Pollock-Krasner Foundation Grants, and the Richard and Hinda Rosenthal Foundation Award from the American Academy. He currently teaches part-time at SUNY Purchase.Tom Burckhardt, Gruntled, 2023 Oil on linen 34 x 28 inchesTom Burckhardt, Future Rapture, 2023 Oil on linen 77 x 64 inchesTom Burckhardt, Shabby Lingo, 2023 Oil on linen 70 x 60 inches
Catalina Schliebener MuñozBARRO NY is pleased to present “Manifesto of Immature Abstraction,” an exhibition featuring the works of Ad Minoliti and Catalina Schliebener Muñoz. This show explores queer approaches to abstraction through the use of colors andshapes that articulate non-binary narratives which counter the coloniality of gender, sexuality, age, and interspecies life.The gallery space transforms into an abstract dialogue between queer representations of the animal that reinvent their forms by dismantling colonial imaginaries of the childish, immature, and naive. This deconstruction and critique allows the artists to challenge traditional narratives that intervene in the subjectivation of children, disorganizing and transcending through fantasy.Ad MinolitiAd Minoliti’s vibrant abstract compositions radiate a spectrum of hues, using geometric shapes to implicitly suggest faces and animal figures. These works invite viewers into a speculative universe where childhood becomes the tool from whichto experience critical perspectives on artistic movements.Meanwhile, Catalina Schliebener Muñoz presents works made with vinyl cutouts, colored pencils, and embroidery on mat boards and walls. Oscillatingbetween modes of sophistication and craft, the artist uses pastels and the textureof embroidery to invite deep reflection on social and behavioral norms as well asdefinitions of bodily normality imposed on children. Across their respective styles, both artists use abstraction to disorient childhood’s symbolic straightness, the imperative of extroversion, and the adult- centric demand for seriousness and coherence of identity. Ad Minoliti employsgeometry and Catalina Schliebener Muñoz uses fragmentation to reinterpret the role of the visual in the social construction of normality. These abstract deconstructions question the stereotypes of mass media, the historical canon of modern art, and contemporary geopolitical narratives, thereby contributing to the decolonization of the modernist social imaginary.Ad Minoliti, MARGARITA PUNZO, 2022, Acrylic on canvas, 120 x 120 cm, 47.25 x 47.25 inAd Minoliti, OSITE, 2022, Acrylic on canvas, 120 x 120 cm, 47.25 x 47.25 inCatalina Schliebener Muñoz, Growing Sideways Series, (Lovers after MK) - Pair 2021, Sock Monkeys, plexiglass boxes. 10.5 x 24 x 11 in, 26.67 x 60.96 x 27.94 cmCatalina Schliebener Muñoz, Coloring Book Series, Minnie II, 2023, Vinyl, colored pencil, and embroidery on mat board, 33.3 x 33.3 in 83.82 x 83.82 cm
Adrianne Rubenstein (b. Montreal, 1983) is a painter based in New York.Solo exhibitions include Magic Show at Broadway Gallery, New York; Blue at Tanya Leighton, Los Angeles; Little Shop of Horrors at Tif Sigfrids, Athens, GA; and Ruby in the Dust at Deli Gallery, New York. Rubenstein will curate an exhibition at Venus, New York upcoming in summer 2024, and will have an exhibition at Tanya Leighton, Berlin, in September. Her work has been covered in Artforum and The New York Times.Adrianne Rubenstein, Two Waters With Goldfish , 2023 oil on canvas 60 x 72 inches.Adrianne Rubenstein, Pink Painting, 2023, oil on canvas, 72 x 96 inches.Adrianne Rubenstein, Embrace, 2022, oil on panel, 36 x 28 inches
RYAN WALLACE’s (b. 1977) mixed media paintings conjure an ethereal space between the material and intangible. Repurposing fragments from earlier and developing pieces, the artist seams, layers, excavates, and manipulates the surface of his work to incorporate a wealth of textures and techniques. By limiting his resources, Wallace has developed a rich process-based practice whereby each body of work leads to the next in terms of materials and composition. Wallace’s work has been exhibited at BAM, Brooklyn; Marjorie Barrick Museum, Las Vegas; and University of the Arts, Philadelphia. Recent group exhibitions include Volery Gallery, Dubai, United Arab Emirates (2022); Bohemian’s Gallery, Natsume Books, Tokyo, Japan (2022); De Boer Gallery, Los Angeles, CA (2021); and The Bunker Artspace, West Palm Beach, FL (2019). His works can be found in the collections of the Museum of Modern Art, NYC; Museum of Modern Art, San Francisco; and the Museum of Contemporary Art, San Diego, among others.RYAN WALLACE, FLICKER I, 2023 Oil, enamel, acrylic, ink, copper, aluminum, fiberglass, paper, canvas and linen 56 x 36 in.RYAN WALLACE, PERFUMED GARDEN IX, 2023 Oil, enamel, acrylic, canvas, linen, aluminum, copper and fiberglass 48 x 58 in.RYAN WALLACE, LEAVES TURN INSIDE YOU IV, 2023 Oil, enamel, acrylic, canvas, linen, aluminum, copper and fiberglass 40 x 30 in.
Portrait of the artist. Photo credit: Jenny GormanElizabeth Hazan is a New York based visual artist. Hazan was awarded a fellowship to the Skowhegan School of Painting and Sculpture and has twice been a resident of Yaddo. Recent shows include High Noon, at the Duck Creek Art Center in Springs, NY, Heat Wave at Johannes Vogt Gallery, NY, Body to Land at Turn Gallery, NY, Psychedelic Landscape at Eric Firestone Gallery, NY, Sundown at the Madoo Conservancy in Sagaponack, NY and Trodden Path at HESSE FLATOW East.Her work has been written about in Hyperallergic, Forbes, Two Coats of Paint, Art Critical, The Brooklyn Rail and the Art Newspaper.She was born and raised in New York City and attended Bryn Mawr College and the New York Studio School. She serves as the director and founder of Platform Project Space in Brooklyn, NY.Elizabeth Hazan, Floodtide, 2023 Oil on linen 76 x 70 in 193 x 177.8 cmElizabeth Hazan, Glade, 2022 Oil on linen 66 x 55 in 167.6 x 139.7 cmElizabeth Hazan, Nightshade, 2023 Oil on linen 66 x 55 in 167.6 x 139.7 cm
Asad Raza (born in Buffalo, USA) creates dialogues and rejects disciplinary boundaries in his work, which conceives of art as a metabolic, active experience. Diversion, first shown at Kunsthalle Portikus in 2022, diverted a river through the gallery. Absorption, in which cultivators create artificial soil, was the 34th Kaldor Public Art Project in Sydney (2019), later shown at the Gropius Bau, Berlin (2020) and Ruhrtriennale (2021). In Untitled (plot for dialogue) (2017), visitors played tennis in a sixteenth-century church in Milan. Root sequence. Mother tongue, at the 2017 Whitney Biennial, combines twenty-six trees, caretakers and objects. Schema for a school was an experimental school at the 2015 Ljubljana Graphic Art Biennial. Raza premiered the feature Minor History at the International Film Festival Rotterdam (2019). Other projects take intimate settings: The Bedroom at the 2018 Lahore Biennale; Home Show (2015) at his apartment in New York, where Raza asked artists to intervene in his life; and Life to come (2019) at Metro Pictures, featuring participatory works and Shaker dance. With Hans Ulrich Obrist, Raza curates exhibitions inspired by Édouard Glissant, including Mondialité (Villa Empain, Brussels), Trembling Thinking (Americas Society, New York), Where the Oceans Meet (MDC Museum of Art and Design, Miami), and This language which is every stone (IMA, Brisbane). Raza will serve as Artistic Director of the upcoming FRONT 2025: Cleveland Triennial of Contemporary Art. Of Pakistani background, Raza studied literature and filmmaking at Johns Hopkins and NYU.Still from Ge, Asad Raza, 2020. Commissioned for The Shape of a Circle in the Mind of a Fish: The Understory of the Understory, Serpentine Galleries.Ge, Asad Raza, 2020. Commissioned for The Shape of a Circle in the Mind of a Fish: The Understory of the Understory, Serpentine Galleries.Asad Raza, Untitled (plot for dialogue), 2017, CONVERSO, Milan Photo Credit: Andrea Rossetti
Portrait of the Artist. Courtesy of Uprise Art.Devon Reina (b. 1996) is a Brooklyn, New York-based artist and designer. Devon’s cross-disciplinary background inspires his curiosity for materiality and process.His paintings celebrate a range of versatile media, from thick paint impastos, to expressive ink washes and delicate wax pastel line-work. Across his various bodies of work, Devon is interested in how marks of color can interact with each other to suggest the illusion of depth, movement, or direction. Nemeses Year of Work: 2023 Dimensions: 40 in x 40 in x 1.25 in / 101.6 cm x 101.6 cm x 3.18 cm Materials: Pencil and wax pastel on canvas In "Nemeses", I wanted to experiment with placing two parts of the canvas in dialogue with one another, allowing them to agree and disagree in terms of color, surface area, and directionality. Courtesy of Uprise Art.Snowflake Year of Work: 2023 Dimensions: 48 in x 48 in x 1.5 in / 121.92 cm x 121.92 cm x 3.81 cm Materials: Wax pastel on canvas My work is a product of my curiosity in the development and design of art-making systems carried out by the body. I'm fascinated by the potential of parameters, seeing them as fertile grounds for discovery, creation, and exploration of the unknown. Courtesy of Uprise Art.Train Leaves the Station Year of Work: 2023 Dimensions: 24 in x 24 in x 1.25 in / 60.96 cm x 60.96 cm x 3.18 cm Materials: Wax pastel on canvas In applying such a procedural approach to the canvas, "Train Leaves the Station" is an attempt at creating a visual language that suggests the passage of time. I like to look at each of the nine interior boxes as little memories, like looking out a train window throughout the journey to capture nine separate views of the horizon. Courtesy of Uprise Art.
Mark Yang’s colorful, incongruous arrays of anonymous limbs entangled together investigate the nuances of human interaction through a critical lens of art history. Morphing and distorting idealized figures into conglomerates of body parts, Yang’s forms exhibit a sculptural quality, the result of the artist’s thoughtful rendering of plane, dimension, and space. Reducing, dismantling, and reassembling their limbs almost to the point of abstraction with a variety of painterly techniques, Yang creates characteristically mysterious compositions that are not immediately forthcoming with their narrative plot.With a comprehensive set of art historical references, from the Baroque compositions of Peter Paul Rubens to the postwar abstractions of Ellsworth Kelly, Yang’s anatomical abstractions have been praised for their complication of gender norms. Yang’s ambiguous bodily arrangements rarely depict his figures’ faces, prioritizing their bodies over their identities. Resisting homogenizing classifications, Yang calls attention to shifting cultural conceptions of masculinity between South Korea, where Yang was born, and the United States, where he was raised.Mark Yang, Kelly's Colors for a Larger Wall, 2023 oil on canvas 72 x 60 inches 182.9 x 152.4 cmMark Yang, Life (3), 2023 oil on canvas 40 x 50 inches 101.6 x 127 cmMark Yang, Seated and Standing Nude, 2023 oil on canvas 66 x 44 inches 167.6 x 111.8 cm
Andrew EdlinAndrew Edlin, owner of his eponymously named gallery and the Outsider Art Fair talks about the current show at the gallery and the upcoming fair.Unaccompanied Conversations explores the work of three artists: the now acclaimed Outsider James Castle, Pearl Blauvelt, and John Byam, all of whom were untrained and from modest circumstances, yet developed unique approaches to their art using unconventional materials. And they all devoted their lives to their art in the face of little or no market support.Besides their exceptional talent, these artists all shared traits of neurodiversity. They did not process information the way most people do, or hold “normal” conversations, even the banal—like commenting on the weather. But viewing the works of Castle, Blauvelt, and Byam can be like overhearing the conversations, often deep, sometimes funny, frequently intense, but always unusual, that have played out in the artists’ minds.Since people who exhibit a range of divergent characteristics are often deemed intentionally antisocial, the talents of the neurodivergent have often been overlooked. Because of their inability to verbally articulate what they mean, interactions can be strained, leading to fear, misunderstanding, shunning, and pejorative labels.James Castle (1899 - 1977) Untitled (Cars on sloped track), n.d. Soot, spit, and stick-applied color washes on found wax-coated cardboard 10.25 x 10.75 inches.John Byam (1929 - 2013) Untitled (camera), n.d. Wood, glue and sawdust 7 x 7 x 2.5 in.Pearl Blauvelt (1893 - 1987) Untitled (Photographer), c. 1940's Graphite and colored pencil on notebook paper 8.5 x 11 inches.
Tiril Hasselknippe is a sculptor working with steel, concrete, fiberglass, and resin who proposes object-based solutions to evade humanity’s downfall and whose sculptures command authority of physical presence through their sheer volume, scale, and weight. Her sculpture is rooted in material and textual world that balances deeply personal exploration with socio-political underpinnings—at times seeming to participate in parts of a post-apocalyptic storyline. Hasselknippe creates a kind of science fiction of formalism in which the double bonds between the sacred and the primitive, the natural and artificial, and the life-giving and the downfall are all present.Hasselknippe received her BFA and MFA from Malmö Art Academy in 2011 and 2013 respectively. She also participated in a foreign exchange program at The Cooper Union in New York in 2010. Hasselknippe’s recent solo exhibitions have been held at institutions including Kuntshall Stavanger, NO; NITJA Senter for Samtidskunst, Lillestrøm, NO; Kunstnerforbundet, Oslo, NO; Magenta Plains, New York, NY; Kunstverein Braunschweig, DE; Bianca D’Alessandro, Copenhagen, DK; and DREI, Cologne, DE. Her work has recently been included in group exhibitions at the New Museum, New York, NY; Magenta Plains; Künstlerhaus Palais Thurn & Taxis, Bregenz, AT; A Palazzo Gallery, Brescia, ITL; Astrup Fearnley Museum of Modern Art, Oslo, NO; and the Vestfossen Kunstlabratorium, Vestfossen, NO.Tiril Hasselknippe: Hyperstate at Magenta Plains Gallery on the LES NYC. Photograph by John Muggenborg.http://www.johnmuggenborg.comTiril Hasselknippe: Hyperstate at Magenta Plains Gallery on the LES NYC. Photograph by John Muggenborg.http://www.johnmuggenborg.comDREI: Tiril Hasselknippe, photo marcus schwier
Photo by Yael MalkaEmma Safir (b. 1990 NYC) Safir makes paintings that utilize fabric manipulation, lens–based media, smocking, rasterization, upholstery, and digitization.Her paintings function as screen simulations, proxies and portals. Safir is interested in hierarchies of labor in relation to gender and digitization.Safir holds a BFA from RISD in Printmaking and an MFA from Yale in Painting & Printmaking. She has had solo exhibitions at Blade Study, Baxter St at CCNY, SHIN HAUS at Shin Gallery and Bunker Projects; and has participated in group shows at RAINRAIN, Charles Moffett, Jack Barrett, Shulamit Nazarian, Lyles & King, Hesse Flatow, among others. Safir lives and works in New York.Emma Safir, Girandole III 2023 8" x 8.5” Pewter, reflective thread needlelace.Emma Safir, Hole Solution I 2023 14" x 11" x ~1.5" Silk, mdf, appliqué, reflective thread, neoprene, house paint, flashe paint, upholstery foam.Emma Safir, Modern Prometheus III 2023 79” x 37” x ~1.5” Silk, mdf, appliqué, reflective thread, neoprene, house paint, flashe paint, upholstery foam.
The Thing in Front of You, an exhibition of unique photocollages and small-scale wall sculptures by artist Sandi Haber Fifield, will be on view at Yancey Richardson from January 11 through February 17, 2024.Sandi Haber Fifield was born in Youngstown, Ohio in 1956. She holds an MFA in photography from Rochester Institute of Technology. Her work has been widely exhibited in galleries and museums throughout the United States, including the Museum of Modern Art, New York; Art Institute of Chicago; National Museum of Women in the Arts, Washington, DC; Oakland Museum; Philadelphia Museum of Art; Southeast Museum of Photography, Daytona Beach, FL; and St. Louis Art Museum.Haber Fifield’s photographs are the subject of four monographs: The Certainty of Nothing, 2021; After the Threshold, Kehrer Verlag, 2013; Between Planting and Picking, Charta, 2011; and Walking through the World, Charta, 2009. Additional publications that feature Haber Fifield’s work include Our Selves, Photographs by Women Artists, MoMA, 2022 and The Photography of Invention by Mary Foresta, MIT Press, among others. Her work is held in numerous major public collections including the Museum of Modern Art, New York; The Art Institute of Chicago; Philadelphia Museum of Art; High Museum of Art, Atlanta; Los Angeles County Museum of Art, Library of Congress, and The Parrish Museum, Water Mill, NY. She lives and works on Shelter Island, New York.Unique Collaged Archival Pigment print on Canson Paper.Unique Collaged Archival Pigment Print on Canson Paper.Unique Photo-based Collaged Object with Plexiglass, Rubber, and Screws.
Oda Jaune Portrait 2024 © Charles RousselFor her first solo exhibition in the United States, the rare and uncanny Oda Jaune unveils a challenging exhibition in New York. “Miss Understand” offers a series of nearly 25 new oil paintings and dozens of watercolors, on a singular perception of the woman in our time. Oda Jaune, Bulgarian in origin and trained in Germany, has for nearly 15 years been among the most intriguing figures on the European art scene with a body of work freed from any pictorial convention. Poetic, sensual, and expansive, her painting ignites conversation and explores, without inhibition, the depth of femininity today. ODA JAUNE G like Guerrilla Girl, 2023 Huile sur toile | oil on canvas 120 × 170 cm — 47 1/4 × 67 in. Photo: Laurent Edeline. All photos: © Courtesy the artist and TEMPLON, Paris —Brussels — New York.ODA JAUNE A like Apple, 2023 Huile sur toile | oil on canvas 170 × 120 cm — 67 × 47 1/4 in. Photo: Laurent Edeline. All photos: © Courtesy the artist and TEMPLON, Paris —Brussels — New York.Installation view of Oda Jaune's Miss Understand at Templon, NY. Photo: Charles Roussel.
Molly Lowe (b. 1983, Palo Alto, CA) received her MFA from Columbia University and her BFA from Rhode Island School of Design (RISD).She has had solo exhibitions and performances at the Hammer Museum, Los Angeles, CA; Lilith Performance Studio, Malmo, Sweden; Pioneer Works, Brooklyn, NY; Anat Ebgi, Los Angeles CA; Suzanne Geiss Company, New York, NY; SculptureCenter, Long Island City, New York; and Performa 13, New York, NY.Her films have screened at the Museum of Modern Art, New York, NY and JOAN, Los Angeles, CA. Lowe has participated in residencies at the Shandaken Project, Storm King Art Center, New Windsor, NY; Pioneer Works, Brooklyn, NY; Recess Art, New York, NY; and the Skowhegan School of Painting and Sculpture, Skowhegan, ME. In 2015, she received the New York Foundation for the Arts interdisciplinary artist fellowship award, and she was recently nominated for a Louis Comfort Tiffany Foundation award. Lowe lives and works in New York.Molly Lowe, Wrestle in the Grass, 2023, Oil on canvas, 68 x 80 in, 172.7 x 203.2 cmMolly Lowe, Domestic Embrace, 2023, Oil on canvas. 48 x 56 in, 121.9 x 142.2 cm.Molly Lowe, 2024, LAP, 83 x 66 in.
Devin B. Johnson (b. 1992, Los Angeles) obtained his BA in Fine Arts from the California State University of Channel Islands (2015) and received a Masters of Fine Arts at Pratt Institute (2019).In addition to being named a 2023 Artist-in-Residence for Fountainhead, Miami, he was selected as an Artsy Vanguard (2022), named to Forbes 30 Under 30 Art and Design (2022) list, was included in Cultured’s “Young Artists 2021,” and was one of sixteen artists from around the world selected for the inaugural year of the Black Rock Senegal residency (2020).His work is collected by Hammer Museum, Los Angeles; the Los Angeles County Museum of Art; the Museum of Contemporary Art, Los Angeles; Pond Society, Shanghai; the Rubell Museum, Miami; the Columbus Museum of Art; Longlati Foundation, Shanghai; and many others.“A Moment in Crossing,” 2023 Oil on linen. 48h x 60w in.“Something Tender” 2023 Oil on linen. 60h x 62w in.“Water Me Deeply”, 2022 Oil and spray on paper. 30h × 22 1/2w in.
Photo credit: Lamar LandersSydney G. James (b. 1979, Detroit, MI) is a fine arts painter and muralist living and working in Detroit. James began her career as art director of an advertising agency after earning her BFA from Detroit’s College of Creative Studies in 2001. In 2004, James moved to Los Angeles to work as a visual artist in the film and television industry and earned a master’s degree in secondary education. Since returning to her native city in 2011, James has become known as the eminent muralist of the Detroit art scene, transforming the city’s skyline and artistic legacy as well as completing murals across the country, including New Orleans, LA; Brooklyn, NY; Atlanta, GA; Los Angeles, CA; Worcester, MA; and Hawaii.James was awarded a 2017 Kresge Arts in Detroit Fellowship and served as a 2021 Kresge Artist Fellowship panelist in Visual Arts. Her work has been exhibited at Detroit’s Museum of Contemporary Art and Design (MOCAD), the Charles H. Wright Museum, Inner State Gallery, PlayGround Detroit Gallery, Collective Detroit Gallery, Detroit Artist Market, Red Bull House of Art, Janice Charach Gallery, and was included in the Arts, Beats and Lyrics traveling exhibition. James’ work has also been featured by major marketing brands including Vans shoes, PepsiCo, Ford Motor Company, Detroit Pistons, and Detroit Lions. James is a co-founder of the bi-annual BLKOUT Walls street mural festival which debuted in Detroit in 2021, created as a direct response to the lack of diversity and artist remuneration across the country’s creative economies. In 2022, James participated in the International Studio & Curatorial Program (ISCP) Residency in Brooklyn, NY.Sydney G. James, Serving Tee Liberation, 2023. Acrylic, t-shirts, fabric, and gel medium on canvas, 14.5x8ft.Sydney G. James, Bereavement? (non-binary), 2023. Acrylic, fabric, gel medium, and satin trim on canvas, 96x120 inches.Sydney G. James, The Westside Johnsons, 2022. Acrylic, gel medium, and upholstery trim on raw canvas, 10x6ft.
Donna Green, photo by Joe KrammDonna Green wrestles with coils of stoneware, manipulating and prodding to create anthropomorphic gestural shapes that burst and stretch into space. Her physical experimentation challenges the properties of the clay, resulting in works that seem to be in a constant state of growth and transfiguration; heroically scaled urns undulate and drip with layer upon layer of glaze.Green draws inspiration from the ancient Jomon ceramics of Japan and Chinese Han Dynasty storage jars, as well as Gonshi, the naturally occurring scholars’ rocks, and Baroque garden grottos.Donna Green was born in Sydney, Australia, and earned a Bachelor of Arts in Industrial Design in 1984 from Sydney College of the Arts in New South Wales. In 1985, Green moved to New York and joined Industrial Design Magazine as one of its editors. She began working in clay in 1988, studying at Greenwich House Pottery and the New School in New York, and in 1997 at the National Art School, Sydney.Green has participated in numerous workshops including “Fire Up,” 1995 with Janet Mansfield in Gulgong, New South Wales, working on-site with Danish artists Nina Hole and Jorgen Hansen, and “The Vessel as Metaphor” in 2018 with Tony Marsh at Anderson Ranch Arts Center, Snowmass, CO. In 2019, she was a Resident Artist at California State University Long Beach. Later that year, she undertook an Artist Fellowship at Greenwich House Pottery. Green has exhibited at Hostler Burrows, New York, NY and Los Angeles, CA; McClain Gallery, Houston, TX; Greenwich House Pottery, New York, NY; Utopia Art Sydney, Australia; SIZED Studio, Los Angeles, CA; and the Leiber Collection, East Hampton, NY. Her work is in the permanent collection of the Museum of Applied Arts and Sciences, Sydney, Australia. Green lives and works in New York.Donna Green installation, photo by Joe KrammDonna Green installation, photo by Joe KrammDonna Green installation, photo by Joe Kramm
Loren Erdrich creates paintings that both aspire toward transcendence and revel in their physicality. Erdrich’s deliberate and open collaboration with her medium allows for discovery in every painting, and she uses her materials in unconventional ways to create a dynamic tension between deliberate and unintentional gestures.She paints on raw muslin with water, dyes, pigments, and other water-based media, allowing the artist and her emerging figures to embrace and celebrate the strength of fluidity, vulnerability, and reactivity. Erdrich holds a BFA from the School of the Art Institute of Chicago and an MFA from the Burren College of Art at the National University of Ireland, Galway.She has been awarded residencies at Yaddo, Elizabeth Murray Artist Residency, Jentel Foundation, Santa Fe Art Institute, Sculpture Space, Vermont Studio Center, and Art Farm Nebraska, and was selected as a Hopper Prize Finalist for 2023. Erdrich has exhibited in solo and group shows internationally in cities including New York City, Paris, Los Angeles, Madrid, Shanghai, Miami, Berlin, Denver, Copenhagen, Houston, Rome, London, and San Francisco. Her work has been featured in DNA Magazine Mexico, Maake Magazine, ArtMaze Mag, Chicago Tribune, Vogue Italia, Cultured Magazine, and WhiteHot Magazine, to name only a few. In 2021, Erdrich collaborated with fashion designer Marc Jacobs to incorporate her paintings into their Resort Collection.The artist lives and works in New York City, NY.Loren Erdrich, Sun Worship, 2023, Size: 24 x 20 inches, Water, raw pigment, dye, acrylic, colored pencil and water-soluble pastel on muslin.Loren Erdrich, Everywhere Alive, 2021, Size: 56 x 52 in, Medium: water, organic and synthetic dye and raw pigment on muslin.Loren Erdrich,, Gathered Things, 2023 Size: 34 x 30 in, Medium: water, raw pigment, dye, acrylic and water-soluble pastel on muslin.
Alexander Ross in his studio, 2021, Great Barrington, MAAlexander Ross (b. 1960 in Denver, CO) received his Bachelor of Fine Arts from the Massachusetts College of Art, Boston, MA.Ross has been the subject of solo exhibitions at the Contemporary Art Museum, St. Louis, MO; Galerie Hussenot, Paris, France; LABspace, Hillsdale, NY; Miles McEnery Gallery, New York, NY; New York Foundation for the Arts, New York, NY; Nolan Judin, Berlin, Germany; and the Worcester Art Museum, Worcester, MA, among others.The artist has been included in group exhibitions at numerous international institutions including the deCordova Sculpture Park and Museum, Lincoln, MA; Denver Art Museum, Denver, CO; Museo de Arte Moderno, Mexico City, Mexico; New Museum of Contemporary Art, New York, NY; Valencian Institute of Modern Art, Valencia, Spain; and the Whitney Museum of American Art, New York, NY.His work may be found in the collections of the Art Institute of Chicago, Chicago, IL; British Museum, London, United Kingdom; Denver Art Museum, Denver, CO; Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY; The Morgan Library & Museum, New York, NY; Museum of Modern Art, New York, NY; Rhode Island School of Design Museum, Providence, RI, and elsewhere.He is the recipient of awards including the Pollock-Krasner Foundation Grant; Adolph and Esther Gottlieb Foundation Individual Support Grant; New York Foundation for the Arts Painting Fellowship; The Louis Comfort Tiffany Foundation Award; and the John Simon Guggenheim Memorial Foundation Fellowship.Ross lives and works in Great Barrington, MA.ALEXANDER ROSS, Modeling the Physical, 2023, Colored pencil, graphite, and crayon on paper, 22 1/8 x 18 1/4 inches.ALEXANDER ROSS, Intelligence Restructuring, 2023, Colored pencil, watercolor, and graphite on paper, 12 1/2 x 17 inches.ALEXANDER ROSS, Another Aspect of the Presentation, 2023, Colored pencil, watercolor, crayon, and graphite on paper, 14 3/4 x 14 1/4 inchesALEXANDER ROSS, Robed in the Illusion, 2023, Colored pencil and watercolor on paper, 12 5/8 x 11 inches
photo of Ava (pictured with House Flips)Ava Werner is an American multi-media artist, working with 2D media and installation. Broadly, her work focuses on how humans impact the earth and its resources.Werner is a lecturer in the Art and Design Department at California Polytechnic State University. Most recently, Werner had a residency summer 2023 at Vermont Studio Center.Her Waterlinks Installation project with James Werner is ongoing and has been installed in New Zealand, Micronesia and Vanuatu, Australia, California, New York and Maine.House Flip: Hurricane Katrina Photo collage, Digital print 18” x 24” 2023Overgrowth Acrylic, cut paper, found images 12” x 12” 2023Sordida Aqua Acrylic, cut paper, found images 10“ x 10” 2023
Omari Douglin lives and works in Los Angeles. He received an MFA in Painting from Bard College, Annandale-on-Hudson, NY in 2019.Selected solo and group exhibitions have been held at Sebastian Gladstone (Los Angeles), Ramiken (New York), Micki Meng (San Francisco), and Theta (New York).Omari Douglin was born in Brooklyn, NY 1992.Raining Spy and Chips, 2023, Acrylic and oil on canvas, 60 x 43 inchesUntitled (After Lukas), 2023, Oil on canvas. 60 x 43 inchesKick Ass Painter, 2023, Acrylic and oil on canvas. 60 x 43 inches
Oidie Kuijpers (b. 1993) is a painter based in Brooklyn, New York. Kuijpers makes work which explores representation and investigates painting as a form of critical inquiry. His paintings have been included in exhibitions at Oberlin College, Pace Gallery, New York, Pratt Institute, and D. D. D. D. in New York.untitled (2023.31), 2023, acrylic on panel 10 x 10 inchesuntitled (2023.10.A), 2023, acrylic on panel, 10 x 10 inchesuntitled (2023.05.A), 2023, acrylic on panel, 10 x 10 inches
Gregg Louis received a Master’s of Fine Arts degree from the School of Visual Arts in New York City in 2009.His work has been featured in exhibitions around the world, including Nohra Haime Gallery in New York; NH Galería in Cartagena; Hverfisgalleri in Reykjavik; The World Chess Hall of Fame in Saint Louis; Postmasters Gallery in New York; Galerist in Istanbul; Frieze London; Vienna Contemporary; and Art Bogotá.In 2009, Louis was an artist-in-residence at the Skowhegan School of Painting and Sculpture. The New York Times, The Wall St Journal, and Sculpture Magazine have all covered his work.Louis currently lives and works in Saint Louis, and is represented by Nohra Haime Gallery in New York City.Fires in the Sky, 2023Summer Nights, 2023Midnight in Wonder Valley, Deep Sky & Like a Moth Drawn to a Flame, 2023
Portrait of the Artist, Photo by Josh Wool.Brad Kunkle, b. 1978 Lehighton, Pennsylvania, BFA, Kutztown University, 2001. A decade after selling out his debut solo exhibition in New York City on opening night, Brad Kunkle has become internationally known for his unique use of gold and silver leaf in contemporary oil painting.His themes explore the shedding of dogmas inherited from previous generations, intuition, and the power of feminine energies as guides for seeking enlightenment in symbiosis with the natural world.He is represented by Arcadia Contemporary in NYC.Where Time Begins, 78 x 50 inches, Oil, gold and silver leaf on linen. 2023.Pneuma, 63 x 36 inches, Oil and gold leaf on linen. 2023.Stasis III, 24 x 18 inches, Oil and gold leaf on wood. 2023.
Cynthia Lahti (b. 1963) lives and works in her birthplace of Portland, Oregon. She received her BFA from the Rhode Island School of Design.Lahti has presented solo exhibitions in Oregon at CEI Artworks Gallery (2019), Ditch Projects (2017), Imogen Gallery (2017), Passages Bookshop (2016), and PDX Contemporary Art (2016), among others.Her work is in the collections of the Portland Art Museum, Boise Art Museum, Columbia University Library, Jordan Schnitzer Museum of Art, Reed College, Stanford University’s Bowes Art and Architecture Library, University of California, Santa Barbara, Library, and Yale University’s Beinecke Rare Book and Manuscript Library, among others. In 2023, the artist’s drawings and sculptures were featured in Kelly Reichardt’s film Showing Up.CYNTHIA LAHTI , White Phone, 2023 Signed and dated Ceramic figure 12 x 12 x 11 inchesCYNTHIA LAHTI, Red Girl, 2023 Signed and dated Ceramic figure, wood base 17 x 8 x 7 inchesCYNTHIA LAHTI, Sock, 2009 Signed and dated Ceramic figure, wood base 19 x 6 x 5 inches
photo is by Tyson HousmanOriginating from vintage video clips, Helia Chitsazan (b. 1995, Tehran, Iran) invokes a visualblur and static of old camera films through her painting. Chitsazan explores a constant and universally ambiguous feeling of absence and loss. To her, art is a language to hold emotions and complications that she experienced growing up in Iran's specific cultural and social circumstances. Chitsazan speaks on the manifestation of her practice, “...growing up in a society with different levels of verbal oppression has made me interested in communicating and expressing myself through various other ways but not talking and art is one of them.”Chitsazan was born and raised in Tehran, Iran. She graduated with a BFA in Painting from the Tehran University of Art and recently received an MFA in Fine Arts from the School of Visual Arts in New York City. Recently, Chitsazan was included in a group exhibition, Interest in Humanity: Portraits of Yesterday and Today at Fou Gallery (New York, 2023) alongside Andy Warhol and Joan Miró. Her overall practice includes both painting and installation. She currently lives and works in Brooklyn, New York.Helia Chitsazan, Three Helias, 2023 Oil on canvas 28 x 28 in 71.1 x 71.1 cmHelia Chitsazan, After midnight 2022 Oil on Canvas 53 x 56 inchesHelia Chitsazan, Please take a seat, 2023 Oil on canvas 50 x 56 in 127 x 142.2 cm
Karla Knight in her studioAndrew Edlin Gallery is pleased to announce Universal Remote, a solo exhibition of new work for artist Karla Knight, running from November 3 – December 22, 2023. A solo display of Knight’s work will be held concurrently at The Art Show (ADAA) at the Park Avenue Armory from November 1–5.
Over the past four decades, Knight has executed her idiosyncratic visons of UFO related imagery with the stubborn persistence of an artist unbeholden to the dictates of art world trends, although contemporary interest in spiritualist art has certainly offered a favorable context. Knight’s relationship with what might be broadly termed “the occult” is rooted in her upbringing; her father authored publications on, among other subjects, UFOs and ghosts, and her grandfather, also a writer, penned a book about afterlife communication.
Her solo exhibition at the Aldrich Museum in 2021-22 expanded Knight’s recognition markedly and came at the same time she was beginning to experiment with weathered feedbags from the 1940s and ’50s, attracted to their creamy color and the traces they bore of past lives. She calls these works “tapestries,” as she embroiders the fabric and embellishes it with a combination of acrylic paint pens, vinyl paint, colored pencil, and graphite.
Her new Universal Remote series of drawings and tapestries riffs on the notion of channels with central motifs inspired by anachronistic television sets that hail from the early decades of the Cold War; a time when the frequency of UFO sightings was a source of great national anxiety.
The tapestry Universal Remote 1, 2022, is painted with a boxy television-like form—or “receiver,” a word the artist relishes—bearing her cryptic characters along with circles that suggest various dials and buttons: channel selectors, speakers, fine tuners, picture expanders. A large, rounded shape marked with blue crosshatching and abstract designs, some of which resemble yellow eyes with slivered pupils, overtakes the “screen.” At the mandala’s heart is Knight’s returning volumetric orb, here coronated with concentric circles. This celestial sphere’s significance denoted by its centrality to the composition, becomes a kind of universal picture, open to an endlessly expanding universe of possible readings.
Karla Knight’s work is currently featured in the group exhibition, Sightings, at the Sun Valley Museum of Art (ID), and is represented in the collections of the Museum of Modern Art (New York), the Brooklyn Museum of Art, and the Walker Art Center (Minneapolis), among others. A second edition of her Aldrich Museum exhibition catalogue, Navigator, with added images of recent works and a new essay by Cassie Packard will be available on November 1, 2023.
Karla Knight (b. 1958) Big Night Vision, 2023 Flashe, acrylic marker, pencil, and embroidery on cotton 46 x 73 inchesKarla Knight (b. 1958) Delphi 3, 2023 Flashe, acrylic marker, pencil, and embroidery on cotton 33.5 x 30 inchesKarla Knight (b. 1958) Universal Remote 1, 2022 Flashe, acrylic marker, pencil, and embroidery on cotton 68 x 49 inches.
Alva Mooses photographed by Mauricio Cortes Ortega at Shandaken Projects, Governor’s Island 2023.Alva Mooses is an interdisciplinary artist. Her work explores the intersections of printed media, ceramics, and sculpture while engaging with earth-based materials to signal the memory of geological time.
Her ceramic series titled ear to the earth/ culebra, truena, tormenta was exhibited at Jane Hartsook Gallery as part of her artist residency at Greenwich House Pottery. The slip-cast reconfigured globes move away from historical representations of the earth as a perfect sphere on a steady axis toward a transformative body—the pieces are glazed, distorted, mended, and kiln-fired multiple times. culebra, truena, tormenta translates to snake, thunder, storm, referring to the Mexica earth and mother goddess Coatlicue whose entire skirt, head, and belt represent snakes. The legendery 16th century Coatlicue statue was buried and unearthed multiple times since the Spanish conquest out of concern that the statue would inspire religious and political resistance; it now lives in the National Museum of Anthropology in Mexico City.
The writer Mirene Arsanios describes Alva’s ceramic globe series as: “Broken or no longer erect, the globe stands and their measuring systems are inoperative—the deconstructed globes undermine the project of western geography and the violence of its measuring tools, favoring instead a world, earth, and planet governed by the erotics of its own materials.” Alva holds a BFA from The Cooper Union and an MFA from Yale University. She has exhibited her work in the U.S., Latin America, and Europe. She has completed fellowships and residencies at the Lower East Side Printshop, Shandaken Projects, Socrates Sculpture Park, Center for Book Arts, Greenwich House Pottery, The University of Chicago, Tou Trykk in Stavanger, Norway, and Casa Wabi, in Oaxaca, Mexico, among others. She serves on the faculty at Hunter College in the Department of Art and Art History and lives with her daughter and partner in Brooklyn.
ear to the earth/ culebra, truena, tormenta, 2022 | ceramic | 20x15x8 inches | Photo by Alan Wiener courtesy of Greenwich House Pottery.ear to the earth/ culebra, truena, tormenta, 2022 | ceramic | 16x10x9 inches | Photo by Alan Wiener courtesy of Greenwich House Pottery.Undercurrents, 2023 | Drawing with CNC machine | 13×17 inches
Matthew Kirk’s (Navajo Nation) practice combines the materiality of his long-held job as an art-handler with mark-making inspired by comics, abstraction, and Diné (Navajo) visuality.
A 2019 Eiteljorg Fellow, his work was recently featured in The New York Times.
His recent solo exhibition White Snake (2023) was presented at Halsey McKay Gallery in New York City. Kirk was born in Arizona, raised in Wisconsin, and is based in Queens, New York.
Waste Is A Thief, 2023 Wood, acrylic, ink. graphite, leather, coroplast, insulation foam, hardware, wire, canvas 63 x 60.5 x 6 inches (160 x 153.7 x 15.2 cm)Save That Chitter Chatter, 2023 Wood, acrylic, ink, graphite, Nerf, hardware, cotton strap 35.25 x 46.75 inches (89.5 x 118.7 cm)I’ll Sing Along, 2023 Canvas, acylic, graphite, hardware, basketball rim, rope, hardware, wood 58.5 x 35 x 7 inches (148.6 x 88.9 x 17.8 cm)
Cyle Warner is a Brooklyn-based artist of Afro-Caribbean descent. A recent graduate of the School of Visual Arts with a BFA in Photography, he works across mediums, often using fabric and photographs inherited from family to explore his concept of Dis. In 2022 he attended the prestigious Yale Norfolk Summer School of Art.
Welancora Gallery is proud to present Weh Dem? De Sparrow Catcher?, a solo exhibition of new work by Cyle Warner (b. 2001), on view from July 27 to October 10, 2023. Warner’s first exhibition at the gallery brings together a reimagined archive of photographs and textiles to reveal a very personal exploration of his family’s life in the Caribbean.
Sourced from the Warner family archive, the photographs are layered, recomposed and enlarged to conjure feelings of curiosity about Warner’s elders and their life in the Caribbean. The works on view raise a number of questions; namely, what would life be like if there had been no migration to the United States? The photos, ranging from the mid 1940s to the early to mid 1970s, depict family members when they were permanently residing in the Caribbean. The hazy quality and sepia tones, as well as what’s visible, what’s further highlighted, and what’s left to be desired all lend themselves to the artist’s fractured understanding of a time in the Caribbean that he never experienced first hand.
Cyle Warner a vessel a jam slow, 2023 Various fabrics and inkjet on fabric on wooden frame. 76 x 64 inches 193 x 162.6 cms. Photo: Copyright The Artist Courtesy of Welancora Gallery.Cyle Warner Album Page II (Debating with Powell and the Queen), 2023 Various Fabrics and Inkjet on Fabric on Stained Wooden Frame 15 1/2 x 11 inches 39.4 x 27.9 cms. Photo: Copyright The Artist Courtesy of Welancora Gallery.Cyle Warner I don’t want to go, 2023 Archival pigment print with collage on Hahnemühle Photo Rag 5 x 7 inches 12.7 x 17.8 cms Edition of 2.
Heather Dewey-Hargborg, American artist and bio-hacker most knowned for the project Stranger Visions. Ana Brígida for The New York TimesDr. Heather Dewey-Hagborg is a transdisciplinary artist and educator who is interested in art as research and critical practice. Her controversial biopolitical art practice includes the project Stranger Visions in which she created portrait sculptures from analyses of genetic material (such as hair, cigarette butts, or chewed up gum) collected in public places.
Heather has shown work internationally at events and venues including the World Economic Forum, the Daejeon Biennale, and the Shenzhen Urbanism and Architecture Biennale, the Van Abbemuseum, Transmediale and PS1 MOMA. Her work is held in public collections of the Centre Pompidou, the Victoria and Albert Museum, the Wellcome Collection, and the New York Historical Society, among others, and has been widely discussed in the media, from the New York Times and the BBC to Art Forum and Wired.
Heather has a PhD in Electronic Arts from Rensselaer Polytechnic Institute. She is a visiting assistant professor of Interactive Media at NYU Abu Dhabi, an artist fellow at AI Now, an Artist-in-Residence at the Exploratorium, and is an affiliate of Data & Society.
Hybrid (Trailer) from Heather Dewey-Hagborg on Vimeo.
Installation view, Heather Dewey-Hagborg, Hybrid: an Interspecies Opera. Courtesy of the artist and Fridman Gallery.Still from Heather Dewey-Hagborg, Hybrid: an Interspecies Opera. Courtesy of the artist and Fridman Gallery.
Jonathan Herbert (b. 1952, New York City) explores the nonverbal relationship between cosmology and consciousness. He creates unique, intuitive formulations of water-based paint using acrylic and urethane media made on the spot, mid-process. He explores the nonverbal nature of creative inspiration via intuition. These works examine the richness of the present moment while simultaneously referring to a concurrent interest in the expression of the past, of his traumatic experiences and resulting emotions. Much of his work has been informed by his extremely abusive childhood and the unsurprisingly drug- and alcohol-ridden years of his life prior to 1986. His experiences as a night shift cab driver in bankrupt New York inspired the years-long body of work, Views from a Yellow Cab. He drove a quarter-million miles over the course of five years. An important and interesting and uncommon view of humankind, as evidenced in the movie Taxi Driver.
Herbert received his diploma from the School of the Museum of Fine Arts, Boston in 1977. He continued his studies, via an Independent Study Award from the Museum School, for more than a year in Antwerp, Belgium. He began exhibiting in 1978 in Soho and the East Village and has garnered several solo exhibitions. Many of his group shows have been in New York City, including tagging subways and walls in the East Village of the 1970s.
In New York in the mid-eighties, shortly after MacPaint had first been released, Herbert was one of the founders of the Digital Art Movement. During his digital years, Silicon Graphics decorated their entire Seybold booth with his work, flew him to San Francisco and asked him to demonstrate his process during the convention. His digital work has been featured internationally. Herbert for years labored lovingly over the creation of digital medical drawings for pharmaceutical books and journals, continuously expanding his education, which fed his fascination with medicine. His work as a digital artist even led to being interviewed on network TV.
Herbert’s bibliography begins in December 1982, in the regular Cookie Mueller column “Art and About” in Warhol’s Details Magazine. There is also a Jonathan Herbert entry in the Cookie Mueller Encyclopedia. He has appeared in and been reviewed in many publications. Portraits of Herbert are in both Nightline by Peter Donahoe and Taxi: The Social History of the New York City Cab Driver. Herbert’s work is in the collection of the Estate of Jean-Michel Basquiat, the Brooklyn Art Library, Pfizer Incorporated, the law firm Kirkland and Ellis, and The Kinsey Institute in Bloomington, Indiana.
Herbert currently lives and works in Sarasota, Florida, where, every day, he struggles to live fully in the face of multiple invisible disabilities including lymphoma, PTSD, and cognitive impairment, most of which result from 9/11 survivorship.
Across the Universe, Acrylic and urethane on canvas 40 x 60 x 1.5 inWish, Alchemical acrylic and urethane on canvas 60 x 40 inShan Shui, acrylic and urethane on canvas 72 x 60 x 1.5 in
Mickalene Thomas Photographed by Malike Sidibe At Yale Gallery for The New York Times Magazine.Mickalene Thomas was born and raised in New Jersey and lives and works in Brooklyn, NY. One of the most influential artists in the world today, her innovative practice has yielded instantly recognizable and widely celebrated aesthetic languages within contemporary visual culture. She is known for her elaborate paintings composed of rhinestones, acrylic, and enamel. Not only do her masterful mixed-media paintings, photographs, films and installations command space, they occupy eloquently while dissecting the intersecting complexities of black and female identity within the Western canon.
Outside of her core practice, Thomas is a Tony Award nominated co-producer, curator, educator and mentor to many emerging artists. Apart from her own monumental solo shows, she simultaneously curates exhibitions at galleries and museums and collaborates with corporations and luxury brands. In addition to an Honorary Doctorate in Fine Arts from the New York Academy of Art (2018) and a United States Artists Francie Bishop Good & David Horvitz Fellow (2015), she has been awarded multiple other prizes and grants, including the Pratt Institute Legends Award (2022); Rema Hort Mann Foundation 25th Anniversary Honoree (2022); Artistic Impact Award, and more.
Thomas is also the Co-Founder of SOULAS House, a cultural hub and retreat for Black women, the Co-Founder of Pratt>FORWARD and founder of Art>FORWARD Artist in the Market incubator for post-graduate students.
Mickalene Thomas, September 1981, 2023. Dye sublimation print and rhinestones, 63.375 x 57.75 x 1.25 inMickalene Thomas, December 1981, 2023. Dye sublimation print and rhinestones, 58.625 x 48.125 x 3 inMickalene Thomas, Cover 1981, 2023. Dye sublimation print and rhinestones, 15.125 x 12.25 x 1.625 in
In 2021, Anna Berlin was awarded a Fulbright Research and Study Scholarship to Berlin, Germany, and has since painted between her new home and her family’s house in New Jersey. The paintings weave Berlin’s life with the stories she grew up with about her family, alongside new understanding gained from independent research on her German-Jewish history. The paintings are of a grayscale world, where documentation, legal papers, and everyday ephemera become part of her language of storytelling.
The works in Sisters use the monotone language of the bureaucratic documents she relied on in the first year abroad, such as tax forms, proofs of identity, and lists. The visual-verbal governmental speech was sometimes fraught with confusion as she shares her last name with the city, creating reverberations in the artist’s imagination of past and present, person and place, self and family, family history and cultural history. In exploring her new home, the artist accessed a deeper connection to her family’s past in Germany and especially on the role of documents and documentation– how they affected their status, imperiling and saving their lives, as they fled their homes in the 1930s and 1940s to escape the Second World War.
Alongside the personal and legal papers her grandparents brought with them to the US, some that were recently donated to the United States Holocaust Memorial Museum in Washington D.C., there is also the oral; intergenerational memories that were passed along in car rides or at the kitchen table in New Jersey. Short, diaristic narratives accompany each painting on the Image List. Names of people and places blur together – Wasser, Berlin, New York, New Jersey – as the generations travel back and forth over water and over land.
Earlier this year, Anna Berlin and Olympia released an artist’s book called Notes from Berlin, that is part memoir, part travelog, and part family history. It was printed in an edition of 100 copies and is available at the gallery.
Anna Berlin, Two Sisters, 2023, Flashe, acrylic, oil, epoxy dough on canvas, 52 x 40 x 2 in (132.1 x 101.6 x 5.1 cm)Anna Berlin Wasser, 2023 Flashe and acrylic on canvas with two stools made of flashe and acrylic on epoxy dough and foam stools 60.5 x 40 x 10 in (153.7 x 101.6 x 25.4 cm)Anna Berlin The Vollendam, 2023 Flashe, acrylic, epoxy dough on canvas 52 x 40 x 2 in (132.1 x 101.6 x 5.1 cm)
Marleen Sleeuwits (NL), Multidisciplinary artist Marleen Sleeuwits, born in 1980 in Enschede, currently lives and works in The Hague. In 2001 she graduated from the Royal Academy of the Arts with a BA in photography, whereafter she obtained her MA in the same discipline at AKV|St. Joost in 2005.
Marleen Sleeuwits has been exhibiting solo and in group exhibitions, in The Netherlands and internationally. Her work has been shown in various exhibitions and art fairs such as: Royal Encounters, a group exhibition at Museum Escher in The Hague, Isomatrix, a solo exhibition at Kunsthal Rotterdam.This year she has two major exhibitions; one solo in the Centre Photographique in Rouen, France and a duo in Sous Les Etoiles Gallery in New York, U.S.A.
Ongoing Series of False Ceilings, Year: 2023, Different sizes, Ultrachromeprint, plaster, false ceiling and wood in plexiglass
container. All pieces are unique.Interior no. 53, Year: 2019. Size: 150 x 118 cm. Ultrachromeprint on aluminium in frame with museum glass.Installation view, Radical Intervention. Burned photo-prints, neon paper and mirror. At Sous les Etoiles Gallery, New York, U.S.A., October 2023
Sarah Lubin (Boston, MA) earned a B.A. in Art History from McGill University in 2001, followed by a year in Foundation Studies at Central Saint Martins College of Art and Design (London).
She received an M.A. in Art History from Columbia University and an M.F.A. in Painting from Massachusetts College of Art and Design. Lubin is a two-time recipient of the prestigious Elizabeth Greenshields Foundation grant (2019 and 2021).
Frames is the artist’s fourth solo exhibition with Nancy Margolis Gallery.
Sarah Lubin, Index, 2023, oil on canvas, 36 x 60 inchesSarah Lubin, Pink Room, 2023, oil on canvas, 54 x 42 inchesSarah Lubin, Picnic, 2023, oil on canvas, 42 x 54 inches
Julie Severino is a Brooklyn based painter. She received her MFA from New York Academy of Art. Severino creates psychological narratives that function as a tool to deepen her understanding of the mind and body connection, in relation to her own personal history and the larger human experience.Playing with perspective, her paintings depict disproportionate figures or things that are in dialogue with the multidimensional environments. Rendering parts of the work differently serves as a means to distinguish rhythm, stillness, force and sensitivity. Stillness and time are necessary to reveal parts of the enigmatic scenes.The sculptures are made with various materials, such as, aluminum, magic sculpt, glass, paper, hair and other materials. The transition from painting to sculpture allows Severino to explore with her hands and body in a way that calls attention to an immersive visual language and way of creating.Including poetry with some of the work is an important part of Severino’s studio practice. Often, the writing becomes the genesis of the paintings and sculptures, but sometimes, during the process of creating, the work will inspire the text that then becomes a part of the physical artwork.Listen to Severino read her poetry here.JULIE SEVERINO, Abundance and Light, 2023, oil, graphite, colored pencil on canvas, 60 x 70 in (152.4 x 177.8 cm)JULIE SEVERINO, Arising and Passing, 2023, oil, graphite, colored pencil on canvas, 48 x 60 in (121.9 x 152.4 cm)Prayers Through Poetry, 2023, oil, gold leaf, graphite, colored pencil on canvas, 24 x 18 in (61 x 45.7 cm)
Edward Povey was born in London, England in 1951, the only child of a merchant seaman and a seamstress. He studied at the Eastbourne College for Art and Design in England and at the University of Wales in North Wales. 1972-1978Between 1975 and 1981 he came to the attention of the British media as a muralist, completing 25 internal and external murals up to five stories in height, in Israel, Wales and England.Between 1983 and 1988 he painted and studied symbolism on the Caribbean island of Grenada, and learned under the Danish architectural abstractionist Paul Klose, and the art dealer Jan de Maere in Brussels. From 1991 he showed with John Whitney Payson in New York beside Paul Cadmus, Jack Levine and Michael Bergt and successively with galleries in The Hague, Paris, Los Angeles, San Fransisco, New Orleans, West Palm Beach and London, up to the present. In 2008 he was proposed for a knighthood for his contribution to art in Britain by the Chancellor of the School of the Art Institute of Chicago and others. In 2019 the British Library documented his career for the nation. In 2012 the Museum of Modern Art in Wales published a biography of Povey’s life and work up to that point. In 2018 Povey studied Raphael’s Ansidei Madonna in the National Gallery in London, using Ghiotto’s and Raphael’s Verdaccio palette for his new paintings which he termed Emotional Realism. Between 2019 and 2023 Povey appeared in many publications and interviews in Spain, Poland, the United States, Egypt, England, Italy, France and Brazil.His paintings hang in museum collections, private and corporate collections in thirty countries. Since 2021 he has shown with Waterhouse & Dodd in New York. His current Solo Exhibition: “HUMAN”, 5th October - 3rd November 2023. 15 East 76th Street, New York, NY 10021. T: 212 717 9100. Edward Povey is currently beginning a new collection of paintings in his studio in the Devon countryside of England.SEINE, 2023. Edward Povey, Oil on Belgian linen 170.0 X 170 cm / 67 X 67 in. More information from Waterhouse & Dodd, New York. “In civilised societies human beings devise traditions and ceremonies to safely contain meaningfulness in the desert night. Romance, religion, families, paintings and films are all ceremonies of meaning. Even boxes and vases contain what otherwise disperses beyond our control, like emotions in a thunderstorm. We are so very vulnerable, and to have seen the same chair since our childhood, the same parent, the same sky above us remaining and remaining. It is this that calms the chaos. When a couple dances to the trickling pulse of soft rock, bleeding out of a out of a midwestern late radio station, moving slowly beside the long porch window, another couple dance in the reflected glass – and that is my painting. They will always move in a dim tandem with us, twin sisters, identical brothers. Immortal tricks of the light. Paintings are altars, objects and artefacts far stronger than the buildings that host them, because they have centuries in their pockets. This painting groups all that is, for all intents and circumstances, unnecessary and transitory: the aging chair, the little vase of flowers, the ramekin of glacé cherries, the teaspoon of blood, the distracted middle-aged woman. Only a human being can appreciate that these objects are in fact precious and cherished, beautiful and indispensable.”DEFINITIE, 2023. Edward Povey, Oil on linen, 200 X 200 cm / 79 X 79 inches. Modelling courtesy of London model Emily Poynton. Photograph of Baroness Ersilia La Lomia, Sicily, courtesy of her niece, Marzia Caramazza. More information from Waterhouse & Dodd, New York. "Paintings explain themselves just as the silhouette of an arguing couple does, gesturing in a midsummer alleyway viewed from a passing train. Sunday, south London, the hot streets empty, a couple drawing lines in their lives. The English say 'Double Dutch', meaning 'inexplicable',
Floria González was born in Monterrey on July 20th, 1980. She moved to Acuña Coahuila in 1983, eventually moving to Mexico City at 16 where she currently lives and works.Floria’s dreamlike, cinematic scenes explore alternate realities and hidden layers of the psyche. Using photography, video, installation, performance, and painting, Floria maintains a constant dialogue between fantasy and imagination, excavating forms and scenes that reconstruct her own identity through memories and experiences.Floria has exhibited work in Mexico City, Monterrey, New York, Austin, Los Angeles, Miami, Bolivia, Chile, Argentina, Colombia, Berlin, Italy, Hong Kong, London, and Singapore.Floria González, Too Young to Die, M. Ward, First Aid Kit, 2023, oil on canvas, 44 3/10 x 44 3/10 in / 112.5 x 112.5 cmFloria González, The Smoke, The Smile, 2023, oil on canvas, 31 1/2 x 35 2/5 in / 80 x 90 cmFloria González, Crazy, Patsy Cline, 2023, oil on canvas, 35 2/5 x 35 2/5 in / 90 x 90 cm
Enemy Combatant, David Winner's third novel (March 2021) received a Kirkus-starred review and was a Publisher's Weekly/Booklife Editor's Pick.He is the co-editor of Writing the Virus, a New York Times-noted Anthology. His Kirkus-recommended second novel, Tyler's Last, was nominated for a Pushcart while his first, The Cannibal of Guadalajara, won the 2009 Gival Press Novel Award and was nominated for the National Book Award. His work has appeared in The Village Voice, Fiction, The Iowa Review, The Millions, The Kenyon Review and (in German) Manuskripte.He is a senior editor at StatOrec magazine, the fiction editor of The American, a magazine based in Rome, a regular contributor to The Brooklyn Rail, and a columnist for 3 Quarks Daily Master Lovers, a non-fiction work inspired by hidden love letters from the 1930’s, comes out in November.
Portrait, Laura Anderson Barbata. Photo: Jake HollerBorn in 1958 in Mexico City, Laura Anderson Barbata is a transdisciplinary artist, performer, writer, and educator who lives and works between New York and Mexico City. Since 1992 Anderson Barbata has worked primarily in the social realm, initiating projects in the Venezuelan Amazon, Trinidad and Tobago, Mexico, Norway, and the United States. Among them is the ongoing The Repatriation of Julia Pastrana, begun in 2005, which resulted in the removal of the project’s titular figure’s body from the Schreiner Collection in Oslo, Norway and its successful repatriation and burial in Sinaloa, Mexico, Pastrana’s birth state. The project continues with Anderson Barbata’s production of related artworks, publications, zines, and performances.Anderson Barbata is also known for her project Transcommunality (2001-present), presented in collaboration with stilt dancers, artists, and artisans from Mexico, New York, and the Caribbean. Transcommunality has been staged at various museums, schools, and other public spaces both as exhibitions and performance “Interventions.” Among them are Columbia University, New York (2023); The Watermill Center, Water Mill (2021); Newcomb Art Museum, New Orleans (2021); MUCA Roma, UNAM, Mexico (2020); BRIC Arts | Media House, Brooklyn (2019); The Kennedy Center for the Performing Arts, Washington, D.C. (2019); Isabella Stewart Gardner Museum, Boston (2017, 2018); Rutgers University, New Brunswick (2017); United Nations Plaza, New York (2017); University of Wisconsin, Madison (2015); Museo Textil de Oaxaca, Mexico (2012, 2016); The Modern Art Museum of Fort Worth, Texas (2008); and the Museum of Modern Art, New York (2007).Installation View, Laura Anderson Barbata: Singing Leaf. Photo: Olympia ShannonArchive X, 1998/2023, handmade abaca paper bundles with inclusions from the New Testament in Spanish, Ye´Kuana, Yanomami, Ashuar, Maya, and Quechua languages on bamboo structure, unique installation dimensions variable. Photo: Olympia Shannon.El miedo no anda en burro (autorretrato), 1998/2023, honey wax, mirror, sticks, and stones, unique, 15½ x 7 7/8 x 6 in. / 39.4 x 20 x 15.2 cm. Photo: Olympia Shannon
Mikael Levin explores our conceptions of place, identity and temporarily. His photographs are often of commonplace, everyday sites that, while seemingly insignificant in themselves, tie into larger historical events or movements of our times. By way of these places, his photographs form a topography of societal structures, predispositions, influences and memory.A note on the Stono Rebellion image from the artist: “Critical Places is essentially about how the rebellions of the enslaved are remembered (or not remembered) in the landscape. Through my witnessing of these places in my photographs, I am bringing forward how these rebellions still echo in social patterns and economic structures. What we see the case of the Stono Rebellion is the emergence of the trope of the Black man as "feared, violent, irrational.” Other rebellions are early examples of how power controls information, excessive Police violence, the lack of the Black voice in the telling of our history, the minimization of the woman’s roll, and so on and so forth.“LEVIN, Mikael (b. 1954) Untitled (from Subaqueous). 2018 Gelatin silver print, printed by artist. 2018 Edition of 5 Paper and image size: 19 ½ x 19 ½ inches.LEVIN, Mikael (b. 1954) U.S. Highway 17 at Wallace River, South Carolina. 2020 / The Stono Rebellion. 1739 Gelatin silver print, printed by the artist. 2023 Edition of 5 Paper size: 16 x 20 inches Image size: 14 3/8 x 17 1/2 inches.LEVIN, Mikael (b. 1954) 4th of July. La Grange, Missouri. 2022 / The Lin Uprising. 1849 Gelatin silver print, printed by the artist. 2023 Edition of 5 Paper size: 16 x 20 inches Image size: 14 3/8 x 19 3/8 inches.
Skuja Braden portrait in porcelain 2020Skuja Braden is a pseudonym & the surnames of International duo Ingūna Skuja (Latvia), & Melissa Braden (USA) working collectively & primarily with porcelain. Skuja Braden represents an “absence of presence” of an individual author, where two artists have combined forces creating a fictive and alternate proxy identity.Collaboration is the non-hierarchical framework Skuja Braden utilize as method, strategy, and philosophy, exploring alternative relations to power through a fusion of disparate identities, inclinations, and perceptions. The work is conceptually based, but always expressed as a synthesis of painting & sculpture. Their works blend decorative, literary, and political elements into hybrid forms utilizing material that is historically associated with absolute refinement.Afternoon Matinee, porcelain (65x39x21 cm) 2021Flower Power, porcelain (64x33x30) 2022Rock-a-bye, porcelain, stoneware, wood, and wax (56x64xx36cm) 2008
In 1932, Paulina Peavy (1901 – 1999) attended a séance at the home of Ida L. Ewing in Santa Ana, California, where she claims to have met a UFO named Lacamo, a spirit from another world. From that moment forward Peavy, a university-trained artist, painted with a brush that “moved on its own.” In order to better channel Lacamo’s energies, Peavy also constructed and wore masks when she painted, occasionally signing her works with Lacamo’s name alongside her own.Peavy’s entire life was dedicated to promoting her worldview and various philosophies through drawing, painting, sculpture, text, and film. Her works on paper depict the artist’s individualized visual cosmos using shapes that resemble energy beams, solar systems, and procreative organic shapes signifying genitalia, ova, fallopian tubes, sperm, and fetuses. Peavy’s life and work were constantly evolving to reflect her belief in mankind’s evolution to an androgynous one-sex through contact with aliens.Laura Whitcomb is a surrealist scholar and the director of Label Curatorial, which focuses on lesser-known artists and movements of the West Coast. She has worked at the Gala - Salvador Dalí Foundation at the Dalí Theatre Museum in Figueres, Spain, while also contributing essays for exhibitions at the Dalí Museum in Florida.She is also a focused scholar of artists who engage hermetic traditions in their art practice. "Paulina Peavy: Etherian Channeler" in 2023 (D.A.P.) is edited by the adjunct LACMA curator Dr. Ilene Susan Fort and focuses on the channeler artist Paulina Peavy, whom Whitcomb curated at Beyond Baroque in 2021 and for the Andrew Edlin gallery in 2023.Label Curatorial focuses on sound art and light artists. Studying the inceptive roots of what became Los Angeles's most notable home-grown movement, she presented a Light and Space installation of Peter Alexander, Laddie John Dill, and Larry Bell at the official re-opening of the Brand Library and Art Center in 2014. In 2022, she curated "Luminaries of Light and Space" at LAX Airport, produced by Dublab, which included these artists along with Robert Irwin, De Wain Valentine, Fred Eversley, Helen Pashgian, Hap Tivey, and Gisela Colon. Whitcomb has two books forthcoming through Label Curatorial, highlighting artist and poet-run galleries from 1949-1965 and artists of the Beat era who continued surrealist lineages while exploring the occult.Paulina Peavy (1901 - 1999) 82 Modern Art, n.d. Mixed media 7.75 x 10 x 0.5 inchesPaulina Peavy (1901 - 1999) Phantasma 59, c. 1980s Acrylic on canvas board 24 x 30 inchesPaulina Peavy (1901 - 1999), Untitled, c. 1937 - 1939, Oil on panel, 72 x 48 inches
Julien Gardair portrait by Catherine TaleseJulien Gardair is a French artist based in New York City since 2007. His cutout paintings, installations, sculptures, and works on paper are known for their adherence to strict sustainable systems. Gardair's art frequently incorporates a blend of languages and stories, creating a diverse and multilayered visual experience.Julien Gardair’s recent paintings reveal his innovative approach to art. Drawing inspiration from the Supports/Surfaces movement in France and the Pattern/Decoration movement in the United States, Gardair’s art is a fusion of materiality and pattern, along with the structural constraints of Minimalism. These multi-faceted pieces are a synthesis of vibrant paintings and textile works and are created by employing techniques like folding, cutting, and stitching. His work challenges the viewer’s perception of materiality. His sustainable approach ensures that no parts of the paintings are discarded, nodding to the global potential of restoration and upcycling.He holds an MFA from the École Nationale Supérieure d’Arts de Paris Cergy and his work has been shown throughout Europe and the United States. Notably, he was included in La couleur toujours recommencée, the first exhibition of the re-vamped Musée Fabre in Montpellier along with Joan Mitchell, Sam Francis, Shirley Jaffe, Peter Soriano and others. He has had solo exhibitions at Galerie Jean Fournier, Paris, Musée d’Art Moderne de Céret and Bric Arts, Brooklyn. He was commissioned by the New York MTA Arts & Design to create a permanent installation for the 18th Avenue and Kings Highway stations in Brooklyn. The Mobilier National also commissioned him to design a Savonnerie carpet on display at the Elysée Palace.The exhibition Julien Gardair / Melanie Vote: Concurrence, offers an intimate exploration of works by both artists, who beyond their individual artistic pursuits, share a bond as a married couple. The show, presented by Garvey|Simon takes place at DFN Projects, 16 East 79th Street until November 3rd, 2023, Monday to Friday from 11 am to 4 pm.Julien Gardair, Ascension, 2023, 16x12in, Acrylic on canvas, folded, cut, stitched, and stretched over wooden stretchers.Julien Gardair, Wide open, 2023, 16x12in, Acrylic on canvas, folded, cut, stitched, and stretched over wooden stretchers.Left: Julien Gardair, Zaouji, 2023, 16x12in, Acrylic on reclaimed pants and canvas, folded, cut, stitched, and stretched over wooden stretchers. Center: Melanie Vote, Flamboyan, 2023, 16 x 12, oil on paper on wood. Right: Julien Gardair, Striped, 2023, 16x12in, Acrylic on reclaimed t-shirt and canvas, folded, cut, stitched and stretched over wooden stretchers.
Aiba Riji 相場るい児Based in Seto City, the epicenter of Japanese ceramic making since 10th century, Ruiji Aiba (b. 1964 in Fukuoka) creates ceramic sculptures and “netsuke.” They are often figures of children, innocently unclothed and at play with frogs, goldfishes, octopuses. Inspired by traditional dolls, fairy tales, classic movies and manga, Aiba emphasizes the ominosity aspect of dolls. The artists describes they are “neither human nor objects. Dolls are transcendental existence.”Aiba’s recent exhibitions were presented at SEIZAN Gallery (New York and Tokyo), Tsuboya Gallery (Kyoto), Gallery Kenbishi (Aichi), Ginza Mitsukoshi (Tokyo). The artist’s first solo exhibition in the US “Dancing With An Octopus” is on view at SEIZAN Gallery New York through October 21st.Ruiji Aiba, Octopus And Child, 2023, Ceramic, 8.3 x 8.3 x 5.7 inches (21 x 21 x 14.5 cm) Photo by Kenichi Hashimoto / Courtesy of SEIZAN GalleryRuiji Aiba Octopus And Child, 2023 Ceramic 8.3 x 8.3 x 5.7 inches (21 x 21 x 14.5 cm) Photo by Kenichi Hashimoto / Courtesy of SEIZAN GalleryRuiji Aiba Two Innocent Boys: Death Comes Equally, 2023 Ceramic Set of 2: 11 x 3.9 x 3.5 inches (28 x 10 x 9 cm) 10.6 x 3.9 x 3.5 inches (27 x 10 x 9 cm) Photo by Kenichi Hashimoto / Courtesy of SEIZAN Gallery
Kandy G LopezAs a multi-media Afro-Caribbean American portrait artist, Kandy G Lopez explores identity through marginalized individuals who represent her community. Navigating through her own identity has inspired works from a variety of mediums to further the conversation of “otherness” with metaphorical and psychological significance.Lopez (b. New Jersey) lives and works in Fort Lauderdale. Selected solo exhibitions include “(in)visibility: cache,” NSU Art Museum of Fort Lauderdale (2023); “Phenomenal Woman,” Miramar Cultural Center (2023); “Intersectionality”, Coral Spring Museum of Art (2023); “(in)visible: Code-Switching,” Girls Club Warehouse, Fort Lauderdale (2022); “(in)visibility: Yup-Pity,” Frank C Ortis Gallery (Third Space), Pembroke Pines (2022). Lopez’s work has been included in group exhibitions at Kinfolk House, Armory Art Center, New Bedford Art Museum, and Studio 18. Lopez received the Broward County Cultural Division Artist Innovation Grant for 2022–2023 and the Project Row House Grant in 2022. She has also been awarded residencies at Nacan in the Dominican Republic (2023), Ucross in Wyoming (2022), Hambidge in Rabun County, Georgia (2021), and Stay Home Gallery & Artist Residency in Paris, Tennessee (2021).Octavia, 2023 Yarn and acrylic on plastic canvas, 50 x 60 in. Courtesy the artist and ACA Galleries, New YorkMarly & Luis (green), 2022 Yarn and acrylic on plastic canvas, 96 x 60 in. Courtesy the artist and ACA Galleries, New YorkBr00klynBetty, 2021 Yarn and spray paint on plastic canvas, 90 x 60 in. Courtesy the artist and ACA Galleries, New York
Photo: Keith SteinAnita Rogers Gallery is pleased to present Superunknown, an exhibition of new work by Henry Mandell. Superunknown, Mandell’s debut solo exhibition at Anita Rogers Gallery, features paintings and drawings from several bodies of work the artist began during the pandemic. Mandell’s studio practice is focused on the exploration of experimental artistic practices, the human condition, scientific principles and their merging effect on our lives, pioneering unique approaches to creating abstract artworks.All of the paintings in Superunknown began as stories, poems, or written data. Using digital tools, Mandell transforms line by line, letter by letter, the characters of selected source text into visually compelling abstract imagery. The first step in transforming what is known into the unknown, experimenting and painting without the use of iterative code. All creative decisions remain with the artist’s hand and mind, establishing Mandell’s wide visual vocabulary with digital painting.The Superunknown series of paintings depict multilayered objects composed of fine colored lines of transformed text about dark matter and current theories about what comprises the fabric of the universe. Each colored line is a separate letter. Like fabric, the overall form is knit up from thousands of separate fine colored line elements like a tapestry from another dimension. The source theories bound up into the artwork represent the limits of our knowing, as 80% of everything everywhere is invisible dark matter / dark energy and is beyond our understanding.The Satoshi’s Garden paintings depict looping vortexes of chimerical limbs and primeval roots; strange forms that seem to overrun the thresholds of cognition and formation. A growing living network inspired by mycelium. The paintings are composed from the text of the Bitcoin White Paper. No one knows who Satoshi Nakamoto is. He, She, It or They authored the Bitcoin White Paper. The paper solved the problems of establishing an internet-based platform for conducting financial transactions without banks via a ‘blockchain’ of growing code that lives on thousands of networked computers worldwide mimicking the Wood Wide Web of living plants. Within the Wood Wide Web, actual living root systems are connected by mycelium fungi. They are completely mysterious, and how they work to nourish every living plant in the wild is beyond our understanding.The Plumb paintings shimmer with thousands of thin vertical lines converging into a veil of color. A plumb line is traditionally used to level and center one’s self on the surface of the Earth. It is an ancient tool still in use today, with a hanging weight at the end of a single string that always points to the center of the Earth due to gravity. In the paintings, the lines are the transformed text of poetry by Emily Dickinson and Walt Whitman.The Theory Of Mind paintings form expressively sinuous interwoven patterns of colored lines within an inverted triangle. Composed from altered text about theory of mind, an important social-cognitive milestone that involves the ability to think about mental states, both your own and those of others and their emotions, desires, beliefs, and knowledge. Foundational to the development of empathy in children. Also, triangles seem to suggest ‘otherness’, as in it is an unfamiliar form in everyday experience and can serve as an invitation to relate to an ‘other’.The theme for Superunknown is described by the artist in this way:“I am inspired by the words of the great artist Ann Hamilton in her essay Making Not Knowing:One doesn’t arrive — in words or in art — by necessarily knowing where one is going. In every work of art something appears that does not previously exist, and so, by default, you work from what you know to what you don’t know. You may set out for New York but you may find yourself as I did in Ohio. You may set out to make a sculpture and find that time...
Judy Fox is a sculptor who works in the Hudson Valley, with a studio in Rhinebeck, New York. As an undergraduate she studied sculpture at Yale (BA1978) and Skowhegan School of Painting and Sculpture. She received advanced degrees in Art History (MA1983) and Conservation (1985) from the Institute of Fine Arts, New York University (NYU). She is a Senior Critic and professor at the New York Academy of Art.Fox has participated in numerous exhibitions around the U.S. and in Europe. A fellow of both Yaddo and MacDowell residencies, she has received awards from the National Endowment for the Arts, the “Anonymous Was a Woman” Foundation, the National Academy of Design, the John Simon Guggenheim Memorial Foundation, the New York Foundation for the Arts, and the American Academy of Arts and Letters. She has had solo exhibitions at The Contemporary Museum, Honolulu; John Michael Kohler Arts Center, Sheboygan, WI; and Kunsthalle im Pallazo, Liestal, Switzerland. She has been the subject of many reviews and articles, including features in Art in America (2000), Artnet (2007), Sculpture Review (2010), O Magazine (2012), Ceramics: Art and Perception (2013), New Ceramics (2015), and Artforum (2019). Her work has been featured in several books, including David Ebony et al, Curve/The Female Nude Now (2003), Veronica Gunter, 500 Figures in Clay (2004), the Dutch publication Het Grote Boek 2 (2017), Judith Schwartz, Confrontational Ceramics (2008), and Cristina Cordova, The Figure in Clay (2022). She contributed essays to The Figure: Painting, Drawing and Sculpture: Contemporary Perspectives (Rizzoli 2014).Judy Fox, Broccoli, 2023, terra cotta, casein paint 4 x 10 x 7 inchesJudy Fox, Naval Orange, 2023, terra cotta, casein paint 8 x 8 x 8 inchesJudy Fox Pumpkin, 2023, terra cotta, casein paint 11 x 15 x 12 inches
Michael Polakowski is a painter based in Detroit, MI. His work has been exhibited nationally and internationally, most recently at Oever Gallery in Oostende, BE, in the two-person show ‘Near/Far’. In January 2023, his solo show ‘Anywhere and Here’ was mounted at Thinkspace Projects, Los Angeles, CA. Other notable exhibitions include the group shows ‘Potluck’ at Hashimoto Contemporary, Los Angeles, CA; ‘LAX / AMS’ at Thinkspace Projects, Amsterdam, NL; ‘Voyage’ at Nothing at All, Sheung Wan, HK; ‘Get Together’ at Reyes Finn, Detroit, MI; and ‘Pet Peeves’ at 5-50 Gallery, NYC . Polakowski was awarded the Red Bull House of Art Residency in the fall of 2019. He recently completed a mural in collaboration with the Detroit Institute of Arts as a part of their Partners in Public Art Program and has participated in Murals in the Market and Bright Walls Mural Festival. His works have been featured by publications like Juxtapoz, Booooooom and ArtMaze Magazine.Polakowski’s work is currently on view at 5-50 Gallery in New York City, in the two-person show ‘Back In 5’, alongside paintings by Ivan Montoya. ‘Back in 5’ is on view through the 8th of October.Michael Polakowski, 'I'll Be Back in 5', 2023, Acrylic on canvas, 30 x 24”Michael Polakowski, 'Minor Inconvenience', 2023, acrylic on canvas, 46” x 36” Michael Polakowski, 'Kick Your Feet Up', 2023, Acrylic on canvas, 30 x 24"
In this interview with Jasmine Anoschkin, her husband, Severi Haapala serves as the translator for part of the interview
Jasmin Anoschkin creates her sculptures entirely by her own hand, whether she is carving wood with a chainsaw or molding clay. Eschewing attempts at technical perfection, she does not hide evidence of these physical processes, embracing uneven surfaces or unexpected glaze effects in her ceramic works. Her whimsical yet poignant characters and the dreamlike world they inhabit suggest an alternative to the rigid and narrow societal standards of what is valued and accepted. Their absolute and unironic sincerity feels almost radical—perhaps even uncomfortable sometimes—provoking reflection not only on the prejudices we hold towards others but on the internalized shame we carry within ourselves. Empowering through the permission it offers, this fantasy universe is an invitation to play and to exist as we are, without inhibition.
Each work that Anoschkin has produced over the course of her career as a sculptor forms a piece to an ongoing story. No linear timeline or cohesive narrative is made apparent to the viewer in this surreal journey; her creatures interact but their relationships remain ambiguous. Yet, the artist allows us glimpses into her inner life through the unique titles she bestows upon each piece. Often humorous and surprising, they imbue the sculptures with distinct personalities and individual histories. There’s No Italian Man and Bunch of Violets were conceived as a pair, in memory of Anoschkin’s late aunt Terttu, a great supporter of Jasmin’s creativity. When Terttu was younger, there was an Italian man she would visit every summer. Later, when Jasmin would try to inquire about him, she would always snap, “There’s no Italian man.” Bunch of Violets in Finnish is Terttu Orvokki, a play on her aunt’s name. Contemporary Stalker received its title when it emerged from the kiln and Jasmin, an artist for the past twenty years, proclaimed, “Oh yes, I have finally made contemporary art!” A recurring motif throughout her practice has been the unicorn, which she has adopted as an avatar both in her sculptural and video works, as seen in this exhibition with Platinum Yoga Unicorn and Golden Menstruation Yoga. Through her unicorn persona, Anoschkin rejoices in herself.
Supercharged Lollipop Valley marks Jasmin Anoschkin’s second solo presentation in the United States. Her breakthrough artwork in Finland was Bambi, shown at the Mänttä Art Festival in 2009, and again in 2010 at the Wäinö Aaltonen Museum of Art, Turku on the occasion of the 100th Anniversary of the Association of Finnish Sculptors. This piece was subsequently acquired by the Finnish State Art Collection. Anoschkin has been the recipient of numerous awards, grants, and accolades, including being selected as the 2012 young artist in the Satakunta region of Finland, as well as having her work published on a series of postage stamps in 2017. She has exhibited extensively, and is in the collections of numerous institutions such as the Espoo Museum of Modern Art; Wäinö Aaltonen Museum of Art, Turku; Hämeenlinna Art Museum; Vantaa Art Museum; Lönnström Art Museum; and Kerava Art Museum. Her work is on permanent display in the lobby of the Helsinki City Museum, and she is currently featured in group exhibitions at the Hvitträsk Museum, Kirkkonummi, the Wäinö Aaltonen Museum of Art, Turku, and the Espoo Museum of Modern Art. Anoschkin has been a member of the Arabia Art Department Society since 2014.
Contemporary Stalker, 2023, glazed stoneware, 43.5″ H x 26.5″ W x 27″ DGolden Menstruation Yoga, 2020, glazed stoneware, 29.5″ H x 23.5″ W x 16″ DAqua Ancestor Frog, 2023, glazed stoneware, 27.5″ H x 15.25″ W x 21.25” D
In this interview with Jasmine Anoschkin, her husband, Severi Haapala serves as the translator for part of the interview
Jasmin Anoschkin creates her sculptures entirely by her own hand, whether she is carving wood with a chainsaw or molding clay. Eschewing attempts at technical perfection, she does not hide evidence of these physical processes, embracing uneven surfaces or unexpected glaze effects in her ceramic works. Her whimsical yet poignant characters and the dreamlike world they inhabit suggest an alternative to the rigid and narrow societal standards of what is valued and accepted. Their absolute and unironic sincerity feels almost radical—perhaps even uncomfortable sometimes—provoking reflection not only on the prejudices we hold towards others but on the internalized shame we carry within ourselves. Empowering through the permission it offers, this fantasy universe is an invitation to play and to exist as we are, without inhibition.
Each work that Anoschkin has produced over the course of her career as a sculptor forms a piece to an ongoing story. No linear timeline or cohesive narrative is made apparent to the viewer in this surreal journey; her creatures interact but their relationships remain ambiguous. Yet, the artist allows us glimpses into her inner life through the unique titles she bestows upon each piece. Often humorous and surprising, they imbue the sculptures with distinct personalities and individual histories. There’s No Italian Man and Bunch of Violets were conceived as a pair, in memory of Anoschkin’s late aunt Terttu, a great supporter of Jasmin’s creativity. When Terttu was younger, there was an Italian man she would visit every summer. Later, when Jasmin would try to inquire about him, she would always snap, “There’s no Italian man.” Bunch of Violets in Finnish is Terttu Orvokki, a play on her aunt’s name. Contemporary Stalker received its title when it emerged from the kiln and Jasmin, an artist for the past twenty years, proclaimed, “Oh yes, I have finally made contemporary art!” A recurring motif throughout her practice has been the unicorn, which she has adopted as an avatar both in her sculptural and video works, as seen in this exhibition with Platinum Yoga Unicorn and Golden Menstruation Yoga. Through her unicorn persona, Anoschkin rejoices in herself.
Supercharged Lollipop Valley marks Jasmin Anoschkin’s second solo presentation in the United States. Her breakthrough artwork in Finland was Bambi, shown at the Mänttä Art Festival in 2009, and again in 2010 at the Wäinö Aaltonen Museum of Art, Turku on the occasion of the 100th Anniversary of the Association of Finnish Sculptors. This piece was subsequently acquired by the Finnish State Art Collection. Anoschkin has been the recipient of numerous awards, grants, and accolades, including being selected as the 2012 young artist in the Satakunta region of Finland, as well as having her work published on a series of postage stamps in 2017. She has exhibited extensively, and is in the collections of numerous institutions such as the Espoo Museum of Modern Art; Wäinö Aaltonen Museum of Art, Turku; Hämeenlinna Art Museum; Vantaa Art Museum; Lönnström Art Museum; and Kerava Art Museum. Her work is on permanent display in the lobby of the Helsinki City Museum, and she is currently featured in group exhibitions at the Hvitträsk Museum, Kirkkonummi, the Wäinö Aaltonen Museum of Art, Turku, and the Espoo Museum of Modern Art. Anoschkin has been a member of the Arabia Art Department Society since 2014.
Contemporary Stalker, 2023, glazed stoneware, 43.5″ H x 26.5″ W x 27″ DGolden Menstruation Yoga, 2020, glazed stoneware, 29.5″ H x 23.5″ W x 16″ DAqua Ancestor Frog, 2023, glazed stoneware, 27.5″ H x 15.25″ W x 21.25” D
Keiran Brennan Hinton (b. 1992, Toronto) lives and works in Toronto and Elgin, Ontario. He received his BFA from Pratt Institute in 2014 and his MFA from Yale University in 2016.
Past international solo shows of Brennan Hinton’s work include exhibitions at MAKI Gallery, Tokyo, Japan (2022); Thomas Fuchs Gallery, Stuttgart, Germany (2021); Charles Moffett, New York, NY (2021); Michael Gibson Gallery, London, Ontario (2020); and Francesco Pantaleone Gallery, Palermo, Italy (2019) among other. His paintings have been featured in institutional exhibitions at the Art Gallery of Ontario, Toronto, Ontario; James Castle House, Boise, Idaho; and Katonah Museum of Art, Westchester, NY.
Keiran Brennan Hinton A Week in March, 2023 56 x 88 inches Oil on linen Photo by Laura Fin. Photo courtesy the artist and Charles Moffett.Keiran Brennan Hinton Morning Coffee, 2023 56 x 44 inches Oil on linen Photo by Laura Fin. Photo courtesy the artist and Charles Moffett.Keiran Brennan Hinton Lilacs in May, 2023 12×9 inches Oil on canvas Photo by Laura Fin. Photo courtesy the artist and Charles Moffett.
Keiran Brennan Hinton (b. 1992, Toronto) lives and works in Toronto and Elgin, Ontario. He received his BFA from Pratt Institute in 2014 and his MFA from Yale University in 2016.
Past international solo shows of Brennan Hinton’s work include exhibitions at MAKI Gallery, Tokyo, Japan (2022); Thomas Fuchs Gallery, Stuttgart, Germany (2021); Charles Moffett, New York, NY (2021); Michael Gibson Gallery, London, Ontario (2020); and Francesco Pantaleone Gallery, Palermo, Italy (2019) among other. His paintings have been featured in institutional exhibitions at the Art Gallery of Ontario, Toronto, Ontario; James Castle House, Boise, Idaho; and Katonah Museum of Art, Westchester, NY.
Keiran Brennan Hinton A Week in March, 2023 56 x 88 inches Oil on linen Photo by Laura Fin. Photo courtesy the artist and Charles Moffett.Keiran Brennan Hinton Morning Coffee, 2023 56 x 44 inches Oil on linen Photo by Laura Fin. Photo courtesy the artist and Charles Moffett.Keiran Brennan Hinton Lilacs in May, 2023 12×9 inches Oil on canvas Photo by Laura Fin. Photo courtesy the artist and Charles Moffett.
Polina Barskaya (b. 1984, Cherkassy, USSR) received a MFA from Pratt Institute, Brooklyn, NY and a BA from Hunter College, NY. Barskaya received an Artist Fellowship in Painting from New York Foundation of the Arts (NYFA) in 2021, and an Elizabeth Greenshields Foundation Grant in 2023, 2022 and 2020.
Recent exhibitions include Taymour Grahne Projects, London; Althuis Hofland Fine Arts, Amsterdam; DC Moore Gallery, NY; Marianne Boesky Gallery, NY; and Monya Rowe Gallery, NY. Her work has been featured in Artforum, Artnet, The Brooklyn Rail, New York Magazine (“The Best New York Art Shows of 2021”) and Hyperallergic, among others. The artist lives and works in Brighton Beach, Brooklyn, NY and Citta Della Pieve, Italy. Barskaya is represented by Monya Rowe Gallery, NY.
Polina Barskaya, Morning in London, 2023, acrylic on panel, 24 by 29.75 inches. Courtesy of Monya Rowe Gallery, NY.Polina Barskaya Panicale, 2023, acrylic on canvas, 29.75 by 39.75 inches. Courtesy of Monya Rowe Gallery, NY.Polina Barskaya, Surrounded by Beautiful Things, 2023, acrylic on panel, 24 by 30 inches. Courtesy of Monya Rowe Gallery, NY.
Polina Barskaya (b. 1984, Cherkassy, USSR) received a MFA from Pratt Institute, Brooklyn, NY and a BA from Hunter College, NY. Barskaya received an Artist Fellowship in Painting from New York Foundation of the Arts (NYFA) in 2021, and an Elizabeth Greenshields Foundation Grant in 2023, 2022 and 2020.
Recent exhibitions include Taymour Grahne Projects, London; Althuis Hofland Fine Arts, Amsterdam; DC Moore Gallery, NY; Marianne Boesky Gallery, NY; and Monya Rowe Gallery, NY. Her work has been featured in Artforum, Artnet, The Brooklyn Rail, New York Magazine (“The Best New York Art Shows of 2021”) and Hyperallergic, among others. The artist lives and works in Brighton Beach, Brooklyn, NY and Citta Della Pieve, Italy. Barskaya is represented by Monya Rowe Gallery, NY.
Polina Barskaya, Morning in London, 2023, acrylic on panel, 24 by 29.75 inches. Courtesy of Monya Rowe Gallery, NY.Polina Barskaya Panicale, 2023, acrylic on canvas, 29.75 by 39.75 inches. Courtesy of Monya Rowe Gallery, NY.Polina Barskaya, Surrounded by Beautiful Things, 2023, acrylic on panel, 24 by 30 inches. Courtesy of Monya Rowe Gallery, NY.
Will Pappenheimer is a Brooklyn based artist and educator working in new media, performance and installation. His current work explores the collage of the virtual and physical worlds in the recent mediums of augmented or mixed reality and artificial intelligence. He was a founding member of the augmented reality (AR) collective, Manifest.AR, formed in 2011, which pioneered interventionist projects worldwide. His projects and performances have been shown internationally at Whitney Museum of American Art, the New Museum and the Moving Image Art Fair in New York; LACMA and Fringe Exhibitions, Los Angeles; MOMA and Bitforms Gallery in San Francisco; Stedelijk Museum in Amsterdam; FACT, Liverpool, UK; Contemporary Istanbul Art Fair, Istanbul; the ICA, CyberArts Gallery and the Museum of Fine Arts in Boston; the Corcoran Gallery of Art in Washington. He recently debuted a solo show of new at the Alpha Gallery in Boston. His works have been reviewed in the Whitney Museum curator, Christiane Paulʼs historical editions of “Digital Art,” Art in America, New York Times, Hyperallergic.org, WIRED, the Boston Globe, and EL PAIS, Madrid.Beacon Hands : for Emma Lazarus, 2022, Will Pappenheimer with choreography by Freya Björg Olafson, an animated AR alternative monument for the statue of Bavaria, in Munich, GDR for public installations #MakeUsVisible x denkFEmale Munich GDR organized by the XREnsemble#65 Flooded and Moldy Rooms After Artists: After Isa Genzken, 2023-07-21 09.31.53, artificial intelligence text prompt image generation, Instagram digital image, inkjet print 40” x 40”, alternatively signed “noOne” to indicate collective and auto-computational processes of authorshipMirrored Lines Painter, Will Pappenheimer, 2021+, Custom Augmented Reality, AR app on IPad Pro, performance documentation still at the :iidrr Gallery for the “404error” show, curated by Natasha Chuk June 16 – July 16, 2023
Will Pappenheimer is a Brooklyn based artist and educator working in new media, performance and installation. His current work explores the collage of the virtual and physical worlds in the recent mediums of augmented or mixed reality and artificial intelligence. He was a founding member of the augmented reality (AR) collective, Manifest.AR, formed in 2011, which pioneered interventionist projects worldwide. His projects and performances have been shown internationally at Whitney Museum of American Art, the New Museum and the Moving Image Art Fair in New York; LACMA and Fringe Exhibitions, Los Angeles; MOMA and Bitforms Gallery in San Francisco; Stedelijk Museum in Amsterdam; FACT, Liverpool, UK; Contemporary Istanbul Art Fair, Istanbul; the ICA, CyberArts Gallery and the Museum of Fine Arts in Boston; the Corcoran Gallery of Art in Washington. He recently debuted a solo show of new at the Alpha Gallery in Boston. His works have been reviewed in the Whitney Museum curator, Christiane Paulʼs historical editions of “Digital Art,” Art in America, New York Times, Hyperallergic.org, WIRED, the Boston Globe, and EL PAIS, Madrid.Beacon Hands : for Emma Lazarus, 2022, Will Pappenheimer with choreography by Freya Björg Olafson, an animated AR alternative monument for the statue of Bavaria, in Munich, GDR for public installations #MakeUsVisible x denkFEmale Munich GDR organized by the XREnsemble#65 Flooded and Moldy Rooms After Artists: After Isa Genzken, 2023-07-21 09.31.53, artificial intelligence text prompt image generation, Instagram digital image, inkjet print 40” x 40”, alternatively signed “noOne” to indicate collective and auto-computational processes of authorshipMirrored Lines Painter, Will Pappenheimer, 2021+, Custom Augmented Reality, AR app on IPad Pro, performance documentation still at the :iidrr Gallery for the “404error” show, curated by Natasha Chuk June 16 – July 16, 2023
Isaac Aden is an American artist. Aden’s work has always engaged painting from the periphery and approached content as a conceptualist. Deeply informed by Art history, Aden implements a structuralist theory developed Rosalind Krauss in her seminal text Sculpture in the Expanded Field to painting. One aspect of Aden’s work remains true to the tradition of painting while the other veers into new territory.
Aden has exhibited internationally, including: dOCUMENTA 13, MassMOCA, The Fidericianum, White Box, Kassel Werkstadt, Gallerie Rasch, Ulrike Petschel Gallerie, Ethan Cohen Fine Art, SPRING/BREAK, Art Miami, Contemporary Istanbul, VOLTA Basel, Sotheby’s, The Jerome A. Cohen and Joan Lebold Cohen Center for Art. The Bertha and Karl Luebsdorf Gallery, The International Gallery of Contemporary Art, The Parthenon Museum, The New York Public Library and the World Trade Center. He has been awarded Fellowships from the Kossak Foundation, Creative Capital, The New York Foundation for the Arts and the United States State Department.
Isaac Aden, The Numinous Sublime (installation view), 2021, oil on canvas, 144 x 108 each in., Photography by Yao Zu Lu, courtesy of David Richard GalleryIsaac Aden, The Luminous Sublime (for John Friedrick Kensett), 2023, oil on canvas, 144 x 324 in., and Saturn Devouring His Son, 2021, oil on canvas 144 x 108 in., Photography by Yao Zu Lu, courtesy of David Richard GalleryIsaac Aden, The Numinous Sublime (installation view), 2021, oil on canvas, 144 x 108 each in., Photography by Yao Zu Lu, courtesy of David Richard Gallery
Isaac Aden is an American artist. Aden’s work has always engaged painting from the periphery and approached content as a conceptualist. Deeply informed by Art history, Aden implements a structuralist theory developed Rosalind Krauss in her seminal text Sculpture in the Expanded Field to painting. One aspect of Aden’s work remains true to the tradition of painting while the other veers into new territory.
Aden has exhibited internationally, including: dOCUMENTA 13, MassMOCA, The Fidericianum, White Box, Kassel Werkstadt, Gallerie Rasch, Ulrike Petschel Gallerie, Ethan Cohen Fine Art, SPRING/BREAK, Art Miami, Contemporary Istanbul, VOLTA Basel, Sotheby’s, The Jerome A. Cohen and Joan Lebold Cohen Center for Art. The Bertha and Karl Luebsdorf Gallery, The International Gallery of Contemporary Art, The Parthenon Museum, The New York Public Library and the World Trade Center. He has been awarded Fellowships from the Kossak Foundation, Creative Capital, The New York Foundation for the Arts and the United States State Department.
Isaac Aden, The Numinous Sublime (installation view), 2021, oil on canvas, 144 x 108 each in., Photography by Yao Zu Lu, courtesy of David Richard GalleryIsaac Aden, The Luminous Sublime (for John Friedrick Kensett), 2023, oil on canvas, 144 x 324 in., and Saturn Devouring His Son, 2021, oil on canvas 144 x 108 in., Photography by Yao Zu Lu, courtesy of David Richard GalleryIsaac Aden, The Numinous Sublime (installation view), 2021, oil on canvas, 144 x 108 each in., Photography by Yao Zu Lu, courtesy of David Richard Gallery
This is the 2nd interview with Joel-Peter Witkin on this program, the fist one can be found here.
Note: All the images discussed in order in the interview can be seen here.
Joel-Peter Witkin was born in Brooklyn, New York in 1939. In 1959, Edward Steichen, head of the department of photography at The Museum of Modern Art (MoMA), selected one of Witkin’s photographs for its permanent collection when Witkin is 16 years old.
Enlists in the U.S. Army as a photographer from 1961-1964. In 1974 he receives a B.F.A. in
sculpture from The Cooper Union, the same year awarded a fellowship in writing from
Columbia University. In 1976 he receives a M.A. in Photography from the University of New
Mexico, and then 1986 he receives a M.F.A. from the University of New Mexico. He has won
numerous awards including four National Endowments in photography and the I.C.P. Infinity Award. His photographs have been exhibited internationally and are included in many museum collections including the Metropolitan Museum of Art (USA), Centro de Arte Reina Sofia (Spain), The Museum of Modern Art (MoMA) (USA), Centre Georges Pompidou (France), The Guggenheim Museum (USA), The J. Paul Getty Museum (USA), The Whitney Museum (USA), and Victoria and Albert Museum (V&A) (England).
Other achievements include Decorated Chevalier de l’Ordre des Arts et des Lettres in 1990 and Commandeur des Arts et des Lettres of France in 2000. Over thirty books have been published on his work. Joel-Peter Witkin lives and works in Albuquerque, New Mexico with his wife Cynthia.
Joel-Peter Witkin is a photographer whose images of the human condition are undeniably
powerful. For more than forty years, he has pursued his interest in spirituality and how it
impacts the physical world in which we exist. Finding beauty within the grotesque, Witkin
pursues this complex issue through people most often cast aside by society-human spectacles including hermaphrodites, dwarfs, amputees, androgynies, carcasses, people with odd physical anomalies, fetishists, and “any living myth… anyone bearing the wounds of Christ”. His fascination with other people’s physicality has inspired works that confront our sense of normalcy and decency while constantly examining the teachings handed down through Christianity.
His constant reference to paintings from art history including the works of Picasso, Balthus,
Goya, Velasquez and Miro are testaments to his need to create a new history for himself. By using imagery and symbols from the past, Witkin celebrates our history while constantly
redefining its present-day context. Visiting medical schools, morgues and insane asylums
around the world, Witkin seeks out his collaborators who, in the end, represent the numerous personas of the artist himself.
The resulting photographs are haunting, beautiful and grotesque yet bold in their defiance
hideous beauty that is as compelling as it is taboo. Witkin begins each image by sketching his ideas on paper, perfecting every detail by arranging the scene before he gets into the studio to stage his elaborate tableaus. Once photographed, Witkin spends hours in the darkroom, scratching and piercing his negatives, transforming them into images that look made, rather than taken. Through printing, Witkin reinterprets his original idea in a final act of adoration.
Joel-Peter Witkin lets us look into his created world which is both frightening and fascinating as he seeks to dismantle our preconceived notions about sexuality and physical beauty. Through his imagery we gain a greater understanding about human difference and tolerance. “My work is based on the nature of man and his relation to the divine. In the work, I attempt to establish a creative and intellectual standard for still photography in a society in moral free fall.” – Joel-Peter Witkin
This is the 2nd interview with Joel-Peter Witkin on this program, the fist one can be found here.
Note: All the images discussed in order in the interview can be seen here.
Joel-Peter Witkin was born in Brooklyn, New York in 1939. In 1959, Edward Steichen, head of the department of photography at The Museum of Modern Art (MoMA), selected one of Witkin’s photographs for its permanent collection when Witkin is 16 years old.
Enlists in the U.S. Army as a photographer from 1961-1964. In 1974 he receives a B.F.A. in
sculpture from The Cooper Union, the same year awarded a fellowship in writing from
Columbia University. In 1976 he receives a M.A. in Photography from the University of New
Mexico, and then 1986 he receives a M.F.A. from the University of New Mexico. He has won
numerous awards including four National Endowments in photography and the I.C.P. Infinity Award. His photographs have been exhibited internationally and are included in many museum collections including the Metropolitan Museum of Art (USA), Centro de Arte Reina Sofia (Spain), The Museum of Modern Art (MoMA) (USA), Centre Georges Pompidou (France), The Guggenheim Museum (USA), The J. Paul Getty Museum (USA), The Whitney Museum (USA), and Victoria and Albert Museum (V&A) (England).
Other achievements include Decorated Chevalier de l’Ordre des Arts et des Lettres in 1990 and Commandeur des Arts et des Lettres of France in 2000. Over thirty books have been published on his work. Joel-Peter Witkin lives and works in Albuquerque, New Mexico with his wife Cynthia.
Joel-Peter Witkin is a photographer whose images of the human condition are undeniably
powerful. For more than forty years, he has pursued his interest in spirituality and how it
impacts the physical world in which we exist. Finding beauty within the grotesque, Witkin
pursues this complex issue through people most often cast aside by society-human spectacles including hermaphrodites, dwarfs, amputees, androgynies, carcasses, people with odd physical anomalies, fetishists, and “any living myth… anyone bearing the wounds of Christ”. His fascination with other people’s physicality has inspired works that confront our sense of normalcy and decency while constantly examining the teachings handed down through Christianity.
His constant reference to paintings from art history including the works of Picasso, Balthus,
Goya, Velasquez and Miro are testaments to his need to create a new history for himself. By using imagery and symbols from the past, Witkin celebrates our history while constantly
redefining its present-day context. Visiting medical schools, morgues and insane asylums
around the world, Witkin seeks out his collaborators who, in the end, represent the numerous personas of the artist himself.
The resulting photographs are haunting, beautiful and grotesque yet bold in their defiance
hideous beauty that is as compelling as it is taboo. Witkin begins each image by sketching his ideas on paper, perfecting every detail by arranging the scene before he gets into the studio to stage his elaborate tableaus. Once photographed, Witkin spends hours in the darkroom, scratching and piercing his negatives, transforming them into images that look made, rather than taken. Through printing, Witkin reinterprets his original idea in a final act of adoration.
Joel-Peter Witkin lets us look into his created world which is both frightening and fascinating as he seeks to dismantle our preconceived notions about sexuality and physical beauty. Through his imagery we gain a greater understanding about human difference and tolerance. “My work is based on the nature of man and his relation to the divine. In the work, I attempt to establish a creative and intellectual standard for still photography in a society in moral free fall.” – Joel-Peter Witkin
Originally from Honduras, Daniel Handal lives and works in New York City. He received his BS in Applied Sciences from Rutgers University and studied photography at the International Center of Photography. His work centers on portraiture and explores issues of gender, sexuality, identity, and community.
He has had a solo exhibition at the Brooklyn Public Library (Flatbush Branch) and has been shown in group exhibitions at the New Mexico Museum of Art, FotoFest in Houston, and the Center for Photography in Woodstock, among others.
His work has been exhibited internationally at the Australian Centre for Photography and MKII in London. Handal’s photographs have been published in HuffPost, Slate, and Hyperallergic. He has been awarded residencies at The Millay Colony for the Arts, Virginia Center for the Creative Arts, and VCAA—France. Handal currently serves on the board of directors of Baxter St at the Camera Club of New York. His work is represented in the permanent collections of the Worcester Art Museum, 21c Museum and Hotels, Transformer Station Contemporary Art, Kala Art Institute, Kimmel Harding Center for the Arts, and more.
Here is a link to Daniel's exhibition where you will find the exhibition press release and more details.
© Daniel Handal; “Tulip Thijs Boots (Misty Gray),” 2023; Pigment print on gesso-coated aluminum, painted museum box (Edition of 3 + 2 APs); 16 x 20 x 1.5 inches, Courtesy of CLAMP, New York.
© Daniel Handal; “Red Hobbit Columbine (Rustic Wood),” 2023; Pigment print on gesso-coated aluminum, painted museum box (Edition of 3 + 2 APs); 16 x 12 x 1.5 inches; Courtesy of CLAMP, New York.
© Daniel Handal; “Bunny Tails (Black Iron Silhouette,” 2022; Pigment print on gesso-coated aluminum, painted museum box (Edition of 3 + 2 APs); 13.5 x 9 x 1.5 inches, Courtesy of CLAMP, New York.
David Kennedy Cutler (b. 1979, Sandgate, VT) is an artist, writer and performer who lives and works in Brooklyn, New York.
His practice addresses traces of domesticity; he presents material objects as witnesses of unseen labor and hidden objects. He observes, transfers, and transforms recognizable every day and artistic materials to create installations, paintings, and performances. Cutler received his BFA from The Rhode Island School of Design in 2001.
He has had solo exhibitions at Derek Eller Gallery (NYC), Halsey McKay Gallery (East Hampton, NY), Essex Flowers (NYC), The Centre for Contemporary Art (Tallinn, Estonia) and Nice & Fit (Berlin, Germany). Cutler has performed in various spaces in New York including Klaus von Nichtssagend Gallery, Essex Flowers, Printed Matter, Halsey McKay, Derek Eller Gallery, and Flag Art Foundation, and internationally at the Center for Contemporary Arts Estonia, among others. His works are included in the permanent collections of the Wellin Museum at Hamilton College and The RISD Museum, and his artist’s books are included in the libraries of the Whitney Museum and the Brooklyn Museum. He has been reviewed and featured in The New York Times, Artforum, Art in America, The New Yorker and Modern Painter, among others. Cutler is represented by Derek Eller Gallery, NY and Halsey McKay Gallery, East Hampton. Currently on view is a two person show, Hedge, with Mosieur Zohore.
David Kennedy Cutler Late Shift, 2023 Inkjet transfer, acrylic, and permalac on canvas, armature wire 88 x 69 x 3.5 inches (223.5 x 175.3 x 8.9 cm)
David Kennedy Cutler Barricade, 2023 Inkjet transfer, acrylic, and permalac on canvas, armature wire 82.75 x 64.5 inches (210.2 x 163.8 cm)
David Kennedy Cutler Balthazar, 2023 Inkjet transfer, acrylic, and permalac on canvas, armature wire and wood 39.5 x 20.5 x 20 inches (100.3 x 52.1 x 50.8 cm)
Tomás Díaz Cedeño (b. 1983, Mexico City) lives and works in Mexico City. Most recently his work has been shown in a solo exhibition at Silke Lindner (New York) and featured in the group exhibition Equis, I Griega, Zeta at Anonymous (New York).
Previously, his work has been featured in the 2021 New Museum Triennial Soft Water, Hard Stone (New York, NY ) Museo MARCO (Monterrey, MX), Fundación Casa de México en España (Madrid, Spain), PEANA (Mexico City and Monterrey), Francois Ghebaly (Los Angeles, CA) and Galerie Nordenhake (Mexico City).
Residency programs completed by the artist include LaCasaPark Artist Residency in New York and Casa Wabi in Puerto Escondido.
Tu, Casi Todo El Tiempo (You, Almost All the Time), 2023 Terracotta, glaze, steel 26 x 20 inches
Earthy, Almost Comforting Scent, 2023 Terracotta, glaze steel 38 3/4 x 30 inches
Humming Song II, 2023 Cast aluminum, electronic mechanism, rattles, outlet Various dimensions
Sara Berman (b. 1975, UK) received a BA in Fashion Design from Central Saint Martins in 1999 after which she founded and ran her eponymous fashion brand for 15 years. In 2016 Sara Berman graduated from the Slade School of Fine Art with a MFA in Painting.
Berman’s background in fashion influenced her visual arts practice through the use of various textures, layers, mathematical geometry, pattern and materiality. In her work Berman examines how people see and define themselves through the relationships with their clothes, belongings and the spaces they occupy. The character in Sara Berman’s work is inspired by the trope of the female Harlequin in her ascribed role of the Trickster Whore. Through this character Berman explores space and the role of the feminine within it.
Solo Exhibitions include (Upcoming) Kristin Hjellegjerde Gallery, Berlin (2024); (Upcoming) No Visible Means of Support, Kristin Hjellegjerde Gallery, Palm Beach, Florida, USA (2023); The Armory Show NYC, Kristin Hjellegjerde Gallery, New York (2022); Taking Space, Kristin Hjellegjerde Gallery, London (2021); Double Ententre, Anat Ebgi, LA (2018); Between Community and commerce, Site specific installation ZAZ10TS Time Square, NYC (2018); Matter Out Of Place, 93 Baker St. London, Frieze (2018) and Big Cactus Little Cactus, Galerie Huit, Hong Kong (2017)
Sara Berman Kiss Me. I Dare You, 2023 Oil on linen 100 x 100 cm 39 3/8 x 39 3/8 in. Image courtesy of the artist Sara Berman / Kristin Hjellegjerde Gallery.
Sara Berman Cowgirls, 2022 Oil on linen 200 x 200 cm 78 3/4 x 78 3/4 in. Image courtesy of the artist Sara Berman / Kristin Hjellegjerde Gallery.
Sara Berman What Part Of NO Don't You Understand, 2023 Oil on Linen 200 x 200 cm 78 3/4 x 78 3/4 in. Image courtesy of the artist Sara Berman / Kristin Hjellegjerde Gallery.
Tanya Minhas is a New York based visual artist. Raised in Karachi, Pakistan, the artist moved to the United States to attend Princeton University. She received her graduate degree from Columbia University, and painted portraits in oil at The Arts Students League. Minhas started Tanya Minhas Studio in 2012, as a space for her various artistic expressions – painting, drawing, textile designs - to come together. Her current work reflects her practice of repetitive drawing, utilizing ink, paint, and other various media. She meditatively explores the state of harmony between the internal and the external, the visible and the invisible, the tangible and the elusive. Through these explorations, she examines how the strength of one’s intrinsic life force affects this harmony, offering an impetus that seeks to balance our internal lives with an increasingly tempestuous external world.
Tanya Minhas, Earth, 2023 Acrylic on canvas, 72 x 60 inches
Tanya Minhas, Melancholy of Stolen Time - Illumination Sunrise, 2022 Acrylic on canvas 9 x 12 inches
Tanya Minhas, The Moon Taps at the Ocean's Heart - Summer Stage 2, 2019 Acrylic on wood panel 9 x 12 inches
Zhang Dali was born in Harbin, China in 1963. He graduated from the painting department at the Central Academy of Fine Arts in Beijing with a BA in 1987. An influential figure in socio-political artistic movements in China, Zhang Dali has, for decades, challenged the conventional with his social documentation in graffiti, sculpture, photography, and painting. Zhang was exiled from China after graduating from the Central Academy of Fine Arts and spent six years immersing himself in Western art and art history in Italy. Upon his return to Beijing, he developed a keen interest in portraiture (usually of himself), documentary and public urban art, often interrupting spaces with confrontational political statements. The photograph series 'A Second History' consists of propaganda and found images under the rule of Mao, which have been doctored or altered to the Chairman's artistic 'vision' of politics and appropriation. He is critically recognized as one of China's first graffiti and street artists. In 2011, Zhang Dali’s work was featured in New Photography 2011 at the Museum of Modern Art in New York. The New York Times reviewed the show, mentioning that “the evocation of Orwellian busywork constantly varnishing truth for the benefit of dictatorial dominion is chilling to contemplate.” In 2014, Zhang Dali presented a comprehensive solo show at Klein Sun Gallery titled Square, which featured his cyanotypes, fiberglass sculptures, and paintings. Art in America praised Zhang’s work as it ”compels his audience to acknowledge those who are damaged and marginalized, in hopes of expanding civic awareness and empathy” and stated that “it is now time for the Western media to accord Zhang recognition for his powerful, courageous artworks, which speak up for those who cannot freely speak for themselves." His work is in public collections including Museum of Modern Art, New York, NY; The Brooklyn Museum, Brooklyn, NY; The Saatchi Gallery, London, UK; Smart Museum, Chicago, IL; and Asia Society, New York, NY. Zhang Dali currently lives and works in Beijing, China.
Zhang Dali Dove (41), 2021. Red cyanotype on cotton, 63 x 90 1/2 inches (160 x 230 cm)
Zhang Dali Dove (57), 2023. Blue cyanotype on cotton, 59 x 74 3/4 inches (150 x 190 cm)
Zhang Dali, Herbarium Pagoda Tree (S. japonicum) (2), 2020. Blue cyanotype on cotton, 53 1/8 x 37 3/4 inches (135 x 96 cm)
Cristina Canale (b. 1961, Rio de Janeiro, Brazil) rose to prominence following her participation in the iconic group exhibition Como vai você, Geração 80?, at Escola de Artes Visuais do Parque Lage (EAV Parque Lage) in Rio de Janeiro in 1984. Like many of her colleagues from the so-called "Generation 80", her early works reveal the influence of the international context as painting resurfaced, especially with that of German Neo-expressionism. Loaded with visual elements and thick paint, her early paintings have a material or textural characteristic that is reinforced by her use of contrasting and vivid colors. In the early 1990s, Canale moved to Germany to study in Düsseldorf under the guidance of the Dutch conceptual artist Jan Dibbets. Her compositions soon acquired a sense of spatiality, as she began to incorporate the use of planes and depth, while also adding greater fluidity to her use of colors. Cristina Canale’s work is often based off prosaic everyday scenes, which she extracts from advertising photography. Her paintings result in elaborate compositions that intertwine the figurative and the abstract, often blurring one with the other. According to the curator Tiago Mesquita, Canale’s production opposes the quest for constituing structures of the image, which artists such as Gerhard Richter and Robert Ryman engage with, tackling instead “the image and established genres of painting in a subjective manner following the belief in a singular experience.” Cristina Canale lives and works in Berlin, Germany. Her recent solo exhibitions include: The Encounter, at Nara Roesler (2021), in New York, United States; Cabeças/Falantes, at Galeria Nara Roesler (2018).
Cristina Canale Teach (Fessora) 2023 mixed media on canvas 110 x 100 cm
Cristina Canale Jackie 2020 acrylic, oil and linen on canvas 110 x 100 cm
Cristina Canale The house and the dreams 2022 mixed media on linen 170 x 190 x 3,5 cm
Cristina Canale Sincronias 2022 acrylic paint, oil paint and acrylic spray on linen 170 x 190 cm
Owen Westberg (b. 1986, Pittsburgh) received an MFA from Columbia University and a BFA from Rhode Island School of Design. His work has been included in recent exhibitions at Chris Sharp Gallery, Los Angeles; and Dunes, Portland, ME.
Lake is his first solo exhibition. Westberg lives and works in Pittsburgh.
"For over a decade, Owen has been painting discreet scenes in oil on smoothed birch panels or aluminum flashings that fit smartly into a purse or piece of hand luggage: late afternoon landscapes, round, glowy fruits, a fictional painter or pair of sneakers, tinted windows on a corporate building, and often, patterned fabrics. He paints these low-stakes subjects with wet, slightly oversized brushes that approximate rather than articulate. His marks are straightforward yet sensitive. Never sentimental. Tender but not sweet, and a bit unhinged—as if in a rush to get it all down. His color—always exact—pulls clarity from a hand that favors a wobbly line over a straight one. Simple shifts from cool grey to warm champagne cast a rippled cloth into full relief. The palette is limited but nuanced— soft ochre, medieval blues, kiwi, terracotta and buttercream, and the regular colors: yellow, orange, navy" - Anna Glantz
Owen Westberg placemat, 2022 Oil on panel 10 x 8 inches 25.4 x 20.3 cm
Owen Westberg ruin, 2023 Oil on aluminum flashing 7 x 5 inches 17.8 x 12.7cm
Owen Westberg editorial, 2021 Oil on birch panel 12 x 3 inches 30.5 x 7.5 cm
Alison Judd is a multi-media artist whose work is rooted in themes relating to nature, the passage of time, and mothering.
Recent shows include Vitality, Abigail Ogilvy, Boston, MA; Be-tween, Brandeis University Alumni Art Gallery, Waltham, MA; Sweet Season, Provincetown, MA; Raw Emotion, Boston, MA; Reprise, 13forest, Arlington, MA. Alison grew up in New York City, studied painting and art history at Brandeis University and received her Masters of Fine Arts in painting and printmaking at MassArt. She currently works out of her home studio in the Boston area where she lives with her husband, three children, and her dog.
Garden Observer, oil on canvas, 40" x 30" 2023
Nighttime Reading, oil on canvas, 40" x 30" 2023
Back Home, oil on canvas, 40" x 30" 2023
Esther Sibiude: The Song of Dirt Stammers our Tongue performance at the Kitchen at Westbeth on June 16, 2023. Credit: Rebecca Smeyne for The Kitchen
Esther Sibiude is a visual artist, writer, and harpist working in New York. She studied Fine Arts at the Universität der Künste Berlin from 2009-2014. She currently has a show of new drawings at Entrance Gallery in New York City.
In complement to her visual art practice she writes radio dramas and curates compilations of poetry and music for radio. Recent performances that she has written, directed and played harp in include “The Song of Dirt Stammers Our Tongue” a live staged radio operetta performed at the Kitchen last month, and “Esra” a live staged adaptation of a radio drama, performed in the panorama of New York City at the Queens Museum. Esther Sibiude’s music ensemble includes a violist, cellist, vocalist, an organist who plays the synthesizer, and herself on the harp.
'One morning of all the mornings in the world, existence and its problematic aspect rose. Somewhere in this chaotic universe, in a relatively rare occurrence, molecular randomness generated organic proteins.', 2018Colored pencil on paper, 25½ x 31½ in. (Framed)
'Once upon a time, not so long ago, there was a calendar of space whose nature was to distribute good and bad luck. On day one, the calendar imposed vertiginous symmetries. An empty sound sprinkled into pink air.', 2022Colored pencil on paper, 25½ x 31½ in. (Framed)
'Her mind slipped down the stairs.', 2023Colored pencil on paper, 26½ x 38½ in. (Framed)
David Bordett (b. 1991, Shenandoah Valley, VA) is an interdisciplinary sculptor whose work critically examines American lore, half truths, and false promise, casinos and class struggle, road side attractions and exploitation, the optimism of the post war 20th century and the ideologies of control that are at work always in aesthetics. Objects and environments operate as catalysts of fantasy, creating a zone of simultaneous horror and seduction that reveals through popular cultural forms our collective desires, aspersions, and fears.
He received his BFA from the VCU Department of Sculpture and Extended Media, and MFA from the Yale Sculpture Department. For now, he maintains no permanent residence and continues to drive his 1999 Toyota Tacoma that at the time of writing shows over 330,000 miles on its odometer.
Lower Than Below (even the bluest sky changes hue at night) 2021 hand made excavator bucket: steel, aluminum, plywood, adhesive, fasteners, paint, water, aquatic flora
(Collaboration - David Bordett and Tommy Coleman) Wild Card 2023 perforated 1970 Dock Ellis Topps baseball card, LySergic acid Diethylamide, aluminum, steel, concrete, rebar, museum acrylic, paint, security fasteners, Georgia Pine, western red cedar, Arri tripod stand, moss
Starry, Speculative, Spectacle, Skeptical 2023. wood, electrical components, incandescent lightbulbs, braided steel line and hardware, recovered Volkswagen Karmann Ghia body, yard detritus, soil and sod, projectors
Susan Vecsey adapts the Color Field technique of pouring paint to create a personal language of abstraction, rooted in the natural world and the human experience of it. In a distinctive process that includes plein-air charcoal drawing, pastel and color studies, and multiple pours of liquefied oil on a surface of raw Belgian linen, she builds compositions in luminous tonal combinations that evoke the optical effects of sea, light, and air. Inspired by the landscapes of eastern Long Island, Vecsey’s paintings evoke not just a place, but it’s very atmosphere.
Born in New Jersey in 1971, Vecsey earned her B.A. from Barnard College and her M.F.A. from the New York Studio School of Drawing, Painting and Sculpture, where she studied with Graham Nickson. She has had solo exhibitions at Greenville County Museum in South Carolina, John Jermain Memorial Library in Sag Harbor, Tayloe Piggott Gallery in Jackson Hole, and Berry Campbell Gallery in New York, among other venues. She lives and works in Manhattan and East Hampton, Long Island.
Susan Vecsey (b. 1971) Untitled (Gray), 2022 Oil on linen 52 x 58 in. (132.1 x 147.3 cm) © Susan VecseyCourtesy Berry Campbell, New York.
Susan Vecsey (b. 1971) Untitled (Blue), 2023 Oil on linen 74 x 90 in. (188 x 228.6 cm) © Susan VecseyCourtesy Berry Campbell, New York.
Susan Vecsey (b. 1971) Untitled (Blue Nocturne), 2023 Oil on linen 48 x 76 in. (121.9 x 193 cm) © Susan VecseyCourtesy Berry Campbell, New York
Diana Copperwhite (b. 1969, Ireland) lives and works in Dublin and New York. Recent solo exhibitions include Driven by Distraction, Royal Hibernian Academy, Dublin (2016), Depend on the Morning Sun, Thomas Jaeckal Gallery, New York (2016) and A Million and One Things Under the Sun, Kevin Kavanagh, Dublin (2015). Selected group exhibitions include Last Picture Show w/Mary Heilmann, Chris Ofili, Danny Rolph, Vanessa Jackson, Elio Rodriguez, Jill Levine, Rebecca Smith, Thomas Jaeckel Gallery, New York (2017) and Virtú, inc. Picasso, Giacometti, Henry Moore, Elizabeth Magill and Sean Scully at the Hunt Museum, Limerick, Ireland (2017).
Copperwhite’s work is held in numerous public and private collections including: the Irish Museum of Modern Art, Arts Council of Ireland, Limerick City Gallery of Art, Office of Public Works, Contemporary Irish Art Society, Highlanes Municipal Art Gallery, Mariehamn Stadbiblioteque, Aland (Finland), Dublin Institute of Technology and The President of Ireland.
TRAPDOOR, 2022, Oil on canvas, 140 x 120 cm
BLIZZARD, 2022, Oil on Canvas, 150 x 180 cm
Bjørn Friborg is a Danish glass artist based in Denmark. Friborg challenges traditional methods of glass-making with a physically demanding approach that stretches the limits of both the material and technique. His technique is not a means to an end but a performance, as he fearlessly punches, penetrates, manipulates, and ruptures the molten substance to achieve otherworldly and sublimely beautiful results. Friborg’s movements are a tour de force reflective of his mastery. Friborg starts each artwork by blowing a large object that is then penetrated with a mass of silver nitrate-based glass poured on top. The molten nitrate-based glass sculpts the shape, freezes, and becomes an artwork. This process is described as “A blast of energy… all that power that you channel into the material gives it the expression.” Says Friborg. “That’s what it contains, and that’s what I mean when I say that I’m just trying to find the maximum of honesty that it just has. I’m just trying to push myself to the limits. Everything is just really impulsive; all the mixes … are created at the moment. Creating something is coming closer to yourself, and getting to know yourself better. It’s like an addiction, both in terms of doing and not being able to stop doing it.” Friborg began working in the glass industry in 1999 as as a high school drop-out. He then attended the technical school in Kosta for three years and got a job straight out of school at the Orrefors Glassworks where Kosta Boda produced all of their art glass. Friborg received a BFA from The Royal Danish Academy of Fine Arts School of Architecture, Design and Conservation in 2013 after studying in Sweden at the Åfors Glasbruk, V.1 Mästare Ingvar Carlsson “Kalle Pack” and the Kosta Glass School. His work has been exhibited nationally in Denmark and the Scandinavian region and internationally.
Bjørn Friborg_Kramm_Install_14_LR
Bjørn Friborg_Kramm_Install_3_LR
Bjørn Friborg_Kramm_Install_15_LR
Tom Duncan’s love for sculpture began at age 4 when he was given a clay set by his aunt. Born in Scotland in 1939 just before World War II broke out, he moved with his mother and brother to New York City shortly after the war ended. Much of Duncan’s artwork reflects memories of his childhood during the war.
He is an original tenant at Westbeth, where his three daughters, Rachel, Gwynne, and Jane, grew up. In his Westbeth studio, he has created mixed media pieces like Dedicated to Coney Island and Portrait of Tom with a Migraine Headache, each of which took some twenty-five years to complete.
Tom Duncan (b. 1939) The Execution of Private Slovik, 2009 mixed media 74 x 21.5 x 12.5 inches
Tom Duncan (b. 1939) 5 Catholic High School Girls ..., 2001 Mixed media 37 x 22 x 1.5 inches
Tom Duncan (b. 1939) Portrait of Tom with a Migraine Headache, 2013 Mixed media 128.75 x 61.5 inches
Julia Felsenthal (b. 1983) is a painter and writer working in Brooklyn and Cape Cod. Born and raised in Chicago, she studied English at Yale University and has written extensively about art and culture for T: the New York Times Style Magazine and Vogue. A lifelong painter, Felsenthal turned her focus to making art full time while living on Cape Cod during the Covid pandemic. Her water paintings emerged from the eeriness and anxiety of that time, and have evolved to reflect the ways that small permutations of the quotidian can become endlessly captivating and sublime. Her work has been exhibited in Brooklyn, NY and across the outer Cape, as well as on Block Island, in Woodstock, NY, and in Seattle, Washington. Felsenthal’s debut solo exhibition with JDJ is on view June 8 through July 21st, 2023.
Julia Felsenthal, Ghost Sea in Azurite and Terre Verte, 2023, Watercolor and gouache on paper, 12 x 9 in (30.5 x 22.9 cm)
Julia Felsenthal, Dancing Chop, 2022, Watercolor and gouache on paper, 16 x 12 in (40.6 x 30.5 cm)
Julia Felsenthal, Over Sea, Under Sea, 2022, Watercolor and gouache on paper, 8 x 6 in (20.3 x 15.2 cm)
portrait by Emma Dove
Amy Winstanley (b. 1983, Dumfries, UK) is based in Glasgow, UK. She received a BA (Hons) in Sculpture from the Edinburgh College of Art (2005) and an MA from the Sandberg Instituut, Amsterdam (2019). Recent solo exhibitions include: Moral Limb, Stallan-Brand, Glasgow, UK (2021); Grief Bruise, Lunchtime Gallery, Glasgow, UK (2021); Inscapes, AndCollective Gallery, Bridge of Allen, UK (2016); and Interconnections, Gracefield Arts Centre, Dumfries, UK (2015).
Recent group exhibitions include: Strangers, Rongwrong, Amsterdam, Netherlands (2022); tangible/intangible, The Haberdashery, Glasgow, UK (2022); Potluck, Gallery 17717, Seoul, South Korea (2021); To All Our Absent Dialogues, Warbling Collective, London, UK (2020); Surge, Patriothall Gallery, Edinburgh, UK (2017); Fugue Lounge, Neverneverland, De Punt, Amsterdam, Netherlands (2018); Surge, Patriothall Gallery, Edinburgh, UK (2017); Every word left unspoken during the exhibition is the title, Neverneverland, De Punt, Amsterdam, Netherlands (2017); Spring Fling at Home, Gracefield Arts Centre, Dumfries, UK (2014); and Members Show, Transmission Gallery, Glasgow, UK (2015).
Winstanley was nominated for the Sluijter prize for painting 2019 (Netherlands), and has been the recipient of the Hope Scott Trust award (2014) and the Creative Scotland Visual Arts Award (2010 and 2014). Along with the artist collective ALKMY she has published short stories and images in What Ties Ties, Ties (2020) and What Thoughts Think Thoughts (2021) both through Print Art Research Centre, Seoul, Korea. Winstanley has an upcoming solo exhibition at Cample Line, Thornhill, UK in July 2023.
Amy Winstanley, Care Bond Chorus, 2023, Oil on canvas, 22 7/8 x 20 7/8 in | 58 x 53 cm, Courtesy the artist and Margot Samel, NYC, Photo by Gregory Carideo
Amy Winstanley, Matter is Never a Settled Matter, 2023, Oil on canvas, 59 x 47 1/4 in | 150 x 120 cm, Courtesy the artist and Margot Samel, NYC. Photo by Gregory Carideo
Amy Winstanley, Untitled, 2023, Oil on canvas, 13 x 8 7/8 in | 33 x 22.5 cm, Courtesy the artist and Margot Samel, NYC. Photo by Patrick Jameson
Kristen Sanders (b. 1989, California) lives and works in St. Paul, MN. She received a BA from the University of California Davis, and an MFA from Virginia Commonwealth University.
Solo and two person exhibitions include Dreamsong, Minneapolis, MN, St. Cloud State University, St Cloud, MN, Kathryn Brennan Gallery, New York, NY, Step Sister, New York, NY, Sadie Halie Projects, Minneapolis, MN, and Sediment Arts, Richmond, VA. Group exhibitions include Good Mother, Los Angeles, Night Club, Minneapolis, MN, Hair & Nails, Minneapolis, MN, O’Flaherty’s, New York, NY, Monti 8, Latina, Italy, Moosey Art, London, UK, Mana Contemporary, Jersey City, NJ, The Quarter Gallery, University of Minnesota, Minneapolis, MN, Katherine E. Nash Gallery, University of Minnesota, Minneapolis, MN, Left Field, Los Osos, CA, H.G. Inn, Chicago, IL, White Columns, New York, NY, and Patrick Parrish Gallery, NY. Residencies include The Maple Terrace, Brooklyn, Lacuna Gallery, Minneapolis, David Wurtzel Travel Scholarship, Florence, Italy, and Vermont Studio Center, Johnson, VT. Sanders has received press in BOMB Magazine, ARTNews, and New American Paintings. She currently teaches at the University of Minnesota, Minneapolis.
Morning Tide, 2023, Acrylic on canvas, 40 x 32 inches
In the Negative Spaces, 2023, Acrylic on canvas, 50 x 40 inches
Abyssal Plane, 2023, Acrylic on canvas, 27 x 20 inches
photo: Matthew Leifheit
Rachel Stern (b. 1989, NYC) is a photographer whose work considers the intersection of beauty and power. Her photo-based installations turn to the tableaux and the proscenium creating dialogue between the histories and uses of kitsch and leftist aesthetics. Using materials culled from strip malls and thrift stores she creates images which ask art and visual culture to enter into a discourse of accessibility and, in the spirit of ‘bread and roses’, demand immediate access to beauty.
Her work images a world that might be, built out of the world that is. It is a kitsch paradise, a queer-washed history, and an attempt at hope. She received her BFA in Photography and the History of Art and Visual Culture in 2011 from the Rhode Island School of Design, attended Skowhegan in 2014, and graduated from Columbia University in 2016 with an MFA in Visual Arts. She has exhibited her work at The Philadelphia Museum of Art, Baxter St., Brandies University Kniznick Gallery, Ortega Y Gasset Project, Invisible-Exports, and Asya Geisberg Gallery among others. Her work has been featured in BOMB, The Boston Globe, The New York Times, Vice, Hyperallergic, and Matte Magazine.
I Know Not What It Means, 2023, 20x28”, c-print
I Will Kiss Thy Mouth, 2022, 30x42”, c-print
They Have Looked Too Long, 2023, 25x25”, c-print
image credit: Star Montana
rafa esparza (b. 1981, Los Angeles; lives and works in Los Angeles) received a BA from University of California, Los Angeles in 2011. Solo exhibitions have been held at Artists Space, New York (2023); Commonwealth and Council, Los Angeles (2021); MASS MoCA, North Adams (2019); ArtPace, San Antonio (2018); and Ballroom Marfa (2017). Selected group exhibitions have been held at Commonwealth and Council, Mexico City (2022); Museum of Contemporary Art Tucson (2022); Moody Center for the Arts, Rice University, Houston (2020); San Diego Art Institute (2019); Whitney Museum of American Art, New York (2017); and Hammer Museum, Los Angeles (2016). esparza is a recipient of a Pérez Prize (2022), Latinx Artist Fellowship (2021), Lucas Artist Fellowship (2020), Louis Comfort Tiffany Foundation Award (2017), Art Matters Foundation Grant (2014), and California Community Foundation Fellowship for Visual Artists (2014). He has participated in residencies at Artpace San Antonio (2018) and Wanlass Artist in Residence, OXY ARTS, Los Angeles (2016). esparza’s work is in the collections of Los Angeles County Museum of Art; Dallas Museum of Art; San Jose Museum of Art; Minneapolis Institute of Art; Museum of Contemporary Art, Los Angeles; Kadist Art Foundation; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; and Vincent Price Art Museum, Los Angeles.
110 Northbound, photo by Yomahra Gonzalez
Camino Exhibition, photo by: Yomahra Gonzalez
Hermila, photo by Yomahra Gonzalez
Hulda Guzman in the studio, 2023
Hulda Guzmán (b. 1984, Santo Domingo, Dominican Republic) depicts her tropical surroundings as she explores perspective and reality. Situated between Impressionistic landscape, psychological autobiography, Mexican muralism, Caribbean folk traditions, endearing comedy, and magical realism, Guzmán’s work engenders an emphatic compassion for the united forces of the living, celebrated through the act of painting.
Guzmán received a BA from Altos de Chavón School of Design in the Dominican Republic and went on to study photography and mural painting at the National School of Visual Arts, Mexico. Her work is included in the permanent collections of the Baltimore Museum of Art, MD; Dallas Museum of Art, TX; Denver Art Museum, CO; He Art Museum (HEM), Guangdong, CN; Institute of Contemporary Art, Miami, FL; Los Angeles County Museum of Art (LACMA), CA; Museu de Arte de São Paulo (MASP), São Paulo, Brazil; Pérez Art Museum Miami, FL; and San Francisco Museum of Modern Art (SFMOMA), CA, among others. Guzmán has been featured in the Dominican Republic’s pavilion at the 58th International Art Exhibition at the Venice Biennale. Guzmán has shown with Stephen Friedman Gallery, London, UK; Alexander Berggruen, NY; Anat Ebgi, Los Angeles, CA; Dio Horia Gallery, Mykonos; Arte BA, Buenos Aires; Galería Machete, Mexico City; Gallery Ariane Paffrath Dusseldorf; and at institutions such as the Denver Art Museum, CO; Museo de Arte Moderno, Santo Domingo; the Pérez Art Museum Miami, FL; Museo de Arte de São Paulo, Brazil; Museo de Arte y Diseño Contemporáneo, Costa Rica; and Art Museum of the Americas, Washington, DC. The artist lives and works in Santo Domingo, Dominican Republic.
Hulda Guzmán, Hojas de fuego, 2023, acrylic gouache on linen, triptych overall: 48 1/8 x 88 1/2 in. (122.2 x 224.8 cm.), each: 48 1/8 x 29 1/2 in. (122.2 x 74.9 cm.) Included in Hulda Guzmán: They come from water (May 24-July 5, 2023) at Alexander Berggruen, New York, NY. Copyright the artist. Courtesy of the artist; Alexander Berggruen, NY; and Stephen Friedman Gallery, London. Photo: Dario Lasagni
Hulda Guzmán, Pets. Are they real?, 2023, acrylic gouache on linen, 48 x 29 5/8 in. (121.9 x 75.2 cm.) Included in Hulda Guzmán: They come from water (May 24-July 5, 2023) at Alexander Berggruen, New York, NY. Copyright the artist. Courtesy of the artist; Alexander Berggruen, NY; and Stephen Friedman Gallery, London. Photo: Dario Lasagni
Hulda Guzmán, Eddy y Bo 1, 2023, acrylic gouache on linen, 60 x 37 in. (152.4 x 94 cm.) Included in Hulda Guzmán: They come from water (May 24-July 5, 2023) at Alexander Berggruen, New York, NY. Copyright the artist. Courtesy of the artist; Alexander Berggruen, NY; and Stephen Friedman Gallery, London. Photo: Dario Lasagni
Fatemeh Burnes is an artist, educator, curator, and activist based in Los Angeles. Classically trained in Persian art and verse, Burnes also studied biology, modern Persian poetry, and western artistic practice – including painting, drawing, printmaking, photography, art history, and exhibition design – in Iran, Europe, and ultimately in California, where she received her BFA and MFA in art and art history.. Since 1992 she has exhibited her own work nationally and internationally, curated over 100 exhibitions, and authored numerous publications. Burnes’s painting and photography focus on nature and human nature by looking at modern events and tragedies, both ecological and social, and how those events manifest in contemporary life. Some of her most current work highlights environmental and identity issues, specifically in the context of her experiences as an immigrant and as a woman.
"Goddess of Discord," 2023, oil, handmade paper, and spray paint on canvas, 72" x 96"
"Tower of Pride," 2023, oil, pigment, collage, and carving on panel, 16" x 16"
"Under My Skin," 2022, oil, pigment, handmade paper, and piano rolls on canvas, 44" x 44"
Li Wang (b. 1995) is a New York-based painter, born in Beijing, China. Li holds a Bachelor of Arts from The Central Academy of Drama in Beijing, where he studied Stage Design. He graduated from the Columbia University School of the Arts' MFA program in 2022.
Wang is a finalist of the AXA Art Prize and the New American Paintings competition. He is a recipient of the Elizabeth Greenshields Foundation Grant and the Columbia University Dean's Project Grant. In 2023, his solo exhibitions were held at Fragment gallery (New York, USA) and NADA New York.
Li Wang, After bathing, 2022, oil o canvas, 48 x 50 in
Li Wang, Carousel, 2022, oil on canvas, 58 x 70 in
Li Wang, Tao in my studio, 2022, oil on canvas, 60 x 60 in
Elzie Williams III (American, b. 1993) holds an MFA in sculpture from Columbia University School of the Arts, New York (2022), and a BFA from The Cooper Union for the Advancement of Science and Art, New York (2015). They are the first recipient of the Solomon B. Hayden Fellowship, administered through Columbia University, NY. The award was founded to support diverse voices in art by Lisson Gallery, Clearing Gallery, and artist Hugh Hayden in honor of Hayden’s late father, Solomon B. Hayden who was a math teacher. Williams’ work was included in Eponymous with Dominic Palarachio and Bat-Ami Rivlin, M 2 3, New York (2021); and on view with Lyn Lui at François Ghebaly, New York (2021). Recent exhibitions include Arrangements in Black at Phillips, New York (2022); exhibitions at Clearing in Brooklyn and Los Angeles (2022); Half Gallery, New York (2022); Thierry Goldberg, New York (2023); as well as MZ.25 (My Condolences), an exhibition by Monsieur Zohore at M+B, Los Angeles (2023); and The School of Visual Arts (SVA) Curatorial Thesis Exhibition Transcending the Ideal: Reimagining Femininity and its Relationship to Power, curated by Virginia Ingram (2023). Politics As Usual is their first solo exhibition.
Elzie Williams III That’s Hot, but you're Fired!, 2023 cardboard, magazine page, counterfeit bill, stickers, clear tape, laser pointer 24 x 23.5 inches (61 x 60 cm)
Elzie Williams III Monstro, 2023 water bottles, figurine, ten cents, metal, readymade shelf 19 x 5 x 5 inches (48 x 13 x 13 cm)
Elzie Williams III Do You Know Where You're Going To?, 2023 magazine swatches of black and brown faces with the color white on reverse, found images, plastic, found objects, acrylic rod, metal, flagpole bracket, light 33 x 14 x 12 inches (84 x 36 x 31 cm)
Raymond Saá in his studio
Raymond Saá is a Cuban-American artist born in New Orleans and raised in Miami. He graduated from the New World School of the Arts in 1991, received his B.F.A. from the Maryland Institute College of Art in 1995, and studied at the Kunstakademie Dusseldorf in 1996. In 1997, he earned an M.F.A. from Parsons School of Design. Selected exhibitions include White Columns, the Islip Museum, Wave Hill, the Museum of Art Puerto Rico, and El Museo del Barrio. Saá received a 2019 Fellowship from the New Jersey State Council on the Arts, in addition to awards from Public Art for Public Schools, the Pollack Krasner Foundation, the Joan Mitchell Foundation, and New Jersey Fellowship in Art. The artist lives and works in New Jersey.
The Blue Bird, 2023 Raymond Saá Morgan Lehman Gallery
'The Blue Bird' series, 2023 Size: 30 x 24 in Medium: gouache collage on sewn paper
'The Blue Bird' series, 2023 Size: 30 x 24 in Medium: gouache collage on sewn paper
'The Blue Bird' series, 2023 Size: 30 x 24 in Medium: gouache collage on sewn paper
Artist Anthony James and his first exhibition in the region entitled Light at Opera Gallery in DIFC.Antonie Robertson/The National Anthony James (b. 1974) is a London-born, Los Angeles-based artist who graduated from Central Saint Martins College of Art and Design with a degree in painting. James is known for his monumental sculptures and installations that embrace Minimalism, Transcendentalism and Light & Space. In the winter of 2023, James became the first and only visual artist to have work exhibited on all seven continents when he installed one of his stainless steel, glass, and LED Portals at White Desert’s base camp in Antarctica near the South Pole. “In my practice I’m trying to give a visual demonstration of the infinite or the divinity inside us all,” says James. “If you’re seeing and experiencing this ever-expanding cosmos, hopefully that’s a window to explore this underlying law of nature, this inner light.”
Masako Miki (b. 1973, Osaka, Japan) is a multimedia artist whose work ranges installation and large-scale sculpture, printmaking, watercolor and felting. A native of Japan, she now lives and works in Berkeley, CA. Her work frequently explores the idea of synthesis—manipulating contradicting spatial elements to suggest a disoriented context and space. The artist bases her narrative on her own experiences of becoming bicultural in the United States at the age of eighteen. Strongly influenced by craft and folk art of different cultures, she remains close to her ancestral traditions, frequently considering motifs and ideologies that arise from her association with Buddhism, Shintoism, and traditional Japanese folklore. The artist’s practice is further rooted in the belief that art can foster social contexts in which contemporary and universally relevant mythologies and social narratives can be generated—replacing or fixing harmful misconceptions and mythologies of the past that have previously sparked social injustices. In 2020, Miki’s functional furniture was commissioned to be a part of San Francisco’s forthcoming, landmark Minna-Natoma Art Corridor. In 2021, her large-scale sculptures were commissioned as a permanent installation at the Uber Technologies Headquarters in Mission Bay, San Francisco. She has been included in solo and group exhibitions at the Kentucky Museum of Art and Craft, KY (2023); Nassima Landau Art Foundation, Israel (2023); ICA San Jose, CA (2022); Katonah Museum of Art, NY (2022); Marin Museum of Contemporary Art, CA (2022); Berkeley Art Museum and Pacific Film Archive, CA (2019); and de Young Museum, CA (2016), among others. Her work is included in the collections of the Berkeley Art Museum and Pacific Film Archive, CA; Byrd Hoffman Water Mill Foundation, NY; Collección SOLO, Spain; and San Francisco Museum of Modern Art, CA. She received her MFA from San Jose State University.
Masako Miki, Empathy Lab, Installated at Ryan Lee Gallery, May 18 – June 30, 2023
Masako Miki, Empathy Lab, Installated at Ryan Lee Gallery, May 18 – June 30, 2023
Hyakki Yagho, Night Parade of One Hundred Demons - Following Plaster Wall Shapeshifter and a Cat Who Lived a Million Years
Destiny Haven Trujillo (b. 1994, New Mexico, United States) received her BFA in 2016 from the University of New Mexico. In 2022, she had a solo exhibition with Smoke the Moon in Santa Fe, New Mexico. She lives and works in Brooklyn, New York.
DIMIN is excited to present Devoraste, a neon diary of the vivid exploits of Destiny Haven Trujillo. For her first solo exhibition in New York, Trujillo embodies the manic charm of her daily life, offering a voyeuristic glimpse into the contemporary vie boheme. The title of the show, “Devoraste”, is derived from the Spanish aphorism meant to convey the concept of unabashed queer self-expression, with the literal translation “you ate that!”. For Trujillo, devoraste references the celebration of pride she conveys in her paintings –colorful bacchanals teeming with joy.
At its core, the work addresses sexual identity and fluidity. The acceptance she has found in the queer community is tantamount in importance to the artist personally as it is to her artistic concept. Approachability is one of the major goals of Trujillo’s canvases – her goal is to welcome the broadest audience possible.
Destiny Haven Trujillo Anthrax (Persistence of Time), 2023 Acrylic on canvas 40 x 36 in 101.6 x 91.4 cm
Destiny Haven Trujillo, V-Day, 2023, Acrylic on canvas, 42.5 x 42.5 in, 108 x 108 cm
Destiny Haven Trujillo, Daddy’s Little Girl Ain’t A Girl No More, 2023, Acrylic on canvas, 48 x 48 in, 121.9 x 121.9 cm
Omaha-born, New York-based artist Tim Brawner produces a practice of painting that mines the space between the uncanny and the grotesque. Seeking to produce in the viewer a compelling affect of unease, Brawner utilizes the idiom of illustration to render images of alienation, through the purposeful bricolage of disparate representational elements. In each work, a persistently fine, monochromatic, painterly execution meets the artist’s formal drafting process of drawing and montage in order to achieve what Brawner terms a pathos of ‘weirdness’: a form of defamiliarization which is also a seduction, an entreat, into a strange representational space nonetheless evoking trepidation and dread. These visual chimeras undermine the spectators’ traditional binary frames of reference, eliding at once those of conservative Western Christian morality and those of liberal secular paradigms of Enlightened empathy. As the artist intones, this ‘weirding’ is “part of the drama of the work; it is an ontological struggle [of an alternative world beyond our given dichotomies] to be represented… to come into being.”
Tim Brawner (b. 1991, Omaha, Nebraska) received an MFA from Yale School of Art in 2020. Exhibitions include Zang Gallery, Brooklyn, NY; PAGE (NYC), New York; Yale University Gallery, New Haven, CT; Ashes On Ashes, New York; Yale Painting & Printmaking MFA, Galerie Perrotin; Papa Projects, Minneapolis, MN; Union Pacific, London; Unit London, London; Primary, Miami, FL. Brawner will have his first solo exhibition with Management in 2023.
Tim Brawner, The Escape III, 2023, Acrylic on canvas 36 × 36 in / 91.4 × 91.4 cm
Tim Brawner, Character Head 2, 2023, Acrylic on canvas, 60 × 48 in / 152.4 × 121.9 cm
Tim Brawner, Character Head 1, 2023, Acrylic on canvas, 60 × 48 in / 152.4 × 121.9 cm
Photo by Lila Barth Jessica Cannon (b. 1979, Brooklyn, NY) lives and works in Brooklyn. She earned an MFA from Parsons School of Design and teaches at Parsons and CUNY Queens College. She is a recipient of the Brooklyn Arts Council’s Community Arts Fund Grant and has exhibited in solo and group shows at Winston’s Los Angeles, Honey Ramka (Brooklyn, NY), Crush Curatorial (Amagansett, NY), the Brooklyn Academy of Music, and the Hudson Valley Center for Contemporary Art, among others.
Jessica Cannon Let It Be The Sky, 2023 Acrylic and iridescent pigments on linen 72 x 60 inches 182.9 x 152.4 cm Photo: Steven Probert. Courtesy the artist and Polina Berlin Gallery.
Jessica Cannon Capitan, Spinning Light, 2023 Acrylic and iridescent pigments on canvas 44 x 36 inches 111.8 x 91.4 cm Photo: Steven Probert. Courtesy the artist and Polina Berlin Gallery.
Jessica Cannon Setting Arch, 2023 Acrylic and iridescent pigments on linen 17 x 14 inches 43.2 x 35.6 cm Photo: Steven Probert. Courtesy the artist and Polina Berlin Gallery.
Deanna Havas (b. 1989 in New York, US) is an artist based in Budapest, Hungary. Havas received her BFA from Rhode Island School of Design in 2011 and attended the Hochschule für Bildende Künste in Germany in 2016.
Havas’ work has been the subject of solo and two-person exhibitions at the following venues: Tara Downs, New York, US (2023); Triest, Brooklyn, US (2022); Meow 2, Melbourne, AU (2022); Sundogs, Paris, FR (2018); Galeria Madragoa, Lisbon, PT (2017); Marbriers 4, Geneva, CH (2015). Deanna Havas's work has been presented in numerous group exhibitions including Colnaghi, New York, US (2022); 1857, Oslo, NO (2017); Jan Kaps, Cologne, DE (2017); Treize, Paris, FR (2016); Schloss Schöngrabern, Ebreichsdorf, AT (2016); Villa Empain, Brussels, BE (2016); and Eli Ping Frances Perkins, New York, US (2016).
Exhibition view: Deanna Havas: Messages From the Source, 2023, Tara Downs, New York. Image courtesy of the artist and Tara Downs, New York. Photo: Farzad Owrang.
DEANNA HAVAS, Untitled, 2023 (detail), Inkjet and acrylic on canvas, 59 × 78 3/4 in / 150 × 200 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe d’Heurle.
DEANNA HAVAS, Enhanced Serentiy, 2023, Inkjet and acrylic on canvas, 39 1/4 × 59 in / 100 × 150 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe d’Heurle.
Zoe Pettijohn Schade’s densely researched, seductively beautiful drawings and paintings of varying size explore the scientific, art historical, and philosophical aspects of pattern. Her lifelong repertoire of work rests on the premise that the pursuit of form, repetition, organization, and its arrangements are as vitally important and determining as the finality of the image itself.
Pettijohn Schade studied at The Cooper Union for the Advancement of Science and Art in New York, NY in 1995. In 2012-13, she traveled to France on a Fulbright U.S. Research Scholars Grant to work with a collection of 18th century textile paintings, many completed by anonymous women laborers. The title of her third solo exhibition at Kai Matsumiya Gallery, The Hard Problem, on view until June 17, refers to the question of how physical matter gives rise to consciousness. Recent exhibitions include Our Secret Fire at Hirschl & Adler Modern, New York, NY; Less is a Bore: Maximalist Art & Design, curated by Jenelle Porter, Institute for Contemporary Art, Boston, MA; and deCordova New England Biennial 2019, curated by Sarah Monstross, deCordova Museum, Lincoln, MA.
Zoe Pettijohn Schade Mirrored Pyramid, 2021 gouache with dyed silver leaf on paper 10½ x 10½ in. 26.67 x 26.67 cm.Zoe Pettijohn Schade Attempts at Self-Organization 7, 2020 gouache with dyed silver leaf, oxidized silver leaf, composite leaf on paper 19 x 13¾ in. 48.26 x 34.92 cm.Zoe Pettijohn Schade, Attempts At Self Organization 8, 2021, Gouache with dyed silver leaf, toned aluminum leaf, copper leaf, gold leaf, and palladium leaf on paper, 22¼ x 18⅛ in. 56.52 x 46.04 cm.
George Widener’s artwork is as intellectually challenging as it is aesthetically compelling. A high-functioning savant who has channeled his extraordinary gifts of numerical computation into artmaking, Widener struggled for years before his talent was recognized. Born in Kentucky in 1962, Widener’s was not diagnosed with Asperger Syndrome until he was an adult, making an already difficult childhood even more so. Following a stint of service in the US Air Force, Widener was diagnosed with depression, and committed to several psychiatric hospitals. He eventually attended the University of Tennessee. He currently lives and works in Waynesville, NC, near Asheville.
Widener’s brain has been proven to function as a super-calculator, a gift that allows him to process mathematical information in a radically different way than most people do. By directing his impulse to calculate complex sequences of numbers through stunning, often large-scale drawings, Widener makes visible not only his savant skillset, but also his unique creative talent for reimagining it aesthetically. Far from mere illustrations of mathematical process, his drawings stage through form and content simultaneously, often playing out elaborate numerical puzzles and games, complex puns, palindromes, and informed prophecies. The artist’s love for punning is evidenced by drawings of magic squares: squares that contain 9 rows of numbers, in each row of numbers adds up to the same value.
The artist’s work can be found in many notable public and private collections, including, among others, the American Folk Art Museum (New York), the Smithsonian American Art Museum (Washington, D.C.), the Collection de l’Art Brut (Lausanne, Switzerland), the Centre Pompidou (Paris), the abcd/art brut Collection Bruno Decharme (Paris), the Museum of Everything (London), museum gugging (Klosterneuburg, Austria), the Philadelphia Museum of Art, Intuit: The Center for Intuitive and Outsider Art (Chicago), the High Museum of Art (Atlanta), and the Asheville Art Museum (Asheville, NC).
George Widener, Titanic, 100 years, 1912 – 2012, 2012 Paint and ink on joined paper 60 x 60 inches George Widener, Blue Monday, c. 2002 Mixed media on paper 15.6 x 29.4 inches George Widener, Self Portrait, 2020 Mixed media on paper 60 x 59.5 inches George Widener, Magic Square (Revolutions), 2022 Graphite and acrylic paint on paper 33 x 40 inches
Martin Bodilsen Kaldahl is a ceramic artist based in Copenhagen, Denmark. He has worked with a myriad of spatial themes and ornaments that frequently reoccur in his formal vocabulary, and which emerge through a methodical, gradual and experimental serial process. Notably, the knot as a shape has been a leitmotif offering possibilities for various sinuous rhythmic cadences and abstract narratives. The hand built architectonic works appear as ‘spatial drawings’–solid, twisting and turning through space. Kaldahl’s interest also lies in the potential of the object to make a direct emotional impact on the viewer. The motif is always clear in its simplicity and easily decoded while remaining open to interpretations.
Kaldahl first trained as a potter in the 1970s. In 1988, he joined the Masters program at the Royal College of Art in London, where he graduated in 1990. He is a co-founder of the artist run exhibition platform, Copenhagen Ceramics (CC) launched in 2012. Kaldahl’s works are represented in several public and private collections including the Victoria and Albert Museum in London, The Danish Museum of Art & Design in Copenhagen, The National Museum of Art, Architecture and Design in Oslo and Musée des Arts Decoratifs, Paris.
MARTIN BODILSEN KALDAHL, Load – Spatial Drawing #89, 2023, Earthenware, hand-built, 36” H x 20.5” W x 17” DMARTIN BODILSEN KALDAHL, Talk – Spatial Drawing #85, 2023, Earthenware, hand-built, 33.5” H x 20.5” W x 17” DMARTIN BODILSEN KALDAHL, Walk Done – Spatial Drawing #84, 2023, Earthenware, hand-built, 34.5″ H x 21″ W x 21″ D.
Ted Gahl creates intuitive paintings of varying scale, embedding and juxtaposing personal imagery of the present alongside art historical influences of the past. Gahl’s paintings often read as elements of subconscious activities–reveries, dreams, and memories, while being firmly grounded in the act of painting itself. He obtained his BFA from Pratt Institute in 2006 and MFA from Rhode Island School of Design in 2010. Recent solo exhibitions include MAMOTH, London; Harkawik, Los Angeles; Halsey McKay, East Hampton; Massif Central, Brussels; Alexander Berggruen, New York. Recent group exhibitions include Valentin, Paris; Bjorn & Gundorph, Aarhus, Denmark; S.M.A.K., Ghent, Belgium; Halsey McKay, East Hampton. Gahl is a 2022 recipient of a Pollock-Krasner Foundation Grant. He lives and works in Northwest Connecticut and Brooklyn, New York.Gallery Installation. Courtesy, Harkawik.Ted Gahl, The Entertainer, 2022. Acrylic, Moroccan pigments, graphite, colored pencil on canvas in artist’s frame, 40 x 30 inches. Courtesy, Harkawik.Ted Gahl Tree With Lichen 2022 108”h x 72”w (274 x 183cm) Acrylic on unstretched canvas. Courtesy, Harkawik.
Portrait of Nicholas Hatfull. Courtesy of the artist and Dracula’s Revenge, New York.Nicholas Hatfull (born in Tokyo, Japan) is a painter who lives and works in Norwich, UK. Hatfull’s first solo exhibition in the United States, titled Shades, is on view at Dracula’s Revenge in New York through June 18. Hatfull received a Postgraduate Diploma from the Royal Academy of Arts, London in 2011, and was the Sainsbury Scholar in Painting and Sculpture at the British School at Rome in 2012. Recent solo exhibitions include Josh Lilley, London (2020, 2017, 2014); The Club, Tokyo (2019); and Peles Empire, London (2012). Group exhibitions include Leave the road; take the trail at Xenia Creative Retreat, Hampshire (2022); Timelessness at The Club, Tokyo (2020); Stains On A Decade at Josh Lilley, London (2019); Folly at Emalin, Airth, Scotland (2016); D’Après Giorgio at Fondazione Giorgio e Isa de Chirico, Rome (2012); and Re-generation at Museum of Contemporary Art, Rome (2012). His work has appeared in Financial Times, Frieze, Mousse, and Time Out, among others. Hatfull’s writing about painting has appeared in Apollo, Frieze, Mousse, and monographs such as Michael Armitage ‘You, Who Are Still Alive’ (2022).
Nicholas Hatfull Shades V, 2023 Oil, gouache and acrylic on canvas 67 x 51 1/4 inches (170 x 130 cm). Courtesy of the artist and Dracula’s Revenge, New York.Nicholas Hatfull Shades IV, 2023 Oil, gouache and acrylic on canvas 67 x 51 1/4 inches (170 x 130 cm). Courtesy of the artist and Dracula’s Revenge, New York.Nicholas Hatfull Shades I, 2022 Oil, gouache and acrylic on canvas 67 x 51 1/4 inches (170 x 130 cm). Courtesy of the artist and Dracula’s Revenge, New York.
Luciana Abait was born in Argen1na and currently lives and works in Los Angeles. Her mul1media works deal with climate change, environmental awareness and displacement issues facing immigrants.
Abait’s artworks have been shown widely in the United States, Europe, La1n America and Asia in solo shows in galleries, museums and interna1onal art fairs. Recent projects have been shown at the Los Angeles Interna1onal Airport (LAX) and the Palm Springs Museum of Art. She has completed numerous public art commissions and installa1ons. Her solo exhibi1on “On the Verge” is currently on view at the Hilliard Art Museum, LafayeOe, Louisiana.
On the Verge 7, Photograph on Hahnemuhle Photo Rag paper, 11 x 16 inches, 2022Green Sky and Black Mountain Archival pigment print mounted on wood panel, 50 x 60 inches, 2021.Agua, immersive video projection on the Petroleum Securities Building in Downtown Los Angeles, 37 h x 32 w feet, 2021.
Victor Boullet (b.1969, Oslo, Norway) lives and works in London, UK and Oslo, Norway.His exhibition at the gallery consisted of two “chapters”. The first 4 weeks with paintings installed. The remaining 2 weeks, the paintings were stacked in a corner covered in a blanket, becoming a single work; and 130 drawings were installed on the walls.Links to each chapter can be found here:Chapter One and Chapter Two.Victor Boullet, Binman (Heritage Problem), 2020-2021. Oil on linenVictor Boullet, Untitled (2021). Oil on linenVictor Boullet, Cherries from the Bin, 2019-2021. Oil on linen.
Erin Milez, Courtesy of the artist and Monya RoweErin Milez (b. 1994, Pittsburgh, PA) received a MFA from New York Academy of Art, NY and a BA from Seattle Pacific University, Seattle, WA. Her work has recently been exhibited at Lorin Gallery, LA; Arsenal Contemporary Art, NY; Cob Gallery, London; and Kutlesa Gallery, Switzerland. In 2020, the artist was awarded an Elizabeth Greenshields Foundation Grant. Milez will have a solo exhibition at Monya Rowe Gallery in October 2023.
The artist lives and works in Bayonne, NJ, and is represented by Monya Rowe Gallery, NY.
ERIN MILEZ Telephone, 2023 watercolor media, colored pencil, and flashe on paper 24 by 18 inches Courtesy of Monya Rowe Gallery, NYERIN MILEZ The Cleaners Greet the Day’s End, 2023 Oil and acrylic on canvas 66 by 48 inches Courtesy of Lorin Gallery, LA and Monya Rowe Gallery, NYERIN MILEZ, The Tenders Become Their Land, 2023, Oil and acrylic on canvas, 43 by 72 inches. Courtesy of Lorin Gallery, LA and Monya Rowe Gallery, NY
photograph by Lori E. SeidCharles Atlas was born in St. Louis, MO in 1949; he has lived and worked in New York City since the early 1970s. Recent solo exhibitions include The Mathematics of Consciousness, a 100-foot long video installation commissioned by Pioneer Works, Brooklyn, NY, and supported by a grant from the VIA Art Fund; Charles Atlas: Ominous, Glamorous, Momentous, Ridiculous, Fondazione ICA Milano, Italy; and Charles Atlas: The past is here, the futures are coming and The Kitchen Follies, The Kitchen, New York.
In 2017, the Hammer Museum, Los Angeles acquired Atlas’ five-channel video installation with sound entitled The Tyranny of Consciousness, which won a prize in Viva Arte Viva, the 57th International Art Exhibition of the Venice Biennial. In September 2019, Atlas unveiled The Geometry of Thought, a new commission for Art on theMART that spanned across the 2.5 acre river fac;:ade of theMART in Chicago.Atlas’ work is included in the permanent collections of major institutions worldwide, including the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Art Institute of Chicago; San Francisco Museum of Art; Tate Modern, London; Centre Georges Pompidou, Paris; Hamburger Bahnhof – Museum fur Gegenwart, Berlin; Migros Museum fur Gegenwartskunst, Zurich; and De Hallen Haarlem, The Netherlands.
Charles Atlas, A Prune Twin, 2020, Eight-channel video installation with four monitors, with sound, Dimensions variable, Installation view Luhring Augustine Chelsea, New York (January 28 – March 11, 2023). © Charles Atlas; Courtesy of the artist and Luhring Augustine, New York. Photo: John Berens.Charles Atlas, A Prune Twin, 2020, Eight-channel video installation with four monitors, with sound, Dimensions variable, Installation view Luhring Augustine Chelsea, New York (January 28 – March 11, 2023). © Charles Atlas; Courtesy of the artist and Luhring Augustine, New York. Photo: John Berens.
Charlotte EdeyCharlotte Edey is a British artist and illustrator. Her work is primarily concerned with contemporary issues of selfhood. Cultural signifiers and personal mythologies shape ongoing narratives through a process of world-building. The politics of space are explored through the lens of identity; how the intersections of identities both shape our interior landscapes and define the structuring that we navigate externally. Her imagined realms are peppered with symbolist motifs that connote the body politic, magic, the erotic, biracialism and gender. Her process combines tapestry, embroidery and sculptural walnut as an expansion of her drawing practice. This journey between dimensions from her works on paper – what is added, altered and even removed by these multiple processes – creates a layered complexity in both material and theme. Markmaking and gesture are explored through hand-embroidery in silk, forging a relationship between drawn line and thread. Her installations reference ritualistic methods of display from altarpieces to shrines, forming portals to imagined otherworlds that offer the opportunity to investigate our present. Charlotte Edey lives and works in London. She studied at Chelsea School of Art and Design and the Royal Drawing School. Upcoming shows include New Mythologies II, Huxley Parlour (2022) and 2022 Bloomberg New Contemporaries, South London Gallery, London (2022), & Humber Street Gallery & Ferens Art Gallery, Hull (2022). Recent exhibitions include A Best of the Drawing Year, Christies, London (2022); Body en Thrall, Rugby Art Museum, Rugby (2022); Psychic Anemone, Cob Gallery, London (2022); Abracadabra, Alma Zevi, London (2021); and Supermarket, Design Museum, London (2021).
Charlotte Edey, Cutting Ties, 2022, soft pastel on paper in found cedar frame, 13 1/2h x 11w inches, Courtesy of 1969 Gallery and Artist.Charlotte Edey, Finger Coils, 2022, soft pastel on paper, 25 1/2h x 19 1/2w inches, Courtesy of 1969 Gallery and Artist.Charlotte Edey, Tongue Tied, 2022, Woven jacquard tapestry with silk hand-embroidery and freshwater pearl in sapele double frame with hinge, 70cm x 70cm. Courtesy of Artist.
Photographer: Guillaume Ziccarelli. Courtesy of the artist and PerrotinNikki Maloof’s paintings depict the world hidden within the mind. Imagined interiors, and animals become proxies for the human experience. Her subjects convey existential loneliness, but that loneliness is buoyed by humor, capricious paint handling, and the use of a saturated palette. A squiggle depicting ground meat, a cat’s meow being mistaken for a howl, or a comically disillusioned fish being filleted before our eyes, all draw the viewer’s attention to the melancholic and at times brutal tone of the imagery. At the same time, the paint handling and colors attempt to undermine the dark nature of these images all together. This self-defeating melodrama points to an ambivalent view of existence, to a need to laugh and cry and even at once.
Nikki Maloof, The Cherry Tree, 2022. Oil on linen, 64 x 48 inch. Photograph: Guillaume Ziccarelli. Courtesy of the artist and Perrotin.Nikki Maloof, In the Yellow Room, 2022. Oil on linen, 78 x 60 inch. Photograph: Guillaume Ziccarelli. Courtesy of the artist and Perrotin.Nikki Maloof, Skunk Hour, 2022. Oil on linen, 74 x 114 inch. Photograph: Guillaume Ziccarelli. Courtesy of the artist and Perrotin.
Victor Burgin (b. 1941, Sheffield, United Kingdom) first came to prominence in the late 1960s as one of the originators of Conceptual Art. His work appeared in such key exhibitions as Harald Szeemann’s Live in Your Head: When Attitudes Become Form (1969) at the ICA London, and Kynaston McShine’s Information (1970) at The Museum of Modern Art, New York. Since then, he has had solo exhibitions at the Museum für Gegenwartkunst Siegen, Kunsthalle Bremerhaven, MAMCO Musée d’art moderne et contemporain, Canadian Centre for Architecture, Mücsarnok Museum, University at Buffalo Art Gallery, Musée d’art moderne Villeneuve d’Ascq, The List Visual Arts Center, Renaissance Society at the University of Chicago, Musée de la Ville de Calais, The Museum of Modern Art in Oxford, and Stedelijk van Abbemuseum in Eindhoven. His work appears in the collections of The Metropolitan Museum of Art, Museum of Modern Art, New York Public Library, Walker Art Center, Tate Gallery, Victoria and Albert Museum, Los Angeles County Museum of Art, Museum of Contemporary Art in Los Angeles, Museum Ludwig, Fotomuseum Winterthur, Musée national d’art moderne, Sammlung Falckenberg, and The Arts Council Collection in London.
Burgin graduated from the School of Painting at the Royal College of Art, London, in 1965, where his teachers included the philosopher and novelist Iris Murdoch, and then went on to study Philosophy and Fine Art at Yale University School of Art and Architecture, where his teachers included Robert Morris and Donald Judd. Burgin is Professor of Visual Culture at the University of Southampton, Professor Emeritus of History of Consciousness at the University of California, Santa Cruz and Emeritus Millard Chair of Fine Art at Goldsmiths College, London. In 2015 he was a Mellon Fellow and Visiting Professor in the Department of Cinema and Media Studies at the University of Chicago. He lives and works in South West France and Paris.
Victor Burgin, Photopath, 1967-69. instruction card; typewritten on card stock. 5 x 8 inches. Courtesy the artist and Cristin Tierney Gallery, New YorkInstallation view of Victor Burgin: Photopath (Cristin Tierney Gallery, New York, January 20 – March 4, 2023). Photograph by Elisabeth Bernstein. Courtesy the artist and Cristin Tierney Gallery, New York.Detail. Installation view of Victor Burgin: Photopath (Cristin Tierney Gallery, New York, January 20 – March 4, 2023). Photograph by Elisabeth Bernstein. Courtesy the artist and Cristin Tierney Gallery, New York.
Lila de Magalhaes (b. 1986, Rio de Janiero) lives and works in Los Angeles. She received her MFA from the University of Southern California in 2013 and a BA from Glasgow School of Art in 2008.
Her recent solo and two-person exhibitions include Palace of Errors, Deli Gallery, NY; Soup of the Night, Matthew Brown, LA; Cupid of Chaos, Ghebaly Gallery, LA; A Soft Flea, Mutt. R, LA; Remote Control, Abode, LA; Exhibition (10), SPF15, San Diego; and Motorfruit, Blood Gallery, NY. She has appeared as well in numerous group exhibitions, including Porch Gallery, Ojai; Company Gallery, NY; Freedman Fitzpatrick, LA; François Ghebaly, LA; ltd los angeles, LA; Steve Turner, LA, PANE Project, Milan; Julius Caesar, Chicago; and 356 Mission, LA.
Lila de Magalhaes Interior (The wonders of epsom salt), 2022 Glazed ceramic 9 ½ × 10 ¾ × 1 ½ inches (24.13 × 27.31 × 3.81 cm)Lila de Magalhaes Ride Home, 2022 Dyed fabric, chalk pastel, and thread 43 × 35 × 1 inches (109.22 × 88.90 × 2.54 cm)Lila de Magalhaes Lunch Date, 2022 Dyed fabric, chalk pastel, and thread 62 × 49 × 1 inches (157.48 × 124.46 × 2.54 cm)
Jakob Jørgensen by Dorte KroghJakob Jørgensen was born in 1977 in Nyborg, Denmark. He studied fine art in his early twenties, attending The New Art School, Odense, Denmark and Guildhall School of Fine Arts in London, as well as completing an apprenticeship with Studio Palla in Carrara, Italy.
In 2008, he graduated from the Royal Danish Academy for Design, and went on to found a successful design studio. As his interest in large scale steel sculpture developed, he submitted a proposal to the Danish National Workshop in 2017, and was granted access to their vast metalworking facilities. He continued his exploration of the medium, building a dedicated studio tailored to working with steel pipe on the island of Bornholm in 2020. Jørgensen’s work has been exhibited internationally in solo and group exhibitions including at the Musée d’Art Moderne de Paris, France; Louisiana Museum of Modern Art, Humlebæk, Denmark; Designmuseum, Copenhagen, Denmark; and the 21st Century Museum, Kanazawa, Japan. He has been the recipient of numerous awards and grants including the Finn Juhl Prize, the Bodum Design Award, and the IFDA Goldleaf Award.
Installa(on image of Take Root From le1 to right: Resistance, Freedom Vessel, The Wound, The Tree, The Punch, Branch Out II, Branch Out I, 2022 Photo by Joe KrammInstalla(on image of Take Root Wall sculptures from le1 to right: The Bean, The Beat, The Hole, 2022 Floor sculpture: Freedom Vessel, 2022 Photo by Joe KrammThe Wound, 2022 Photo by Dorte Kroghhttps://museumofnonvisibleart.com/interviews/wp-content/uploads/2023/03/The-Burning.mp4
Susan Dory is a Seattle-based artist whose geometric abstractions explore systems of interconnectedness, patterning and her trust of the process.
Susan has exhibited widely with exhibitions at Winston Wachter Fine Art in New York and Seattle; Margaret Thatcher, New York; Catharine Clark Gallery, San Francisco; Tew Gallery, Atlanta; Boecker Contemporary, Heidelberg; The Tacoma Art Museum; The Henry Art Gallery, University of Washington; Kittredge Art Gallery, University of Puget Sound, The Western Gallery, Western Washington University; Mills College Art Museum, Oakland; The Contemporary Austin – Jones Center and The Art Gallery of Greater Victoria, Victoria BC, Canada.
She received her BA from Iowa State University and studied painting in Vienna, Austria.
Susan is a recipient of the Neddy Award, The Pollock Krasner Foundation Grant, GAP grant, the Artist Trust Fellowship Grant, and was a finalist for the Betty Bowen Award.
Some public collections include, The Tacoma Art Museum, Ballinglen Museum of Contemporary Art, Ireland; The U.S. Embassy, Vientiane, Laos, Seattle Arts Commission Collection, King County Arts Commission, 4Culture, The Microsoft Collection, Vulcan Enterprises, Swedish Hospital, Hewlett Packard, W. Clements Jr. University Hospital, Dallas, TX, Neiman Marcus and Nordstrom
Spontaneous Sights, through March 11th at Winston Wachter Fine Art.
Fluency 2022-23 acrylic on canvas over panel 24 x 30″Fluency 2022-23 acrylic on canvas over panel 24 x 30″Secret Cave of the Heart 10, 2022, acrylic on canvas over panel, 42 x 48″
Jonathan Casella is a contemporary artist based in Los Angeles, California, whose work is defined by dynamic compositions featuring riotous amalgams of dots, checkers, stripes, and bold swaths of color. His disciplined approach to painting involves the exploration and definition of a unique visual language through endless permutations of color, shape, and pattern
Born in Houston, Texas, he received a BA from San Francisco State University in 2010. Recent solo exhibitions include Harper’s NY (2023), Mindy Solomon Gallery in Miami (2023), F2T Gallery in Milan (2022), and M+B Gallery in Los Angeles (2021).
Jonathan Casella, Doublestar Installation, Harper’s Gallery ChelseaJonathan Casella, Doublestar (A.B.B. Emma Cline), 2022, Acrylic on canvas, 77h x 66.25w in., 195.58h x 168.28w cmJonathan Casella Doublestar (A.B.B. Eat It Up), 2022 Acrylic on canvas 77h x 66.25w in 195.58h x 168.28w cm
Jason Lustig is an artist living and working in Brooklyn, New York. Originally from the S.F. Bay Area Jason’s work is largely informed by the environment he grew up in.
Often moving between cities, mountains, and coastal areas, Jason uses these as the main settings of his paintings and then adds charmingly mischievous characters to live inside them. Using a bright and saturated color palette, his paintings capture moments in time from other worlds that seem to parallel our own.
Jason Lustig, “Joyride”, 2023, Flashe on canvas, 18 x 24 in.Jason Lustig, “The Regular”, 2022, Flashe on wood panel, 10 x 8 in.Jason Lustig, “Window Cat”, 2021, Flashe on wood panel, 7 x 5 in.
Danielle Roberts. Photo: Anushka Bohra | @ab.frames, Courtesy Fredericks & Freiser Archives.Danielle Roberts (b. 1991, Stockton, CA; raised in Gabriola Island, British Columbia; lives and works in Brooklyn, NY.) She received an M.F.A. from Hunter College in 2021. Recent solo exhibitions include “Evening All Day” (2023) at Fredericks & Freiser, New York and “Afterglow” (2022) at Friends Indeed, San Francisco. Group exhibitions include “What Now?” (2022) at PM/AM, London; “Women of Now: Dialogues of Memory, Place and Identity” (2022) at Green Family Art Foundation, Dallas, TX, and “Towards a More Beautiful Oblivion” (2021) at Fredericks & Freiser, NY. Danielle is represented by Fredericks & Freiser in New York, and Friends Indeed in San Francisco.Drawing from personal experience Danielle Roberts’ paintings are grounded with an uncanny sense of place. Through the collision of light and shadow she creates a world where light is simultaneously magical and toxic; against a darkness that is both soothing and foreboding. The spaces in her paintings radiate with dark luminescence. Roberts does not shy away from discomfort and awkwardness in her worlds. She hones in on the pathos of her own experiences and those of her peers which are at once individual, unique to each of Roberts’ figures, and universal, instantly recognizable to audiences. The artist does not retreat into her painted worlds as an escape from the overwhelming anxiety and instability coursing through contemporary society; instead, she pushes right up against them, opening those spaces onto her audiences. There is an insistence on life and desire, even if those desires are complicated. The people of her scenes – withdrawn and ambivalent – wade through the mess, surviving on their own terms.Danielle Roberts, Hidden in Plain Sight (The Reading), 2022, Acrylic on canvas, 54 x 60 inches. Courtesy Fredericks & Freiser, New York.Danielle Roberts, The sky weighs heavy through the night, 2023, Acrylic on canvas, 76 x 96 inches.Courtesy Fredericks & Freiser, New York.Danielle Roberts, Adrift, 2022, Acrylic on canvas, 56 x 66 inches. Courtesy Fredericks & Freiser, New York.
Lexi Bishop received a Bachelor of Arts degree in Art History and Russian Language from Bryn Mawr College, and a Master’s degree in The History of Art and The Art Market: Modern & Contemporary Art from Christie’s Education. Prior to opening here in 2020, Lexi was Associate Director of Nino Mier Gallery, Los Angeles. From 2014 to 2019, she worked in the Post-War & Contemporary Art department of Christie’s Auction House, New York as a specialist.
Before joining Christie’s in 2014, she worked for Kim Heirston Art Advisory and at the Brant Foundation Art Study Center in Greenwich, CT.
Installation view of ‘Tara Fay Coleman: Marginalia.’ Image: Sean Eaton.Tara Fay Coleman iPhone Note (#1), 2022 screen print on paper 40 x 26 in. (101.6 x 66 cm.) Edition of 3 plus 1 artist’s proof.Tara Fay Coleman iPhone Note (#2), 2022 screen print on paper 40 x 26 in. (101.6 x 66 cm.) Edition of 3 plus 1 artist’s proof.
Kathy Osborn is a painter currently based in Hudson, New York and represented by Susan Eley Fine Art. She has exhibited at all SEFA locations—UWS, LES and Upstate. She was raised in Rochester, NY and earned a BFA from the Road Island School of Design.
Osborn was an illustrator for 25 years, with work featured in many major publications: The Atlantic Monthly, Rolling Stone, The Washington Post, The Chicago Tribune, The New York Times, GQ, New York Magazine, and The New Yorker (including twenty cover images). She has also illustrated eight children’s books. In 2014, Osborn began her painting career. Her work has been featured in exhibitions at John Davis Gallery, Hudson, NY (2015), Geoffrey Young Gallery, Great Barrington, MA (2015); Gallery Molly Krom, New York, NY (2015); Art on Paper Fair (2016), Art Miami and CONTEXT (2016); Susan Eley Fine Art, Hudson, NY (2020); and LABSpace, Hillsdale, NY (2021).
Kathy Osborn, Woman in Brown Dress (2022), Oil on paper mounted on art board, 10 x 13.5 inchesKathy Osborn, Woman Reading (2020), Oil on paper mounted on art board, 11.8 x 15 inchesKathy Osborn, Nude Pair (2022), Oil on paper mounted on art board, 16.75 x 23.75 inches
Sara Garden Armstrong: Layered Scapes February 11 – March 11, 2023 Installation View with artist at Steffany Martz, ONWARD Series 49 East 78th Street, Suite 2B, New York, NY 10075 photo credit: George KondogianisSara Garden Armstrong is a visual artist whose decades-long practice embraces a wide range of scales and techniques, from large site-specific sculpture to artist’s books. Lyrical, nature-based biomorphic abstraction characterizes the work, focusing on life processes and systems. It addresses organic change and transformation, while exploring properties of materials. Breathing is a major concern, as are mechanical support systems of the body. Other recurrent themes are water and time, with its elements of decay, chance, and shifts of reality.
Recent atrium commissions have focused on scientific phenomena and their interactions with the human condition such as the installation for the National Multiple Sclerosis Society, Alabama-Mississippi Chapter, at the University of Alabama Birmingham (UAB) Medical Center. A past recipient of a Joan Mitchell Foundation CALL (Creating a Living Legacy) grant through Space One Eleven, Armstrong has exhibited nationally and internationally for over 40 years. Her artist’s books can be found in the collections of the Museum of Modern Art, New York, and the Victoria and Albert Museum, London, among others.
The monograph SARA GARDEN ARMSTRONG: Threads and Layers, published in 2020, reveals the influences and concepts that run through her diverse body of work. It coincides with a traveling exhibition of the same name, incorporating site-specific work. The exhibition made its final stop at the Gadsden Museum of Art, January 2023. The Museum published a catalog documenting the history of the exhibition.
Armstrong received her Master of Fine Arts from the University of Alabama and a Master of Art Education from UAB. After living in New York City for 36 years, in 2017 she returned to Birmingham, where she currently lives and works. She has recently received the 2022 Artist of the Year Award from the Birmingham Museum of Art Collectors Circle. Find her on Instagram.
Layered Scape 9, 2021 Acrylic and pigmented fiber on canvas 48” x 60” photo credit: George KondogianisSara Garden Armstrong: Layered Scapes Installation View photo credit: George KondogianisSentient Matrix, installed 2014, Abaca and kozo paper fiber, acrylic, gel medium, programmable light-emitting diodes, microcontroller, aluminum, stainless steel, and PVC. Approx. 16’ x 20′ x 21′ Photo credit: Hugh HunterSARA GARDEN ARMSTRONG: Threads and Layers Gadsden Museum of Art November 4, 2022 – January 26, 2023 Artwork in Image: Abaca Wall Backs 1 – 4 Sprayed abaca forms, plastic hoses, incandescent lights 24” x 98” x 12” Photo credit: Savannah Lowery
Bruno Dunley. Photo: Maxwell Matias / @kief.mThe work of Bruno Dunley questions the specificity of painting, particularly in relation to representation and materiality. His paintings depart from carefully constructed compositions, which he gradually begins to correct,alter, and cover up, frequently revealing the lacunae in the apparent continuity of perception. Bruno Dunley is part of a new generation of Brazilian painters called 200e8 group. The collective, based in São Paulo, was founded with a common interest in painting, to enable its eight members to develop a critical approach to painting within the contemporary art scene. Dunley’s work begins with found images and with an analysis of the nature of painting, where language codes such as gesture, plane, surface, and representation are understood as an alphabet. Recently, his practice has shifted towards gestural abstraction, all while maintaining his interest for representation.
As stated by the artist “I see my work as a series of questions and affirmations about the possibilities of painting, about its essence and our expectations of it.” Often, a single color predominates the surface of his compositions, establishing a minimalist language and a meditative quality, that is frequently addressed in critical texts about his work. More recently, the artist has shown an interest for more aggressive composition, expressed through vibrant and contrasting colors. The 200e8’s practices stipulate that stable or preconceived ideas about artistic processes should be abandoned, and procedures continually reformulated. In the work of Dunley, promises are made and consequently broken, testing the limits of the viewer’s tension.
Bruno Dunley was born in 1984 in Petropolis, Brazil. He lives and work in São Paulo. Recent solo shows and projects include: Virá, at Nara Roesler (2020), in São Paulo, Brazil;The Mirror, at Nara Roesler (2018), in New York, USA; Dilúvio, at SIM Galeria (2018), in Curitiba, Brazil; Ruído, at Nara Roesler (2015), in Rio de Janeiro, Brazil; e, at Centro Universitário Maria Antonia (CEUMA) (2013), in São Paulo, Brazil. He participated in the 33th Bienal de São Paulo, São Paulo, Brazil (2018). Recent group shows include: Entre tanto, at Casa de Cultura do Parque (CCP) (2020), and many others.
Cloud VIII, 2022 conté crayon, pastel chalk and charcoal on paper 29,7 x 21 cm 11.7 x 8.3 in. Courtesy the artist and Nara Roesler.The obvious, 2022 oil paint on canvas 170 x 140,5 x 4 cm 66.9 x 55.3 x 1.6 in. Courtesy the artist and Nara Roesler.Maze, 2021 oil paint on canvas 200 x 250,5 x 4 cm 78.7 x 98.6 x 1.6 in. Courtesy the artist and Nara Roesler.
Alex Griffin (b. 1978) lives and works in East Falls, Philadelphia. In 2008, Griffin received his B.F.A. from Virginia Commonwealth University in Painting and Printmaking.
His work has appeared in solo and group exhibitions throughout the United States, including at the esteemed Woodmere Art Museum in Philadelphia, PA. From 2017 until 2019, he was associated with The Professional Artist Membership Program at the Mainline Art Center. Today, Griffin’s paintings are included in private collections across the country and abroad. The Catalog for the exhibtion discussed, Afterglow, can be seen here.
Agatha’s Dream, 2022, oil on panel, 20 x 24 inchesAfterglow, 2022, oil on panel, 20 x 24 inchesNightingale, 2022, oil on panel, 18 x 18 inches
Bradley Castellanos is an American artist, born in Hartford Connecticut in 1974. He currently lives and works in North Hampton, NH and is represented by Foley Gallery, NY.
Castellanos received a B.A in English Literature and Studio Art from Skidmore College in 1998, and an MFA from School of Visual Arts in 2006. He has been featured in exhibitions at Foley Gallery, New York, RYAN LEE, New York, Caren Golden Fine Art, New York, Marx & Zavattero, San Francisco, and Mogadishni Gallery, Denmark. Castellanos’ paintings have been widely exhibited in galleries, museums, and cultural institutions in the US and abroad, including The Queens Museum, PS 1, The Nueberger Museum, The McDonough Museum of Art, The Tang Teaching Museum, and The Brooklyn Academy of Music. His work has been featured and reviewed in a variety of publications such as ARTnews, Harper’s Magazine, The Huffington Post, and San Francisco Chronicle.
Sleep Walker 2022 Oil, acrylic, resin, and photo collage on panel 60″ x 48″Fire Braider 2022 Oil, acrylic, and paper collage on paper 48″ x 38″Artist Portrait 2022 Oil, acrylic, and paper collage on paper 46″ x 35″
Joey Terrill is a formative figure in the Los Angeles Chicano art movement and AIDS cultural activism. Painting and making art since the 1970s, Terrill has always explored the intersection of Chicano and gay male identity (where they overlap and where they clash) as a strategy for much of his art production.
A native Angeleno, he attended Immaculate Heart College and lists influences as diverse as Pop Art, Corita Kent, David Hockney, Mexican retablos, and 20th-century painters ranging from Romaine Brooks to Frida Kahlo. His work conveys the energy, politics and creative synergy of Chicano and queer art circles in Los Angeles.
His works from the 1970s and 80s are considered pioneering examples of a queer sensibility and Latinx identity. He has been living with HIV sine 1980.
His work was featured in Axis Mundo: Queer Networks in Chicano L.A. which opened at MOCA LA in 2015 and toured to venues in NY, Denver, Las Vegas , Houston, Massachusetts and Ohio with its final iteration at moCa Cleveland in 2021.
Some selected exhibits he has been in include: Drama Queer, Queer Arts Festival, Vancouver, BC -2016. Forging Territories: Afro & Latinx Queer Contemporary Art, San Diego Art Institute -2019, LA Memo: Chicana/o Art from 1972 -1989, La Plaza de Cultura y Artes, Los Angeles -2022 . His work is in the collections of the MoMA, The Whitney, Leslie-Lohman Museum of Art, MOCA, The Hammer, SFMOMA and the George Lucas Museum of Narrative Art (opening 2025)
Robert Resting After Work -1988-89 acrylic on canvasRobert Resting After Work -1988-89 acrylic on canvasOrlando Waiting for Toast – 1999-2000 acrylic on canvas
Danny Sobor (b. 1992) is a self-taught oil painter born in Chicago. He received a B.F.A. in cognitive aesthetics from Brown University in 2015. Spending most of his adult-life in Detroit, his exposure to techno and vacancy shaped his belief in futurism. This is his first solo show in New York.
Previous exhibitions include 10 Warm Months, Playground Detroit, Detroit, Michigan; Ultra Light Beams, Mount Analogue Gallery, Seattle, Washington; The Printer’s Devil, The Scarab Club, Detroit, Michigan; Joined/Fading, Galerie F, Chicago, Illinois; The Korean Contemporary Printmakers Association Annual Exhibition, Seoul Museum of Art, Seoul, South Korea. Butterfly Effect, Tchotchke Galley, New York, New York.
In this presentation of eight new works at Tchotchke Galley, Sobor explores anxieties about technology and faith, in terms of what is true through media consumption and how painting can meaningfully engage with that in 2023. With an emphasis on thematic absurdity, paired with a sardonic approach to visual culture, Sobor works through his convictions and doubts with a devoted, labor-intensive methodology. In creating these works, Sobor became fanatically committed to the process and often crossed over into what he referred to as “a trance,” frequently kneeling for hours over countless days in their creation.
Informing Sobor’s theological imagery and approach, old archetypal symbols such as angels and doves are rendered as flat white stock vectors, signifiers made vacant. According to the artist, “I’m trying to express ideological culture wars by schizophrenically mashing signifiers until a piece feels like it articulates my confusion and frustration. The pieces aren’t non-committal as much as they are doubtful and searching.”
Icons by Danny Sobor will be on view from February 14th, 2023 through March 18th, 2023 at Tchotchke Gallery, located at 311 Graham Avenue. The opening reception for the exhibition will be held from 6-8pm on Tuesday, February 14th.
Danny Sobor swans II, 2022 Oil on canvas 42 x 26 inchesDanny Sobor, painting for world peace, 2022. Oil on canvas, 40 x 48 inchesDanny Sobor, peacekeeper, 2022, Oil on canvas, 62 x 40 inches
France-based artist and illustrator Li Xia, also known as 绿李 Lilou Oh Yeah ( b. 1991, Chongqing, China), works primarily in oil and watercolor. Her work explores ephemeral moments and commonplace objects in daily life, expressed through carefully composed planes of flat colors and nuanced strokes. Both representational and imaginary spaces come alive in Li’s work, with her sensitive attention to the ordinary and the fleeting.
Lilou lives and works in Rouen, France. Lilou attended the Université de Paris 1 Panthéon – Sorbonne (MFA, 2021), l’École Supérieure d’Art et Design Le Havre-Rouen (ESADHaR) (MFA, 2020) and Sichuan Fine Arts Institute (BFA, 2014). She has exhibited internationally at venues such as the LONG Museum, Minsheng Art Museum, Bananafish Gallery in Shanghai, China, Yi Gallery in New York, USA , Kate MacGarry Gallery, London, UK, Villa des Arts in Paris, France and Rola Bola in Rouen, France.
Lilou Li Xia, Eye Contact (Butterfly Kiss), 2022, Oil on canvas, 51 x 35 1/2 in 130 x 90 cm., Courtesy of Yi Gallery and the artist.Lilou Li Xia, Turn off the light, 2022, Oil on canvas, 43 1/2 x 31 1/2 in 110 x 80 cm., Courtesy of Yi Gallery and the artist.Installation view: Lilou Li Xia, Solo Exhibition at Yi Gallery, Brooklyn, NY 2022, Courtesy of Yi Gallery and the artist.Links:Artist pagehttps://gallery-yi.com/artists/122-li-xia-%28-lilou-oh-yeah%29/
Solo exhibition at Yi Galleryhttps://gallery-yi.com/exhibitions/25-lilou-eye-contact-solo-exhibition/
Artist instagramhttps://www.instagram.com/lilou_oh_yeah/?hl=en
Image captions:3. Lilou Li Xia, Turn off the light, 2022, Oil on canvas, 43 1/2 x 31 1/2 in 110 x 80 cm
In the show, Throughline at Bureau, several artists are exhibited and here only Claudia Peña Salinas is interviewed. The text below is an excerpt from the press release on the show.
Bureau is pleased to announce a group exhibition presenting the work of six artists in various media.
January 14 – February 25 2023. Artists Included: Nour Mobarak, Claudia Peña Salinas, Davina Semo, Jeffrey Stuker, Patricia Treib, Viola Yeşiltaç.
Claudia Peña Salinas mines stories of humanity’s ultimate dream: that of divine and mythological belief. Taking inspiration from pre-Columbian symbology and architecture, Salinas’s sculpture and painting here focus on the Mayan temple of Kukulcán (El Castillo) at Chichen Itza. For her sculptures she makes minimal frames out of thin brass dowels which she secures by wrapping with hand-dyed thread. At the base of this airy geometric structure sits statuettes of El Castillo’s related deities Chac Mool, the red Jaguar and Kukulcán, each painted with a blue pigment, sacred to the Maya. Her paintings also focus on the iconography and mathematical logic of the temple and its deities. El Castillo was designed to align with the celestial, and on the equinoxes two serpent figures of Kukulkán at the base of the pyramid appear to have their long tails running down the side of the pyramid. Grounded upon the earth and aligning with the heavens, the earthly viewer may experience and contemplate the throughlines of impermanent matter and the immaterial.
Claudia Peña Salinas El Castillo IV, 2020 Toner and wax on wood panel 20 × 16 in. (50.80 × 40.64 cm)Claudia Peña Salinas Chac Mool IV, 2020 Toner and wax on wood panel 20 × 16 in. (50.80 × 40.64 cm)Claudia Peña Salinas Ahua Can, 2023 Brass, dyed ceramic, wood and shell found objects and thread, postcard 72 × 50 × 25 in. (182.88 × 127.00 × 63.50 cm)
Samuel Nnorom (b.1990) is a Nigerian-born visual. He discovered his talent at the age of 9 years while assisting his father in his shoe workshop – where he started making life drawings of customers that visited the shop. He was also influenced by his mother’s tailoring workshop –as a kid who played with colourful fabrics with sewing needles and thread. He went further to develop this talent through apprenticeship, training, workshops, Exhibitions, art school and practice.
Samuel holds an MFA in sculpture from the University of Nigeria Nsukka and is a full-time practising studio artist with many awards, exhibitions and residencies which include 3rd and 1st prize for the National Gallery of Art 2010 and 2012 respectively, won prizes in 2016, 2017 and 2019 editions of the Life in My City Art Festival. He was the first prize recipient (leatherwork category) of the Icreate Africa 2019. Nnorom has received invitations to important workshops and group exhibitions, including the international art workshop by IICD at the United States Embassy, Abuja (2019), Rele Young Contemporary Bootcamp 2021, published in an international magazine the UK (zine, issue 11, artist responding to issues) and Haus-a-rest, issue 17 Material Damage 2021, Cassirer Welz Award, Bag factory and Strauss & co South Africa 2022, recipient of 2022 Royal Over-Sea League and Art House Residency London, recipient of Guest Art Space (GAS) fellowship and residency from Yinka Shonibare Foundation 2022, shortlisted for Prince Claus Funds CAREC and Mentorship 2022/2023, Noldor fellowship and Residency 2023, and several others. He belongs to the New Nsukka School of Art and he is currently exploring Okirika clothes and Ankara fabric using bubble techniques as sculptural media while interrogating human experiences that relate to consumption, environment, sociopolitical and economic issues through questioning.
Kates-Ferri Projects, Installation of Dark MatterSamuel Nnorom: Burnt Roses, 2022 Dye, acrylic, foam and fabric 63 × 47 × 10 1/2 inchesSamuel Nnorom: Yellow Quake (2022) Dye, acrylic, foam and fabric 63 x 36 x 8.5 inches
Julia Wachtel(b.1956, New York, NY) lives and work in New York and Connecticut. Wachtel’s oil, acrylic, and silkscreen-on-canvas paintings, which are drawn from popular culture, explore the impact of our image-saturated world. A figure of the Pictures Generation artists who emerged in early-1980’s New York, Wachtel’s early work mined posters of movie stars, pin-up girls, political figures, and pop music icons, as well as cartoon figures drawn from commercial greeting cards.
Her current work primarily explores the vast space of the internet, a place of constantly replenishing images on a disorienting scale. Wachtel appropriates, juxtaposes and ultimately distills these images into concentrated paintings, shifting the original logic and proposing an examination of the emotional, political and aesthetic conditions of an image dominant world.
Selected exhibitions include MoMa, New York; The Hirshhorn Museum and Sculpture Garden, Washington D.C. ; The Whitney Museum Of American Art ; Bergen Kunsthalle, Norway ; Walker Art Center, Minneapolis ; Le Consortium, France ; MAMCO, Geneva ; Migros Museum, Zurich ; Zabludowicz, London ; Cleveland Museum of Art ; ICA, London ; Kunthalle, Bern. Julia’s work can be found in institutions such as the MoMa, New York ; MOCA,Los Angeles ; The Whitney Museum of American Art ; FRAC Normandie ; Saatchi Collection, London ; Cleveland Museum of Art ; Brooklyn Museum ; Vanhaerents Art Collection, Brussels ; and the Zabludowicz Collection, London.
Julia Wachtel Within and Between, 1984 Oil on canvas 274.3 x 81.3 cm 108 x 32 in © Julia Wachtel. Courtesy Lisson GalleryJulia Wachtel Untitled (Life Blood), 1984 Oil on canvas 274.3 x 83.8 cm 108 x 33 in © Julia Wachtel. Courtesy Lisson GalleryJulia Wachtel Mutant Ninja Chernobyl, 1991 Oil, lacquer ink and Flashe on canvas 152.4 x 335.3 cm 60 x 132 in © Julia Wachtel. Courtesy Lisson Gallery
Ben Tong (b.1981 Toronto, Canada) is an artist based in Los Angeles, California.
His work has been exhibited at Night Gallery, Los Angeles; Commonwealth and Council, Los Angeles; K11 Art Foundation, Hong Kong; Art Basel Film program, Hong Kong; Europa NYC, New York; Island, New York. He was a fellow at the Villa Aurora Foundation, Berlin, and in residency at the Soma Summer Program, Mexico City.
Tong received a BSc in Computer Science from the University of Toronto, a BFA in Photo from CalArts, and an MFA in Art from CalArts.
Ben Tong, Evening’s Revelation, 2022, Oil on canvas, 60 x 60 inchesBen Tong, I Lost All My Money to You, 2022, Oil on canvas 66 x 56 inchesBen Tong, Dog Star, 2022 Oil on canvas 66 x 66 inches
Shala Miller, also known as Freddie June when she sings, was born and raised in Cleveland, Ohio by two southerners named Al and Ruby. At around the age of 10 or 11, Miller discovered quietude, the kind you’re sort of pushed into, and then was fooled into thinking that this is where she should stay put. Since then, Miller has been trying to find her way out, and find her way into an understanding of herself and her history, using photography, video, writing and singing as an aid in this process.
Miller’s work in photography and film meditates on the intersection of desire, mourning, pain, and pleasure. Taking up skin as a site of history and intimacy with the self and across generations, she holds space for the body’s vulnerabilities and maladies. Miller lives and works in Brooklyn.
The exhibit discussed in the interview is at Lyles & King.
Shala Miller Becoming Obsidian, 2023 Archival pigment print on William Turner paper 20 x 16 inches, 50.8 x 40.6 cm Edition of 2 + 1 AP Courtesy the artist and Lyles & King, New York.Shala Miller Modern Day Sisyphus I, 2023 Archival pigment print on William Turner paper, hand engraving on lava stone 48 x 28 inches, 121.9 x 71.1 cm Edition of 2 + 1 AP Courtesy the artist and Lyles & King, New York.Shala Miller Obsidian as Kneeling Inaction Figure, 2023 Polymer powder printed with ink and filled with resin, hand-painted 5 1/4 x 3 x 2 1/2 inches, 13.3 x 7.6 x 6.3 cm Courtesy the artist and Lyles & King, New York.
Gyan Shrosbree received her B.F.A. from the Kansas City Art Institute, and her
M.F.A. from Cranbrook Academy of Art.
She has had recent solo and two-person
exhibitions at Ortega y Gasset Projects, Brooklyn, NY; JEFF, Marfa, TX; Wrong
Gallery, Marfa, TX; Ola Studio, Pound Ridge, NY: nx.ix Gallery, Detroit, MI; Haus
Collective, San Antonio, TX; Grapefruits, Portland, OR; Grand View University,
Des Moines, IA; Yellow Door Gallery, Des Moines, IA; Ripon College, Ripon, WI;
Lovey Town Space, Madison, WI; and The Iowa Arts Council and State Historical
Museum, Des Moines, IA.
Her work has been included in recent group exhibitions
Drake University, Des Moines, IA; Western Exhibitions, Chicago, IL; Cleve Carney
Art Gallery, Glen Ellyn, IL; Ground Floor Gallery, Nashville, TN; The Woskob
Family Gallery, State College, PA; NYSRP, Brooklyn, NY; and Artstart,
Rhinelander, WI. Gyan has been an artist-in-residence at MacDowell, Yaddo, The
Vermont Studio Center, Two Coats of Paint, and The Maple Terrace. Recent
publications featuring her work include Hyperallergic, New American Painting,
Egomania Magazine,The Coastal Post, Inertia Studio Visits, Precog Magazine, and
Maake Magazine. Gyan is currently an Associate Professor in the Department
of Fine Arts at Maharishi International University. She lives and works in
Fairfield, Iowa.
Instagram for Gyan Shrosbree and Ortega y Gasset Projects.
Gyan Shrosbree/Kathleen Shrosbree wearable art on OyG crew acrylic on cotton duck.Gyan Shrosbree, The Dress/What Touches the Floor #5, , acrylic on canvas tarp and stretched canvas, 100” x 60” each, 2022.Gyan Shrosbree Installation, Ortega y Gasset Projects.
Steve Keister (b.1949, lives and works in New York, NY) earned a BFA and an MFA from Tyler School of Art, Philadelphia. He is the recipient of a Guggenheim Foundation Fellowship and a Gottlieb Foundation Grant, among other awards. He has had solo exhibitions at Freddy, Harris, NY; Underdonk, Brooklyn, NY; Museum of Contemporary Art, Chicago; Texas Gallery, Houston; Blum Helman, New York; Galerie Rudolf Zwirner, Cologne; Feature, Inc, New York; and Mitchell Algus, New York. Steve’s solo exhibition BIO MESO is currently on view at Derek Eller Gallery through February 4, 2023.
Steve Keister Installation, Derek Eller GallerySteve Keister Siamese Cat, 2022 glazed ceramic, acrylic on wood 11 x 14.25 x 3.5 in.Steve Keister Flying Bat 2, 2023 glazed ceramic, acrylic on wood 10 x 23.5 x 10 in.
Dan Perkins lives and works in Brooklyn, NY. He received his MFA from American University. His paintings channel architectural motifs that connote space: crossing through a threshold, gazing through a window, passing from one plane to another. However the spaces depicted sit in an ethereal haze, where color and form are primary. Scale, time and space are all negotiable, up to the viewer to frame and understand.
He has shown at Deanna Evans Projects, Sperone Westwater, Hashimoto Contemporary, Launch F18, Mana Contemporary, and elsewhere. His work is held in the collections of Capital One, Fidelity Investments, the DC Commission on the Arts and Humanities, the Katzen Museum of American University, as well as in many private collections. His work has been featured in Juxtapoz Magazine, Booooooom, Wired Italia, Art of Choice, Archive 00, Two Coats of Paint, Artsy, ArtMaze Mag, and the Washington Post.
Lunar Archway, 2022, oil on panel, 50” x 40”Pearl, 2022, oil on panel, 36” x 30”Red Star, 2022, oil on panel, 36” x 30”
Katie Bell is an artist originally from Rockford, Illinois (b.1985). She received her BA from Knox College and her MFA in Painting from the Rhode Island School of Design. Bell makes sculptural paintings based off architecture and found objects, fabricating forms that confuse naming. Using construction materials as her palette and woodworking tools as a form of mark making, she builds paintings and sculptures. Bell has shown her work at a variety of venues, including the Brooklyn Academy of Music, Hallwalls Contemporary Arts Center, Smack Mellon, Locust Projects, and the deCordova Sculpture Park and Museum. She was an artist in residence at the Marie Walsh Sharpe Art Foundation’s Space Program and awarded a fellowship in painting by the New York Foundation for the Arts. Bell lives and works in New York, NY.
Katie Bell, Day Shift, Wood, acrylic, plexiglass, paper, sand, rope, and nail, 34 x 26 x 4 inches, 2022.Katie Bell, Middy, Acrylic, wood, aluminum, and plexiglass, 31 x 22 x 4.5 inches, 2020.Katie Bell, Middy, Acrylic, wood, aluminum, and plexiglass, 31 x 22 x 4.5 inches, 2020.
Self Portrait, Nicholas BuffonNicholas Buffon (b. 1987) is a painter and sculptor who lives and works in New York. Buffon’s research-based practice centers on community, history, memorial, and remembrance. Employing both 2D and 3D techniques, Buffon memorializes queer locations and the minutiae of an ever changing urban landscape, focusing on details of place and the impact it has on a community as a whole.
Recent solo exhibitions include Marinaro (2022), a survey exhibition at Poets House, NYC (2019), Callicoon Fine Arts (2019 & 2016), and Freddy, Baltimore, MD (2014). In 2018, he participated in FRONT International: Cleveland Triennial for Contemporary Art, Akron Museum of Art; and Spatial Flux: Contemporary Drawings from the JoAnn Gonzalez Hickey Collection, Gregory Allicar Museum of Art. His work has been included in exhibitions at the Jewish Museum, New York; the Museum of Contemporary Art Detroit (MOCAD), Michigan; the Weatherspoon Art Museum, Greensboro, North Carolina; QT Gallery; The Hole, Foxy Production, and Shoot the Lobster. His work can be found in public collections including the Rubell Family Collection, Miami; the Kadist Foundation, San Francisco; and the Akron Art Museum, Ohio. He attended the School of the Museum of Fine Arts in Boston, MA (BFA, 2009), and the Milton Avery Graduate School of the Arts, Bard College, in Annandale-on-Hudson, NY (MFA, 2012).
Nicholas Buffon, Caution Men Working, 2022 Acrylic on panel 17.5 x 14 inches 44.5 x 35.6 cm. Image © Nicholas Buffon, courtesy the artist and Marinaro, New YorkNicholas Buffon, Han’s Deli (the Remains of Pfaff’s), 2019 Acrylic paint, gouache, carbon transfer and primer on maple panel 16.25 x 10.75 x .75 inches 41.3 x 27.3 x 1.9 cm. Image © Nicholas Buffon, courtesy the artist and Marinaro, New York.Nicholas Buffon, B&H Dairy, 2018 Foam core, Bristol paper, acrylic paint, Sobo glue, superglue, sculpey and pins 22 x 20 x 10 inches 55.9 x 50.8 x 25.4 cm, Image © Nicholas Buffon, courtesy the artist and Marinaro, New York.
Samira Abbassy was born in Ahwaz, Iran in 1965 and moved to Lon-don, UK as a child. After graduating from Canterbury College of Art, she began showing in London.
She moved to New York in 1998, where she helped to set up the Eliza-beth Foundation for the Arts, and the EFA Studio Center.
Her work has been included in shows at the Metropolitan and the British Museum, and is in private and public collections worldwide, including: the Metropolitan Museum, British Museum, the British Government Art Collection, the Grey Art Gallery at NYU, the Burger Collection, the Donald Rubin collection (Rubin Museum, NY), the Farjaam Collection, Dubai, the Los Angeles County Museum and the Afkhami Collection. Her work is currently on view at CANDICE MADEY Gallery.
During Abbassy’s thirty year career, her work has been the subject of twenty gallery solo shows in London, Dubai and New York.
Her fellowships include: Yaddo fellowship in 2006 and 2022, and Sal-tonstall in 2017.
She has been awarded two NYFA awards in 2007 and 2018, a Joan Mitchell award in 2010 and a Pollock-Krasner in 2014. Abbassy was also nominated for the Anonymous Was a Woman award in 2018.
In 2019 her work was included in the 26th Venice Biennial presented by Heist gallery London.
Abbassy has also worked as an educator in many educational institutions in the UK and the USA, some of which are: Hunter college, Penn State and the University of Virginia, where she was the artists in Residence in April 2012.Samira Abbassy Anastasis, 2021 Oil on birch panel 44 x 33 1/2 inches 111.8 x 85.1 cm, photo by Jeanette May.Samira Abbassy Reincarnated Fears, 2016 Oil on birch panel 48 x 36 inches 121.9 x 91.4 cm, photo by Jeanette May.Samira Abbassy Love & Ammunition II , 2014 Oil on birch panel 48 x 36 inches 121.9 x 91.4 cm, photo by Jeanette May.
Katherine Sherwood’s work is an embodiment of her ideals as a feminist and reflect her personal experience with disability. In 1997, at the age of 44, she had a cerebral hemorrhage which paralyzed the right side of her body. Teaching herself how to paint again using her non-dominant hand was part of her healing process. Her recent Brain Flowers series of mixed media paintings on the reverse of antique art historical prints include collages of cerebral angiograms of her own brain. As part of her mission to bring attention to underrecognized women painters, Sherwood repaints vanitas paintings by 17th century Dutch and Baroque women artists, in which still lives with fading flowers suggest the brevity of life and the vanity of earthly achievements. Sherwood was born in New Orleans, Louisiana in 1952. She received a BA from the University of California, Davis, in 1975, and an MFA from the San Francisco Art Institute in 1979.
She is Professor Emerita of Painting at the UC Berkeley Department of Art Practice, where she taught painting and drawing, developed two groundbreaking courses; Art, Medicine and Disability and Art and Meditation, and played an active role in the expansion of the Disability Studies program. She serveson the board of Creative Growth Art Center in Oakland, which serves artists with developmental disabilities by providing a supportive studio environment and gallery representation.
Sherwood’s work has been exhibited in the 2000 Whitney Museum Biennial, at Yerba Buena Center for the Arts in 2003 and 2009, and at the Smithsonian in 2010. Recent solo exhibitions include Anglim/Trimble in San Francisco, George Adams Gallery in New York, and Walter Maciel Gallery in Los Angeles. She had a retrospective exhibition at Worth Ryder Art Gallery at UC Berkeley in 2016. The relevance of her work to medicine and brain science has led to her participation in “Visionary Anatomies” at the National Academy of Science in Washington DC, “Inside Out Loud: Visualizing Women’s Health in Contemporary Art” at the Kemper Museum in St. Louis, “Human Being” at the Chicago Cultural Center,and a solo exhibition “Golgi’s Door” at the National Academy of Sciences in 2007. She co-curated the exhibition “Blind at the Museum” at the Berkeley Art Museum. Sherwood was the recipient of a 1989 National Endowment for the Arts Grant, 1999 Pollock Krasner Foundation Grant, 2005 Guggenheim Fellowship, 2006 Joan Mitchell Foundation Grant, and 2012 Newhouse Foundation Grant. Her work is in many major public collections including the Ford Foundation, New York; the San Francisco Museum of Modern Art, California; the National Academy of Sciences, Washington DC; and the University of Missouri, Columbia, among others. She published a chapter, “Out of the Blue: Art, Disability and Yelling,” in the book Contemporary Art and Disability Studies (Routledge Press, 2019). She is represented by George Adams Gallery in New York, Walter Maciel Gallery in Los Angeles, and Anglim/Trimble Gallery in San Francisco. She lives and works in the San Francisco Bay Area.
Katherine Sherwood Pandemic Madonna (Lucas Cranach the Elder), 2022 Mixed media on found print 29 x 21 inches, © Katherine Sherwood, courtesy George Adams Gallery, New York. Photo: Dana Davis.Katherine Sherwood Venus After De Obidos, 2019-2022 Mixed media on found cotton duck 77 x 91 inches, © Katherine Sherwood, courtesy George Adams Gallery, New York. Photo: Dana Davis.Bread and Brains (After Josefa de Obidos), 2022 Mixed media on found cotton duck 25 1/2 x 60 inches, © Katherine Sherwood, courtesy George Adams Gallery, New York. Photo: Dana Davis.
Joel-Peter Witkin at the time the photographs were made that are discussed in this interview.Joel-Peter Witkin was born in Brooklyn, New York in 1939. In 1959, Edward Steichen, head of the department of photography at The Museum of Modern Art (MoMA), selected one of Witkin’s photographs for its permanent collection when Witkin is 16 years old.
Enlists in the U.S. Army as a photographer from 1961-1964. In 1974 he receives a B.F.A. in
sculpture from The Cooper Union, the same year awarded a fellowship in writing from
Columbia University. In 1976 he receives a M.A. in Photography from the University of New
Mexico, and then 1986 he receives a M.F.A. from the University of New Mexico. He has won
numerous awards including four National Endowments in photography and the I.C.P. Infinity Award. His photographs have been exhibited internationally and are included in many museum collections including the Metropolitan Museum of Art (USA), Centro de Arte Reina Sofia (Spain), The Museum of Modern Art (MoMA) (USA), Centre Georges Pompidou (France), The Guggenheim Museum (USA), The J. Paul Getty Museum (USA), The Whitney Museum (USA), and Victoria and Albert Museum (V&A) (England).
Other achievements include Decorated Chevalier de l’Ordre des Arts et des Lettres in 1990 and Commandeur des Arts et des Lettres of France in 2000. Over thirty books have been published on his work. Joel-Peter Witkin lives and works in Albuquerque, New Mexico with his wife Cynthia.
Joel-Peter Witkin is a photographer whose images of the human condition are undeniably
powerful. For more than forty years, he has pursued his interest in spirituality and how it
impacts the physical world in which we exist. Finding beauty within the grotesque, Witkin
pursues this complex issue through people most often cast aside by society-human spectacles including hermaphrodites, dwarfs, amputees, androgynies, carcasses, people with odd physical anomalies, fetishists, and “any living myth… anyone bearing the wounds of Christ”. His fascination with other people’s physicality has inspired works that confront our sense of normalcy and decency while constantly examining the teachings handed down through Christianity.
His constant reference to paintings from art history including the works of Picasso, Balthus,
Goya, Velasquez and Miro are testaments to his need to create a new history for himself. By using imagery and symbols from the past, Witkin celebrates our history while constantly
redefining its present-day context. Visiting medical schools, morgues and insane asylums
around the world, Witkin seeks out his collaborators who, in the end, represent the numerous personas of the artist himself.
The resulting photographs are haunting, beautiful and grotesque yet bold in their defiance
hideous beauty that is as compelling as it is taboo. Witkin begins each image by sketching his ideas on paper, perfecting every detail by arranging the scene before he gets into the studio to stage his elaborate tableaus. Once photographed, Witkin spends hours in the darkroom, scratching and piercing his negatives, transforming them into images that look made, rather than taken. Through printing, Witkin reinterprets his original idea in a final act of adoration.
Joel-Peter Witkin lets us look into his created world which is both frightening and fascinating as he seeks to dismantle our preconceived notions about sexuality and physical beauty. Through his imagery we gain a greater understanding about human difference and tolerance. “My work is based on the nature of man and his relation to the divine. In the work, I attempt to establish a creative and intellectual standard for still photography in a society in moral free fall.” – Joel-Peter Witkin
Note: All the images discussed in order in the interview can be seen here.
Joel-Peter Witkin (b. 1939) Contemporary Images of Christ: Roof: Rest After The Passion (Batman and Christ) Version 2, (Batman with Christ Returns Newspaper), 1973 Signed, titled, dated, and annotated ‘4PW’ and ‘1/6’ in pencil on verso Gelatin silver print, printed c. 1973Joel-Peter Witkin (b. 1939) Mini-Mot-Prea-Tat, NM, 1979 Signed, titled, dated, and annotated ‘4PW’ and ‘1/1 Unique Print’ in pencil on mount verso Gelatin silver print mounted on board, printed c. 1979Joel-Peter Witkin (b. 1939) Clock-Faced Man, 1972 Signed, titled, dated, annotated ‘4/15’ in pencil on verso Gelatin silver print, printed c. 1972 15 5/8 x 10 1/2 in (39.7 x 26.7 cm) Sheet: 19 7/8 x 16 in Edition of 15 + 3 AP (4/15)
Amna Asghar (b. 1984, Detroit, MI) appropriates, layers, and remixes imagery from personal archives, popular culture, and art history, allowing the interactions to conjure hybrids and reflect the complexities of the location of identity. Asghar lives and works in Detroit.
Her first institutional solo show, Well Wishes, curated by Jova Lynne, opened at the Museum of Contemporary Art Detroit in 2021. In addition to two previous shows at Klaus von Nichtssagend, Asghar has had solo as well as group shows with Belle Isle Viewing Room, Detroit. Her work was a part of a series of group exhibitions curated by Sally Howell, Osman Khan, and Razi Jafri titled Halal Metropolis across metro Detroit and two exhibitions curated by Larry Ossei-Mensah, Parallels and Peripheries: Migration and Mobility, and On The Road II at VisArts, Rockville, MD and at Oolite Arts in Miami, FL respectively. Asghar received her BFA at Michigan State University and her MFA at the Rhode Island School of Design.
Amna Asghar Find A Home, 2022 acrylic on canvas 84 × 120 inches (213.36 × 304.80 cm)Amna Asghar, A Meadow in the Clouds, 2022 acrylic on canvas 72 × 72 inches (182.88 × 182.88 cm)Amna Asghar Well Wishes V, 2022 acrylic on canvas 60 × 48 inches (152.40 × 121.92 cm)
Benoît Platéus portrait in studioBenoît Platéus (born 1972 in Liège, Belgium) investigates the spaces and relationships between mediums, exploring abstraction in form and content.
Working across diverse media and techniques, he fully embraces the creative possibilities of both analogue and digital technologies in order to wrestle with the question of the original. Found images or objects often serve as a starting point for his work, and the transformation of these images and their meanings become his focus — aging, sunbleaching, saturating, enlarging, painting over, somehow modifying. Yet in spite of these efforts, traces of the original always remain in the new reproduced image, and Platéus highlights the poetic qualities of these accidents and imperfections.
Platéus’s work has been exhibited at Palais de Tokyo, Paris; Mu.ZEE, Ostend; Karma, New York; Almine Rech, London; Meessen De Clercq, Brussels; CentreWallonieBruxelles (CWB), Paris; Art Sonje Center, Seoul; Galerie Albert Baronian, Brussels; Annarumma Gallery, Naples; and Galerie Jeanroch Dard, Paris, among others. He is included in several museum collections around the world, including the Fond National d’Art Contemporain, France and the Musée d’Ixelles, Belgium. In 2019, he was the subject of a mid-career retrospective One Inch Off at the WIELS Contemporary Art Centre in Brussels, which was accompanied by a fully illustrated catalog and later traveled to Bonner Kunstverein in Germany. In 2023, Platéus had his second solo exhibition, Other Percolators (https://www.signsandsymbols.art/exhibitions/other-percolators), at signs and symbols in New York.
Benoît Platéus, Electric Flowers, 2022, Oil on linen canvas, 23.625 x 20.87 inches (60 x 53 cm). © Benoît Platéus. Courtesy of the artist and signs and symbols, New York.Benoît Platéus, Hieroglyph Machine, 2022, Oil on cotton canvas, 51.25 x 61 inches (130 x 155 cm). © Benoît Platéus. Courtesy of the artist and signs and symbols, New York.Benoît Platéus, Oysters and Tools, 2022, Oil on cotton canvas, 61 x 51.25 inches (155 x 130 cm). © Benoît Platéus. Courtesy of the artist and signs and symbols, New York.
Amy Hill grew up in Elizabeth, New Jersey. She studied commercial art at Carnegie Mellon University. After graduating, she moved to New York City and worked as an illustrator for such publications as Rolling Stone, The New York Times and Penguin Books. The first solo exhibition of her paintings took place in the East Village in 1989.
Abridged text below by Reilly Davidson.
Amy Hill works in conjunction with historical frameworks, invoking Botticellian strangeness alongside the naïveté of Henri Rousseau. She also infuses her portraits with a hint of “Boterismo,” as inflated features and distorted realism recur throughout these compositions. Hill time travels with ease, intent upon picking up themes and conceits from each era of interest. Her collection of antiques are adapted to serve contemporary demands in an effort to clean out older generations and make room for new ones.
The artistic conceits of the Renaissance have been a constant touchstone for Hill, as she pursues this particular beauty via her own reinterpretations of form and content. What do the symbols of this bygone genre represent today? How can these images be improved upon? Hill’s secular figures worship consumer goods rather than the religious icons that were prominent during Europe’s “rebirth.” The desire to possess motivates Hill’s ongoing fascination with the conceits of Renaissance masterpieces. Beauty is also a compelling force by way of inspiration and pursuit.
These paintings are a continuation of what Hill has been pursuing since 2015, when she transitioned to a new mode of image making. She has always been interested in updating historical precedents in an effort to sustain a dialogue with painters past, however, she updated this endeavor by introducing new source material into the mix. By observing artists from the early American folk art tradition, she absorbed their consistent portrayal of families and the presupposed innocence of childhood. In accordance with her findings, she came to focus on the promise of youth, the imagined futures that children could occupy.
Amy Hill Family Breakfast, 2022 Oil on canvas 26 x 27 in 68.6 x 71.1 cm, courtesy of the artist and Fortnight Institute.Amy Hill Young Woman with Strange Object, 2022 Oil on canvas 25 x 26 in 63.5 x 66 cm, courtesy of the artist and Fortnight Institute.Amy Hill Tea, 2022 Oil on canvas 25 x 26 in 63.5 x 66 cm,courtesy of the artist and Fortnight Institute.
Julie Curtiss was born in Paris, France, and lives and works in Brooklyn, NY. She holds an MFA and a BA from École Nationale Supérieure des Beaux-Arts, Paris, France.
Her work is included in the permanent collections of the High Museum, Atlanta, GA; MCA Chicago, Chicago, IL; Columbus Museum of Art, Columbus, OH; Bronx Museum of Art, NY; Los Angeles County Museum of Art, CA; Walker Art Centre, Minneapolis, MN; Maki Collection, Tokyo; Centre Pompidou, Paris, France; Dallas Museum of Art, Dallas, TX; Museum of Contemporary Art San Diego, CA; and Yuz Museum Shanghai, China. Julie is represented by Anton Kern Gallery and White Cube.
Julie Curtiss Waiting room, 2022 Oil and vinyl paint on canvas 60 × 48 inches (152 4 x 121.9 cmJulie Curtiss Ice cream truck, 2022 Acrylic and oil on canvas 40 × 32 inches (101.6 × 81.3 cm)Mauvais Sang, 2020, Oil, acrylic, and vinyl on canvas 30 × 25 in (76.2 × 63.5 cm)
Sakari Kannosto (Finnish, b. 1973) is a multimedia artist working in Helsinki, Espoo and Vantaa Finland, with a primary focus on ceramic sculptures and large-scale installations. His fantastical and figurative creatures are inspired by fables, Greek mythology, and Finnish folklore. As he sculpts part human, part mermaid, part animal beings, he references the Finnish myth that animals can shape shift, traveling between worlds as protectors. Imbued with whimsy and humor, Kannosto’s work is also underscored by a deep environmental consciousness. By reimagining a future where humans unite with nature to create adaptive, survivalist families, Kannosto addresses the potentially disastrous environmental consequences brought on by the industrialized world.
For Kannosto, clay is crucial to the actualization of his work. As an ancient medium, it has long been a conduit for coded information. He continues in this vein, luring magic out of the clay as he creates a cast of creatures for modern fairytales. There is something deeply hopeful here. Kannosto graduated from the Academy of Fine Arts of Helsinki in 2005. In 2014 he was granted an honorary award for environmental education due to his work as a lecturer and educator. After completing an artist in residence at the Arabia Art Department in Helsinki, he became a permanent member of the department in January of 2020 and is now the chairman of the board. He is a Lecturer of Fine Arts at Omnia in Espoo, and has exhibited widely. Notably, his work can be found in the collections of the National Museum of Finland and the Art Museum of Tampere.
SAKARI KANNOSTO (Finnish, b.1973) Oracle, 2022 Glazed stoneware 59″ H x 23.625″ W x 23.625″ DSAKARI KANNOSTO (Finnish, b.1973) Justitia (Mother Justice), 2022 Glazed stoneware 33.5″ H x 33.5″ W x 15.75″ DSAKARI KANNOSTO (Finnish, b.1973) The Inflexible, Siren V, 2022 Glazed stoneware 47.25″ H x 12.625″ W x 9″ D
Elaine Cameron-Weir, photo by Isabel Asha Penzlien Elaine Cameron-Weir (b. 1985, Red Deer, Alberta, Canada). Elaine Cameron-Weir’s contemplative objects made from carefully sourced materials allow us to consider the ways in which artifice and spectacle have been used to perpetuate systems of belief. Her major installation from the most recent Venice Biennale in 2022 invoked sites of provisional operations and religious reflection by transforming the gallery with modular steel subflooring, neon and electric flicker lights, and repurposed objects previously used for military and industrial purposes.
In addition to the Venice Biennale, Cameron-Weir recently opened a solo exhibition at Hannah Hoffman in Los Angeles, CA. Other solo shows from the past two years include the SCAD Museum of Art (2022) and the Henry Art Gallery University of Washington (2021). Recently her work was on view at the University of California, Berkeley Art Museum as part of an important exhibition titled “New Time: Art and Feminisms in the 21st Century.” Other select solo exhibitions include “exhibit from a dripping personal collection,” Dortmunder Kunstverein (2018); “Outlooks: Elaine Cameron-Weir,” Storm King Art Center, New York (2018) where the artist installed a steel mesh sphere for motorcycle stunts known as “globe of death” on the top of a hill; and “viscera has questions about itself,” New Museum, New York (2017). She has shown both in the U.S. and abroad, in group exhibitions at the Philadelphia Museum of Art; Remai Modern, Saskatoon; GAMeC, Bergamo; FUTURA, Prague; among many others.
installation view, The Milk of Dreams, curated by Cecilia Alemani, 59th International Art Exhibition of La Biennale di Venezia, Venice, IT, April 23 – November 27, 2022 Photography by Andrea RosettiElaine Cameron-Weir Low Relief Icon (Figure 1), 2021 (detail) US military body transfer cases, aluminum, flicker bulbs, electrical wiring, conveyor belt, pewter, chain, pulleys, aircraft cable, hardware overall dimensions: 281 × 202 × 28 1/2 in (713.7 × 513.1 × 72.4 cm); case with candles: 26.5 × 89 × 28.5 in (67.3 × 226.1 × 72.4 cm)Elaine Cameron-Weir Right Hand Left Hand, Grinds a Fantasizer’s Dust, 2021 (detail) concrete textile, funerary backdrop stand, neon tubing, transformers, spot lights, silk gauze 85.5 x 112 x 24 in 217.17 x 284.48 x 60.96 cm
Aaron Wilder is an interdisciplinary artist who blurs boundaries between the analog and the digital, the public and the private, and the unassuming and the instigative. He uses his own experiences and sense of identity as a lens through which he explores the introspective and social processes of contemporary culture.
Originally from Phoenix, Arizona, Wilder has also lived in Chicago, Los Angeles, San Francisco, Washington, DC, and France and currently resides in Roswell, New Mexico. With the history of being a self-taught artist since 2002, Wilder received his MFA from the San Francisco Art Institute in 2017. He has exhibited his work extensively across the United States as well as in Italy. “Omission Rituals” is Wilder’s first solo exhibition at Amos Eno Gallery after joining as an artist member in 2020.
Wilder’s curatorial practice organically grew out of his artistic practice starting in 2009 and he is currently Curator of Collections & Exhibitions at the Roswell Museum. His curatorial philosophy is centered on the belief that art can change the world. Wilder has a deep interest in emphasizing the possibilities of artistic practice to engage with others about not only art, but also about the world and how we perceive it individually and socially.
Aaron Wilder, “Neither Sand nor Rock,” 2022, Digital Photography Collage, Courtesy of the ArtistAaron Wilder, “Delivered Under the Similitude of a Dream: Isn’t it weird how life’s unexpected twists and turns take us to unexpected places? Some good and some not so good.” 2017, Digital Mixed Media, Courtesy of the ArtistAaron Wilder, “Expletive Block: Non-Normative,” 2018, Plywood, Painted and Laser Cut MDF Sculpture, Courtesy of the Artist
Arin Dwihartanto SunaryoArin Dwihartanto Sunaryo (b. 1978, Bandung, Indonesia) is an artist based in Bandung, Indonesia who received his Bachelor’s Degree in Painting from Bandung Institute of Technology (2001) and a Master’s in Fine Art from Central Saint Martins (2005). Sunaryo is interested in the utilization of resin as a medium that captures minerals, pigments, and other particles in various states of flux within a sense of stasis. Working initially with more industrial pigments, he has more recently worked with volcanic ash, perishable food ingredients, as well as crude palm oil and converted them into his own distinctive pigments.
Sunaryo’s work has been featured in numerous exhibitions in Southeast Asia, Europe, the UK, and USA, including No Country: Contemporary Art for South and Southeast Asia (2014) at the Solomon R. Guggenheim Museum, New York, USA. Selected solo exhibitions include Arin Dwihartanto Sunaryo: New Paintings (2021) at Art Basel OVR: Portals presentation by ROH Projects; ARGO (2019) at Simon Lee Gallery, London, UK; after taste (2017) at Sullivan+Strumpf, Sydney, Australia; Silent Salvo (2015) at ARNDT Gallery, Berlin, Germany; and group shows include External Entrails (2022) at Silverlens New York, New York, USA; IRL (2020) at Art Basel OVR: 2020; Ripples: Continuity in Indonesian Contemporary Art (2019) at Taipei Dangdai, Taiwan; These Painter’s Painters (2018) at ROH Projects, Jakarta, Indonesia; iris (2018) at Silverlens Galleries, Manila, Philippines; ω (2017) at Edouard Malingue Gallery, Hong Kong; Biennale Jogja XIV: Age of Hope (2017) in Yogyakarta, Indonesia; Constituent Concreteness (2017) at Mizuma Gallery, Singapore; Lines of Flight (2017) at Gallery Exit, Hong Kong; Lompat Pagar/Crossing Borders (2015) at National Gallery of Indonesia, Jakarta, Indonesia; Marcel Duchamp in Southeast Asia (2012), Equator Art Project, Gillman Barracks, Singapore; and Manifesto (2008), National Gallery of Indonesia, Jakarta, Indonesia. Sunaryo was nominated as a Finalist for Best Emerging Artist using Painting by the Prudential Eye Awards in 2015; and a Finalist in the Sovereign Asia Art Prize in 2010.
Arin Dwihartanto Sunaryo. Liniresin (Bongkah #1), 2009-2022. Pigmented resin. Variable dimension. Installation shot at Silverlens New York. Courtesy of The Artist, ROH and Silverlens.Arin Dwihartanto Sunaryo, Liniresin (Sawit #3), 2022. Palm oil charcoal, fiber and pigmented resin mounted on wooden panel. 200 x 200 x 5,5 cm. Courtesy of The Artist and ROH.External Entrails, 2022-2023. Installation shot at Silverlens New York. Courtesy of The Artist, ROH and Silverlens.
Photo by Kate Orne/Upstate DiaryMelissa McGill, (born in Rhode Island, 1969) is a New York based interdisciplinary artist known for ambitious, collaborative, site specific public art projects. They take the form of site-specific, immersive experiences that explore nuanced conversations between land, water, sustainable traditions, and the interconnectedness of all living things. At the heart of her work is a focus on community, meaningful shared experiences and lasting impact. Spanning a variety of media including performance, photography, painting, drawing, sculpture, sound, light, video and immersive installation, McGill has presented both independent public art projects and solo exhibitions nationally and internationally since 1991. She lives in Lenapehoking (Beacon, New York).
Her recent endeavor, Red Regatta (2019), was an independent public art project that activated Venice’s lagoon and canals with four unprecedented large-scale regattas of traditional vela al terzo sailboats hoisted with hand-painted red sails, presented in collaboration with Associazione Vela al Terzo Venezia, co-organized by Magazzino Italian Art.
In the Waves (2021) was a series of collaborative performances presented by Art&Newport that moved over the landscape in Newport Rhode Island evoking the urgency of rising sea levels and a rapidly changing climate with an ensemble of local community members. The artist invited members of the local community to join the ensemble of this inclusive movement-based public artwork to create a shared meaningful experience about these environmental themes. Her land art project, Constellation (2015-2017), installed on an island in the Hudson River, lit each night creating a new constellation transforming The Bannerman Castle ruin. She has been exhibiting her artwork nationally and internationally since 1991, and additional recent projects include Canaletto and Melissa McGill:Performance and Panorama, 2022, The Lightbox, United Kingdom;Palmas, 2014, Manitoga, Garrison, New York ; The Campi, 2018, Venice, Italy, as well as solo exhibitions at The Permanent Mission of Italy at the United Nations, New York organized by Magazzino Italian Art; Mazzoleni London-Torino; TOTAH, New York; White Cube, London; Power House, Memphis; Palazzo Capello, Venice; and CRG Gallery, New York. She is a graduate of The Rhode Island School of Design, a member of the Lenape Center Advisory Council, and a National Endowment of the Arts ArtWorks Grant recipient. In 2022 she was awarded the Helena Rowe Metcalf Visionary Award by the Rhode Island School of Design Alumni Association.
Melissa McGill Sea Saga, 2022 organic indigo on clay coated wood panels (diptych) 36 × 30 × 1 ½ inches (91.5 × 76 × 4 cm) 36 × 30 × 1 ½ inches (91.5 × 76 × 4 cm)Oceanus, 2021 Organic indigo on clay coated wood panel 36 x 30 x 1.5 inchesCelestial River, 2022 Organic idigo on yupo paper, 9″ x 12″
Jessica Westhafer (b. 1990, Denver, CO) lives and works in Brooklyn, New York. She received her BFA from the University of Arkansas in 2014 and her MFA in Painting from Indiana University in 2020. Using a deceptively playful form of figuration, Westhafer explores psychosocial experiences. Westhafer’s imagery taps into memory and sentiment in order “to invent, reimagine, immortalize and even create” idealized or fictitious narratives. These “surrogate scenes of time and place” arouse feelings of vulnerability through which she invites viewers to revisit their own histories. While very specific in its choice of subject matter and detail, her art captures ineffable aspects of early formative experiences that are universal.
JESSICA WESTHAFER Partial Installation. SOMEWHERE THAT’S GREEN NOVEMBER 9, 2022 – JANUARY 7, 2022.Jessica Westhafer Always & Forever, 2022 Oil and watercolor on canvas 44 x 108 inches (111.8 x 274.3 cm) © Jessica Westhafer; Photo by Shark Senesac; Courtesy the artist and Vito Schnabel GalleryJessica Westhafer Bubble Wand, 2022 Oil, watercolor, and glass on canvas 80 x 90 inches (203.2 x 228.6 cm) © Jessica Westhafer; Photo by Shark Senesac; Courtesy the artist and Vito Schnabel GalleryJessica Westhafer 7th Period Science Class, 2022 Oil on canvas 84 x 72 inches (213.4 x 182.9 cm) © Jessica Westhafer; Photo by Shark Senesac; Courtesy the artist and Vito Schnabel Gallery
Jennifer Paige Cohen lives and works in Brooklyn, NY. She has been the subject of solo and two-person exhibitions at The Pit, Los Angeles; The Saint-Gaudens Memorial, New Hampshire; Rachel Uffner Gallery, New York; Salon 94, New York; and White Columns, New York. Group exhibitions include Petzel Gallery, Regina Rex, PPOW, Creative Time, The Elizabeth Foundation, Casey Kaplan and Public Art Fund, all New York, NY; Aldrich Contemporary Art Museum, Ridgefield, CT; September Gallery, Hudson, NY; Kate MacGarry, London, UK; and Thaddeus Ropac, Salzburg, Austria, among numerous others.
Jennifer holds an MFA in Sculpture from the Yale University School of Art. She has received grants and fellowships from Café Royal Cultural Foundation, Saint-Gaudens Memorial, Pollock-Krasner Foundation, MacDowell, The Corporation of Yaddo, The Marie Walsh Sharpe/Walentas Space Program, Civitella Ranieri and the Chinati Foundation.
Untitled (self-portrait), clothing scraps, plaster, plaster gauze, fabric collage, zipper, watercolor, 23”H x 14”W x 16”D, 2022Untitled, clothing scraps, plaster, plaster gauze, fabric collage, watercolor, 37 ½” x 14 ½” x 9”, 2022Untitled, clothing scraps, plaster, plaster gauze, fabric collage, watercolor, 24 ½”H x 24”W x 23”D , 2022
Dana Robinson (b. Brooklyn, NY) is an artist and designer who lives and works in Brooklyn, NY. Robinson’s practice aims to address topics of youth, Black feminine identity, ownership, and nostalgia. With a background in graphic design and a love of Black vintage media, Robinson uses her layered practice to bring the past in dialogue with the present. She has exhibited at Utah Museum of Contemporary Art, Texas State University, Fuller Rosen Gallery, 92nd Street Y, Spellerberg Projects, Kates-Ferri Projects, the Wassaic Project, A.I.R. Gallery, Haul Gallery, and Regular Normal. She has upcoming solo exhibitions at Turley Gallery and Kates-Ferri Projects in 2023.More Wishes Come True for Chris Harris Too, 2022, 18 x 24 inches, Acrylic on wood panelHand 001, 2022, 11×14 inches, multimedia in clear acrylic caseMouth 006, 2022, 11×14 inches, gouache and collage on paper on wood panel in clear acrylic case
Jodi Hays (b. 1976) is a Nashville-based artist whose work explores the material vocabulary of the American South through reclaimed and repurposed cardboard, textiles, and fabrics that resemble screen doors, old boards, and sign paintings. She is a 2019 Finalist for the Hopper Prize. Her work has been seen most recently in a solo exhibition at Night Gallery, Los Angeles.
Jodi Hays and Michi Meko come together in The Burden of Wait to present a selection of works rooted in their shared focus, the Southern landscape. Hays employs reclaimed cardboard, dyed fabrics, and other quotidian materials to explore the visual lexicon of the American South. She describes her practice as “a southern povera,” calling upon the use of unconventional and humble materials. Hays’ work is further inspired by the material habits of Robert Rauschenberg and the rituals and repetitions of Beverly Buchanan. Through her deliberate use of found material, the artist visualizes the resourceful labor of women in the South as those that make, stack, sew, mend, and fix.
JODI HAYS Meridian, 2022 Dye, paper, ribbon and cardboard collage on panel 24 x 30 in. (JHY0006) Courtesy of Susan Inglett Gallery, NYC.JODI HAYS May/December , 2022 Dye, and cardboard collage on wood strainer 45 x 46 in. (JHY0007) Courtesy of Susan Inglett Gallery, NYC.JODI HAYS Cotton, 2022 Dye, paper, and cardboard collage 71 x 56 in. (JHY0005) Courtesy of Susan Inglett Gallery, NYC.
Georg Óskar (b.1985, Iceland) currently works and lives in Oslo, Norway. He graduated with a Diploma in Fine Arts from Akureyri School of visual arts in 2009 and subsequently obtained his MFA from the Faculty of Fine Art, Music and Design in Bergen, Norway, in 2016. Since then, Oskar has exhibited internationally in various countries, including United States, Spain, Germany, China, Switzerland, Norway and Iceland, to name a few.Fundamentally, his practice is regarded as a visual diary of his personal observations of the mundane, specifically in nature and people. His works are composed in a unique manner to allow multiple entry points for viewers, prompting them to reflect on the complexities of contemporary life.
Infused with a distinct twist, Oskar’s narratives are often sarcastic but always offer genuine observations of his lived and built environment. A sense of levity and innocence is located within his narratives and murkiness of his palette, to operate as a ‘psychological counteract’ that enables him to maintain a bemused distance from the profane, the dark, and the obscene.
Georg Óskar, Romeo and Juliet, 2022, Oil on canvas, 200 × 150 cmGeorg Óskar
The end of Everything, Oil on canvas, 200 × 250 cmGeorg Óskar, Drowning little bit Everyday, 2022, Oil on canvas, 200 × 150 cm
Chason Matthams’ focus is on capturing the ephemeral experience of consciousness and pointing to its fragmentary nature. While at first glance his paintings seem to be contemplative experiments in mimesis, prolonged looking reveals threatening undertones. Matthams’ employs specific combinations of colors, angles of perspective, and exhaustive detail to anthropomorphize each of his subjects, rendering them just barely sinister. Flitting between mechanical and organic objects, Matthams’ exacting brushwork is the connective thread leading our eye through every sumptuous detail.
Matthams graduated with a BFA in Fine Art from New York University in 2004 and an MFA from New York University in 2012. Previous solo exhibitions include A Hell for Rainbows, Thierry Goldberg Gallery, New York, NY (2019); Advances, None Miraculous, Thierry Goldberg Gallery, New York, NY (2015); and Tyler Wood Gallery, San Francisco, CA (2019, 2013). He was included in Blossom, a three person exhibition with Ted Pim and Marisa Takal organized by the Tong Art Advisory at the Artron Art Centre, Shenzhen, CN (2021); and his work was included in Artforum’s “Portfolios” feature in March 2020.
Previous group exhibitions include Stockholm Sessions at Carl Kostyál, Stockholm, Sweden (2021); Nature Morte at The Hole, New York, NY (2021); Cynthia Daignault’s The Certainty of Others, Flag Art Foundation, New York, NY (2017); L’IM_MAGE_N, Ashes/Ashes, New York, NY (2017); Break Out, Frédéric de Goldschmidt Collection, Brussels, Belgium (2015); and Beyond the Pale, Interstate, Brooklyn, NY (2014).
The book mentioned at the end of the interview is The Master and His Emissary: The Divided Brain and the Making of the Western World, a 2009 book written by psychiatrist Iain McGilchrist that deals with the specialist hemispheric functioning of the brain.
Chason Matthams, Corsage (aqua, blue, pink), 2022, Oil on linen over panel, 24 x 30 in., 61 x 76.2 cm.Chason Matthams, Untitled (RED, Sebastian rig – slider), 2021, Oil on panel, 72 x 60 in., 182.9 x 152.4 cm.Chason Matthams, Untitled (Fuji GX680, orange/purple), 2022, Oil on linen over panel, 36 x 29 in., 91.4 x 73.7 cm.
For over fifty years, Dona Nelson has made series of different kinds of paintings, distinguished by a variety of approaches to both image and material.Nelson was born in Grand Island, Nebraska in 1947. She received a B.F.A. from Ohio State University (1968), and studied at the Whitney Museum Independent Study Program (1967). She is a Professor of Painting and Drawing at Tyler School of Art, Temple University, Philadelphia, where she has worked since 1992. Her paintings are included in museum collections such as The Carnegie Museum of Art, The Whitney Museum, The Boston Museum of Fine Arts, The Pompidou, the Metropolitan Museum of Art, and The Museum of New South Wales in Australia. Among other grants, she received a Guggenheim Fellowship in 1994 and in 2011, she received a grant from the Foundation for Contemporary Arts.
The Night of the 25th of May, 2022. Acrylic and acrylic media on canvas. 80 x 80 inches.The Night of the 25th of May, 2022. Acrylic and acrylic media on canvas. 80 x 80 inches.Surveyor’s Lunch, 1981-1982. Oil on canvas, 72 x 78.5 inches.Untitled05, 1978. Oil on canvas. 32 x 17 inches.
The boundary between digital and analog, between novel and nostalgic, is an ever-evolving realm explored in the work of artist Anne Vieux.
Having received her BFA in painting and art history from the Kansas City Art Institute and her MFA from Cranbrook Academy of Art, Vieux’s process merges traditional painting with an experimental approach all her own. Using the refracted light patterns of an optical scanner as a jumping off point, Anne mines the depths of digital imagery to look at the patterns and flows behind an image. Appearing at times both metallic and aqueous, her abstract paintings capture something not possible in an analog world, but give warmth and even soul to the randomized data. This marriage of virtual image, physical materiality, and painterly finesse ultimately seeks the tension between the physical and digital realms.
With over a decade of work, Vieux has expanded her repertoire to include painting, sculpture, installation, video, artist books, and nfts. in a time when technology rapidly evolves and transforms our experience of life along with it, Vieux’s ability to find beauty and meaning in the flux has garnered her widespread acclaim and a stream of international exhibitions, including solo shows at The Hole, The Journal, NY, NY; County Gallery, Palm Beach, FL; as well as group shows with König Galerie, Berlin, DE; Cranbrook art museum, Bloomfield Hills, MI; Hunter College Art Gallery, National Arts Club, NY, NY; and Newcomb Art Museum, New Orlean’s, LA. Vieux’s work has been added to notable collections, such as the Newcomb Art Museum, the libraries the Moma, the Met, Virginia Commonwealth, Reed college. Vieux has been commissioned for numerous public art works across the country, including a site-specific installation at the Facebook HQ in San Francisco, CA.
Vieux currently lives and works in Brooklyn, New York.
Mirror Proxies, installation image at The Hole{{verdure}}, 2022. acrylic and ink on canvas, 86 x 72 inches~~##_, 2022, digital video h264, 30fps mp4 (2min loop), 3840 x 2160 px
Sally Kindberg (b. 1970 Stockholm, Sweden) lives and works in London, UK. She holds an MFA and a BFA from Goldsmiths College, London, UK. Kindberg has had solo exhibitions at Thierry Goldberg Gallery, New York, NY; Every Mooonday, Seoul, South Korea; Duve, Berlin, Germany; and Peter von Kant, London, UK. Her work was featured in group exhibitions at Phillips, London, UK; Another Gallery, Paris, FR; Rudolph Jansen, Brussels, Belgium; Gallery Ascend, Hong Kong; Tuesday to Friday, Valencia, Spain; and 68 Projects, Berlin, Germany among others.
Exhibition Links: Sally Kindberg | Press Release / Sally Kindberg | Exhibition Images
Sally Kindberg, Road to Recovery, 2022. Oil on linen, 37 x 43 inches. Courtesy of Thierry Goldberg Gallery.Sally Kindberg, Blow, 2022. Oil on canvas, 25 x 27 inches. Courtesy of Thierry Goldberg Gallery.Sally Kindberg, Ocean Liner, 2022. Oil on linen, 59 x 71 inches. Courtesy of Thierry Goldberg Gallery.
Rachel Mica Weiss, 2022. Image courtesy of the artist.Rachel Mica Weiss (b. 1986, Rockville, MD) is a sculptor and installation artist based in Hudson Valley, New York. Weiss earned a BA in psychology from Oberlin College and an MFA in sculpture from the San Francisco Art Institute. Weiss’s work has been the subject of eight solo exhibitions at the following: Here Gallery, Pittsburgh, PA (2022); Carnegie Mellon University, Pittsburgh, PA (2019) ; Lux Art Institute, San Diego, CA (2018); LMAK Gallery, New York, NY (2018, 2017); Montserrat College of Art, Beverly, MA (2015); Fridman Gallery, New York, NY (2014); the San Francisco Arts Commission, San Francisco, CA (2013). Weiss’ first institutional commission, The Wild Within, is part of deCordova Sculpture Park and Museum in Lincoln, MA. Her largest permanent installation to date, Boundless Topographies, funded by the Gates Foundation, is installed at the University of Washington’s Hans Rosling Center for Population Health in Seattle, WA. Weiss’ work is included in the public collections of: the US Embassy in Bishkek, Kyrgyzstan; Microsoft Corporate Collection; Boston Consulting Group Corporate Collection; Media Math Corporate Collection; Sloan Kettering Memorial Cancer Center, as well as the collections of Francis J. Greenberger and Beth Rudin deWoody.
Rachel Mica Weiss, installation view of Collar (left) and Flesh of My Flesh (right), 2022, Carvalho Park, New York. Image courtesy of Carvalho Park.Rachel Mica Weiss, Portal, 2022. Image courtesy of the artist.Rachel Mica Weiss, Bowed Venus, 2022. Image courtesy of the artist.
Allison Jae EvansAllison Jae Evans is a painter whose restrained linear vocabulary draws viewers into a provocative world of seduction, objectivity, and power.
Her current exhibition, Hung Up, combines painting, drawing, and installation to construct a layered narrative with references ranging from the nihilism of Richard Kern’s Cinema of Transgression to more contemporary ideas about sex and human connection in the digital world.
Evans was born in New Haven, CT and currently lives/works in Brooklyn, NY. She received a BA from Dartmouth College in Hanover, NH and an MFA from Hunter College in NYC. Evans’s work has been exhibited at The Journal Gallery, 106 Green Gallery, Atlanta Contemporary, Edward Thorp Gallery, and Tiger Strikes Asteroid NY, among other venues. Her work has been featured in New American Paintings, Maake Magazine, and Hyperallergic, and has been reviewed in The New York Times. She was recently interviewed by artist Brian Alfred for the Sound and Vision Podcast and artist Alex Nuñez for the Sunday Painter Podcast. Hung Up is on view at Peninsula Gallery until December 10, 2022.
Front Room Installation of Allison Jae Evans: Hung Up at Peninsula Art SpaceBack Room Installation of Allison Jae Evans: Hung Up at Peninsula Art SpaceInstallation Image of Allison Jae Evans’ “1-900-Hot-Fuck”, 2022, 24 x 18 inches, Watercolor Crayon on Newsprint, at Peninsula Art Space
© Paul Pfeiffer. Courtesy Paula Cooper Gallery, New York. Photo: Joey TrisoliniBorn in Honolulu in 1966, Paul Pfeiffer grew up between Hawaii and the Philippines before moving to New York in 1990 to attend Hunter College and the Whitney Independent Study Program. Pfeiffer is known for his highly sophisticated use of digital technologies and new media, and has created celebrated works of video, photography, installation and sculpture since the late 1990s. Using digital erasure, magnification, and repetition, Pfeiffer samples and retouches images or video footage from sporting events, concerts, game shows and Hollywood films to enhance their psychological effects. By drawing attention to certain aspects of visual culture and concealing others, he underlines the spectacular nature of contemporary media and its consumption. Pfeiffer’s videos are often presented using unusual monitors and hybrid hardware, further emphasizing the ostracizing effect of the found footage and incorporating a crucial sculptural element to the work. Pfeiffer has had one-person exhibitions at the Whitney Museum of American Art (2001); the Museum of Contemporary Art Chicago (2003 and 2017-18); the National Gallery of Victoria, Melbourne (2005); MUSAC León, Spain (2008); the Hamburger Bahnhof, Berlin (2009) and Sammlung Goetz, Munich, Germany (2011). Pfeiffer has presented work in major international exhibitions in recent years, including the Performa Biennial and the Honolulu Biennial in 2019 and the Toronto Biennial and Seoul Mediacity Biennale in 2022. His work is in the permanent collections of the Museum of Modern Art and the Whitney Museum of American Art, New York; Inhotim Museu de Arte Contemporanea, Inhotim, Brazil; the Pinault Collection, Venice; and Kunst Werke, Berlin, among others.
© Paul Pfeiffer. Courtesy Paula Cooper Gallery, New York. Photo: Steven Probert© Paul Pfeiffer. Courtesy Paula Cooper Gallery, New York. Photo: Steven Probert###### Paul Pfeiffer, Red Green Blue, 2022 (3 Min excerpt)
Paul Pfeiffer, Red Green Blue, 2022 (3 Min excerpt)
Kathryn Spence has spent years compiling, sorting and transforming culture’s discards into sculptural objects that reveal a human determination on the topic of sufficiency. Fascinated with space, materiality, and objectness, she attends to materials conventionally wasted to produce installations and individual objects that act as a point of unhinging between the natural world and the controlled world.
The show being discussed is Kathryn Spence at P. Bibeau, September 9 – October 22, 2022.
Kathryn Spence (b. 1963) resides in the Bay Area and is featured in numerous public collections including SFMOMA, National Gallery of Art, Washington D.C., U.C. Berkeley Art Museum, the Oakland Museum of California, Mills College at Northeastern University, the Denver Art Museum, the San Jose Museum of Art, and the Santa Barbara Museum of Art.
Museum solo exhibitions include the Aldrich Museum of Contemporary Art, 2012, Mills College Art Museum, Oakland, CA, 2010, the Johnson Museum at Cornell University, Ithaca, 2001, and the Kemper Museum of Contemporary Art, Kansas City, 1999. Spence is a recipient of the Anonymous was a Woman award, the Eureka Fellowship, an Artadia award, and the Fleischhacker Foundation award. Her ‘Pigeons’ were recently on view at SFMOMA in ‘Greater Than the Sum,’ 2021-22. Spence showed for 18 years at Stephen Wirtz in San Francisco.The books mentioned in the interview are: Douglas W. Tallamy, Nature’s Best Hope: A New Approach to Conservation that Starts in Your Yard and E.O. Wilson, Half Earth.Installation (close-up) P.Bibeau Gallery, 2019-22Socks, sweatpants, t-shirts, bed sheets, curtains, necktie, fabric scraps, found crocheted and knitted project parts, brown corduroy, yarn, cell phone ads, string, thread, mud, felt, wood, cardboard, pencil drawings, field guides, magazine scraps, stuffed animal fur, wax, plaster, plywood. Photo by Peter Sit.‘Untitled, (Great gray owl)’ 2019-22:: Gray socks, sweatpants, t-shirts, fabric scraps, stuffed animal fur, cardboard, bird field guide pages, wax, wood. Photo by Peter Sit.‘Untitled, (Boreal owl),’ 2019-22 Found crocheted and knitting project parts, scraps of fabric, yarn, fur from stuffed animals, field guide, cell phone ads, cardboard, thread, string, mud. Photo by Peter Sit.
Craig Drennen is a painter based in Atlanta and a 2018 Guggenheim Fellow. His recent solo exhibitions include Merchant, Mistress, and T at Freight+Volume in New York City, Old Athenian & at Stove Works in Chattanooga, TN and First Acts at Atlanta Contemporary Art Center in Atlanta, GA. He has been an artist in residence at Yaddo, MacDowell, the Triangle Arts Foundation, DNA Provincetown, and Skowhegan. His work has been reviewed in Art in America, Artforum, and the New York Times. Drennen served as dean at the Skowhegan School of Painting & Sculpture, teaches at Georgia State University in Atlanta, and manages THE END Project Space. Since 2008 he has organized his studio practice around Shakespeare’s Timon of Athens. Craig Drennen is a painter based in Atlanta and a 2018 Guggenheim Fellow. His recent solo exhibitions include Merchant, Mistress, and T at Freight+Volume in New York City, Old Athenian & at Stove Works in Chattanooga, TN and First Acts at Atlanta Contemporary Art Center in Atlanta, GA. He has been an artist in residence at Yaddo, MacDowell, the Triangle Arts Foundation, DNA Provincetown, and Skowhegan. His work has been reviewed in Art in America, Artforum, and the New York Times. Drennen served as dean at the Skowhegan School of Painting & Sculpture, teaches at Georgia State University in Atlanta, and manages THE END Project Space. Since 2008 he has organized his studio practice around Shakespeare’s Timon of Athens.
The book of poetry mentioned in the interview is by Victoria Chang, Obit.
(The Pill) oil & alkyd on canvas over panel 30-inch diameter 2022 This piece is dedicated to the character of Merchant from Shakespeare's Timon of Athens.
T25 oil & alkyd on canvas over panel 72” x 48” x 8” 2022 This piece is dedicated to the character of Timon from Shakespeare's Timon of Athens.
Ninth Mistress oil & alkyd on linen + latex paint on wall 15” x 15” canvas + two 2.5” x 5” vertical stripes 2015 This piece is dedicated to the character of Mistress from Shakespeare's Timon of Athens.
Michael McClard arrived in New York in 1973 with a BFA from the San Francisco Art Institute, where he also won a Peabody Award in Sculpture. He soon made his mark on the art scene as a member of a highly original group of young artists who helped to revive an interest in painting and visual performance. He was a founding member of the noted artists’ support group Colab and its first chairman.
Sidestepping the confines of abstract conceptual art, McClard’s work seethes with figurative content; yet it has nevertheless retained a conceptual element and mines a strong vein of humor. During the 70s he staged provocative performances such as « Foes v. Foes » at the Kitchen and surreal, carnivalesque installations at venues such as the Clocktower (« There’s Meat on these Bones ») ; PS 1, Institute for Art and Urban Resources, De Appel, Amersterdam and N.A.M.E Gallery, Chicago. For these presentations, he constructed all sets and props and performed, often as sole actor. His one-act play, « Mumbo Jumbo, » was published in Avalanche 12, Winter 1975.
In October 1981, his first large-scale one-man show of paintings and frescoes took place at Mary Boone, occupying both galleries on either side of West Broadway. Drawing on sources from mythology, history and everyday life, he created a pantheon of imaginary characters, notable for their tactile raw energy, range of facial expressiveness and astute power of observation. Also featured were inventive depictions of historical scenes, acclaimed by critics such as Grace Glueck of the New York Times for their verve and by Hal Foster of Art in America for their metaphysical insights. Many of these works were acquired by New York and Los Angeles public and private collectors. During this period McClard was also awarded two fellowships by the National Endowment for the Arts, in Visual Arts and Mixed Media.
In the 90s McClard took a temporary hiatus from painting to explore new media. He embraced the digital revolution and applied his draughtsmanship skills to the creation of original software with his brother Peter McClard through their dotcom enterprise, Hologramophone Research. The computer installation «Characters» furthered his interest in human physiognomy by generating an unlimited sequence of drawings of faces and was exhibited in « A visage découvert, » Fondation Cartier pour l'Art Contemporain, Jouy-en Josas, France.
The book mentioned in the interview: Leavings: Memoir of a 1920s Hollywood Love Child.
“I Might Have to Bite You” 1983, pastel on Strathmore, 24” x 18”
“Hello Darling” 1983, pastel on Strathmore, 24” x 18”
“Miss Bozzart” 1983, pastel on Strathmore, 24” x 18”
Spencer Lai is an artist, writer, curator and DJ in Melbourne. They have exhibited extensively at both artist-run and commercial spaces within Melbourne and internationally. They graduated from the Victorian College for the Arts (BFA with Honours) in 2014. Working across multiple forms and formats, including sculpture, installation, curation, writing, drawing, Spencer's practice produces associative meaning from a range of accumulated materials that are worked into assemblages, installations and exhibitions. These materials often include text, found objects, design elements or images from consumer cultures, lifted from thrift stores, replicated, or traced or by chance encounters. As well as these object based assemblages they produce expanded paintings, often making grotesque use of cut coloured felt, coloured pencils and printed textile offcuts. The resulting outcomes of their practice are rarely singular or stand-alone objects - rather, their identities are intentionally constructed from multiple references, works, as well as contributions from other artists, sometimes resulting in the form of curatorial group exhibitions.
Besides Spencer’s work as an exhibiting artist, their work as both a DJ and gallerist attests to their commitment to fostering community and contributing to the formation of a cultural scene.
Upcoming exhibitions include a curated group exhibition at Inge, NYC and solo presentations at Neon Parc & Asbestos, Melbourne, 2023. Recent exhibitions include: Academy for the Sensitive Arts, Theta, NYC; Oriental Painting., Neon Parc, Melbourne; up the hill in my city shoes with Allan Rand, off-site location, Melbourne; A Patience Game with Jürgen Baumann at Holden Garage, Berlin; buddhaminefield., Ge Hinnom Small Group Love, London. The book mentioned is Lapvona by Ottessa Moshfegh.
Academy for the Sensitive Arts, 2022 Installation view
form: egg (army green), 2022 Powder coated steel, foam core, acrylic spray paint, rubberised spray paint, synthetic felt, beads, sequins 68.5 x 47 cm (27 x 18.5 in)
form 010 (Princess II), 2022 Resin, spray paint, vintage beaded trim, synthetic fabric trim, butterfly 50 x 14.5 x 14.5 cm (19.68 x 5.70 x 5.70 in)
Dianna Settles is a Vietnamese-American artist in Atlanta, Georgia who received her BFA from the San Francisco Art Institute in 2014. Her current work explores moments of joyful stillness amidst the cascading series of crises called modern life, accomplished through her synthesis of traditional Vietnamese and classical European painting styles.
Dianna Settles Colorfast/fugitives (a vital knowing of the potential to shape, to change, to build, to play, to open the world to new worlds, new possibilities, newly knotting ourselves to our place and time), 2022 Acrylic, colored pencil, watercolor on wood panel 32 x 48 inches
Dianna Settles How do we follow after you? Cupping circles, culling rows, 2022 Acrylic and colored pencil on wood panel 32 x 24 inches
Dianna Settles How to make it last, how to share (apple season) , 2022 Acrylic and colored pencil on panel 32 x 24 inches
Portrait by Zach Baker
Jessi Reaves (b.1986, Portland, Oregon) earned her BFA from Rhode Island School of Design, Providence, RI in 2009. Her practice centers on sculptures that also operate as furniture, rupturing traditional binaries of the functional and the aesthetic.
In 2021, Reaves work was featured in two iterations of the two person exhibition Wild Life: Elizabeth Murray & Jessi Reaves at the Contemporary Arts Museum Houston, Texas and The Carnegie Museum of Art in Pittsburgh, Philadelphia.
Reaves’ solo exhibitions include At the well, Bridget Donahue, New York, NY (2022), Going out in Style, Herald St, London, United Kingdom (2019); Jessi Reaves II, Bridget Donahue, New York, NY (2019); Kitchen Arrangement within The Domestic Plane: New Perspectives on Tabletop Art Objects, The Aldrich Contemporary Art Museum, Ridgefield, CT (2018); android stroll, Herald St, London, United Kingdom (2017); Jessi Reaves, Bridget Donahue, New York, NY (2016); Now Showing: Jessi Reaves, Sculpture Center, Long Island City, NY (2016). Recent group exhibitions include Slant Step Forward, Verge Center for the Arts, Sacramento (2019); Carnegie International, 57th Edition, Carnegie Museum, Pittsburgh, PA (2018); Ginny Casey and Jessi Reaves, Institute of Contemporary Art Philadelphia (2017); Whitney Biennial 2017, Whitney Museum of American Art, New York, NY (2017); Looking Back/ The 11th White Columns Annual, White Columns, NY (2017) among others. She has a forthcoming solo exhibition at The Arts Club of Chicago in 2023.
Jessi Reaves — Installation View, “At the Well”, September - November 2022, Bridget Donahue, NYC Photo by Gregory Carideo
Jessi Reaves, A sample of the truth, 2022, Wood, metal, cord, sawdust, wood glue, paper, enamel paint, 44 ½ × 42 × 45 in. (113.03 × 106.68 × 114.30 cm) Courtesy of the artist and Bridget Donahue, NYC Photo by Gregory Carideo
Jessi Reaves Warming Rails Extended (Towel Rack), 2022, Metal, hardware, sawdust, wood glue, 58 ½ × 27 × 27 in. (148.59 × 68.58 × 68.58 cm) Courtesy of the artist and Bridget Donahue, NYC Photo by Gregory Carideo
Masamitsu Shigeta (b. 1992, Tokyo, Japan) lives and works in Hoboken, NJ. Shigeta primarily paints landscapes depicting urban nature and architecture. Shigeta plays with painting conventions by shifting the medium toward sculpture, either by shaping his canvas or utilizing custom artist frames. He holds an MFA from New York University and a BFA from the School of Visual Arts. Solo exhibitions include SITUATIONS, NYC and Tyler Park Presents, LA, who jointly represent the artist. Group exhibitions include The Landing, LA, Chinatown Soup Gallery, NY and Tutu Gallery, NY. His work has been reviewed in The Brooklyn Rail and a publication titled Dancing Plants was released for his most recent exhibition at SITUATIONS. His most recent exhibition at SITUATIONS can be found here. A copy of his book can be obtained by writing to info@situations.us.
Masamitsu Shigeta Red Light, 2021 Oil on canvas 48 x 36 inches
Masamitsu Shigeta Colorful city, 2022 Oil on canvas with wood frame 42.5 x 32.5 inches
Masamitsu Shigeta A thinking Tree, 2022 Oil on canvas with shaped frame 24 x 21 inches
Huidi Xiang (b. Chengdu, China) is an artist and researcher currently based in Brooklyn, New York, USA. She holds an MFA in Art from Carnegie Mellon University (2021) and a BA in Architecture and Studio Art from Rice University (2018). In her practice, Huidi makes sculptural objects, installations, and systems to examine world-making processes and the coexistence of multiple contexts and narratives in late capitalism. Her current work explores the spatial and temporal effects of inhabiting both the virtual and physical worlds.
Huidi’s works have been exhibited internationally, including OCAT Biennale at OCT Art & Design Gallery, Shenzhen, China, Lydian Stater in Long Island City, NY, LATITUDE Gallery in New York, NY, Contemporary Calgary in Calgary, Canada, Hive Center for Contemporary Art in Beijing, China, and Miller ICA in Pittsburgh, PA, USA. Huidi has also participated in some artist residencies, including NARS Foundation International Residency Program(2022), ACRE Residency Program(2021), the Millay Colony for the Arts (2020), and Project Row Houses Summer Studios (2016).
In the interview we discussed her show, "Neither Here Nor There" at Lydian Stater and also the Virtual Reality Gallery of "Neither Here Nor There." The book mentioned by artist during the conversation: The Vegetarian by Han Kang.
Huidi Xiang, Playbour Objects (exhibition view at Lydian Stater Physical Gallery), 2022
Huidi Xiang, Playbour Objects (detail view), 2022
Huidi Xiang, Playbour Objects (exhibition view at Lydian Stater Virtual Reality Gallery), 2022
Julia Kunin (b. 1961) is an artist living and working in Brooklyn, NY. Her work explores themes including queerness, the body, and the natural world. She earned a B.A. from Wellesley College (Wellesley, MA) and an M.F.A. from The Mason Gross School of the Arts, Rutgers University (New Brunswick, NJ). Recent solo exhibitions include Mechanical Ballet at Kate Werble Gallery (New York, NY) in 2021 and Rainbow Dream Machine at McClain Gallery (Houston, TX) in 2020-21. Recent group exhibitions include: Wild Chambers (two person show with Yevgeniya Baras) at Mother Gallery (New York, NY), Cosmic Geometries, curated by Hilma’s Ghost, at EFA Gallery (New York, NY) in 2022, Fur Cup at Underdonk (Brooklyn, NY) in 2019, Raw Design at the Museum of Craft and Design (San Francisco, CA) in 2018, and Said by Her at Lesley Heller Gallery (New York, NY) in 2018. Kunin was a Fulbright Scholar to Hungary in 2013. In 2010 She received a Trust for Mutual Understanding Grant to Hungary. In 2008 she received a Pollock-Krasner Foundation Grant and a residency at Art Omi. In 2007 she received the John Michael Kohler Arts/Industry Artist Residency. Fellowships include those at The MacDowell Colony, The Marie Walsh Sharpe Art Foundation, CEC Artslink grant to The Republic of Georgia, an Artist Residency in Wiesbaden, Germany, Yaddo, The Millay Colony, Vermont Studio Center, The Core Program in Houston, TX, and Skowhegan. Julia Kunin currently has a series of ceramic lamps at Ralph Pucci International (New York, NY). In 2022 she contributed artist interviews to Two Coats of Paint. She is also a member of the board of FIRE, The LGBTQ Fire Island artist residency. Her work was recently acquired by the Los Angeles County Museum of Art, LACMA.
Julia Kunin Green Clock, 2015 Ceramic 12 x 9 x 2 1/2 in 30.5 x 22.9 x 6.3 cm
Julia Kunin Chambered Rainbow, 2016 Ceramic 18 x 13 x 3 1/2 in 45.7 x 33 x 8.9 cm
Julia Kunin Psychedelic Body, 2016 Ceramic 40 x 10 x 6 in 101.6 x 25.4 x 15.2 cm
Silas Inoue was born in 1981 and graduated from the Royal Danish Academy of Fine Arts, Copenhagen, Denmark in 2010. He currently lives and works in Copenhagen. Inoue’s work has been widely exhibited internationally; recent exhibitions include; Barbe á Papa, Musée d'art contemporain de Bordeaux, Bordeux, France; Night Bloom Central, Ulterior Gallery, New York, NY (2022, solo); Minimalism-Maximalism-Mechanissmmm, Art Sonje Center, Seoul, South Korea and Kunsthal Aarhus, Aarhus, Denmark (2022); Naturen Taler #1, Sorø Kunstmuseum, Sorø, Denmark (2021); eat & becʘ̃me, Augustiana Kunsthal, Augustiana, Denmark (2020, solo); and Altering, Lothringer 13, Munich, Germany (2019). Many notable collections include his artwork, such as: Danish Arts Foundation, Bornholm Art Museum, Noma, and Horsens Kunstmuseum, where his first museum solo exhibition is scheduled to open in 2023.
Silas Inoue Future Friture-Turritopsis Dohrnii, 2022 Sugar, silicon and cooking oil in acrylic aquarium on concrete plinth 42 1/8 x 13 x 13 in (107 x 33 x 33 cm) Photo Credit: Jason Mandella Courtesy of Ulterior Gallery, New York
Silas Inoue Infrastructure, 2022 Acrylic cover, wood, silicon, plastic, mold, and bronze respiratory system 25 1/4 x 26 x 9 1/4 in (64.1 x 66 x 23.5 cm) Photo Credit: Jason Mandella Courtesy of Ulterior Gallery, New York
Silas Inoue Mesh, 2022 Graphite and watercolor on paper 35 x 37 5/8 in (88.9 x 95.6 cm) 41 x 44 x 2 1/2 in (104.1 x 111.8 x 6.4 cm) Framed Photo Credit: Jason Mandella Courtesy of Ulterior Gallery, New York
Jazmín López (Buenos Aires, Argentina). She is a filmmaker, a visual artist, and a professor. She graduated from the Universidad del Cine in Buenos Aires. She has also an MFA in Visual Arts from NYU and MFA in Visual Arts from Universidad Torcuato Di Tella. She participated in the WhitneyISP program. Her work is represented by Ruth Benzacar art gallery and has been featured in venues like Fondation Pernod Ricard, San Jose Museum, OCAT, Tabacalera, Kadist, Istanbul Biennial and KW. Her films had participated in festivals like: Orizonti oficial competition Venezia Biennial, Rotterdam Film Fest, Viennale, New Directors New Films at MoMA and Lincoln Center, Centre George Pompidou and KW institute Berlin, among many other world Film Festivals and featured in Variety and New York Times.
She has taught a Master Class in École Nationale Supérieure des Beaux-Arts de Lyon and was part of the Jury in the 33 FID Marseille. She works as professor for NYU and as an assistant professor of Boris Groys. She worked as a full faculty professor at Universidad del cine, Buenos Aires.
The book mentioned in the interview is In Praise of Love, Book by Alain Badiou.
Gracelee has attended twenty residencies in the US and abroad and opened her second solo show in New York at Postmasters in June 2022, her third at Heroes Gallery in September 2022. She is currently an Assistant Professor of Sculpture at the University at Albany, SUNY. Recent exhibitions include Marinaro Gallery (New York, NY), Postmasters Gallery (New York, NY), Atlanta Contemporary (Atlanta, GA), Kavi Gupta Gallery (Chicago, IL), HEADLINE Gallery (Vancouver, Canada), and more. She has installed large-scale outdoor sculptures at the Upstate Immersive (Poughkeepsie, NY), Wave Hill (Bronx, NY), Museum of Museums (Seattle, WA), Franconia Sculpture Park (Shafer, MN), Mary Sky (Hancock, VT), and others. In 2017 she returned from 15 months as a Visiting Professor in the Multidisciplinary Department of Art at Chiang Mai University and assistant to artist Araya Rasdjarmrearnsook on a Luce Scholars Fellowship. She is a member of the collective MATERIAL GIRLS, a recipient of the 2021-22 Individual Artist DEC Grant, a 2019 Jerome Fellow at Franconia Sculpture Park, a 2016-17 Luce Scholars Fellow, a recipient of the 2015 UMLAUF Prize, 2013 Eyes Got It Prize, and the 2011-12 Ella Fountain Pratt Emerging Artist Grant. Press for her work includes The New Yorker, ArtNet, Hyperallergic, Artspace, Beautiful/Decay, and MAAKE Magazine, among others. She is an enthusiastic dancer, a lifelong horsewoman, and an aspiring indoor gardener.
Installation view, "Gracelee Lawrence: Marisol," Heroes Gallery, New York, 2022. From left: Marisol, Lizard Kiss, 1979; Gracelee Lawrence, Punching a Hole in the Darkness, 2022.
Installation view, "Gracelee Lawrence: Marisol," Heroes Gallery, New York, 2022. From left: Gracelee Lawrence, Just a little Fever, 2022; Marisol, Untitled III, 1979.
Installation view, "Gracelee Lawrence: Marisol," Heroes Gallery, New York, 2022.
Jeff Gibson is an Australian-born artist and occasional critic who has worked in a variety of media and contexts—photography, collage, video, prints, posters, banners, and books for galleries and public spaces. Gibson moved to New York in 1998 to work for Artforum magazine, where he has been the managing editor since 2004. Since arriving in New York, he has exhibited on the Panasonic Astrovision screen in Times Square as part of Creative Time’s “59th Minute” program and mounted solo shows at the New York Academy of Sciences, Stephan Stoyanov, and Theodore. In 2011, two of the artist’s videos were projected onto the facade of the Everson Museum of Art in Syracuse, New York, as part of a curated series presented by Light Work and the Urban Video Project.
His video Metapoetaestheticism was exhibited in the 2014 Whitney Biennial. In 2016, Gibson produced a billboard, titled Armagarden, for the I-70 Sign Show, a curated program of artworks occupying advertising sites on the Missouri interstate. Gibson’s work was also included in the “Digital Infinity” section of the 2018 Front International: Cleveland Triennial for Contemporary Art. And in June of this year, the Griffith University Art Museum in Brisbane, Australia, staged a survey show of Gibson’s art, titled “Countertypes,” featuring a selection of works spanning 1980 to the present.
Jeff Gibson, Untitled, 2022, decoupage on wood panel, 24 x 24”.
Jeff Gibson, Untitled, 2022, decoupage on wood panel, 24 x 24”.
Jeff Gibson, Untitled, 2022, decoupage on wood panel, 24 x 24”.
Vusi Beauchamp (b. 1979) studied printmaking and painting at the Tshwane University of Technology and Graphic Design at Damelin in Pretoria, South Africa.
Beauchamp's provocative iconography employs popular culture, satire and stereotypes in service of a visual political commentary. His somewhat controversial works are meant to comment on social issues, politics and current events in South Africa, though they easily relate to the dissatisfaction felt by many international communities with regards to their political and economic leaders. Beauchamp seeks to examine the South African government currently embattled within itself, the disconnect it displays with its people, and the tense social climate under years of viral threat, mired in misinformation and heightened insecurities over corruption. Predominantly a painter, Beauchamp creates his works on canvas by using various methods, including spray painting and stenciling, with mediums such as crayons, charcoal, oil sticks and acrylic paint. His works on paper similarly use a variety of materials and techniques, often incorporating multiple layers to create the final image.
Beauchamp’s most recent solo exhibitions include The Cult of One, Part II at David Krut Projects, New York (2022) and The Cult of One at David Krut Projects, Johannesburg (2022). The exhibitions are a continuum of his ongoing Paradyse of the Damned series, which has been shown at the Borderline Art Space in Iași, Romania (2019); the Johannesburg Art Gallery in Johannesburg, South Africa (2018); and the Pretoria Art Museum in Pretoria, South Africa (2015).
Winner 1.1, 2019, Mixed media on Fabriano paper, 39.4 x 27.6 in (100 x 70 cm)
Africa Bonanza, 2022, Mixed-media on canvas, 33.9 x 28.5 in (86.1 x 72.4 cm)
My People, 2022, Mixed-media on canvas 33.9 x 28.3 in (86.1 x 71.9 cm)
Lucia Buricelli is a photographer from Venice, Italy, based between New York City and Milan. In her work, Buricelli is interested in exploring everyday life in all its forms: interactions between people, animals that live in urban environments, objects that have fallen to the ground, and self-portraits. Ultimately, Buricelli is interested in documenting different aspects of urban daily life. Her clients include The New York Times, Vogue, Time, Vice, among others.
New Collectors is an art gallery that primarily features work by emerging artists. The gallery was founded on the premise that the art world is inherently difficult to penetrate, and there need to be more approachable ways for people to explore and buy artwork. The types of exhibitions have ranged widely in the gallery’s first year; there have been shows with students from the School of Visual Arts MFA program, shows curated from open calls, and even exhibitions that utilize augmented reality to display NFTs. The gallery hopes to bring light to new ways of exhibiting while continuing to foster the careers of the artists it represents.
Wild City Installation, New Collectors, October 2022
Naples, Italy (2022), inkjet print on archival paper, 31x21, edition of 5
New York City, USA (2019) inkjet print on archival paper, 13x19", edition of 10.
New York City, USA (2019), inkjet print on archival paper, 19x13,edition of 10
Lucia Buricelli is a photographer from Venice, Italy, based between New York City and Milan. In her work, Buricelli is interested in exploring everyday life in all its forms: interactions between people, animals that live in urban environments, objects that have fallen to the ground, and self-portraits. Ultimately, Buricelli is interested in documenting different aspects of urban daily life. Her clients include The New York Times, Vogue, Time, Vice, among others.
New Collectors is an art gallery that primarily features work by emerging artists. The gallery was founded on the premise that the art world is inherently difficult to penetrate, and there need to be more approachable ways for people to explore and buy artwork. The types of exhibitions have ranged widely in the gallery’s first year; there have been shows with students from the School of Visual Arts MFA program, shows curated from open calls, and even exhibitions that utilize augmented reality to display NFTs. The gallery hopes to bring light to new ways of exhibiting while continuing to foster the careers of the artists it represents.
Wild City Installation, New Collectors, October 2022
Naples, Italy (2022), inkjet print on archival paper, 31x21, edition of 5
New York City, USA (2019) inkjet print on archival paper, 13x19", edition of 10.
New York City, USA (2019), inkjet print on archival paper, 19x13,edition of 10
Lucia Buricelli is a photographer from Venice, Italy, based between New York City and Milan. In her work, Buricelli is interested in exploring everyday life in all its forms: interactions between people, animals that live in urban environments, objects that have fallen to the ground, and self-portraits. Ultimately, Buricelli is interested in documenting different aspects of urban daily life. Her clients include The New York Times, Vogue, Time, Vice, among others.
New Collectors is an art gallery that primarily features work by emerging artists. The gallery was founded on the premise that the art world is inherently difficult to penetrate, and there need to be more approachable ways for people to explore and buy artwork. The types of exhibitions have ranged widely in the gallery’s first year; there have been shows with students from the School of Visual Arts MFA program, shows curated from open calls, and even exhibitions that utilize augmented reality to display NFTs. The gallery hopes to bring light to new ways of exhibiting while continuing to foster the careers of the artists it represents.
Wild City Installation, New Collectors, October 2022
Naples, Italy (2022), inkjet print on archival paper, 31x21, edition of 5
New York City, USA (2019) inkjet print on archival paper, 13x19", edition of 10.
New York City, USA (2019), inkjet print on archival paper, 19x13,edition of 10
Photo by Helmut Spudich, Vienna, 2022
Dave Bopp (b. 1988, Basel, Switzerland) is an ultra contemporary artist based in Berlin. His paintings have been featured in gallery and museum shows throughout Germany, Switzerland, The Netherlands, South Korea, and the US and has been acquired by prominent private, corporate, and museum collections.
Conjunction After Sunset, 2022, Mixed media on aluminum composite board, 31.5 x 39 in (80 x 99.1 cm)
Incursion 1, 2022, Mixed media on aluminum composite board, 60 x 79 in (152.4 x 200.7 cm)
Juggernaut, 2021, Mixed media on aluminum composite board, 79 x 120 in (200.7 x 304.8 cm)
Photo by Helmut Spudich, Vienna, 2022
Dave Bopp (b. 1988, Basel, Switzerland) is an ultra contemporary artist based in Berlin. His paintings have been featured in gallery and museum shows throughout Germany, Switzerland, The Netherlands, South Korea, and the US and has been acquired by prominent private, corporate, and museum collections.
Conjunction After Sunset, 2022, Mixed media on aluminum composite board, 31.5 x 39 in (80 x 99.1 cm)
Incursion 1, 2022, Mixed media on aluminum composite board, 60 x 79 in (152.4 x 200.7 cm)
Juggernaut, 2021, Mixed media on aluminum composite board, 79 x 120 in (200.7 x 304.8 cm)
Photo by Helmut Spudich, Vienna, 2022
Dave Bopp (b. 1988, Basel, Switzerland) is an ultra contemporary artist based in Berlin. His paintings have been featured in gallery and museum shows throughout Germany, Switzerland, The Netherlands, South Korea, and the US and has been acquired by prominent private, corporate, and museum collections.
Conjunction After Sunset, 2022, Mixed media on aluminum composite board, 31.5 x 39 in (80 x 99.1 cm)
Incursion 1, 2022, Mixed media on aluminum composite board, 60 x 79 in (152.4 x 200.7 cm)
Juggernaut, 2021, Mixed media on aluminum composite board, 79 x 120 in (200.7 x 304.8 cm)
Peter Frederiksen champions the art of embroidery. Throughout his exploration of the medium, the artist has developed a free-motion machine technique, commonly working on a standard sewing machine that has been altered by removing the presser foot andlowering the feed teeth, allowing Frederiksen to engage tension while moving an embroidery hoop around freely. The result is dense embroidery stitched onto linen canvas, which is then stretched onto a wooden panel as a nod to traditional painting. Described by the artist as “drawing with a sewing machine,” Frederiksen produces scenes with subtle gradients and uniform textures that closely resemble colored pencil drawings when viewed from a distance. The nostalgic, soft-edged scenes are born from the artist’s love of cartoons (notably post-war Warner Brothers and the Simpsons) and come together through a fervent editing process. Beginning with screenshots taken from old cartoons, often focusing on the smallest of elements while featuring as much action as possible, Frederiksen crops, edits and adds additional details, be it from other cartoons, eclectic designs or abstract images, before tracing, sketching and eventually stitching his creations onto linen.
Peter Frederiksen attended the School of the Art Institute of Chicago from 2006 - 2008, with a focus on painting, drawing and fibers. It was during these years that the artist explored the techniques of other mediums and expanded his painting practice to include soft sculpture and fiber art. Following his time at SAIC, Frederiksen worked at ad agencies as an art producer where he fostered his passion for promoting and representing other working artists. He is currently a partner, representative and producer at RAD Represents, an artist representation company located in Chicago, IL.
The artist’s work has been presented at a number of institutions in Chicago including the Chicago Athletic Association (solo exhibition, 2020), the Hyde Park Art Center (group exhibition, 2019) and the Arts Club of Chicago (group exhibition, 2018). Most recently, the artist’s embroideries have been featured in group exhibitions internationally at Haverkampf Leistenschneider in Berlin (Text-ile, June - August 2022), Galleri Urbane in Dallas (Intersections, July - August 2022), Daniel Raphael Gallery in London (Go Figure!, July - August 2022), and Bulls Fest in Chicago, curated by All Star Press Chicago (The Art of the Game, September 2022). Frederiksen has appeared in numerous print and online publications, including The Guardian, Colossal, It’s Nice That, gallerytalk.net, Textiel Plus, The Fiber Studio, Composite Arts Magazine, and Chicago Art Review. The artist lives and works in Chicago, IL.
The book mentioned in the interview: How High We Go In The Dark.
Peter Frederiksen, Massey Klein Gallery, no-no-no-no-no, 22-2022 Freehand machine embroidery on linen, 9 x 12 inches. Image courtesy of Massey Klein Gallery and The Artist.
Peter Frederiksen Massey Klein Gallery, some locks wont hold, 22-2022, Freehand machine embroidery on linen, 8 x 6 inches. Image courtesy of Massey Klein Gallery and The Artist.
Peter Frederiksen, Massey Klein Gallery, "out from under rocks, clearing the crust from dreary eyes and seeing friends again", 2022, Freehand machine embroidery on linen, Each panel 7 x 5 inches, Overall 7 x 10 inches. Image courtesy of Massey Klein Gallery and The Artist.
Peter Frederiksen champions the art of embroidery. Throughout his exploration of the medium, the artist has developed a free-motion machine technique, commonly working on a standard sewing machine that has been altered by removing the presser foot andlowering the feed teeth, allowing Frederiksen to engage tension while moving an embroidery hoop around freely. The result is dense embroidery stitched onto linen canvas, which is then stretched onto a wooden panel as a nod to traditional painting. Described by the artist as “drawing with a sewing machine,” Frederiksen produces scenes with subtle gradients and uniform textures that closely resemble colored pencil drawings when viewed from a distance. The nostalgic, soft-edged scenes are born from the artist’s love of cartoons (notably post-war Warner Brothers and the Simpsons) and come together through a fervent editing process. Beginning with screenshots taken from old cartoons, often focusing on the smallest of elements while featuring as much action as possible, Frederiksen crops, edits and adds additional details, be it from other cartoons, eclectic designs or abstract images, before tracing, sketching and eventually stitching his creations onto linen.
Peter Frederiksen attended the School of the Art Institute of Chicago from 2006 - 2008, with a focus on painting, drawing and fibers. It was during these years that the artist explored the techniques of other mediums and expanded his painting practice to include soft sculpture and fiber art. Following his time at SAIC, Frederiksen worked at ad agencies as an art producer where he fostered his passion for promoting and representing other working artists. He is currently a partner, representative and producer at RAD Represents, an artist representation company located in Chicago, IL.
The artist’s work has been presented at a number of institutions in Chicago including the Chicago Athletic Association (solo exhibition, 2020), the Hyde Park Art Center (group exhibition, 2019) and the Arts Club of Chicago (group exhibition, 2018). Most recently, the artist’s embroideries have been featured in group exhibitions internationally at Haverkampf Leistenschneider in Berlin (Text-ile, June - August 2022), Galleri Urbane in Dallas (Intersections, July - August 2022), Daniel Raphael Gallery in London (Go Figure!, July - August 2022), and Bulls Fest in Chicago, curated by All Star Press Chicago (The Art of the Game, September 2022). Frederiksen has appeared in numerous print and online publications, including The Guardian, Colossal, It’s Nice That, gallerytalk.net, Textiel Plus, The Fiber Studio, Composite Arts Magazine, and Chicago Art Review. The artist lives and works in Chicago, IL.
The book mentioned in the interview: How High We Go In The Dark.
Peter Frederiksen, Massey Klein Gallery, no-no-no-no-no, 22-2022 Freehand machine embroidery on linen, 9 x 12 inches. Image courtesy of Massey Klein Gallery and The Artist.
Peter Frederiksen Massey Klein Gallery, some locks wont hold, 22-2022, Freehand machine embroidery on linen, 8 x 6 inches. Image courtesy of Massey Klein Gallery and The Artist.
Peter Frederiksen, Massey Klein Gallery, "out from under rocks, clearing the crust from dreary eyes and seeing friends again", 2022, Freehand machine embroidery on linen, Each panel 7 x 5 inches, Overall 7 x 10 inches. Image courtesy of Massey Klein Gallery and The Artist.
Peter Frederiksen champions the art of embroidery. Throughout his exploration of the medium, the artist has developed a free-motion machine technique, commonly working on a standard sewing machine that has been altered by removing the presser foot andlowering the feed teeth, allowing Frederiksen to engage tension while moving an embroidery hoop around freely. The result is dense embroidery stitched onto linen canvas, which is then stretched onto a wooden panel as a nod to traditional painting. Described by the artist as “drawing with a sewing machine,” Frederiksen produces scenes with subtle gradients and uniform textures that closely resemble colored pencil drawings when viewed from a distance. The nostalgic, soft-edged scenes are born from the artist’s love of cartoons (notably post-war Warner Brothers and the Simpsons) and come together through a fervent editing process. Beginning with screenshots taken from old cartoons, often focusing on the smallest of elements while featuring as much action as possible, Frederiksen crops, edits and adds additional details, be it from other cartoons, eclectic designs or abstract images, before tracing, sketching and eventually stitching his creations onto linen.
Peter Frederiksen attended the School of the Art Institute of Chicago from 2006 - 2008, with a focus on painting, drawing and fibers. It was during these years that the artist explored the techniques of other mediums and expanded his painting practice to include soft sculpture and fiber art. Following his time at SAIC, Frederiksen worked at ad agencies as an art producer where he fostered his passion for promoting and representing other working artists. He is currently a partner, representative and producer at RAD Represents, an artist representation company located in Chicago, IL.
The artist’s work has been presented at a number of institutions in Chicago including the Chicago Athletic Association (solo exhibition, 2020), the Hyde Park Art Center (group exhibition, 2019) and the Arts Club of Chicago (group exhibition, 2018). Most recently, the artist’s embroideries have been featured in group exhibitions internationally at Haverkampf Leistenschneider in Berlin (Text-ile, June - August 2022), Galleri Urbane in Dallas (Intersections, July - August 2022), Daniel Raphael Gallery in London (Go Figure!, July - August 2022), and Bulls Fest in Chicago, curated by All Star Press Chicago (The Art of the Game, September 2022). Frederiksen has appeared in numerous print and online publications, including The Guardian, Colossal, It’s Nice That, gallerytalk.net, Textiel Plus, The Fiber Studio, Composite Arts Magazine, and Chicago Art Review. The artist lives and works in Chicago, IL.
The book mentioned in the interview: How High We Go In The Dark.
Peter Frederiksen, Massey Klein Gallery, no-no-no-no-no, 22-2022 Freehand machine embroidery on linen, 9 x 12 inches. Image courtesy of Massey Klein Gallery and The Artist.
Peter Frederiksen Massey Klein Gallery, some locks wont hold, 22-2022, Freehand machine embroidery on linen, 8 x 6 inches. Image courtesy of Massey Klein Gallery and The Artist.
Peter Frederiksen, Massey Klein Gallery, "out from under rocks, clearing the crust from dreary eyes and seeing friends again", 2022, Freehand machine embroidery on linen, Each panel 7 x 5 inches, Overall 7 x 10 inches. Image courtesy of Massey Klein Gallery and The Artist.
Monia Ben Hamouda, photo: Michele Gabriele
Monia Ben Hamouda (b. 1991, Milan) lives and works between al-Qayrawan and Milan. She graduated with a BA in Fine Arts from the Brera Academy of Fine Arts, Milan. Previous positions include a visiting professorship at the Hochschule für Bildende Künste in Dresden and a Master of Curating at Istituto Marangoni, Florence, and a seat in the jury at the Filmmaker Festival, Milan.
Her work has been presented in various venues including ChertLüdde, Berlin; ASHES/ASHES, New York; Ar/Ge kunst Kunstverein, Bozen; Jevouspropose, Zurich; Museo Salvatore Ferragamo, Florence; Et.Al, San Francisco; Ada, Rome; Galerie Valeria Cetraro, Paris; Universitätssammlungen Kunst, Dresden; Alios 16me Biennale d’Art Contemporain, La Teste de Buch; Marselleria Permanent Exhibition, Milan. Awards include: Pollock-Krasner Foundation Grant (winner); VI Club Gamec Prize (finalist); TSI Art Award x Artissima (winner); Art Business Accelerator Grant, Artwork Archive and Redline Contemporary Art Center (winner); DUCATO Contemporary Art Prize (special prize winner).
Additional information for Monia can be found on her artist page.
The book she discussed in the interview is The Big Something by Ron Padgett.
Monia Ben Hamouda Denial of a Red-Winged Blackbird (Aniconism As Figurative Urgency), 2022 laser-cut steel, spice powders, charcoal 86 1/4 x 76 3/8 x 3/64 inches (219 x 194 x 0.3 centimeters). © Monia Ben Hamouda, courtesy ASHES/ASHES, New York and ChertLüdde, Berlin.
Monia Ben Hamouda Denial of a Red-Winged Blackbird (Aniconism As Figurative Urgency), 2022 laser-cut steel, spice powders, charcoal 86 1/4 x 76 3/8 x 3/64 inches (219 x 194 x 0.3 centimeters). © Monia Ben Hamouda, courtesy ASHES/ASHES, New York and ChertLüdde, Berlin.
Monia Ben Hamouda, photo: Michele Gabriele
Monia Ben Hamouda (b. 1991, Milan) lives and works between al-Qayrawan and Milan. She graduated with a BA in Fine Arts from the Brera Academy of Fine Arts, Milan. Previous positions include a visiting professorship at the Hochschule für Bildende Künste in Dresden and a Master of Curating at Istituto Marangoni, Florence, and a seat in the jury at the Filmmaker Festival, Milan.
Her work has been presented in various venues including ChertLüdde, Berlin; ASHES/ASHES, New York; Ar/Ge kunst Kunstverein, Bozen; Jevouspropose, Zurich; Museo Salvatore Ferragamo, Florence; Et.Al, San Francisco; Ada, Rome; Galerie Valeria Cetraro, Paris; Universitätssammlungen Kunst, Dresden; Alios 16me Biennale d’Art Contemporain, La Teste de Buch; Marselleria Permanent Exhibition, Milan. Awards include: Pollock-Krasner Foundation Grant (winner); VI Club Gamec Prize (finalist); TSI Art Award x Artissima (winner); Art Business Accelerator Grant, Artwork Archive and Redline Contemporary Art Center (winner); DUCATO Contemporary Art Prize (special prize winner).
Additional information for Monia can be found on her artist page.
The book she discussed in the interview is The Big Something by Ron Padgett.
Monia Ben Hamouda Denial of a Red-Winged Blackbird (Aniconism As Figurative Urgency), 2022 laser-cut steel, spice powders, charcoal 86 1/4 x 76 3/8 x 3/64 inches (219 x 194 x 0.3 centimeters). © Monia Ben Hamouda, courtesy ASHES/ASHES, New York and ChertLüdde, Berlin.
Monia Ben Hamouda Denial of a Red-Winged Blackbird (Aniconism As Figurative Urgency), 2022 laser-cut steel, spice powders, charcoal 86 1/4 x 76 3/8 x 3/64 inches (219 x 194 x 0.3 centimeters). © Monia Ben Hamouda, courtesy ASHES/ASHES, New York and ChertLüdde, Berlin.
Portrait by Gabriella Marks Paula Wilson received an MFA from Columbia and a BFA from Washington University in St. Louis, MO. Alongside her current exhibition at Denny Dimin Gallery, she is currently exhibiting within a group exhibition Plein Air at MOCA Tucson and has an upcoming solo exhibition Toward the Sky’s Back Door at The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs in 2023. She has also recently had an acquisition placed at Colby College Museum of Art. In addition, her upcoming Albuquerque Museum show: Nicola López and Paula Wilson: Becoming Land opens October 8th, 2022 and is part of a larger umbrella of shows titled: Historic and Contemporary Landscapes including work by Thomas Cole and Kiki Smith. Wilson’s has held other recent solo exhibitions at Locust Projects, Miami, FL (2020-2021), 516 ARTS Contemporary Museum, Albuquerque, NM (2019), Smack Mellon, Brooklyn, NY (2018), and Denny Dimin Gallery, New York, NY (2018). She has been included in four exhibitions at the Studio Museum in Harlem, exhibitions at Tufts University Art Galleries (2021), Skidmore College (2015), Inside-Out Art Museum in Beijing (2014), Postmasters Gallery (2010), Weatherspoon Art Museum, Greensboro, NC (2010), Contemporary Arts Museum Houston (2009), Zacheta National Gallery of Art in Warsaw (2007), Sikkema Jenkins & Co. (2006), just to name a few. Wilson’s artwork is in many prestigious collections including, The Studio Museum in Harlem, the New York Public Library, Yale University, Saatchi Gallery, and The Fabric Workshop.
Microhouse, 2022 Mixed Media. Courtesy of Paula Wilson and Denny Dimin Gallery
Earth Angel, 2022 Acrylic and oil on muslin and canvas (relief, silkscreen, monotype, and lithography print), wooden and beaded jewelry made in collaboration with Mike Lagg. Courtesy of Paula Wilson and Denny Dimin Gallery
Up My Sleeve, 2021 Acrylic on muslin and canvas (woodblock, relief, monotype, silkscreen, collagraph, and digital print) Courtesy of Paula Wilson and Denny Dimin Gallery
Portrait by Gabriella Marks Paula Wilson received an MFA from Columbia and a BFA from Washington University in St. Louis, MO. Alongside her current exhibition at Denny Dimin Gallery, she is currently exhibiting within a group exhibition Plein Air at MOCA Tucson and has an upcoming solo exhibition Toward the Sky’s Back Door at The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs in 2023. She has also recently had an acquisition placed at Colby College Museum of Art. In addition, her upcoming Albuquerque Museum show: Nicola López and Paula Wilson: Becoming Land opens October 8th, 2022 and is part of a larger umbrella of shows titled: Historic and Contemporary Landscapes including work by Thomas Cole and Kiki Smith. Wilson’s has held other recent solo exhibitions at Locust Projects, Miami, FL (2020-2021), 516 ARTS Contemporary Museum, Albuquerque, NM (2019), Smack Mellon, Brooklyn, NY (2018), and Denny Dimin Gallery, New York, NY (2018). She has been included in four exhibitions at the Studio Museum in Harlem, exhibitions at Tufts University Art Galleries (2021), Skidmore College (2015), Inside-Out Art Museum in Beijing (2014), Postmasters Gallery (2010), Weatherspoon Art Museum, Greensboro, NC (2010), Contemporary Arts Museum Houston (2009), Zacheta National Gallery of Art in Warsaw (2007), Sikkema Jenkins & Co. (2006), just to name a few. Wilson’s artwork is in many prestigious collections including, The Studio Museum in Harlem, the New York Public Library, Yale University, Saatchi Gallery, and The Fabric Workshop.
Microhouse, 2022 Mixed Media. Courtesy of Paula Wilson and Denny Dimin Gallery
Earth Angel, 2022 Acrylic and oil on muslin and canvas (relief, silkscreen, monotype, and lithography print), wooden and beaded jewelry made in collaboration with Mike Lagg. Courtesy of Paula Wilson and Denny Dimin Gallery
Up My Sleeve, 2021 Acrylic on muslin and canvas (woodblock, relief, monotype, silkscreen, collagraph, and digital print) Courtesy of Paula Wilson and Denny Dimin Gallery
Portrait by Gabriella Marks Paula Wilson received an MFA from Columbia and a BFA from Washington University in St. Louis, MO. Alongside her current exhibition at Denny Dimin Gallery, she is currently exhibiting within a group exhibition Plein Air at MOCA Tucson and has an upcoming solo exhibition Toward the Sky’s Back Door at The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs in 2023. She has also recently had an acquisition placed at Colby College Museum of Art. In addition, her upcoming Albuquerque Museum show: Nicola López and Paula Wilson: Becoming Land opens October 8th, 2022 and is part of a larger umbrella of shows titled: Historic and Contemporary Landscapes including work by Thomas Cole and Kiki Smith. Wilson’s has held other recent solo exhibitions at Locust Projects, Miami, FL (2020-2021), 516 ARTS Contemporary Museum, Albuquerque, NM (2019), Smack Mellon, Brooklyn, NY (2018), and Denny Dimin Gallery, New York, NY (2018). She has been included in four exhibitions at the Studio Museum in Harlem, exhibitions at Tufts University Art Galleries (2021), Skidmore College (2015), Inside-Out Art Museum in Beijing (2014), Postmasters Gallery (2010), Weatherspoon Art Museum, Greensboro, NC (2010), Contemporary Arts Museum Houston (2009), Zacheta National Gallery of Art in Warsaw (2007), Sikkema Jenkins & Co. (2006), just to name a few. Wilson’s artwork is in many prestigious collections including, The Studio Museum in Harlem, the New York Public Library, Yale University, Saatchi Gallery, and The Fabric Workshop.
Microhouse, 2022 Mixed Media. Courtesy of Paula Wilson and Denny Dimin Gallery
Earth Angel, 2022 Acrylic and oil on muslin and canvas (relief, silkscreen, monotype, and lithography print), wooden and beaded jewelry made in collaboration with Mike Lagg. Courtesy of Paula Wilson and Denny Dimin Gallery
Up My Sleeve, 2021 Acrylic on muslin and canvas (woodblock, relief, monotype, silkscreen, collagraph, and digital print) Courtesy of Paula Wilson and Denny Dimin Gallery
In Takuji Hamanaka’s mosaic-inspired works on paper, multiple sections of monochrome color interlock within dimensional, polychrome compositions. Adapting the ‘Bokashi’ technique of woodblock printing to a contemporary practice, Hamanaka prints multiple papers in color gradients and arranges them onto paper in organic designs that call to mind lattices, prisms, and slopes. Color and its absence draw attention to the paper’s opacity, as well as more theoretical ideas of windows and grids, and the tension between nature and pure abstraction.
Takuji Hamanaka was born in 1968 in Hokkaido, Japan and lives and works in Brooklyn, New York. From 1986-89 he trained at the Adachi Institute of Woodblock printmaking in Tokyo, Japan. Hamanaka is the 2022 recipient of a prestigious Pollock-Krasner Foundation Grant, and the recipient numerous other grants and awards including The Gottlieb Foundation Individual Support Grant (2021), the Rauschenberg Emergency Grant (2020), and the NYSCA/NYFA Artist Fellowship in Printmaking (2017 and 2011). He was a fellow at the Kala Art institute, Berkeley, CA in 2016 and a Barbara and Thomas Putnam Fellow at MacDowell Colony in 2013. His works are included in the collections of the Fleming Museum, The University of Vermont, Burlington, VT, the Johnson Museum of Art, Cornell University, Ithaca, NY, the New York Presbyterian Hospital, and Fidelity Investments Corporate Art Collection among others. Recent group exhibitions include 'Focus on the Flatfiles: Between Worlds,' Kentler International Drawing Center, Brooklyn, NY, and 'Here and Now,' The Center for Contemporary Art, Bedminster, NJ. His exhibitions have been reviewed by John Yau (Hyperallergic) and Johanna Fateman (The New Yorker).
The book he mentioned at the end is Early Light by Osamu Dazi.
Takuji Hamanaka , Collapsing Stair, 2021, Cut and pasted woodblock printed papers, mounted on museum board, 32 x 25 1/2 inches, TH1165, Courtesy of the Artist and Kristen Lorello, NY, Photo: Lance Brewer
Takuji Hamanaka, Stream Mineral, 2021, Cut and pasted woodblock printed papers, mounted on museum board, 32 x 25 1/2 inches, TH1165, Courtesy of the Artist and Kristen Lorello, NY, Photo: Lance Brewer
Takuji Hamanaka, Broken Screen, 2021, Cut and pasted woodblock printed papers, mounted on museum board, 32 x 25 1/2 inches, TH1165, Courtesy of the Artist and Kristen Lorello, NY, Photo: Lance Brewer
In Takuji Hamanaka’s mosaic-inspired works on paper, multiple sections of monochrome color interlock within dimensional, polychrome compositions. Adapting the ‘Bokashi’ technique of woodblock printing to a contemporary practice, Hamanaka prints multiple papers in color gradients and arranges them onto paper in organic designs that call to mind lattices, prisms, and slopes. Color and its absence draw attention to the paper’s opacity, as well as more theoretical ideas of windows and grids, and the tension between nature and pure abstraction.
Takuji Hamanaka was born in 1968 in Hokkaido, Japan and lives and works in Brooklyn, New York. From 1986-89 he trained at the Adachi Institute of Woodblock printmaking in Tokyo, Japan. Hamanaka is the 2022 recipient of a prestigious Pollock-Krasner Foundation Grant, and the recipient numerous other grants and awards including The Gottlieb Foundation Individual Support Grant (2021), the Rauschenberg Emergency Grant (2020), and the NYSCA/NYFA Artist Fellowship in Printmaking (2017 and 2011). He was a fellow at the Kala Art institute, Berkeley, CA in 2016 and a Barbara and Thomas Putnam Fellow at MacDowell Colony in 2013. His works are included in the collections of the Fleming Museum, The University of Vermont, Burlington, VT, the Johnson Museum of Art, Cornell University, Ithaca, NY, the New York Presbyterian Hospital, and Fidelity Investments Corporate Art Collection among others. Recent group exhibitions include 'Focus on the Flatfiles: Between Worlds,' Kentler International Drawing Center, Brooklyn, NY, and 'Here and Now,' The Center for Contemporary Art, Bedminster, NJ. His exhibitions have been reviewed by John Yau (Hyperallergic) and Johanna Fateman (The New Yorker).
The book he mentioned at the end is Early Light by Osamu Dazi.
Takuji Hamanaka , Collapsing Stair, 2021, Cut and pasted woodblock printed papers, mounted on museum board, 32 x 25 1/2 inches, TH1165, Courtesy of the Artist and Kristen Lorello, NY, Photo: Lance Brewer
Takuji Hamanaka, Stream Mineral, 2021, Cut and pasted woodblock printed papers, mounted on museum board, 32 x 25 1/2 inches, TH1165, Courtesy of the Artist and Kristen Lorello, NY, Photo: Lance Brewer
Takuji Hamanaka, Broken Screen, 2021, Cut and pasted woodblock printed papers, mounted on museum board, 32 x 25 1/2 inches, TH1165, Courtesy of the Artist and Kristen Lorello, NY, Photo: Lance Brewer
In Takuji Hamanaka’s mosaic-inspired works on paper, multiple sections of monochrome color interlock within dimensional, polychrome compositions. Adapting the ‘Bokashi’ technique of woodblock printing to a contemporary practice, Hamanaka prints multiple papers in color gradients and arranges them onto paper in organic designs that call to mind lattices, prisms, and slopes. Color and its absence draw attention to the paper’s opacity, as well as more theoretical ideas of windows and grids, and the tension between nature and pure abstraction.
Takuji Hamanaka was born in 1968 in Hokkaido, Japan and lives and works in Brooklyn, New York. From 1986-89 he trained at the Adachi Institute of Woodblock printmaking in Tokyo, Japan. Hamanaka is the 2022 recipient of a prestigious Pollock-Krasner Foundation Grant, and the recipient numerous other grants and awards including The Gottlieb Foundation Individual Support Grant (2021), the Rauschenberg Emergency Grant (2020), and the NYSCA/NYFA Artist Fellowship in Printmaking (2017 and 2011). He was a fellow at the Kala Art institute, Berkeley, CA in 2016 and a Barbara and Thomas Putnam Fellow at MacDowell Colony in 2013. His works are included in the collections of the Fleming Museum, The University of Vermont, Burlington, VT, the Johnson Museum of Art, Cornell University, Ithaca, NY, the New York Presbyterian Hospital, and Fidelity Investments Corporate Art Collection among others. Recent group exhibitions include 'Focus on the Flatfiles: Between Worlds,' Kentler International Drawing Center, Brooklyn, NY, and 'Here and Now,' The Center for Contemporary Art, Bedminster, NJ. His exhibitions have been reviewed by John Yau (Hyperallergic) and Johanna Fateman (The New Yorker).
The book he mentioned at the end is Early Light by Osamu Dazi.
Takuji Hamanaka , Collapsing Stair, 2021, Cut and pasted woodblock printed papers, mounted on museum board, 32 x 25 1/2 inches, TH1165, Courtesy of the Artist and Kristen Lorello, NY, Photo: Lance Brewer
Takuji Hamanaka, Stream Mineral, 2021, Cut and pasted woodblock printed papers, mounted on museum board, 32 x 25 1/2 inches, TH1165, Courtesy of the Artist and Kristen Lorello, NY, Photo: Lance Brewer
Takuji Hamanaka, Broken Screen, 2021, Cut and pasted woodblock printed papers, mounted on museum board, 32 x 25 1/2 inches, TH1165, Courtesy of the Artist and Kristen Lorello, NY, Photo: Lance Brewer
Anthony Akinbola Photo by Fredrick Nwosu
Anthony Akinbola is an interdisciplinary Nigerian- American, Brooklyn-based artist. Born in Columbia, Missouri, Anthony Akinbola, is a first-generation American raised by Nigerian parents in the United States and Nigeria. His layered, richly colored compositions celebrate and signify the distinct cultures that shape his identity. The artist’s signature Camouflage paintings, consisting of single and multi-panel works, utilize the ubiquitous du-rag as their primary material. Universally available and possessed of significant cultural context, the du-rag represents for Akinbola a readymade object that engages the conceptual strategies of Marcel Duchamp and other significant artistic predecessors. Throughout his work Akinbola unpacks the rituals and histories connecting Africa and America, addressing the power of fetishization around cultural objects.
Anthony Akinbola was selected for the Anderson Ranch Art Center Residency in 2017 and created a monumental wall collage for The Queens Museum in 2018. In 2019, Akinbola was awarded the Van Lier Fellowship and named the eighth Museum of Arts and Design Artist Fellow, which resulted in a solo exhibition at the museum. In September 2022, Anthony Akinbola was awarded the Silver Arts Project residency in New York. Akinbola’s work is currently featured in a group exhibition at the Kalamazoo Institute of Arts. His work will be included in a group exhibition at the Baltimore Museum of Art in March 2023. His work has been featured in exhibitions at The Queens Museum, NY; the Bronx River Art Center, NY; The Zuckerman Museum of Art, GA; and The Verbeke Foundation, Belgium, amongst others. Following his exhibition at the Museum of Art and Design, NY in 2020, Akinbola mounted a significant solo exhibition in early 2021 at the Kohler Arts Center, WI. Akinbola received a BA in communications and media from SUNY Purchase College. His work is included in the Pizzuti Collection, Columbus, OH, the Beth Rudin DeWoody Collection, and The Everson Museum of Art, Syracuse, NY amongst others.
Installation view of Anthony Akinbola: Natural Beauty at Sean Kelly, New York, September 8 - October 22, 2022, Photography: Adam Reich, Courtesy: Sean Kelly
Anthony Akinbola White Bronco, 2022 durags, acrylic on wood panel overall: 110 x 72 inches © Anthony Akinbola Courtesy: Sean Kelly
Anthony Akinbola Camouflage Study "Lilac/Green", 2022 durags, acrylic on wood panel 48 x 96 inches © Anthony Akinbola Courtesy: Sean Kelly
Anthony Akinbola Lift Every Voice, 2022 durags, acrylic on wood panel overall: 149 x 73 1/2 inches © Anthony Akinbola Courtesy: Sean Kelly
Kyle Thurman (b. 1986, West Chester, PA) lives and works in Brooklyn, New York. In 2016 he received an MFA in painting from the Milton Avery Graduate School of the Arts at Bard College. From 2011 to 2012, Thurman studied with Christopher Williams and Peter Doig as a guest student at the Kunstakademie Dusseldorf. In 2009 he received his BA in Film Studies and Visual Arts from Columbia University. Most recently, Thurman was included in the 2019 Whitney Biennial curated by Rujeko Hockley and Jane Panetta; his work is now included in the permanent collection of the Whitney Museum of American Art. Other recent solo and group exhibitions include Central Fine, Miami Beach, FL; The Meeting, New York, NY; Sophie Tappeiner, Vienna, Austria; 1301PE, Los Angeles, CA; Off Vendome, New York, NY; The Cleveland Triennial, Cleveland, OH; Parapet Real Humans, St. Louis, MO; Hannah Hoffman Gallery, Los Angeles, CA; Cookie Butcher, Antwerp, Belgium; Office Baroque, Brussels, Belgium; Kostyal, London, England; Benevento, New York, NY; OFFSITE, New York, NY; Bodega, New York, NY; MOCA Tucson, Tucson, AZ; Fluxia Gallery, Milan, Italy; Laurel Gitlen, New York, NY; Dickinson Gallery, New York, NY; Galeria Marta Cervera, Madrid, Spain; Lisa Cooley and Laurel Gitlen, New York, NY; Room East, New York, NY; Middlemarch, Brussels, Belgium; Nudashank, Baltimore, MA; Shoot the Lobster, Miami, FL; Maison Particuliere, Brussels, Belgium; West Street Gallery, New York NY; Eleven Rivington, New York, NY; Clearing, Brussels, Belgium; M and B Art, Los Angeles, CA; Martos Gallery, New York, NY; Printed Matter, New York, NY; and The Mercantile Fiction Library, New York, NY among others. The artist’s upcoming exhibitions include Central Fine, Miami Beach, FL and Sophie Tappeiner, Vienna, Austria.
Kyle Thurman Dream Police (My neck) 2022 Acrylic dispersion, gouache, oil, and watercolor on PVA primed paper and Dibond panel in artist’s frame 49 7/8 x 73 7/8 x 2 7/8 in 126.7 x 187.6 x 7.3 cm
Kyle Thurman Forest (our shadow) 2022 Gouache, graphite, oil, and watercolor on PVA primed paper and Dibond panel in artist’s frame 49 7/8 x 73 7/8 x 2 7/8 in 126.7 x 187.6 x 7.3 cm.
Kyle Thurman Crown (model monument, emotion) 2022 with altar by Lesser Miracle Patinated bronze and wood Sculpture Dimensions: 21 1/10 x 21 1/10 x 21 1/10 in 53.6 x 53.6 x 53.6 cm Altar Dimensions: 30 x 70 x 33 in 76.2 x 177.8 x 83.82 cm.
Andrea Kantrowitz, an artist and educator, has lectured and led workshops on art and cognition internationally, and has twice served as a Singapore Ministry of Education Outstanding Educator in Residence. She was a teaching artist in the New York City public schools for many years, involved in multiple local and national research projects that demonstrated the positive academic impact of an integrated art curriculum for students growing up in poverty. As a director of the Thinking through Drawing Project, she co-organized 10 years of international drawing and cognition research symposia and workshops, in collaboration with colleagues from around the world. She holds a doctorate in Art Education and Cognitive Studies from Columbia University Teachers College, an MFA in Painting from Yale, a BA in Art and Cognition from Harvard and is an Associate Professor and Director of the Art Education Program at the State University of New York at New Paltz. Her paintings have been exhibited nationally and are in many private collections. She has curated multiple exhibitions on themes of drawing, cognition, and the creative work of artist/educators. She is an artist member of The Painting Center in New York City, and her artwork is also represented by Kenise Barnes Fine Art.
Noah Jemisin, 2022
Noah Jemisin was born in Birmingham, AL and obtained an MFA degree from University of Iowa, in 1974. His extensive travels in Africa, Europe and Asia over the years have helped him to develop an approach to life and art that enables him to synthesize into a distinct and dynamic whole the various components of his identity and create work that strives to make meaning of his personal history as well as the ambiguities and contradictions of contemporary culture. There is a great deal of critical experience, of knowledge and admiration of art historical precedents in his work as well as an ever sensitive deftly balanced interaction between modernism’s formal concern’s with a belief in the emotive potential of painting.
He is included in the highly anticipated exhibition Just Above Midtown: Changing Spaces, Museum of Modern Art, (MoMA), New York, October 9 , 2022 – February 18, 2023. JAM was an art gallery that welcomed artists and visitors of many generations and races in New York City from 1974 until 1986. Upcoming solo exhibitions include Noah Jemisin: Paintings-1970s-1980s, Skoto Gallery, New York, October 13-November 26, 2022; and “Back to B’ham”, a survey exhibition at the Birmingham Museum of Art, Birmingham, AL.; Spring 2024.
He is also represented in numerous public and private collections including the Metropolitan Museum, New York, the Library of Congress, Washington DC, the Museum of Art at the University of Iowa, Montclair Museum of Art, Museum of Santa Fe, New Mexico and the Miami-Dade Public Library, Florida. Awards include New York Foundation for the Arts, the Pollock-Krasner Foundation, a travel grant from Arts International, Artist in Residence at The Studio Museum in Harlem and The Bronx River Art Gallery, Bronx, New York.
The Immortality Of The Human Soul, Nyame Nwu Mawu I, 2021, acrylic, gouache on canvas
Maiden Bathers, 1985, Encaustic on canvas, 54x36 inches
Perrotin New York is pleased to present the first survey exhibition in the United States of the late Norwegian-born painter Anna-Eva Bergman (1909-1987), entitled Revelation. A central figure in the development of European modernism, Bergman abstracted the landscapes of Norway into spiritually transcendent compositions. Despite Bergman’s colorful life and strikingly original creative output, there has yet to be such a spotlight on her talent — a situation that is soon to change, given a major pair of retrospectives set to open at the Musée d’Art Moderne de Paris and the National Museum of Oslo in 2023.
This interview is with Thomas Schlesser, the foundation’s director of the Hans Hartung and Anna-Eva Bergman foundation.
N°63-1961 Big universe with small squares, 1961. Oil and metal sheet on canvas Framed: 198.2 × 208 × 6 cm. Photographer: Claire Dorn. ©Anna-Eva Bergman /ADAGP, Paris & ARS, New York 2022. Courtesy Fondation Hartung -Bergman & Perrotin
Anna-Eva Bergman N°59-1962 Small golden fire on black, 1962 Tempera and metal sheet on canvas Unframed: 24 1/16 x 19 11/16 inch Framed: 25 7/8 x 21 9/16 x 1 9/16 inch ©Anna-Eva Bergman/ADAGP, Paris & ARS, New York 2022. Courtesy Fondation Hartung-Bergman & Perrotin
Anna-Eva Bergman N°17-1976 Nunatak II, 1976 Acrylic and metal sheet on canvas Unframed: 98 7/16 x 78 3/4 inch Framed: 101 3/8 x 81 9/16 x 2 3/8 inch ©Anna-Eva Bergman/ADAGP, Paris & ARS, New York 2022. Courtesy Fondation Hartung-Bergman & Perrotin
Sarah Dwyer (b. 1974, Ireland) is a painter who lives and works in London. Drawing is at the heart of her process, often combined with painting, printmaking, and sculpture, resulting in reimaginings of the familiar through exuberant color palettes and lively approaches to mark-making. Incorporating both figurative and abstract imagery, her dynamic compositions are the result of processing her own surroundings and the human day-to-day experience, in addition to an indulgence in our desire for play. Surfaces, in turn, retain traces of process and development within their own archive and present the viewer with a navigable visual history.
Dwyer earned a Master’s in Painting from the Royal College of Art, London, in 2004 after an MFA from Staffordshire University in 2001. Her work has most recently been exhibited at Fabian Lang Gallery, Zurich; PiArtworks, London; Pigeon Park, Manor Place, London; in three solo shows at Josh Lilley Gallery, London; Hastings Contemporary, Hastings, UK; Hair & Nails Gallery, MN; Rochester Art Center, MN; Bloomberg Space, London, UK; Kyubidou Gallery, Tokyo, JP; Jane Lombard Gallery NY, NY; Fe McWilliam Gallery, NIR; Royal College of Art, London, UK; Saatchi Gallery, London, UK; The Walker Art Gallery, Liverpool, UK; Kevin Kavanagh Gallery, Dublin, IE.
Cockshutt Lane 2022 150 x 120 cm 59 x47.2 inches, Oil and Pastel on Linen
Fink 2022 100 x 75cm 39.4 x 29.5 inches Oil and pastel on linen
Thrum 2022 150 x 120 cm 59 x47.2 inches, Oil and Pastel on Linen
Sydney Licht draws inspiration from the common, disposable detritus of everyday life and creates still lives centered around takeout containers, department store boxes, sugar packets and other disposables. Licht tells the domestic experience of society’s materialism via modern takes on the still life.
“For centuries, still life paintings have portrayed items from the realm of the domestic....food, utensils, dishes, flowers and other elements that celebrate the table and the communal dining experience,” Licht says. “Today, as technology impacts our lives more and more, few of us have the means or the desire to spend hours preparing and presenting a meal served on china dishes with silver place settings. Instead, we order online and our food arrives ready to be microwaved. During the Covid era, communal dining experiences were more likely to occur on a computer via Zoom than in person sitting around a table together. All of this begs the question, has the shelf life of the still life as we’ve known it reached its expiration date?” Sydney Licht has exhibited widely throughout the United States. Her work has been featured in the New Yorker and Elle Décor, among other publications. She has been a visiting artist at the American Academy in Rome twice, and the recipient of the Yaddo Residency. Licht has an MFA from the School of the Art Institute of Chicago, and lives and works in New York City.
Sydney Licht, Still Life with Fat Quarters and Brown Vase, 2022 oil on panel 10 x 10 in.
Sydney Licht, Still Life with Packing Tape, 2022 oil on panel 10 x 10 in.
Sydney Licht, Still Life with Bag & Ledger, 2022 oil on linen 13 x 16 in.
Rhys Ziemba is an artist and musician in New York City As part of his practice, Ziemba collects various objects, such as medical skeleton models, traffic cones, paint buckets, inflatable flamingos, or kettlebells, and assembles them in his basement studio. The basement serves as a stage for his paintings which in turn become documentation of the arranged eclectic elements. His works are carefully rendered with consideration to the objects and the space which surrounds them. Balancing between Ziemba’s close observation and saturated imagination, his paintings record time. On view at Art Cake is a selection of intimately scaled oil paintings made by Ziemba. Many of the paintings illustrate urban environments or landscapes in Florida created from direct observation, en plein air, or photographs taken by the artist. Other paintings were developed from drawings the artist made during a recent trip to Crete, Greece. Each of the paintings, measuring eight by ten inches, illustrates scenes within nature and contains a prominent horizon line and vast depth of field to emphasize the nature of light as it travels through space. Like his earlier works, Ziemba introduces inconsequential ephemera that disrupt the harmonious landscape. For the artist, the addition of these elements, whether it is a suggestion of an emotional pair of eyes, a finger pointing, a piece of trash, or a referential object, is partly a graphical device meant to draw the viewer’s eye across the composition and partly a way to allow each element to reify itself in a way that is meant to surprise even the artist. In some paintings, such as Beach Hat (2022), however, the element is so prominent within the detailed landscape that it becomes the subject of the painting. The solo exhibition at Art Cake is on view, September 1 through October 8th, 2022, will be a selection of the artist’s most recent paintings.
I was wrong, 8 x 10, 2022 oil on panel
Mother Courage at the height of her business career, 24 x 36, 2020, oil on panel
They were those from the wilderness of stars that had expected more, 24 x 18, 2022, oil on panel
Portrait of Gaby Sahhar
Page presents Gaby Sahhar, the New York debut of the London-based artist. Released explores alternative forms of knowledge-making through queer shapeshifting. Soaked in a kaleidoscopic palette of India and alcohol ink, Sahhar’s new works draw on processes of articulation within LGBTQI+ communities that resist academic domination. Such tools of thought migrate across borders, slipping into the pores of the public sphere, shifting into a collective body.
Gaby Sahhar (b. 1992, London, UK) lives and works in London, UK. Sahhar received a BA from Goldsmiths, London in 2015. Solo exhibitions include MAC VAL, Paris / The Kooples Art Prize (2023); PAGE (NYC), New York (2022); and Sweetwater, Berlin (2019). Group exhibitions include Fragment Gallery, New York (2022); Sadie Coles HQ, London (2022); and Museum of Moscow, Russia (2020).
Installation view, Gaby Sahhar, Released, PAGE (NYC), 2022.
Gaby Sahhar, Released, 2022, India and alcohol ink on synthetic paper, 80 x 156 inches.
Gaby Sahhar, Shadow of the Other, 2022, Oil on canvas, 35.5 x 23.75 inches
Ryan Sarah Murphy is a New York City-based artist, represented by C24 Gallery. Her body of work, which includes sculptures, videos and drawings, provides a multi-dimensional deconstruction of the intuitive, creative process, as expressed through different mediums and technologies. Murphy’s sculptures are generated from the random discovery of discarded pieces of cardboard that she findsthroughout the streets of New York City. Initially drawn to these materials because of their color, she strips them of any identifiable markings such as logos or lettering, then cuts and layers the torn pieces into raw, elegant constructions that allude to cross sections of buildings or overhead maps. The works act as visual meditations on geographical location, placemaking and spatial awareness, fueled by the pure, energetic power of color combinations and their visceral impact. Her solo exhibition, Structural Integrity, is on view at C24 Gallery through September 23d. Her work will also be on view in the Gallery's booth at Art on Paper from September 8th - 11th.
Ryan Sarah Murphy En route, 2019 Found (unpainted) cardboard, cut book covers, foamcore 26.5 x 34 x 2.5in. (67.3 x 86.4 x 6.4cm)
Ryan Sarah Murphy Echo Chamber 3, 2021 Acrylic and graphite on paper Unframed Dimensions: 8 x 14in. (20.3 x 35.6cm)
Ryan Sarah Murphy, En route, 2019, Found (unpainted) cardboard, cut book covers, foamcore 26.5 x 34 x 2.5in. (67.3 x 86.4 x 6.4cm)
"In his approach to painting, [Thomas Trum tries] to find out everything there is to know about a certain paint or piece of equipment before using it in his work. The way he works on a smaller piece of paper is basically similar to when he makes a large mural: by zooming in and out on his own methods he can work on many different surfaces and sizes. Paint is his muse, whether it is in small-scale research or expanding public spaces with his colourful large-scale work." - by Rianne Groen Thomas Trum (1989) lives and works in s’-Hertogenbosch, The Netherlands. He graduated from the Design Academy in Eindhoven in 2014. His works have been shown at a variety of galleries and museums like Het Nieuw Instituut, Rotterdam, Art Rotterdam and Het Noordbrabants Museum, ’s-Hertogenbosch.
Naomi Safran-Hon creates work that makes gripping statements about the fragility of human experience, the complicated nature of one's home, and the vicissitudes of collective identities. The artist is seeking the narrative that is hidden and buried in the landscape. The spirit is inherent in Safran-Hon's intellectual construction, and, as the journey described in sefer hechaloth, the inner odyssey within oneself (Anselm Kiefer) permeates her entire body of work. Safran-Hon's process lingers at the intersection of drawing, photography, sculpture, and painting, focusing on the internal energy of the material, continuously emboldening the viewer to look beyond the surface. Her work is anchored in undeniable reality, yet she unceasingly builds by extracting the essence from the soul of the materials she uses, thus transforming preexisting contexts. Safran-Hon uses a unique process to transform her photographs into evocative paintings with strong impressionist undertones. Cutting through the photograph and canvas, Safran-Hon pushes concrete through the lace stretched over these empty spaces then paints on top, imbuing each piece with a sculptural quality whose dimensionality causes the eye to stick in the nooks and crannies of the work, lingering over objects—some immediately recognizable, some requiring effort to piece back together.
Fields of Color II, 2022 Acrylic, lace and cement on canvas 61x54 inches
Wall Dreams in Pink, Acrylic, lace, cement, sewing pins and archival ink jet print on tulle 20x24 inches
Those Who Got Away, 2020 Acrylic, cement, lace, fabric and barbed wire 55x88 inches
Erick Antonio Benitez (b. 1988, Bronx, NY) is a first generation Salvadoran-American multidisciplinary artist, musician, organizer and curator based between Baltimore, MD and Los Angeles, CA. He received a BFA in Painting from the Maryland Institute College of Art and has exhibited work at Selenas Mountain (NY), REGULARNORMAL at Dinner Gallery (NY), Greenpoint Gallery (NY), Connor Smith Gallery (DC), The Baltimore Museum of Art (MD), Gaddis Geeslin Gallery (TX), Strange Fire Collective (CO), Galerie B-312 (Montreal, QC), Metafora Studio Arts (Barcelona, ES) and Simultan Festival (Timișoara, RO). His work has been reviewed by The Washington Post, The Baltimore Sun, BmoreArt, The American Scholar, Terremoto (MX) and Le Devoir (QC) and a few publications including the sixth issue of BmoreArt Magazine, Let’s Talk Live (WJLA), and Hyrsteria Zine Vol. 2. Benitez is also a recipient of the Ruby Artist Project grant, The Contemporary: Grit Fund 2, MASB Travel Artist Award, Janet and Walter Sondheim Artscape Award and has participated in The Studios residency at MASS MoCA (North Adams, MA). Most recently, Benitez received a Baltimore Light City Festival commission and an invitation to Pigment Sauvage “La Track'' residency in Montreal, Quebec-Canada.
The exhibit discussed in the interview is A Country Made of Ice Cream.
Erick Antonio Benitez Bare witness, while I bare feet, 2021 Acrylic, airbrush , and collage on stretched mylar 10 x 8 in
Erick Antonio Benitez Karma & Desire (A Poet’s Eulogy), 2022 Acrylic , airbrush, charcoal, and ink on canvas 36 x 32 in
Erick Antonio Benitez, Poetry for 12 Cave Paintings, 2022, Acrylic , airbrush, charcoal, collage and ink on canvas, 36 x 32 in
Photo portrait by Kicca Tommasi
Jorge Macchi is a visual artist. Born in Buenos Aires, Argentina, in 1963. Lives and works in Buenos Aires. In 2001 he was awarded the John Simon Guggenheim Memorial Foundation Fellowship.
He had three major retrospectives of his work: Perspectiva at MALBA Latin American Art Museum of Buenos Aires, in 2016, Music Stand Still at S.M.A.K the Municipal Museum of Contemporary Art, Ghent, Belgium in 2011, and The anatomy of melancholy at Santander Cultural, 2007, Blanton Museum, 2007 and CGAC, Centro Gallego de Arte Contemporáneo, 2008, He represented Argentina at the Venice Biennial in 2005.
He took part in the Biennials of Liverpool 2012, Lyon 2011, Yokohama 2008, Porto Alegre 2007, Venezia 2005, San Pablo 2004, Estambul 2003, Porto Alegre 2003.
Parallel lives, Jorge Macchi. Gentileza the artist.
All the words of the world, Edouard Fraipont. gentileza Galeria Luisa Srina, Sao Paulo.
Bone exposed, Joerg Lohse. Gentileza Alexander and Bonin Gallery, NY
Sung Hwa Kim (b. 1985 in Seoul, South Korea) received his MFA at the Maryland Institute College of Art and his BFA from The Art Institute of Boston. Kim has held solo exhibition at Hesse Flatow (New York, NY). Recent group exhibitions include Gone Was the Glow at 1969 Gallery (New York, NY); At the Table, The AAPI Awareness Charity Exhibition at Christie’s (New York, NY); You Had Me At Hello: New American Paintings 2022 Review at Steven Zevitas Gallery (Boston, MA); The Views at Moskowitz Bayse (Los Angeles, CA); Shifted Horizon at HESSE FLATOW (New York, NY); 36 Paintings at Harper’s Books (East Hampton, NY); NOCTURNE on Galleryplatform.LA, M+B (Los Angeles, CA); The Edge Effect curated by Akili Tommasino at The Katonah Museum of Art (Katonah, NY). Sung Hwa Kim lives and works in New York City.
Sung Hwa Kim Nocturne: My love hope and sweet-dreams. i'm still here and that is all that matters, 2021
Sung Hwa Kim, Nocturne: On the day when your long night ends i will be there 2021
Sung Hwa Kim, Nocturne: you were told to suppress emotions so no one sees you had a heart till your chest is open, 2021
Rob Ober (b. 1968, Wiesbaden, West Germany) lives and works in Kent, CT. Having grown up as the son of a US diplomat, Rob spent his youth in Moscow, Dehli, Athens and Bethesda, MD. After college, Rob began collecting Russian nonconformist art.
In 2006, Rob opened a gallery in Kent, CT and showed the works of many of his artist friends including Brian Belott, Katherine Bradford, Lance De Los Reyes, and Rob Nava. Rob began painting seriously seven years ago. Art Miami 2021 is the first exhibition of his work.
Fruit Loops, 2022 Acrylic on canvas 72 x 60 in (182.9 x 152.4 cm)
Napoleon, 2022 Acrylic on canvas 96 x 72 in (243.8 x 182.9 cm)
Yes, No, Probably, 2022 Acrylic on canvas 60 x 48 in (152.4 x 121.9 cm)
Ann McCoy is a New York-based sculptor, painter, and art critic, and Editor at Large for the Brooklyn Rail. She was awarded a John Simon Guggenheim Foundation Fellowship in 2019. She taught art history, the in the graduate design section of the Yale School of Drama until May 2020, and the Art History Department at Barnard College from 1980 through 2000.
Ann McCoy’ work is included in the following collections: the Metropolitan Museum of Art, the Los Angeles County Museum of Art, the Hirshhorn Museum and Sculpture Garden, the Museum of Modern Art, the National Gallery of Australia, the Roy L. Neuberger Museum, the San Francisco Museum of Modern Art, and the Whitney Museum of American Art, among others. Ann McCoy has received the following awards: the John Simon Guggenheim Fellowship, the Asian Cultural Council, the Pollock Krasner Foundation, the Adolph and Esther Gottlieb Foundation Award, the Award in the Visual Arts, the Prix de Rome, the National Endowment for the Art, the Berliner Kunstler Program D.A.A.D..
Ann McCoy worked with Prof. C.A. Meier, Jung’s heir apparent for twenty-five years in Zurich She has studied alchemy since the early seventies in Zurich, and Rome at the Vatican Library.
The Death of My Father, 2012, pencil on paper on canvas, 9 by 14 ft. photo credit : Peter Dressler
The Wolf Tongue Mill, 2022, 9 by 14 ft. pencil on paper on canvas
Meghann Riepenhoff © Geoffrey Berliner
Meghann Riepenhoff’s (b. 1979; Atlanta, GA) work has been presented internationally in exhibitions across the globe, including at the Museum of Fine Arts, Boston, MA; High Museum of Art, Atlanta, GA; Crystal Bridges Museum of American Art, Bentonville, AR; Denver Art Museum, CO; C/O Berlin, Germany; Aperture Foundation, New York, NY; and Houston Center for Photography, Houston, TX.
Her work is held in permanent collections across the United States, including those of the San Francisco Museum of Modern Art, CA; Harvard Art Museums, Cambridge, MA; Museum of Fine Arts, Houston, TX; and Museum of Contemporary Photography, Chicago, IL, among others. In 2018, the artist was selected as the John Simon Guggenheim Memorial Foundation Fellow. Riepenhoff earned her BFA in Photography from the University of Georgia, Athens, and her MFA from the San Francisco Art Institute. The artist divides her time between Bainbridge Island, WA, and San Francisco, CA.
Her book, mentioned in the interview is Ice.
Meghann Riepenhoff , Waters of the Americas: Eastman Kodak’s Emissions A (Confluence of the Genesee River and Lake Ontario, Rochester, NY, 03.14.2022), 2022 Three Dynamic Cyanotypes, Approximately 59 1/2" x 42" (151 x 106.5 cm) each element. © Meghann Riepenhoff, Courtesy Yossi Milo Gallery, New York
Meghann Riepenhoff, Waters of the Americas: Eastman Kodak’s Emissions C (Confluence of the Genesee River and Lake Ontario, Rochester, NY, 03.13.2022), 2022. Dynamic Cyanotype, Approximately 59" x 59" (150 x 150 cm) © Meghann Riepenhoff, Courtesy Yossi Milo Gallery, New York
Ezra Johnson's work has been included in group shows at the Nerman Museum of Contemporary Art (Kansas City), the Hammer Museum (Los Angeles), the ICA Philadelphia, and the Site Santa Fe Biennial. His work is included in the Rubell Family Collection, Miami, FL; Louis Vuitton Foundation, Paris, France; and The Hammer Museum, Los Angeles, CA. Johnson’s work has been featured in the Los Angeles Times, Miami Rail, ArtNews, Hyperallergic, and the New York Times. His BFA was conferred from the California College of the Arts and Crafts, and he received his MFA from Hunter College.
Ezra Johnson, Shot Winner, 2022 oil on linen, 72h x 48w in, 182.88h x 121.92w cm
Ezra Johnson, Sometimes Shaky, 2022 oil on linen, 69h x 49w in, 175.26h x 124.46w cm
Ezra Johnson, The Painter, 2022 oil on linen, 80h x 48w in 203.20h x 121.92w cm
Tyler Brandon, Born 1991 in Hollywood, Florida. Lives and works in Brooklyn, New York.
In “Fire Paintings”, at Shelter, Brandon simplifies both composition and subject matter, depicting iconography from the natural world. Using primary colors with immediacy, the artist offers a reimagination of the western tradition of landscape painting.
Elements of nature become cryptic symbols that return the gaze of the viewer in their frontality. The compositional relationships of these icons suggest they correlate within a larger narrative, functioning together like hieroglyphics. Brandon uses these symbols to depict that which is eternal while at play, like the goddesses and gods of Ancient Greece and Rome.
For Brandon, the common denominator throughout this body of work is reduction, removing the excess until he arrives at the emblematic symbol. The artist explores the inclinations of our formative years, before one develops a strong sense of self. These basic elements are what unite us before we take on the weight of our society’s complexities.
"Basic Principle" Oil & oil stick on canvas 30 x 40
"Law of Attraction" Oil & oil stick in canvas 30 x 40
"Right Place, Right Time" Oil & oil stick on canvas 30 x 40
Peter Gallo Portrait by Shani Goddard
The work of artist Peter Gallo oscillates freely between painting, drawing, collage, and sculpture. Filled with literary, art-historical, cultural, political, and musical references and detours, Gallo’s works, when installed together, create poetic, albeit labyrinthine, mise-en-scènes.
The critic James Yood identified in Gallo: "an apparent disdain for materials; an alert scavenger’s attitude toward culture; an eye for the poignant frailties of the vernacular; and an occasionally breathtaking ability to evoke issues of great import. His work is, inevitably, a mixed bag, because he treats the world and his mind as jumbled compendiums, filled with little connections and bursts of revelation that his seemingly slight but actually pointed interventions reveal. It amounts to a kind of grunge arte povera, a witty and instinctive immersion in the stuff of the world that is alternately lax and labored, spottily profound. A partial inventory of Gallo’s materials would include dental floss, toothpicks, a towel, string, wire, French vermilion oil paint, buttons, toilet paper, spackle, bric-a-brac, a bedsheet, picture frames, amateur sculptures, and patterned fabrics. These are usually mixed with snippets of found text or references to figures of cultural authority, either scrawled onto surfaces, collaged, or laboriously constructed as sculptures that allude to the likes of Spengler, Nietzsche, Kant, Pasolini, and Mondrian. His output becomes a kind of pantheon of gravitas—or, in its use of vernacular text, antigravitas made vital by the intensity of Gallo’s scribbles and his disinterest in pictorial nicety." – Artforum, February 2005.
Gallo’s deceptively quiet body of work combines images from sources as diverse as gay pornography and ornithology with words by Roland Barthes, Freud, and bands like Joy Division and The Cocteau Twins. He utilizes simple formal structures that emphasize the materiality of painting, and his works alternate between, or combine, abstract, figurative, and textual elements. Nautical imagery derived from historical sources such as the Ship of Fools and the Ship of State, stands as one of his signature subjects.
Peter Gallo (b. 1959, Rutland, VT) lives and works in Hyde Park, VT. He received a BA from Middlebury College, and an MA and a PhD in Art History from Concordia University, Montreal. His work has been featured in solo exhibitions at the Douglas Hyde Gallery, Trinity College, Dublin; White Columns, New York; Horton Gallery (Sunday LES), New York; and Anthony Reynolds Gallery, London; among others. The gallery presented a solo booth of the artist’s work at The Independent Brussels in 2018 and a two-person exhibition The Patients and The Doctors with David Byrd in 2015. The artist’s work has been included in Artforum, the Village Voice, The New York Times, and Art in America, among others.
Peter Gallo, My Modernism, 2018, Oil on bed ticking, 19 x 23 in, 48.3 x 58.4 cm, Courtesy of Sean Horton (Presents), New York, Photo: Matt Grubb
Peter Gallo fiat ars pereat mundus, 2018—2019, Oil on cradled plywood 11 x 17 in 27.9 x 43.2 cm Courtesy of Sean Horton (Presents), New York Photo: Matt Grubb
Peter Gallo, All Tomorrow’s Crucifixions, 2021, Oil & collage on plywood cabinet doors, 72 x 48 in, 182.9 x 121.9 cm, Courtesy of Sean Horton (Presents), New York, Photo: Matt Grubb
Fotograf: Elmar Vestner, Berlin
Berlin based artist Sabine Hornig is known for her work combining sculpture, photography and installation to produce complex works allowing for new interpretations of conventional histories, memory, perspectives, and the lived environment. Her works explore the tension between surface plane and three-dimensional space, often treating transparent architectural mediums such as glass simultaneously as a surface, subject, and portal. At once rigorously formal and poetic, her works recontextualize familiar places and challenge individual views in the context of societal perspectives. By inverting perspectives and hierarchies, they make visible hidden contexts and communicate the interconnectedness of elements and conditions we usually separate.
Her most notable works include La Guardia Vistas, LaGuardia Airport, New York; Shadows, Sydney International Towers, Barangaroo; Double Transparency, Museum Boijmans van Beuningen, Rotterdam; Durchs Fenster, Pinakothek der Moderne, Munich; Room with Large Window, Berlinische Galerie, Berlin; The Second Room, Centro Cultural de Belem, Lisbon; Projects 78, Museum of Modern Art, New York.
Hornig is currently working on a commission for a new federal parliament building in Berlin. Her work is also on view at Give and Take. Bilder über Bilder, Hamburger Kunsthalle through August 28.
Sabine Hornig, This Is No Time, 2022 Photo: Daniel Bradica, Courtesy of the artist and Tanya Bonakdar Gallery New York/ Los Angeles. © Sabine Hornig
Sabine Hornig, La Guardia Vistas, 2020 Latex ink and vinyl mounted on glass. Commissioned by LaGuardia Gateway Partners in partnership with Public Art Fund for LaGuardia Airport’s Terminal B. Photo: Nicholas Knight, Courtesy of the artist; La Guardia Gateway Partners; Public Art Fund, NY; Tanya Bonakdar Gallery New York/ Los Angeles. © Sabine HornigPhoto by Nicholas Knight
Sabine Hornig, World of Tomorrow, 2022 Pigment print on archival paper. Photo: Sabine Hornig, Courtesy of the artist and Tanya Bonakdar Gallery New York/ Los Angeles. © Sabine Hornig
Marley Freeman Portrait by Sarah Rice, The New York Times Marley Freeman is a New York-based artist who combines the disciplines of abstract and representational painting. Her unique facture is characterized by the hand-mixed gesso, acrylic, and oils she uses to create meticulous, psychologically-charged color fields. Through this technical process, she studies the ways in which paint “wants to perform.” “Pigments have their own ways of acting,” Freeman says, “and I became obsessed with learning their traits.” Freeman’s distinct vocabulary of forms is made up of brushy strokes, color washes, and shapes that freely transform across the picture plane. The influence of textile design is evident in her close attention to the textural subtleties of her paints, and her reverence for their surface effects—their impressions in the warp and weft of the canvas. Freeman completed her MFA at the Milton Avery Graduate School of Arts at Bard College, New York, and her BFA at the School of the Art Institute of Chicago. Freeman’s work can be found in the collections of the Whitney Museum of American Art, New York, New York; RISD Museum, Providence, Rhode Island; the San Antonio Museum of Art, San Antonio, Texas; and the Colorado University Art Museum, Bolder, Colorado.
Marley Freeman, tuned to existence, 2021, Oil and acrylic on linen, 8⅛ x 9⅛ inches; 20.65 x 23.19 cm, 9¼ x 10¼ inches; 23.5 x 26 cm (framed)
Marley Freeman, a self area, 2021, Oil and acrylic on linen, 54 x 54⅛ inches; 137.2 x 137.5 cm, 54¾ x 54⅞ inches; 139.1 x 139.4 cm (framed)
Gregor Hildebrandt’s signature media are cassette tape and vinyl, which he collages and assembles into apparently minimalist yet latently romantic paintings, sculptures, and installations. Resting in silence behind the glossy surface of his analog aesthetics, which verges on black and white monochrome, music and cinema haunt his practice. Whether pictorial or sculptural, all of his works contain prerecorded materials, which he references in the titles. These pop-cultural sources, usually a single song, are meant to trigger both collective and personal memories. Like analog storage media, his distinctive rip-off technique is a metaphor for the mnestic process itself: it consists in rubbing magnetic coating against double-sided adhesive tape stuck on canvas to trace intricate and elusive powdery patterns. Further relating to architectural Gesamtkunstwerk, Hildebrandt’s monumental sonic barriers made of stacked, bowl-shaped records and his sensual wall curtains made of unreeled tapes create paths for the visitors of his shows.
Installation View of Gregor Hildebrandt's Was Geht Uns Die Sonne An (What Does the Sun Matter to Us) at Perrotin New York, 2022. Photographer: Guillaume Ziccarelli Courtesy of the artist and Perrotin
Mary Nolan Kasten, 2022, Ink jet print, plastic cases, inlays in woodencase, 159.5 x 111.5 x 9 cm. Photographer: Guillaume Ziccarelli Courtesy of the artist and Perrotin
Cut records, wood, canvas Ø : 92 cm. Photographer: Guillaume Ziccarelli Courtesy of the artist and Perrotin
Sam Lipp’s paintings draw from a wide range of found images, committing ready-made pictures and the artist’s own photographs to painstaking recreations using a unique process of additive color applied with steel wool. Encompassing directive street signs, Michael Jackson’s transformed face, sexual domination, and sites of civic ordinance, Lipp’s source material exists at the intersection of the body and power. In Lipp’s additive and highly tangible paint application, pin-sized dots of impasto accumulate to create nuanced hues, establishing concrete analogs to fugitive virtual signs. The resulting works are both highly tactile paintings and direct references to the mechanics of screen culture; at once obfuscated by a dappled fog and rigorously precise. Through these effects, the artist underscores the power of visual culture to govern our lived experience, linking pictures and control.
Sam Lipp (b. 1989, London) lives and works in New York. Recent and forthcoming solo exhibitions include Derosia, New York (2022; 2016; 2014); Bonny Poon, Paris (2019); Central Fine, Miami (2015) and Neochrome, Turin (2015). Group exhibitions include Derosia (2021); Cell Project Space, London (2019); Michael Jackson: On the Wall, National Portrait Gallery, London; traveled to Grand Palais, Paris; Bundeskunstalle, Bonn, Germany; and Espoo Museum of Modern Art, Espoo, Finland (2018—2019); Bonny Poon, Paris (2017); Night Gallery, Los Angeles (2016).
Sam Lipp Pollution twink, 2022 Oil on steel, screws 19 x 23 x .06 in (48.3 x 58.4 x .2 cm)
Sam LippPornocracy 2, 2022Oil on steel66 x 24 x .75 in (167.6 x 61 x 1.9 cm)
Artist Portrait: “Y, a self portrait”, 2019 4 x 5 x 1” Oil and enamel on panel
Alexandra Noel (b. 1989) currently lives and works in Los Angeles. She graduated with a BA in Visual Arts from the University of San Diego in 2011 and a MFA from Art Center College of Design in 2013.
Alexandra Noel’s small-scale paintings reveal uncanny assemblages of images. She concentrates on things depicted in a manner somewhere between surreal and familiar: newborns, home objects, and suburbia landscapes. She incorporates these aspects into far-flung imagined landscapes, tragic scenarios, and reinvented cinematic moments. The little panels hint at the size difference between human bodies and electronic devices. She zooms in, crops, stretches, and rescales her little panels as if they were images on screen. The audience is invited to view them from a very intimate perspective. Meanwhile, she emphasizes the tension between being sculptural and illusionistic. As a painter, Noel establishes a linguistic parallel to the dystopic and magical themes of her works by writing fiction that resembles the tone of poetry or a movie.
Alexandra Noel lives and works in Los Angeles. Recent solo exhibitions include Four, Derosia, New York, US (forthcoming), Table, Crevecoeur, Paris, France, Funny Looking, Antenna Space, Shanghai, China, There’s always something, Derosia (Bodega), New York, US, Master Planned, Freedman Fitzpatrick, Paris, France, Just a head, Atlantis, Marseille, France, and Theatre Road, Parker Gallery, Los Angeles.
Recent group exhibitions include A Minor Constellation, Chris Sharp Gallery, Los Angeles, (forthcoming) Oh, Gods of Dust and Rainbows, Cleveland Institute of Art, Front Triennial 2022, Cleveland, Ohio, Chambres d’Amis: Ikea, Office Baroque, Antwerp, Belgium, Particularities, curated by Chris Sharp, X Museum, Beijing China, Made in L.A. 2020: a version, Hammer Museum and The Huntington, Bolthole, with Orion Martin, Potts, Los Angeles, A Cloth Over a Birdcage, Chateau Shatto, Los Angeles, Metamorphoseon, Galerie Sultana, Paris, France. Recent publications include “Thirty Stuffed Grape Leaves” and “Ricky Rides Rick” published by Apogee, Derosia and Holoholo and “Take me out, please” published by Bodega (Derosia) and saxpublishers.
“Wedgies”, 2022 2 ¾ x 4 ½ x ¾” (x2) Oil and enamel on two panels Currently on view at Front Triennial, Cleveland Institute of Art
“Skyscape Under Table”, 2022 4 x 4 ½ x 2 ¾” Oil and enamel on panel and wood Currently on view at Crevecoeur, Paris, France
Joy Episalla repositions the photographic and video/moving image into the territory of sculpture. Since the 1980s, Episalla has exhibited widely in the United States and Europe, including solo exhibitions at Tibor de Nagy, NYC; Participant, Inc., NYC; International Center of Photography, NYC; and Galerie Joseph Tang, Paris. Their work has been featured in exhibitions including Greater New York, MoMA/PS1; Artists Space, NYC; ICA Philadelphia; Centre Pompidou, Paris; and Centrale for Contemporary Art, Belgium.. They are the recipient of a 2003 Louis Comfort Tiffany Foundation Award. Episalla is a founding member of the queer art collective fierce pussy.
Joy Episalla foldtogram (daylight 2), 2018 gelatin silver object 24 x 20 x 3/4 inches
Joy Episalla foldtogram (35' 2.5" x 44, August, iteration 6) 2018-2022 silver gelatin object dimensions variable
Coyle has been working within art for over 20 years, and has been based in London since 2006.
A recipient of International Art Market’s Gold List award. ‘Top international contemporary artist of today', ‘Recommended artist to invest in and to be inspired by’, with work acquired by Dame Janet Wolfson de Botton.
Coyle’s first education in art in the 1990’s included an introduction to 1st wave New York Pop Art of the 1950’s. Her current figurative work focuses on the use of contemporary fashion magazine imagery and advertisements, to produce painterly images of a Fine Art quality. Combining primary and secondary line work with ideas in abstraction, minimalism and negative space.
Her recently completed painting series ’Linda’ and ‘Binary’ deal with embracing and disrupting formal composition. For the first time in 2020 Coyle chose to paint mixed white backgrounds in certain pieces, mixing colours is very important to each piece. This work earned an online review in 2020 from Dab Art Co. in Los Angeles and an inclusion in their current Artsy exhibition. Also, in 2021 Coyle was awarded a Distinguished Award from Canada’s ArtAscent magazine and a Finalist Award from Los Angeles’ Art Show International.
Through Coyle’s career her work has appeared within many publications including The Times (UK), London's Mayfair Times (UK), Avari art (USA), A5 (UK), Al-Tiba9 (Spain), M&Art (Sweden) and Visions Libres (Germany) to name a few. Also, on the covers of Level 25 art journal (USA), Emergo (Netherlands), Litro (UK), and Kapa magazine (Greece).
Coyle’ work was selected by Los Angeles curator Bridget Carron for her collection Power Pop on Saatchi’ online gallery in 2014. In 2018 Coyle’ painting 12.16.07 won the Artness Magazine cover competition and won her an Artist of the Year 2019; Honorable Mention Award from Circle Foundation in France. In 2019 her painting series ‘12.16’ also won her a Special Artist Award from BESTART. In April 2020 painting Linda no.1 receive a review from Dab Art Co. Los Angeles, and in 2021 won a Finalist Award from Art Show International also in Los Angeles and a Distinguished Award from Canada’s ArtAscent Magazine.
Interviews with the artist have been published in many online and print magazines, including Art Reveal, Murze art magazine, Family Office Elite magazine and Artjobs.com
Earlier in her career in Ireland Coyle exhibited in many galleries in Ireland and exhibited for the Irish National Portrait exhibition in 2005. Coyle also exhibited for charities in the Royal Hibernian Academy and Adam’s Fine Art auctioneers. Just before moving to London Coyle had solo exhibitions in the Signal Art Centre in Co. Wicklow and the Bank of Ireland’s art centre in Dublin, and was described as ‘one of the city’s most promising new artist’ {Metro Life newspaper- January 2006}, and a ‘rising young artist’ {Irish Independent- May 2006}.
While exhibiting in London since 2006, Coyle has expanded her audience exhibiting in America where her work has been positively received. She is now represented by the Helwaser gallery on Madison Ave in New York.
This year Coyle continues her work in figurative art with her ‘Sw16’ series, based on contemporary print media images. She is also working on and abstract project, woodblock prints and after 16 years has now returned to photography, using Polaroid and 120mm camera formats.
12.16.07 Acrylic on canvas 2017 60x48inches
12.16.01 Acrylic on canvas 2018 60x48inches
Portrait by Simon Burstall
Dana Sherwood received her BFA from the University of Maine, Farmington. In 2022, Sherwood installed her first solo museum exhibition at Florence Griswold Museum, CT. Sherwood has exhibited in dOCUMENTA 13, Mass MoCA, Storm King Art Center, Nassau County Museum of Art, FluxFactory, Socrates Sculpture Park, Tanya Bonakdar Gallery, and Marianne Boesky Gallery. Sherwood has had solo exhibitions at Denny Dimin Gallery (New York, 2016, 2019), Kepler Art Conseil (Paris, 2017), and Nagel-Draxler Reisbureau Galerie (Cologne, 2015). Her work has been featured or reviewed in publications including The New York Times, Forbes, Hyperallergic, Surface, The Village Voice, Food & Wine, The Huffington Post, Art F City, and the Miami Rail. Sherwood has received several prestigious residencies including Swing Space by LMCC, Pilchuck Glass School, and OMI International Arts Center. Sherwood has further upcoming exhibitions at the Berkshire Botanical Garden and Tanya Bonakdar Gallery.
To learn more, here is Dana Sherwood's catalogue from her museum retrospective at the Florence Griswold Museum and a link to the museum itself.
Other Dessert Landscapes (still), 2021, digital video, courtesy of Dana Sherwood and Denny Dimin Gallery
Inside the Belly of the Reindeer, 2022, Oil on panel, courtesy of Dana Sherwood and Denny Dimin Gallery.
Pollinator Urn, 2022, Ceramic, courtesy of Dana Sherwood and Denny Dimin Gallery
The various types of images in Aschely Cone’s work are unified insofar as they all share a meditation on the idea of ground—as something that underpins or is beneath something else, something that we notice persisting in the face of, or even because of, change, something as simple as the ground we stand on, or something a bit more intangible like what grounds us metaphorically. Her current project, "The Ground Beneath the Ground", thinks about ground as earth or dirt. In these small panels the image is often situated within a low-relief, sculptural niche on the ground of the support itself. Images of the land are depicted—often images of volcanoes, or images gathered from a long-distance solo hike in Northern New Mexico. Her upcoming work will bring this meditation to the forests of Gabon, Africa.
Aschely Vaughan Cone (b. 1985, San Antonio, TX) received an MFA from the LeRoy E. Hoffberger School of Painting at the Maryland Institute College of Art (2016), an MA in Art History from Tulane University (2014) and BA in Liberal Arts from St. John’s College (2007), where she studied classics, philosophy and the history of math and science. Her awards include a matching scholarship for study at the Skowhegan School of Painting and Sculpture, the SMCM-MICA Artist House Teaching Fellowship, the Hamiltonian Fellowship and The Henry Walters Traveling Fellowship. The book mentioned in the interview was The Peregrine by J.A. Baker. We alss discussed Gabon, learn more here with a free download. The French Institute of Gabon was also mentioned, the likely location of her upcoming show.
The Ground Beneath the Ground (installation shot) All works 10"x8"x1" Oil on panel with hard gesso ground 2020-2022
Capulin Volcano, #6 10"x8"x1" Oil on panel with hard gesso ground, oil paint made from New Mexican dirt 2021
David Adamo is an American artist (born 1979, Rochester, New York) who lives and works in Berlin, Germany. Primarily a sculptor, he engages with form and materiality, working with wood, plaster, bronze, and other materials to create installations that are both performative and formal in their arrangement. A process of slow removal is central to Adamo’s sculpture. Objects from everyday life take on new forms, revealed by their remains: the fruit after it has been bitten, the balloon after the air has run out. The same is true of Adamo’s wood works—the eventual forms have emerged through the reduction of material. For his fifth solo exhibition at Peter Freeman, Inc., a single unlaced shoe sits on steps leading nowhere and miniature doors set into the wall create entrances for small spaces in the installation. Adamo has peeled away the layers of 108 canes, chipping away until they are brittle and useless. The repetition of their spindly forms is offset by the pools of shavings the artist has left behind, exposing his progress in piles of negative material. A scenario is created in which the viewer feels they have just missed on out some action, trailing a sense of something unfinished… His drawings are made ambidextrously, a practice which he relates to drumming. He describes working line by line, finding a rhythm and pace, and arriving naturally at a wave-like pattern. David Adamo is on view at Peter Freeman, Inc., New York, through 22 July 2022.
Untitled (part V), 2020, Bic pen on paper, 88 5/8 x 74 3/4 inches (225.1 x 189.9 cm) Courtesy the artist and Peter Freeman, Inc. Photography by Nicholas Knight.
Untitled (cane), 2021-2022, ashwood, rubber, ashwood chips, 36 3/4 x 4 3/4 x 1 3/8 inches (93.3 x 12.1 x 3.5 cm) Courtesy the artist and Peter Freeman, Inc. Photography by Nicholas Knight.
Agustina Woodgate (1981, Argentina) practice focuses on the politics of landscapes and infrastructures as a conceptual and public geography. She recombines, activates and repurposes available resources while setting alternative systems in motion. Woodgates' approach is speculative, practical, and site and context-responsive, presenting critical possibilities to concepts on social orders, resource management and information distribution bringing clarity, scale, and accessibility.
In 2011 she co-founded radioee.net a nomadic, translingual, online radio station. In 2015 she co-founded TVGOV, a media company providing ecological data visualization. And in 2018 she co-initiated PUB, an experimental publishing platform within Sandberg Instituut, Amsterdam.
She is currently a tutor at the Disarming Design Master Program at Sandberg Instituut Amsterdam and is actively teaching workshops in several universities and organizations.
Her projects have been commissioned by BIENALSUR 2021, 2019 Whitney Biennial, 4th Istanbul Design Biennial; Haus der Kulturen der Welt, Berlin; 9th Berlin Biennial; Peabody Essex Museum, MA; Bienal de las Américas, CO; ArtPort, Tel Aviv; PlayPublik, Poland; DC Commission on the Arts and Humanities, Washington; The Bass Museum of Art, FL; Storefront for Art and Architecture, MN and KW Institute for Contemporary Art, Berlin amongst others.
Agustina Woodgate, The Source, 2019, Miami oolite, concrete, iron, plumbing grid, water.108 x 108 x 108 in. Photo by Steven Sierra; courtesy of Art Basel and Barro, Buenos Aires, Argentina. Installation view in Collins Park, The Bass Museum, City of Miami Beach.
Agustina Woodgate, National Times, 2016-2019. Close-circuit network of clocks synchronized directly by the power grid. Photograph by Ron Amstut. Installation view of the Whitney Biennial 2019 (Whitney Museum of American Art, New York, May 17-September 22, 2019).
Brooklyn-based painter Tim Kent depicts psychotically charged interiors and unsettling dreamlike-vistas. In Kent’s painting, architecture and landscape are fused with gestural brush marks and elements of abstraction, but the picture plane is never flattened. Rather, the viewer is drawn into a deep space enhanced by Kent’s characteristic, symbolic perspectival grid lines. A reference to the Renaissance system used for constructing pictorial space, Kent’s perspectival lines evoke contemporary technological, mechanical and social systems such as electric grids, building elevation lines, internet networks, social networks, the flow of politics and information, and displays of power. The artist’s imagery has evolved over the course of several bodies of work including A World After Its Own Image (2016) Dark Pools and Data Lakes (2018) and Enfilade (2020). Kent describes his paintings as sometimes “stemming from a reaction to an event or moment from my life or the world, which I then use as the basis for my work.” In other instances, his compositions “refer back to my own archive, whether photographs I’ve taken or found, or an image from an earlier work that continues to attract me psychologically or aesthetically. As Kent develops a painting, “the subject moves into focus, usually revealing some form of juxtaposition or conflict which serves as the basis for a larger body of work. Certain themes recur, historical narratives as cultural capital, or the interiors of stately architecture as artifact and landscapes modified by industry.”
Tim Kent (b. 1975) Print Thief, 2022 Oil on canvas 33 x 33 in. (83.8 x 83.8 cm)
Tim Kent (b. 1975) Ghost of an Idea, 2021–22 Oil on canvas 65 1/2 x 79 1/2 in. (166.4 x 201.9 cm)
Heidi Hahn (b. 1982) was born in Los Angeles, CA and currently lives and works in Brooklyn, NY. Hahn received her M.F.A. from Yale University in 2014, and has been the recipient of several awards, residencies, and fellowships, including the Sharpe-Walentas Studio Program Residency, Jerome Foundation Grant, Skowhegan School of Painting and Sculpture Residency, Madison, ME; and the Fine Arts Work Center Residency, Provincetown, MA, among others.
Her work has been collected by the Moderna Museet, Stockholm, Sweden; High Museum of Art, Atlanta, GA; the New Orleans Museum of Art, New Orleans, LA; the Kadist Art Foundation, Paris, France; Saastamoinen Foundation Art Collection, Helsinki, Finland; and New Century Art Foundation, Shanghai, China; in addition to being exhibited in solo and group exhibitions throughout the world including the New Orleans Museum of Art, New Orleans, LA; High Museum of Art, Atlanta, GA; Nerman Museum of Contemporary Art, Kansas City, KS; Anton Kern Gallery, New York, NY; and Premier Regard, Paris, France.
Lehmann’s mysterious, frequently nocturnal paintings draw from sources as varied as the Flemish Primitives, aeronautic technical bulletins, how-to photography manuals, Gothic altarpieces, and radiographic simulators. The work explores the continuity of symbolic motifs over the course of centuries, but is united by a persistent concern with the iconography of the unseeable.
Prior to completing this body of work, Lehmann co-curated, with Ann Temkin, “Ileana Sonnabend: Ambassador for the New,” at the Museum of Modern Art in New York; coauthored the anthology Artists Who Make Books (Phaidon/PPP Editions); and wrote “Color Goes Electric,” a widely read history of standard test images and the digitization of color, for Triple Canopy. A former editor at Cabinet and a contributor to Artforum, Lehmann received a BA from Harvard College in Visual and Environmental Studies (1998–2003).
ToddGray portrait, img © Brian Guido
Todd Gray (b. 1954, Los Angeles, CA) works in photography, performance, and sculpture. Gray’s most recent photo works are comprised of photographs gathered from his own archive and recontextualized via their juxtaposition with one another and the use of antique frames as a structuring device.
Gray's work is represented in numerous museum collections including the Getty Museum, Los Angeles, CA, the Whitney Museum of American Art, New York, NY; Los Angeles County Museum of Art, Los Angeles, CA; National Gallery of Canada, Ottawa, Canada; The Studio Museum in Harlem, New York, NY; Museum of Contemporary Art, Los Angeles, CA; Minneapolis Museum of Art, Minneapolis, MN; and Santa Barbara Museum of Art, Santa Barbara, CA, among others. He was the recipient of the Rome Prize by the American Academy in Rome in 2022, John Simon Guggenheim Fellowship in 2018 and a Rockefeller Foundation Grant in 2016, among others.
Todd Gray, the hidden order of the whole (venus), 2021, Four archival pigment prints with UV laminate in artist's frames, 109 5:8 x 146 1:8 x 4 1:2 in
Todd Gray, Atlantic (the Dancer), 2022, Four archival pigment prints with UV laminate in artist's frames, 72 1:2 x 49 1:8 x 4 1:2 in
William Wegman in his studio William Wegman was born in Holyoke, Massachusetts, in 1943 and received a BFA from the Massachusetts College of Art, Boston and an MFA from the University of Illinois, Urbana-Champaign. His work has been exhibited extensively in both the United States and abroad, including solo exhibitions at the Walker Art Center, Minneapolis (1982); San Francisco Museum of Modern Art (1988); Whitney Museum of American Art (1992); Museum of Fine Arts, Boston (2001); and The Art Gallery of Ontario, Toronto (2002). The retrospective “William Wegman: Funney/Strange” was held at the Brooklyn Museum, and traveled to the Smithsonian American Art Museum, Washington, D.C.; the Norton Museum of Art, Palm Beach; the Addison Gallery of American Art, Andover; and Wexner Center for the Arts, Columbus (2006-07). Since his first exhibition at Sperone Westwater in 1990, Wegman has exhibited regularly at the gallery (1992, 2003, 2006, 2012, 2016, 2017 and 2022). The book William Wegman: Writing by Artist was edited by Andrew Lampert and published in April 2022 by Primary Information. The first collection to focus on Wegman’s lengthy and deeply funny relationship to language, the book is filled with over 300 previously unknown and wildly entertaining texts, drawings, and early photographs spanning the early 1970s to the present.
William Wegman, OMG, 2021, acrylic and charcoal on wood panel, 40 x 60 inches
William Wegman, Untitled ("Moths cost us millions..."), 1970-71, typewritten text on paper, 11 x 8 1/2 inches
Vivienne Griffin (they/them) is an multi-disciplinary artist who uses sound, sculpture, drawing and text in various forms. Griffin works with the voice through digital post-processing and in a workshop format called Synthetic Voices. They work with sound alongside sculptures and installations. More recently they have used generative sound in videos of virtual worlds. Their current work looks at the opaque boundaries of human-computer relations; where does the mind end and the machine begin?
Born in Dublin, Ireland and living in London, Griffin studied fine art at Hunter City University New York supported by a Fulbright Scholarship. They completed one year DPhil in visual art at the Royal College of Art, where they are now a visiting lecturer. They moved their research to the Sonic Arts Research Center, Queen's University, Belfast to pursue a PhD in Music with a focus on sound in an art context, noise, and the voice. Recent shows include Manchester International Festival, 2021, the AGM in Somerset House, 2021, for Montez Press Radio in NYC, Condo in London. They are represented by Bureau, in NYC. They won an Oram Award in 2021, they are a resident at Somerset House Studios, London.
Still from Mercy, 2022, Digital video, sound.
Still from Mercy, 2022, Digital video, sound.
Mercy from Vivienne Griffin on Vimeo.
Since the beginning of his artistic practice, Erik Lindman’s incorporation of anonymous found surfaces as compositional elements in painting has occupied a central place in his work.
Reinterpreting and repurposing cast-aside materials such as shards of steel or canvas webbing, he combines a variation of surfaces in a cascade of decisions with a focus on scale and negative space. Lindman lays down and builds up marks and gestures, ultimately articulating value and attention while asserting the materiality and tactile nature of each painterly composition. His topographical surfaces become the final result of what is buried beneath them, and upon closer inspection, layers of paint reveal further color and traces of discarded elements. As Lindman states, his practice and methods are the most efficient means he has discovered to create a space of reflection and contemplation for viewers to generate their own meanings. His practice with its inherent content and subject matter intends to add to the complex discourse of abstract painting for his own generation and time. Lindman pursues a new mediation of abstract traditions, both original and eclectic, while instilling subjective importance into his multifaceted process.
Erik Lindman (b. 1985, New York) lives and works in New York. He earned his BA from Columbia College, Columbia University in 2007 and received a Yale Norfolk Painting Fellowship in 2006. Lindman was honored at the Hirshhorn Museum’s Artist x Artist Gala in 2019. He has also received The Louis Sudler Prize for Excellence in the Arts from Columbia University in 2007, and has also received an Ellen B. Stoeckel Fellowship for Yale Norfolk School of Art in 2006. His work has been included in exhibitions at the Kunstalle in Freiburg, Switzerland, the Museum of Contemporary Art, Chicago, White Columns in New York, le 109 in Nice, France, Kaviar Factory in Henningsvær, Norway, and Foundation Hippocrène in Paris among others.
Tamarack, 2021, acrylic and collaged cotton webbing and tarlatan on linen, 63 x 56 3/4 inches (160 x 144 cm)
Dahlia, 2020, acrylic and collaged canvas webbing on linen, 78 3/4 x 59 1/8 inches (200 x 150 cm)
Erica Baum lives and works in New York. She is well known for her varied photographic series capturing text and image in found printed material, from paperback books to library indexes and sewing patterns. She received her MFA from Yale University in 1994 and her BA in Anthropology from Barnard in 1984.
Her work is held in the collections of the Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; The Metropolitan Museum of Art, New York; SFMoMA, San Francisco; Sparkassen Stiftung Collection, Kunstpalast, Dusseldorf; MAMCO, Geneva; Albright‐Knox Art Gallery, Buffalo, New York; Centre National des Arts Plastiques, Paris; FRAC Ile de France, Paris; and Yale University Art Gallery, New Haven.
Erica Baum Bow, 2022 (Patterns), Archival pigment print, 15 × 13.9 in. (38.10 × 35.31 cm), Edition of 6 plus II AP
Erica Baum Pant Pant Skirt, 2022 (Patterns), Archival pigment print, 15 × 14.23 in. (38.10 × 36.14 cm), Edition of 6 plus II AP
Edoardo Ballerini is an actor, narrator and writer. On screen he is best known for his work in The Sopranos and the indie classic Dinner Rush.
As a narrator, he is a two time winner of the Audio Publisher Association's Best Male Narrator Award, and a two time winner of Society of Voice Arts awards.
In 2021 he co-created the Audible Original "The Angel of Rome," with Jess Walter, named one of Audible "Best of 2021."
Ben Coonley is an artist working with video, computers, 3D, and cats. His work has exhibited in “3D: Double Vision” at LACMA in Los Angeles; “Dreamlands: Immersive Cinema and Art, 1905-2016” at the Whitney Museum of American Art, New York; “Flat is Beautiful: The Strange Case of Pixelvision,” at Lincoln Center, New York; “Continuing Education for Dead Adults,” New Museum, New York; “3D in the 21st Century,” Brooklyn Academy of Music (BAM), Brooklyn, NY; and “Greater New York: Cinema,” MoMA PS1, Queens, NY, among others. Coonley’s works have also been screened widely including at Performa, Anthology Film Archives, the Moscow Biennale, and the International Film Festival Rotterdam (IFFR), Rotterdam, The Netherlands. His works are in the permanent collection of the Whitney Museum of American Art, among others, and have appeared in Art in America, Artforum, Artsy, Frieze, Hyperallergic, The Wall Street Journal, among others. Ben Coonley studied Art Semiotics as an undergraduate at Brown University, and received an MFA from Bard College in 2003. He was born in Boston, MA and currently lives and works between New York City and the Hudson Valley, New York.
Robert Zandvliet is one of the foremost Dutch painters working today, whose work has been on the cusp of abstraction and representation since the early 1990’s. He examines the tension between self-reflective artistic practice and painting bound to a representational function. His pictures arise out of a movement between opposites, a symbiotic relationship between deliberate composition and chance occurrence, abstraction and figuration, part and whole, space and surface, and in which these elements are fused into polyphonic structures that re-envision the history of painting through his own lens. Oftentimes using landscape as a conceptual frame of reference, recognizable representations of a landscape become replaced by a gestural play of lines, colors, and surfaces that shift and merge foreground and background, reorienting the viewer’s perception of depth and surface.
Robert Zandvliet (b. Terband, Netherlands, 1970) lives and works in Haarlem, Netherlands. He received an MFA from De Ateliers, Amsterdam, Netherlands (1994). Solo exhibitions include Dordrechts Museum, Netherlands (2019); De Pont Museum, Tilburg, Netherlands (2014, 2005, 1997); Gemeentemuseum, The Hague, Netherlands (2012); Kunstmuseum Bonn, Germany (2005); Stedelijk Museum, Amsterdam, Netherlands (2001); Neues Kunstmuseum, Lucerne, Switzerland (2001); Musée d’art moderne et contemporain, Strasbourg, France (2000).
Public collections include Stedelijk Museum, Amsterdam, Netherlands; Kunstmuseum Luzern, Switzerland; Musée d’art moderne et contemporain, Strasbourg, France; Gemeentemuseum, The Hague, Netherlands; Kunstmuseum Bonn, Germany; Museum Voorlinden, Wassenaar, Netherlands; Museum de Pont, Tilburg, Netherlands; Dordrechts Museum, Netherlands. He is a recipient of the Prix de Rome (1994).
Tangerine, 2019, acrylic and egg tempera on linen, 83 7/8 x 106 1/4 inches (213 x 270 cm)
Untitled, 2019 egg tempera on linen 24 3/4 x 28 3/8 inches (63 x 72 cm)
Sarah Slappey (b. 1984, Columbia, South Carolina) is a painter based in Brooklyn, NY. Slappey received her MFA from Hunter College in 2016. She has had solo exhibitions at Maria Bernheim Gallery (Zurich, Switzerland) and Sargent’s Daughters (New York, NY). Her work has been included in group exhibitions at the Schlossmuseum (Linz, Austria); Carl Kostyal Gallery (London, UK); Deanna Evans Projects (New York, NY); König Galerie (Berlin, Germany); White Cube (Paris, France); The Pit (Los Angeles, CA); and Andrew Edlin Gallery (New York, NY). Her work is included in the permanent collections of the Museum of Modern and Contemporary Art (MAMCO) Geneva, Switzerland; the Institute of Contemporary Art, Miami, FL; The Columbus Museum of Art, Columbus, OH; and the Hirshhorn Museum, Washington, DC. Slappey’s work has been reviewed by Artforum, The New Yorker, The Art Newspaper, Artnet, Artsy, ArtSpace, Vogue Italia, and Flash Art, among others. She is represented by Sargent’s Daughters.
Sarah Slappey, Blue Gingham, 2021, oil and acrylic on canvas, 80 x 100 inches
Sarah Slappey, Shower Scene, 2021, oil and acrylic on canvas, 72 x 62 inches
Antoine Catala is French. He has lived in the US for the past 17 years. He has exhibited at the Whitney Museum, New York, New Museum, New York, Sculpture Center, New York, Carnegie Museum of Art, Pittsburgh, Kunsthalle Wien, Austria, MACLyon, Lyon, Fridericianum, Kassel, MoMA PS 1, New York, Palais de Tokyo, Paris, Moscow Museum of Modern Art, Moscow, among other institutions and galleries. He was part of the Venice Biennale in 2019. He is represented by 47 Canal, NYC and Galerie Christine Mayer, Munich.
"I am interested in the banal, everyday use of communication tools. I look at platforms and devices, and scrutinize how they are used to communicate, or miscommunicate. So at the center of all I do, there is language. New platforms of communication (such as smart phones, texting, net 2.0) allow language to evolve in radical new ways (images as words, short form messages, audio messages, etc). Language is by essence playful, and this playfulness flourishes in any form. More and more language develops a symbiotic bond with technology. In studying these new forms of language, I am interested not as much in what is changing about us, but what remains uniquely, deeply, human in communication. As time progresses, I am more and more fascinated in how art communicates about its presence in a room.” - A.C.
Jardin Synthétique à L’isolement, Installation View at MacLyon, 2015, photo Blaise Adilon
I am here for you (t-shirt), 2017, silicone rubber, coated foam, resin coated foam, electronics, 15 x 34 x 31 in., 38.1 x 86.4 x 78.7 cm, courtesy 47 Canal and the artist, photo Deniz Guzel
Examining the complexities of contemporary Indigenous identity, culture, and representation, Nicholas Galanin works from his experience as a Tlingit and Unangax̂ artist. Embedding incisive observation and reflection into his oftentimes provocative work, he aims to redress the widespread misappropriation of Indigenous visual culture, the impact of colonialism, as well as collective amnesia. Galanin reclaims narrative and creative agency, while demonstrating contemporary Indigenous art as a continually evolving practice. As he describes: “My process of creation is a constant pursuit of freedom and vision for the present and future. I use my work to explore adaptation, resilience, survival, dream, memory, cultural resurgence, and connection and disconnection to the land.” Galanin unites both traditional and contemporary practices, creating a synthesis of elements in order to navigate “the politics of cultural representation.” Speaking through multiple visual, sonic, and tactile languages, his concepts determine his processes, which include sculpture, installation, photography, video, performance, and textile-based work. This contemporary practice builds upon an Indigenous artistic continuum while celebrating the culture and its people; Galanin contributes urgent criticality and vision through resonant and layered works.
The online viewing room at Peter Blum can be seen here.
Nicholas Galanin (b. 1979, Sitka, Alaska) earned a BFA at London Guildhall University (2003), an MFA at Massey University, Palmerston North, New Zealand (2007), and apprenticed with master carvers and jewelers. He currently lives and works with his family in Sitka, Alaska. Galanin participated in Desert X, Palm Springs (2021); Biennale of Sydney (2020); Venice Biennale (2017); Whitney Biennial (2019); and Honolulu Biennial (2019). Galanin’s work is in permanent collections including The Museum of Modern Art, New York; Whitney Museum of American Art, New York; Philadelphia Museum of Art; Art Institute of Chicago; The Phillips Collection, Washington, D.C.; Art Bridges, Bentonville, AR; Detroit Institute of Arts; The National Gallery of Canada, Ottawa; The Museum of Fine Arts, Houston; Denver Art Museum; Los Angeles County Museum of Art; Princeton University among others. He received an award from American Academy of Arts and Letters (2020) and received a Soros Arts Fellowship (2020).
Loom, 2022 prefab children's school desks and chairs with graphite and pencil carving, 100 x 83 x 54 inches (254 x 210.8 x 137.2 cm)
World Clock, 2022 monotype on paper and accumulating stacks of The New York Times installation: dimensions variable monotype: 30 x 22 1/2 inches (76.2 x 57.1 cm) The New York Times: 11 1/4 x 12 inches, each
Chris Regner is an artist born and raised in Milwaukee, Wisconsin. He works serially, using autobiography as a jumping-off point for satire, humiliation, and explorations of the grotesque. His work tackles a variety of topics, including religious and cultish indoctrination, the effect of technology on societal discourse, how to navigate adulthood as a male with no strong role models, and stereotypical notions of masculinity that find their way into every subject he explores. Using his personal experiences as a foundation, his paintings have questioned archetypes found within these themes, all the while challenging his own values and beliefs. He positions himself as an anti-proselytizer, complicating the easy answer and presenting morally questionable individuals with the intent of causing contradictory interpretations by the viewer. Navigating this discomfort is vital when searching for a greater truth. Chris is a recent graduate of RISD’s MFA Painting program. He is represented by Kravets Wehby Gallery. He has shown his work internationally. His work is a part of multiple private collections internationally. His work is in the Pizzuti Collection of the Columbus Museum of Art. He is represented by Kravets Wehby Gallery.
Give a Boy a Worm..., 2021, 45"x35", Acrylic on canvas over panel
That's My Boy No. 5 (Father Devouring Son Devouring Son), 2020, 45"x35", Acrylic on canvas over panel
Rainer Gross in his studio - photo by David Benthal
Rainer Gross was born in Cologne, Germany in 1951. In 1973 he left Cologne to come to New York City, where he continued his art career at a time when many proclaimed the “end of painting.” Gross’ reaction to this proclamation was to draw on his connection to the painterly heritage of traditional European Art and its usage of iconography, and to establish a vocabulary capable of taking these historical traditions into the present. The dense and weathered surfaces of his paintings, realized through layers of pressed pigments, do just this.
He has exhibited his works in numerous solo exhibitions nationally and internationally at venues such as the Ludwig Museum (Koblenz, Germany), Musée cantonal des Beaux-Arts (Lausanne, Switzerland), Krannert Art museum (Champaign, Illinois) and many others.
Gross’ paintings are in numerous public collections, including the AT&T Corporate Art Collection, the Cohen Family Collection, the UBS Union Bank of Switzerland, Hirshhorn Museum in Washington, D.C., and the Lowe Art Museum amongst others. His works have been reviewed by The Paris Review, The New York Times, Art in America, The Boston Globe, ArtNews, The Brooklyn Rail, and many more.
The book he is reading now is The History of Jazz by Ted Gioia,
Double Twins X -Münstereifel, 2021, 54x132” in four parts, oil and pigments on canvas
Double Take - NoFo X 2022, 24x16", 61x41cm, framed 26x18", 66x46cm Archival pigment high-quality giclée print on Photo Rag Ultra Smooth Matte FineArt Paper from Hahnemuhle, mounted on wood panel.
Courtesy Studio David Claerbout
This interview discusses the work of Claerbout in the context of an exhibition at Sean Kelly gallery in New York City..
Throughout his career, the Belgian artist David Claerbout has investigated the conceptual impact of the passage of time through his use of video and digital photography. As scholar David Green has explained, “Claerbout’s work subtly proposes a relationship of similitude between film and the objective world that lies outside and beyond the narrative space of cinema. In doing so he poses a set of questions about how we experience film and about the nature of the medium itself.”
Specifically, Claerbout manipulates both moving and still imagery to suggest an otherworldly level of existence, something that might refer to a specific place or event, but the timeline of which is not clear, oscillating between both past and present. The element of sound is critical in many of the works, often used as either a narrative device or a “guide” for the viewer to navigate the architectural space in the film. Claerbout’s oeuvre is characterized by a meticulous attention to production details, painstakingly created often over a period of years. The resultant works are immersive environments in which the viewer is invited to engage both philosophically and aesthetically.
Claerbout studied at the Nationaal Hoger Instituut voor Schone Kunsten in Antwerp from 1992 to 1995 and participated in the DAAD: Berlin Artists-in-Residence program from 2002 to 2003. Claerbout’s work is included in major public collections worldwide, including: Centre Georges Pompidou Musée National d’Art Moderne, Paris, France; Pinakothek der Moderne, Munich, Germany; Art Gallery of Ontario, Toronto, Canada; The Museum of Contemporary Art, Los Angeles; Walker Art Center, and many others.
David Claerbout lives and works in Antwerp, Belgium and Berlin, Germany.
Installation view of David Claerbout: Dark Optics at Sean Kelly, New York, April 27 - June 4, 2022, Photography: Jason Wyche, New York, Courtesy: Sean Kelly, New York
Installation view of David Claerbout: Dark Optics at Sean Kelly, New York, April 27 - June 4, 2022, Photography: Jason Wyche, New York, Courtesy: Sean Kelly, New York
Installation view of David Claerbout: Dark Optics at Sean Kelly, New York, April 27 - June 4, 2022, Photography: Jason Wyche, New York, Courtesy: Sean Kelly, New York
Scott Lyall
Scott Lyall (b. 1964, Toronto) lives and works in Toronto and New York. Scott Lyall combines drawing, painting, sculpture, and found objects into what he describes as a ‘scenography without actors,’ or ‘plastic supports for an almost clientless sense of design.’ His production revolves around issues related to sculptural display, the relationships between graphic processes, and the design legacies of conceptualism.
While Lyall’s earlier work involved installations created from construction and everyday materials such as particleboard, styrofoam, and other ephemeral fragments, his recent practice is predominantly comprised of graphic assemblages and printouts produced without direct mediation of an image. Referencing Bruno Latour, the artist describes his Nudes and EVEs series as “design all the way down,” a statement that resonates with Mark Rothko’s use of pigmented gessoes to achieve what he called “color all the way down.”
Originating from the basic and most abstract unit of the digital realm—the single color pixel—the pale hues of Lyall’s color wave paintings and stickers are formed through a method of mathematical interpolation that generates a unique and potentially infinite bitstream. The resulting information is sent directly to the print heads, which apply sheer layers of ink such that the gradient color-deposits are mixed directly on the substrate. The immediate relationship between the numerical formula and the printer is akin to a “fauve" effect of releasing color from the received image. Embodying a movement from pure quantity—a digital field of dispersions and exchange—to form, these works are inherently split objects that exist first immaterially, and materially in the last instance. They address the informational fetish of recent art and the dissolution of visible signs.
The Nudes stand slightly detached from the wall, affixed to hand-painted monochrome MDF panels of corresponding dimensions, which are in turn attached to the wall directly – digital dust on canvas, one might say, over compressed and solidified wood powder. The pieces combine ink and its erasure in canvases subjected to multiple passes through a UV-based printer. The result is a subtle residual ‘tan’ that suggests an index of rays ‘beyond color’ that affect the tonal assemblage. Lyall describes the EVE vinyl adhesive sheets as ‘thin reliefs,’ and relates the printed posters to a generalized artistic space between painted, sculptural, and architectural forms. A glued sticker on one side of the panel and a spray of cartridge inks on the other establish a relationship between plastic and graphic determinations of the print. The interaction of the surfaces of the ultrathin paste-up and the façade of a smooth wall creates an implication of depth. Because of the use of non-archival inks in the instance of the adhesive sheets, each printout will eventually fade to white, thus merging with and disappearing into the wall that houses it. In this sense, these works exist beyond the traditional confines of the wall and architecture more generally. A further constitutive feature of the file is its capacity to circulate electronically freely around the globe and beyond before the moment of incarnation. The owners of unique bitstreams are then entrusted to printout new iterations of the color fields at will. This is painting engaging the digital realm and pushing it to the limit of its material and conceptual possibilities by reducing it to a sequence of three discrete and subjective gestures: 1. The random selection of an entry point among the 284 million color options. 2. The algorithmic unleashing of the infinite expansion of the file. 3. The final decision to cut the color progression in a particular place, that is finding the edges of the gradient before outputting its content onto a chosen substrate. As such, the painting object is suspended until the last impulse of incarnation.
Photo Courtesy Perrotin and the artist.
Gabriel de la Mora, born in 1968 in Mexico City where he currently lives and works, is best known for constructing visual works from found, discarded, and obsolete objects. In an obsessive process of collecting and fragmenting materials - eggshells, shoe soles, speaker screens, feathers - the Mexican artist creates seemingly minimal and often monochrome-looking surfaces that belie great technical complexity, conceptual rigor, and embedded information.
De la Mora has exhibited at the Drawing Center, New York, and the Museo Amparo, Puebla, Mexico. His work is part of collections including the Albright-Knox Art Gallery, Buffalo, New York; El Museo del Barrio, New York; Colección Jumex, Mexico City; the Museum of Contemporary Art, Los Angeles; the Museum of Fine Arts, Houston; and Pérez Art Museum Miami.
Gabriel de la Mora 720 I - M.D, 2021 Mosaico de alas de mariposa Morpho didius sobre cartulina de museo / Morpho didius butterfly wings mosaic on museum cardboard. Framed Dimensions: 35 x 35 x 6 cm 13.78 x 13.78 x 2.36 inches. Image Dimensions: 30 x 30 x 2 cm 11.81 x 11.81 x .79 inches. Signed backwards and dated backwards firmada al reverso y fechada al reverso *The butterfly wings used in this new Lepidoptera series come from butterflies raised in butterfly farms in Peru, Indonesia and Madagascar, dying naturally when released, they are collected by local communities. Photo Courtesy Perrotin and the artist.
Gabriel de la Mora 1,240 - H. L., 2021, Mosaico de alas de mariposa Hebomoia leucippe sobre cartulina de museo / Hebomoia leucippe butterfly wings mosaic on museum cardboard. Framed Dimensions: 35 x 35 x 6 cm 13.78 x 13.78 x 2.36 inches. Image Dimensions: 30 x 30 x 2 cm 11.81 x 11.81 x .79 inches. *The butterfly wings used in this new Lepidoptera series come from butterflies raised in butterfly farms in Peru, Indonesia and Madagascar, dying naturally when released, they are collected by local communities. Photos Courtesy Perrotin and the artist.
Luisa Rabbia (b. 1970, Turin, Italy) blends the distinctions made between the human and the natural, expressing solidarity with the cosmos through the organic, bodily landscapes of her expansive paintings. The scale of Rabbia's paintings suits the themes she explores, oftentimes depicting overlapping abstracted figures joining and breaking apart, seemingly overcoming their physicality. She alludes to interconnected natural processes forming a thread between microcosms and macrocosms and interweaving them in a nebulous primordial state. Continually in flux and transforming, her forms created in expressive hues also evoke spiritual transitions. Upon closer viewing and bringing this substantial work to a more intimate level, her physical and intuitive process becomes visible with its rhythmically scraped paint, the stratification of pencil marks, and imprints of fingertips. Rabbia alludes to the minute traces that each person leaves over the course of a lifetime, yet simultaneously asserts an expansive and interconnected vision of a wider universe.
Luisa Rabbia lives and works in Brooklyn, NY and is represented in NY by Peter Blum Gallery. She received her MFA from the Accademia Albertina di Belle Arti in Turin, Italy. Solo museum exhibitions include: Collezione Maramotti, Reggio Emilia, Italy; Isabella Stewart Gardner Museum, Boston, MA; Fundación PROA, Buenos Aires, Argentina; Fondazione Querini Stampalia, Venice, Italy; Fondazione Merz, Turin, Italy. Group exhibitions include: Magazzino Italian Art Foundation, Cold Spring, NY; Manifesta 12, Palazzo Drago, Palermo, Italy; Palazzo delle Esposizioni, Rome, Italy; Biennale del Disegno, Museo della Citta, Rimini, Italy; Lismore Castle, Waterford, Ireland; Shirley Fiterman Art Center, New York, NY; Maison Particulière, Brussels, Belgium; Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA; Museo del Novecento, Milan, Italy; MAXXI Museo Nazionale delle Arti del XXI secolo, Rome, Italy; Shanghai Museum of Contemporary Art, Shanghai, China.
Rabbia was a Visiting Professor in Drawing at Harvard University, Cambridge, in 2013/2014. She received the Pollock-Krasner Foundation Grant in 2022 and NYSCA/NYFA Artist Fellowship in Painting in 2007.
Ecstasy, 2019 colored pencil, pastel, acrylic and oil on canvas 102 x 47 inches (260 x 119 cm) Courtesy Peter Blum Gallery, New York Photo credit: Dario Lasagni
The Currency Project is a conceptual art piece that explores value creation and value transfer.
Created and implemented by Abdul Mazid and Julian Lombardi in March 2020, The Currency Project seeks to use social engagement as a platform to explore contemporary theories surrounding currency, value and markets. By using tradeable sports cards as the basis for the project, Mazid and Lombardi are able to engage an economy and marketplace that already exists while exploring spaces surrounding art and the creative process.
The social practice element of the piece elicits engagement from the public through multiple platforms, social media, and through transactions. Ultimately, the project seeks to understand concepts surrounding currency as a form of transactional storage of value.
Elaine A. King was born in Oak, Park, Illinois and grew up in the Chicago area. She was a Professor, at Carnegie Mellon University teaching the History of Art/Theory/Museum Studies. King received an interdisciplinary Ph.D. from Northwestern University in 1986 from the School of Speech (Theory and Culture) and History of Art. Dr. King holds a joint Masters Degree in Art History and Public Policy, from Northern Illinois University and her B.A. was awarded from Northern Illinois University in Art History and American History [Pre-Law]. In 2002 she received a Certificate of Fine Arts and Decorative Arts Appraisal New York University. In May 2011 she was invited to become a member of the National Press Club in Washington, DC.
She is a freelance critic who frequently writes for Sculpture, ARTES, Grapheion and the Washington Post.
Dr. King served as the Executive Director and Curator of the Carnegie Mellon Art Gallery [1985-1991, and was the Executive Director and Chief Curator of the Contemporary Arts Center in Cincinnati, [1993-1995] following the Robert Mapplethorpe debacle. Throughout her career as a curator she organized over forty-five art exhibitions, including a wide range of one-person exhibitions and catalogues for artists, Barry Le Va, Martin Puryear, Tishan Hsu, Gordan Matta-Clark, Elizabeth Murray, Mel Bochner, Nancy Spero, Robert Wilson, David Humphrey, and Martha Rosler. In addition, she has curated a wide range of group exhibitions including Light Into Art: Photography to Virtual Reality, New Generations, New York, Chicago, The Figure As Fiction, Abstraction Today, Drawing in the Eighties, and Art In the Age of Information. In February 2007 she was the guest curator for the Maria Mater O’Neill mid-career survey exhibition for the Museo of Art Puerto Rico, San Juan that opened in February 2007 and compiled a catalogue titled Artist Interrupted, 1986-2006. In the fall of 2009 she was a guest curator at the Mattress Factory, in Pittsburgh for the exhibition titled Likeness: Transformation of Portrayal After Warhol’s Legacy. King has been the guest curator several times for the Hungarian Graphic Arts Biennial in Gyór between 1993-2005. The International Studies Art Program American University’s selected her to be the distinguished Art Historian/Critic in-residence to teach in Corciano, Italy, in the fall 2006. Additionally Elaine King and Kim Levin were asked to nominate artists for the Venice Biennale.
She has been awarded numerous grants from diverse agencies including: United States Office of Information –Curatorial Grant for the American Section of the Master of Graphic Arts Biennial, Györ Hungary [shipping] Pennsylvania Arts Council Grant, Art Criticism Fellowship, The Trust for Mutual Understanding, Rockefeller Foundation, (research in Slovakia) The National Endowment for the Arts (In 1989,1988,1985, 1983) Museum s/catalogues, Hillman Foundation, Warhol Foundation, Richard K. Mellon Foundation Grant, French International Fund from Artists’ Action, for the Michel Gerard exhibit, American Association of Museums, Award of Merit for the Tishan Hsu catalogue Award of Distinction, American Association of Museums for the Mel Bochner catalogue. She was awarded an IREX grant to do research in Prague on changes in contemporary art after the fall of the wall. King was part of a panel discussion on Censorship and the Culture Wars at the Ann Arbor Film Festival and a reviewer for Bullfrog Films.
In September 2006, Allworth Press published the anthology titled Ethics and the Visual Arts that she and Gail Levin co-edited. Elaine King. In 2001 she was awarded a Senior Research Fellowship by the Smithsonian Institution’s American Art Museum to research contemporary portraiture. Also King was awarded a Short-term Research Fellow in 2003 from the Smithsonian Institution National Portrait Gallery as well as a Short-term Fellowship at the Smithsonian Archives of American Art.
Donald Sultan (b. 1951 Asheville, NC) is an artist who rose to prominence in the late 1970s as part of the “New Image” movement. Sultan has challenged the boundaries between painting and sculpture throughout his career. Using industrial materials such as roofing tar, aluminum, linoleum and enamel, Sultan layers, gouges, sands and constructs his paintings—sumptuous, richly textured compositions often made of the same materials as the rooms in which they are displayed. Intrigued by contrasts, he explores dichotomies of beauty and roughness, nature and artificiality, and realism and abstraction. Weighty and structured, Sultan’s works are simultaneously abstract and representational: his imagery is immediately recognizable— flowers, daily objects, idle factories—but ultimately reduced to simple geometric and organic shapes. As Sultan says, “I try to pare down the images to their essence, and capture the fleeting aspect of reality by pitting the gesture against the geometric—the gesture being the fluidity of the human against the geometry of the object.” Sultan’s early experiences building theatre sets at school, working in his father’s tire company in Asheville, and later in construction as a young artist in New York had a profound influence on his artistic development. These various lines of work led to an interest in industrial reproduction, heavy materials, and a practice of painting on floors and walls, à la Jackson Pollock. Sultan’s works, constructed horizontally, denote a purposely flat quality that borrows the synthetic flatness of stage sets while also utilizing the monumental weightiness of industrial materials— which harkens back to Asheville’s strong roots in manufacturing. Interested in the artifice of nature as it is sold and packaged within a consumerist society, a major theme within Sultan’s work is studying the representation of an object or idea—how a flower, a factory, or a fruit is consumed in the Zeitgeist of the twentieth and twenty-first centuries. In the 1980s, Sultan began depicting lemons in the style of traditional still lives. The blinding brightness of the yellow against the pitch black hue of the roofing tar he used as background make Sultan’s interpretations of these fruits hard to look at, while deferring monumental dignity to the common household good. The contrast of these natural organic shapes against the industrial materials and grid format has led Sultan to describe these works as pieces with “heavy structure, holding fragile meaning.” Playing with the dichotomy of meaning and material, perception and reality, the Lemon works began Sultan’s longstanding interest in depicting how an object is looked at, rather than the object itself. His 1990s series on dominos and dice continue this reflection on the still life—the ultimate, slow, and concentrated gaze upon an object. A style entrenched in repetition and tradition, the repertoire of this style is ultimately limited, but the combinations endless. In his compositions of back dots and mathematically endless arrangements of dominoes, Sultan creates a visual metaphor for the limitations and possibilities of the still life tradition, and the liberties allowed within its set parameter. The artist’s heavy use of industrial materials in the late twentieth century naturally led to his famous series of “catastrophic” paintings in the 1980s and 1990s. These industrial landscapes, titled the Disaster Paintings, illustrate the fragility of robust man-made structures, such as industrial plants and train cars, when faced with catastrophic events. This series was exhibited across the United States in a traveling exhibition in 2016 through 2018. The exhibition originated at the Lowe Art Museum at University of Miami and then traveled to the Museum of Modern Art, Fort Worth; Smithsonian American Art Museum, Washington, DC; North Carolina Museum of Art, Raleigh; and Sheldon Museum of Art, Lincoln. In recent years,
Terry Haggerty was born in London, England and studied at the Cheltenham School of Art, Gloucestershire. His work has been exhibited widely in galleries and museums around the world, including solo presentations at the Norton Museum of Art, West palm Beach, FL; Modern Art Museum of Fort Worth; and Hammer Museum, Los Angeles.
He is the recipient of several awards including the FOR-SITE Foundation Award (2009), John Anson Kittredge Award (2003), and the NatWest Art Prize (1999). Commissions include wall drawings for AT&T Stadium in Dallas, Munich Re in London, and private collections around the world.
Terry Haggerty Two Minds, 2009 Acrylic on wall The Art Collection Cowboys Stadium, Arlington, TX Photo: Richie Humphreys/Dallas Cowboys © Terry Haggery, courtesy of Sikkema Jenkins & Co., New York.
Terry Haggerty Step by step, 2016 Acrylic on wood panel 72 x 58.625 inches (183 x 149 cm) © Terry Haggery, courtesy of Sikkema Jenkins & Co., New York.
Eric Aho is an American artist whose paintings are equally concerned with the physical immensity and intimacy of the natural world as much as with an ever-evolving process of extract-ing spiritual experiences discovered within it. His energetic, gestural painting process uses lively marks and swaths of color to create richly applied paint that morphs between abstract expanses and the contours of nature. Aho’s work develops primarily from his own experience and memories of the landscape. He references broadly and freely from the history of art—responding to a wide range of works from Poussin to Constable, and from Winslow Homer to Ellsworth Kelly to inform his compositions. Aho lives and works in Saxtons River, Vermont.
Ice Out (Allagash), Oil on linen, 90x80, Photography © Rachel Portesi. Courtesy of DC Moore Gallery, New York
Ice Cut (Violet, Kennebec), Oil on linen, 80x90, Photography © Rachel Portesi. Courtesy of DC Moore Gallery, New York
Angela Westwater at 257 Bowery, 2020, photo by Alexei Hay
Angela Westwater co-founded Sperone Westwater Fischer in 1975 with Italian art dealer Gian Enzo Sperone and German gallerist Konrad Fischer, opening a space at 142 Greene Street in SoHo, New York. (The gallery's name was changed to Sperone Westwater in 1982.) An additional space was later established at 121 Greene Street. The founders' original program showcased a European avant-garde alongside a core group of American artists to whom its founders were committed.
Notable early exhibitions include a 1977 show of minimalist works by Carl Andre, Dan Flavin, Donald Judd, and Sol Lewitt; seven of Bruce Nauman's seminal early shows; six early Gerhard Richter shows; two Cy Twombly exhibitions in 1982 and 1989; eleven Richard Long exhibitions; and the installation of one of Mario Merz's celebrated glass and neon igloos in 1979 -- part of the gallery's ongoing dedication to Arte Povera artists, including Alighiero Boetti. Other early historical exhibitions at the Greene Street space include a 1989 group show, "Early Conceptual Works," which featured the work of On Kawara, Bruce Nauman, Alighiero Boetti, and Joseph Kosuth, among others; a 1999 Fontana exhibition titled "Gold: Gothic Masters and Lucio Fontana"; and selected presentations of work by Piero Manzoni. From May 2002 to May 2010, the gallery was located at 415 West 13 Street, in a 10,000-square foot space in the Meatpacking District. In September 2010, Sperone Westwater inaugurated a new Foster + Partners designed building at 257 Bowery. Today, over 45 years after its conception, the gallery continues to exhibit an international roster of prominent artists working in a wide variety of media.
Artists represented by Sperone Westwater include Bertozzi & Casoni, Joana Choumali, Kim Dingle, Shaunté Gates, Jitish Kallat, Guillermo Kuitca, Wolfgang Laib, Helmut Lang, Amy Lincoln, Richard Long, Emil Lukas, David Lynch, Heinz Mack, Mario Merz, Katy Moran, Malcolm Morley, Bruce Nauman, Otto Piene, Alexis Rockman, Susan Rothenberg, Tom Sachs, Peter Sacks, Andrew Sendor, and William Wegman. Past exhibitions, press, and artworks can be found on the gallery website.
Born in Columbus, Ohio, Westwater received her BA from Smith College and her MA from New York University. She arrived in New York City in 1971 and landed her first job as a “gallery girl” at the John Weber Gallery at 420 West Broadway. From 1972 to 1975, she served as Managing Editor of Artforum magazine. In 1975, the same year the gallery was founded, Westwater was appointed to the Board of Trustees of The Louis Comfort Tiffany Foundation, where she has served as President since 1980.
The books mentioned in the interview are The Free World, Art and Thought in the Cold War by Louis Menand and A Life of Picasso, The Minotaur Years by John Richardson.
Joana Choumali, Untitled (Ça Va Aller), 2019, mixed media, 9 1/2 x 9 1/2 inches (24 x 24 cm), 16 1/4 x 16 1/4 inches (41,3 x 41,3 cm)
Joana Choumali, WE ARE STILL NOW, 2022, mixed media, 4 parts; 38 1/2 x 78 inches (97,8 x 198,1 cm)
Untitled Collage 2
John J. O'Connor was born in Westfield, MA and received an MFA in painting and an MS in Art History and Criticism from Pratt Institute in 2000.
He attended The MacDowell Colony, the Skowhegan School of Painting and Sculpture, was a recipient of New York Foundation for the Arts Grants in Painting and Drawing, the Pollock-Krasner Foundation grant, and the Marie Walsh Sharpe Foundation Studio residency. John has been in numerous exhibitions abroad, including The Lab (Ireland), Martin Asbaek Gallery (Denmark), Neue Berliner Raume (Germany), Rodolphe Janssen Gallery (Brussels), the Louhu District Art Museum (Shenzhen, China), TW Fine Art (Australia); and in the US at Andrea Rosen Gallery, Pierogi Gallery, Arkansas Arts Center, Weatherspoon Museum, Ronald Feldman Gallery, Marlborough Gallery, White Columns, the Museum of Contemporary Art in Baltimore, the Queens Museum, and the Tang Museum. His exhibitions have been reviewed in Bomb Magazine, The New York Times, Artforum, the Village Voice, Art Papers, the Brooklyn Rail, and Art in America. John presented his work in discussion with Fred Tomaselli at The New Museum, and his work is included in the collections of the Museum of Modern Art, Whitney Museum of American Art, Weatherspoon Museum, Hood Museum, Southern Methodist University, and the New Museum of Contemporary Art. A catalogue spanning 10 years of John’s work was published by Pierogi Gallery with essays by Robert Storr, John Yau, and Rick Moody. He teaches at Sarah Lawrence College. The upcoming shows mentioned in the interview will be at False Flag Gallery and Pierogi Gallery. O'Connor also has a 2-person show upcoming at Pazo Fine Art. The books referenced in the interview were Daniil Kharms, "Today I Wrote Nothing" and Antonio Damasio, "Feeling and Knowing."
"I Shot," 82.25 x 70.25 inches, colored pencil and graphite on paper, 2020
"Charlie (Butterfly, day 3)," 86 X 70 inches, colored pencil and graphite on paper, 2018
Brandi Twilley was born in 1982 in Oklahoma City, Oklahoma. She received her MFA in 2011 from Yale University in New Haven, Connecticut.
Her work has been exhibited at: Josh Lilley in London, UK; Zero Gallery in Milan, Italy; the Museum of Sex in New York City; and Kate Werble Gallery in New York City; among others. Three solo exhibitions of her work have taken place at Sargent’s Daughters in New York City.
Her work has been reviewed in: The New York Times; ARTFORUM; ARTnews; The New Yorker; Artnet News; Time Out; The Observer; and Hyperallergic; among others.
Manhattan Skyline, 2020, Oil on Canvas, 16 by 20 inches.
"Washing my Hair, 2019, Oil on Canvas, 26 by 14 inches
Stylist/Creative director: Rebekka Fellah Photographer: Enrique Leyva © Hugo McCloud Courtesy: Sean Kelly, New York
Born in Palo Alto California in 1980, Hugo McCloud is one of the most prolific young artists working today. In a career that has now spanned fifteen years, Hugo McCloud's work has quickly evolved through a process of restless experimentation, bringing inventiveness and fearlessness to the act of making. The artist is engaged in an ongoing quest to elevate and master diverse methodologies and the array of subjects his work addresses. An abiding, unifying theme is Hugo's preoccupation with finding beauty in the everyday.
Self-taught with a background in industrial design, McCloud’s practice is unrestricted by classical, academic tenets. He has gravitated toward materials that could be considered abject – roofing materials, solder, and presently, single-use plastic bags. Drawing inspiration from the rawness of the urban landscape, McCloud creates rich, large-scale abstract paintings and by fusing unconventional industrial materials with traditional pigment and woodblock printing techniques. McCloud’s newest body of figural work touches on notions of class, particularly through his use of plastic bags. His investigation into plastic began approximately five years ago after traveling to India and seeing multi-color polypropylene plastic sacks everywhere. Observing the downcycle of these bags from their creation, to the companies that purchased them for the distribution of products, to the trash pickers in Dharavi slums, McCloud saw how this ubiquitous material passed through the hands of individuals at every level of society.
These representational works address issues concerning the economics of labor, geopolitics and the environmental impact of plastic. McCloud continues his practice of incorporating industrial materials using plastic as a tool to better understand our similarities and differences as a human race; to connect to our environment; and to contribute to reversing the negative impact of our carbon footprint.
McCloud has been the subject of solo exhibitions at The Aldrich Contemporary Art Museum in Ridgefield, Connecticut, The Arts Club, London and Fondazione 107, in Turin, Italy. He has also been featured in group exhibitions at the Studio Museum in Harlem, New York, and The Drawing Center, New York. His work is in the collections of the National Museum of African American History and Culture in Washington, D.C., the North Carolina Museum of Art, the Detroit Institute of the Arts, The Margulies Collection at the Warehouse, the Nasher Museum of Art at Duke University, the Brooklyn Museum, the Mott Warsh Collection, and The Joyner/Giuffrida Collection.
Hugo McCloud lives and works in Brooklyn, New York and Tulum, Mexico.
Hugo McCloud upcycled, 2021 single use plastic mounted on panel panel: 65 x 94 inches (165.1 x 238.8 cm) framed: 66 1/2 x 95 1/2 x 2 7/8 inches (168.9 x 242.6 x 7.3 cm) © Hugo McCloud Courtesy: Sean Kelly, New York
Hugo McCloud evening stroll, 2022 single use plastic mounted on panel panel: 76 x 66 inches (193 x 167.6 cm) framed: 77 1/2 x 67 1/2 x 2 1/8 inches (196.8 x 171.4 x 5.4 cm) © Hugo McCloud Courtesy: Sean Kelly, New York
When m was seven, they had a pet snake named Herman. Kept him in a bubble bath container shaped like a train, and when they opened the lid, they could see him peering back. Everyone else in their family was afraid of snakes. Them favorite was the gentle black king snake. Herman was tiny and green. A rubbery toy they had to hide from their mother, who had a way of making things disappear. Like their sixth finger, which they wore between thumb and index, from which they shot little projectiles that contained messages. Like the satanic bible, which they read to investigate the opposition, since their father was a born again man of the cloth. Being a gender fluid person was likely going too far, but eventually, it wasn’t something they could put a lid on. Around the same time as Herman, they started rink roller skating, dressing in wide cords with an alligator belt, a white cotton shirt, and beneath it, a striped cravat they called a dickey. One day, m peered at Herman peering back at them and felt a sudden fear, realizing that soon, they would also be hiding. In high school, they excelled in Science and Art. In college, Psychology and Philosophy. Them was enamored of semiotics, game theory and topography while getting their mfa at Yale. No wonder that their work evolved into computer spaces, where they wove Queer meaning into photographs and made installations that were given Guggenheim, NYFA and Jerome Foundation awards. Currently, m is offering tours of their studio, working on an installation performance and editing seven years of work into a “book.” As a Professor in Exile at The New School, m teaches outside of University settings, offering group studio courses and individual mentoring.
m is currently reading these books mentioned in the imterview: The Great Treatise on the Stages of the Path to Enlightenment Volume One, by Je Tsongkhapa (Translated by Lam Rim Chen Mo); Paul Outerbridge: New Color Photos. Nazraeli Press, 2022, One Thing Well: 22 Years of Installation Art by Kim Davenport.
CHAPTEr onE, THis CHAPTEr onE, THE oTHEr cHAPTEr onE, ink on paper with grommets, ©mBurgess, 2021
Cynthia Daignault received a BA in Art and Art History from Stanford University. She has presented solo exhibitions and projects at many major museums and galleries, including the Metropolitan Museum of Art, New Museum of Contemporary art, the Crystal Bridges Museum of American Art, MASS MoCA, the Modern Art Museum of Fort Worth, the Brooklyn Museum of Art, Kasmin Gallery and White Columns. Her work is in numerous public collections, including the Metropolitan Museum of Art, the Dallas Museum of Art and the Baltimore Museum of Art. Daignault is a regularly published author, and editor of numerous publications.
The first major monograph on her work, Light Atlas, was published in 2019, and a new paperback edition will be released in early 2022. She is the recipient of numerous awards, including a 2019 Pollock-Krasner Foundation Grant, a 2016 Foundation for the Contemporary Arts Award, a 2011 Rema Hort Foundation Award, and a 2010 MacDowell Artist Fellowship. She lives and works in Baltimore, Maryland.
Gettysburg (Stereoscopic) 2021 30 x 60" Oil on Linen
Gettysburg (Rorschach) 2021 19 x 19" Oil on Linen
Paco Barragán (Oviedo, Spain) is a curator and culture theorist that believes that the so-called “white cube” is dead. Since 2016 he doesn’t do “white cubes.” Between 2015 and 2017 he oversaw the visual arts section of Matucana 100 in Santiago de Chile. As a curator he is interested both in the history of museology and exhibition design and the history of the making of the art market. Why? Because you can´t have a good command of curatorial practices without a profound knowledge of the art market, which had a profound impact on museological and curatorial practices. Most of the known museological displays, from the Period Room to the Impressionist or Expressionist hang respond after all to profound commercial goals. For this reason, Barragán wrote a book about the history of art fairs and biennials since ancient Greece and Rome until today as he understands that we need a longue durée perspective. At this very moment he’s finishing a book about the history of collecting since Assyria until today. Museums are the result of all kinds of collecting, so it has sense to dive into that. Barragán thinks that a curator must be a narrator, a museologist, and an exhibition designer. Today curators are only narrators, the so-called Harald Szeemann model, but we need to go back to the practices of Wilhelm Bode, Ludwig Justi, Alexander Dorner and Alfred H. Barr, Jr. to do our job properly. In other words: to be a Gesammtkurator. That is also the reason why we only see “white cubes”, from Tate to MoMA to Mori Museum, because curators these days are only narrators and have no love for the past. But the future of curating lies in creating “contextual museologies”, id est, better and more attractive presentations.
"The Nine Mile Twine”, re-staging Duchamp’s 1942 twine and performance of First Papers of Surrealism exhibition “The Vertigo of Modern Life”, 18 February 2022, Domus Artium (DA2), Salamanca, Spain Photo: Santiago Santos
Re-staging the Expressionist “Die Brücke Hang” of 1905-1911, "The Vertigo of Modern Life", 18 February 2022, Domus Artium (DA2), Salamanca, Spain Photo: Santiago Santos
Molly Hassler is an interdisciplinary artist, often embracing collaboration and primarily using drawing and fibers techniques to mine the complex relation between representation and identity as a queer person in the Midwest. Through printing, drawing, weaving and quilting, she is actively sewing up the past, literally and metaphorically mending. Her fine art practice rests most comfortably between peculiar three dimensional objecthood and semi-narrative works containing drawings and text that speak to the sweetness and trauma of queer and trans coming of age.
Hassler is a 2022 recipient of the Mary L. Nohl Fellowship and 2021-2023 Springboard for the Arts: Rural Regenerator Fellowship. She has shown her work in exhibitions including Ortega Y Gasset Projects in Brooklyn, New York, The Jackson Dinsdale Art Center in Hastings, Nebraska as well as Portrait Society Gallery and Real Tinsel in Milwaukee, Wisconsin. Currently working as a teaching Artist in Residence with Lynden Sculpture Garden and Woodland Pattern Book Center, she carries out multiple community based projects in Milwaukee Public Schools.
The book mentioned at the end of the interview was Johnny Appleseed.
“I Keep My Feelings In My Chest” Quilted Chest Binder; Hand Dyed Cotton, Piecework, Thread, Fringe 2020
“She Was a Public House” : Detail of "Serving Fish", Ongoing Installation; Gouache Painting, Wood, Soft Sculpture, Paper Mache, Plaster, 2019 - 2020
Betty Yu is a multimedia artist, photographer, filmmaker and activist born and raised in NYC to Chinese immigrant parents. Ms. Yu integrates documentary film, new media platforms, and community-infused approaches into her practice, and she is a co-founder of Chinatown Art Brigade, a cultural collective using art to advance anti-gentrification organizing.
Ms. Yu has been awarded artist residencies and fellowships from the Laundromat Project, A Blade of Grass, International Studio & Curatorial Program, Intercultural Leadership Institute, Skidmore's Documentary Storytellers' Institute, KODA Lab, Asian American Arts Alliance, En Foco, China Residencies, Flux Factory and Santa Fe Art Institute.
Her work has been presented at the Brooklyn Museum, Queens Museum, NY Historical Society, Artists Space, SPACE Gallery, Margaret Mead Film and Video Festival, Tribeca Film Festival's Interactive Showcase, 2019 BRIC Biennial; Old Stone House, and Squeaky Wheel Film and Media Art Center. In 2018 she had a solo exhibition at Open Source Gallery in New York. In 2017 Ms. Yu won the Aronson Journalism for Social Justice Award for her film "Three Tours" about U.S. veterans returning home from war in Iraq, and their journey to overcome PTSD.
She holds a BFA from NYU's Tisch School of the Arts, a MFA in Integrated Media Arts from Hunter College and a One-Year Certificate from International Center Photography New Media Narratives program. Ms. Yu teaches video, social practice, art and activism at Pratt Institute, Hunter College, and The New School, in addition she has over 20 years of community, media justice, and labor organizing work. In the Fall 2020, Betty had her curatorial debut as she presented Imagining De-Gentrified Futures, an exhibition that featured artists of color, activists and others along with her own work at Apexart in Tribeca, NYC. Betty sits on the boards of Third World Newsreel and Working Films; and on the advisory board of More Art. The current project that was discussed in the interview: We Were Here: Unmasking Yellow Peril The book mentioned in the interview was Race for Profit.
My grandparents in New York City in the 1950s with the cut out of 1882 Chinese Exclusion Act in the Background, Digital Collage, 2020.
(Dis)Placed in Sunset Park: My Personal Story from Betty Yu on Vimeo.
Rebekah Modrak is an artist and writer whose practice is at the intersections of art, activism, and creative resistance to consumer culture. Her web-based artworks critique brand messaging. Re Made Co. (remadeco.org) takes the form of an online "company" to parody actual company Best Made Co.'s appropriation of working class identities and revitalization of traditional male roles. RETHINK SHINOLA (rethinkshinola.com) analyzes and exposes a complex and patronizing agenda of marketing the White savior myth, Detroit, and authenticity. Modrak is a co-curator of #exstrange, a curatorial project featuring site-specific works by artists using eBay as a site for the exchange of ideas. She is co-editor of the recently published Radical Humility: Essays on Ordinary Acts (Belt 2021) in which twenty writers consider humility as a state of being, with the power to impact institutions, families, and individuals. She is the lead author of Reframing Photography (Routledge 2011), a book critically exploring photographic representation, ethics, re-enactments, mediated vision, and other issues within the image-based world. Modrak is a professor at Stamps School of Art & Design at the University of Michigan where she teaches courses related to image culture, commerce, labor, interventionist tactics, and wearable art.
Still from the Re Made / Best Made Echo video. http://rebekahmodrak.com/work/re-made-best-made-echo/
Best Made Co. and Re Made Co. New York Times articles. http://remadeco.org/article1a.shtml
Lecture, originally presented by Shinola's President to students in U-M's Center for Entrepreneurship. Restaged for RETHINK SHINOLA. https://rethinkshinola.com/
A painter and arts writer, Sharon Butler is widely known as the founder of Two Coats of Paint, a project which includes an influential art blogazine about painting, an artists’ residency, online conversations, a small press, and other initiatives. Her geometric abstractions, which explore the tension between digital and handmade, and are based on drawings that she makes in a phone app. Solo painting exhibitions in 2016, 2018, and 2021 at Theodore Gallery were written about in Hyperallergic, artcritical, The New Criterion, The James Kalm Report, Time Out New York, and New York Magazine. In a review of her 2021 solo, artist-critic Laurie Fendrich called her work “beautiful and grittily compelling” and suggested that “the future of abstraction will be owned by those who accept a post-compositional approach to their paintings. Right now, Sharon Butler has the best of both worlds.” She has received awards and residencies from Creative Capital and the Warhol Foundation, Connecticut Comission on the Arts, Connecticut State University, Pollock Krasner Foundation, Yaddo, Blue Mountain Center, Pocket Utopia, and Counterproof Press.
Sharon has served as a lecturer and/or Visiting Artist/Critic at many notable art programs and organizations, including Brown University, Cornell University, Vermont Studio Center, Penn State, Pennsylvania Academy of the Fine Arts, the Art Institute of Chicago, the Hoffberger School of Painting(MICA), School of Visual Arts, and Parsons School of Desgin. She currently teaches in the MFA programs at the New York Academy of Art and the University of Connecticut.
Sharon Butler, Baselitz (2021) oil on canvas, 52x45 inches
Sharon Butler, Quarto, May 10, 2019 (2021) oil on canvas, 52 x 45 inches
Sharon Butler, Trade Painting-- November 19, 2019 (2020) oil on canvas, 12 x12 inches
Enemy Combatant, David Winner's third novel (March 2021) received a Kirkus-starred review and was a Publisher's Weekly/Booklife Editor's Pick.
He is the co-editor of Writing the Virus, a New York Times briefly-noted Anthology. His Kirkus- recommended, second novel, Tyler's Last came out in 2005 while his first, The Cannibal of Guadalajara, won the 2009 Gival Press Novel Award and was nominated for the National Book Award. His work has appeared in The Village Voice, Fiction, The Iowa Review, The Millions and The Kenyon Review.
He is a senior editor at StatOrec magazine, the fiction editor of The American, a magazine based in Rome, and a regular contributor to The Brooklyn Rail.
The subject of part of the interview, Dorle, with Mick Jagger
Esther Kläs employs hands-on dexterity with her process-oriented sculptures and works on paper which challenge contemporary sculptural norms and discourses. With links to Postminimalism, she utilizes malleable materials including clay, oil stick, or resin while maintaining an intimate physical relationship with her work. The artist’s distinctive visual language relates to her body in a surrounding environment while simultaneously referencing her inner experience. Appearing at once as mysterious presences and projections of a poetic imagination, her sculptures and works on paper emphasize the intuitive gestures that shape her work. Questioning the essence of objects and herself within a space, the work suggests relationships of both being and seeing.
Esther Kläs, Start, The Center for Contemporary Art, Tel Aviv, Israel, September 21 – November 30, 2019
Esther Kläs, The subtle interplay between the I and the me, Kolumba, Cologne, Germany, June 2 – August 16, 2021
Esther Klas, Maybe it can be different, Fondazione Giuliani, Rome, Italy, February 14 – April 18, 2020
In this interview we discuss Poetic Song Verse, a new book by Mike Mattison and Ernest Suarez.
Mike Mattison is a singer, songwriter, and founding member of Scrapomatic and the Tedeschi Trucks Band with whom he has won two Grammy Awards, eight Blues Music Awards from the Blues Music Foundation, and four Canadian Maple Blues Awards. He graduated cum laude from Harvard University in 1991. He tours over 150 days annually and frequently publishes essays and music journalism.
Ernest Suarez is the David M. O’Connell Professor of English at the Catholic University of America in Washington, DC, and executive director of the Association of Literary Scholars, Critics, and Writers. He was a Senior Fulbright Lecturer in Spain and China and was named the Carnegie Foundation Professor of the Year for the District of Columbia. He has published widely on southern literature, poetry, and music.
Caterina Verde is an American and French artist whose work is most often presented in a cross-plat- form of media that includes video, installation, performance, drawing, photography, and editions. Much of what she has considered in her practice has centered around identity construction + constriction through referencing historical, psychological, perceptual content as well as language and its use for limitation and containing culture.
Verde is a 2021 recipient of a New York City Artist Corps grant sponsored by NYFA and the NYC Department of Cultural Affairs for her three-channel video (in-progress and most recent) project, Inside Remote Viewing and the Recreational Vehicle.
In the nineties, she was the Hybrid and Performance Curator for The Kitchen in NYC (under a pseudonym), and later spearheaded a few early online performance projects, including, Strange Positioning Systems and most recently Peat and Repeat, an art edition house based in NYC. In September 2021, Verde curated the exhibition: “a micro-biology of circumstance: now what?" at the Tashmoo Springs Pumping Station in Vineyard Haven, Mass.
Caterina has received grants and residencies internationally. This year, Verde gave birth to an animated character, Pandarina deChine who is now occupying a certain realm of Verde’s work.
Currently she is exploring the flora and fauna of New York City and its environs in search of the lost paradise. She lives and works in the Ridgewood section of Queens, NY.
The book mentioned in the interview is The Fifth Season by NK Jemison
Installation view of Inside Remote Viewing and the Recreational Vehicle, a three-channel video installation installed in Ridgewood, Queens in October 2021. Sponsored by City Artist Corps/NYFA, © caterina verde 2022.
Caterina Verde, Inside Out, 2021, print 19 x 21 inches, © caterina verde 2022.
Caterina Verde, Bird, print, 24 x 30 inches from Remote Viewing and Recreational Vehicle
Miguel Abreu Gallery is pleased to announce Jimmy Raskin’s STATIONS OF THE LAST ECCENTRIC, the artist’s fourth one-person exhibition at the gallery. The exhibit is open Jan. 4th - Feb. 5, 2022. STATIONS OF THE LAST ECCENTRIC features nine layered works, each holding at its center The Cone of Expression. This diagrammatic overlay includes a prominent vertical line that imposes a primordial fold, creating a mirror-image wherein a chosen picture of the cosmos faces itself. This event, in turn, conjures a myriad of faces staring back at the viewer. The phenomenon, known as facial pareidolia, instills an emotional charge in an otherwise non-sentient image or form. A point of connective stillness emerges, which may be considered sacrificial: we bypass the layers, critical-distance, dynamic conversations therein, and reach an almost humorous reduction point; an anthropomorphic flattening in the name of stillness. Within the gaze of the gaze, a space for mesmerization or resonance is generated. An artist book accompanies the exhibition. Jimmy Raskin (b. 1970, Los Angeles) lives and works in New York. A graduate of the California Institute of the Arts, Raskin has exhibited his work internationally and staged “lecture-performances” in institutions, art galleries and other non-traditional gathering places since the mid-1990s, notably at the P.S.1 Contemporary Art Center, Thread Waxing Space, Foundation 2021, Greene-Naftali, Cooper Union, Miguel Abreu Gallery, SculptureCenter (all in New York), as well as at the Centre Pompidou, Paris, Real Art Ways, Hartford, The Swiss Institute, Paris, and KW Institute for Contemporary Art, Berlin. In 2013, Raskin participated in Performa 13 as part of Performa After Hours, which marked his second contribution to the performance biennial, following A Certain Misgiving in the Disciple (2009). Raskin’s third one-person exhibition at Miguel Abreu Gallery, Petals Ears & Tears, was held in 2013. Previously, his work was selected for the Art Statements sector of Art |42| Basel (2011). He was included in For the blind man in the dark looking for the black cat that isn’t there (2010), a major group exhibition curated by Anthony Huberman at the Contemporary Art Museum St. Louis. The show traveled to the Museum of Contemporary Art, Detroit, the ICA, London, de Appel Arts Center, Amsterdam, and Culturgest, Lisbon. Raskin also participated in the group exhibition Breaking New Ground Underground (2009), curated by Thea Westreich at Stonescape, a private museum in Napa Valley, California. Raskin’s publications include The Prologue, The Poltergeist & The Hollow Tree (Foundation 20 21, 2005), The Lisbon Lecture (Sequence Press, 2012), Corner Jump (Onestar Press, 2012), and The Final Eternal Return, published as part of his participation in the group exhibition Tribe-Specific at Felix Gaudlitz, Vienna (2019).
Jimmy Raskin, STATION 4, 2021, 18×31 in., courtesy Miguel Abreu Gallery
Jimmy Raskin, STATION 7, 2021, 18×31 in., courtesy Miguel Abreu Gallery
Chris Sharp is the founder and director of Chris Sharp Gallery, Los Angeles. Formerly an independent curator and writer, Sharp also co-founded the project space Lulu, Mexico City, in 2013.
Aaron Gilbert, The door to the other world is always open,December 11- January 22
Tyler Vlahovich, Pulling Up Roots 01/29 – 03/12
Malachi Black is the author of Storm Toward Morning (Copper Canyon Press, 2014), a finalist for the Poetry Society of America’s Norma Farber First Book Award and a selection for the PSA’s New American Poets Series (chosen by Ilya Kaminsky). Black’s poems have appeared in The American Poetry Review, The Believer, The Los Angeles Review of Books, and The Paris Review, among other journals, and in a number of anthologies, including Before the Door of God: An Anthology of Devotional Poetry (Yale U.P., 2013), Discoveries: New Writing from The Iowa Review (Iowa Review, 2012), and The Poet’s Quest for God (Eyewear Publishing [U.K.], 2016).
A 2019 National Endowment for the Arts Creative Writing Fellow, Black has also received fellowships and awards from the Amy Clampitt House, the Bread Loaf Writers’ Conference, Emory University, the Fine Arts Work Center in Provincetown, Hawthornden Castle, the MacDowell Colony, the Poetry Foundation (a 2009 Ruth Lilly Fellowship), the Sewanee Writers’ Conference, and Yaddo. Black’s work has been featured in exhibitions both in the U.S. and abroad, including several musical settings and translations into French, Dutch, Italian, Croatian, and Lithuanian. Black is an associate professor of English and Creative Writing at the University of San Diego.
Carole Silverstein is a Los Angeles based artist who has exhibited in galleries and alternative venues throughout the US, including New York City, Los Angeles, Chicago, Portland, and San Francisco. In 2015 she showed at the 56th Venice Biennale in an exhibit entitled “We Must Risk Delight: 20 Artists from Los Angeles” at the Magazzino del Sale, Venice Italy. Additionally, her work was featured in an exhibit which traveled to London, Paris, Berlin, Manila, Capetown, and Johannesburg. She received her MFA from Queens College, CUNY and her BFA from The School of The Art Institute of Chicago, with additional study at the International School of Art in Montecastello di Vibio, Italy.
In 2000, a book collaboration of her collages and the poetry of Jim Henderson was published entitled “Clearly These Clouds”. Her artworks are in the permanent collections of the Los Angeles County Museum of Art, Citibank, Art in US Embassies (US Embassy Djibouti), Art for Healing, The Salser Collection, and numerous private collections. She lives with her husband and son in Los Angeles.
Books mentioned in the interview are Rebecca Solnit's Orwell's Roses and Eckhart Tolle's The Power of Now.
Solo show at Nancy Toomey Fine Art, Minnesota Street Project, San Francisco. Includes installation elements of silver tape floor drawings and satin & sequin fabrics running along the borders of the gallery floor.
touching the constellations, 40” x 36”, Acrylic Ink on Mylar
she wears her potency as ornaments, 58” x 42 1/2”, Acrylic Ink on Mylar
William J. Simmons is a writer and curator based in Los Angeles and New York.
This is his third interview in this series, the second interview can be found here, and the first interview can be found here.
Matthew Ronay
Matthew Ronay (b. 1976, Louisville, KY) lives in New York. In 2016, his work was the subject of a solo-presentation at the Blaffer Art Museum in Houston, and the Pérez Art Museum Miami, with a fully-illustrated exhibition catalogue published on the occasion.
He has exhibited extensively at major institutions worldwide, including: Crystal Bridges Museum of American Art, Bentonville, AK; Kentucky Museum of Art and Craft, Louisville; Kunstverein Lingen, Germany; University of Louisville, KY; Artspace, San Antonio; Serpentine Gallery, London; Sculpture Center, New York; Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY, and Parasol Unit Foundation for Contemporary Art, London. Ronay participated in the 2013 Lyon Biennale, curated by Gunnar Kvaran, and the 2004 Whitney Biennial.
His work is included in numerous major public collections, including: ARoS Aarhus Kunstmuseum, Denmark; Astrup Fearnley Muset for Moderne Kunste, Oslo; Crystal Bridges Museum of American Art, Bentonville, AK; Dallas Museum of Art; Henry Art Gallery, University of Washington, Seattle; Los Angeles County Museum of Art; Museum of Modern Art, New York; Pérez Art Museum Miami; Whitney Museum of American Art, New York, and Williams College Museum of Art, Williamstown, MA. The artist currently has a solo show at Casey Kaplan entitled Ligatures.
Matthew Ronay Recursionizer, 2021 Basswood, dye, gouache, flocking, plastic, steel, epoxy 16.25 x 59 x 12"/ 41.28 x 149.86 x 30.48cm Courtesy the artist and Casey Kaplan, New York
Matthew Ronay, Forces, 2020, Basswood, dye, gouache, flocking, plastic, steel14 x 11.5 x 9"/ 35.56 x 29.21 x 22.86cm, Courtesy the artist and Casey Kaplan, New York
Ariana Page Russell creates images that explore the skin as a document of human experience, using her own hypersensitive flesh to illustrate the ways we expose, express, adorn and articulate ourselves. Her fascination with skin and the body are inspired in part by her dermatographia, a condition in which one’s skin temporarily welts when lightly scratched. Dermatographia also connects her to people all over the world via her images and writing. She's been making art with and inspired by her skin for about 20 years.
Russell is a Los Angeles based artist whose work has been exhibited in New York, Seattle, Los Angeles, Dublin, Belgium, New Dehli, Toronto, Australia, Bolivia and Venezuela, amongst other places. Her work has appeared in Art in America, the Huffington Post, Wired, The Atlantic, VISION Magazine: China, The Indian Express, Women's Health Magazine, and the monograph ‘Dressing’ published by Decode Books. She was featured on ABC News 20/20 and was invited to give a TEDx Talk at University of North Carolina in 2016. She received her MFA from the University of Washington, Seattle in 2005.
The book mentioned in the interview is Hunt, Gather, Parent.
Index, c-print, 23 x 17 inches, 2005. This image became viral back in 2008 and was pretty much the impetus for forming an international dermatographia community. I wrote freehand text on my legs, kind of recounting a dream I had the night before.
Wild Cucumber, from my Bloom Back series, archival inkjet print, 19 x 13 inches, 2021. I found these on a hike in the mountains near my home in Southern California. My son and I love to collect these.
Jessica Piazza is the author of three poetry collections and a children’s book. Born and raised in Brooklyn, Jessica now lives in Los Angeles where she is a writing professor at the University of Southern Californiaand a book club facilitator for Literary Affairs. She co-founded Bat City Review and Gold Line Press, and is the 2019 recipient of the Amy Clampitt Residency Program award. To learn more, visit www.jessicapiazza.com.
The books mentioned at the end of the interview are: Bree Rolfe, Who's Going to Love the Dying Girl / Unsolicited Press, 2021, and Kazuo Ishiguro, Klara and the Sun / Knopf, 2021.
The books pictured below by Jessica Piazza are Interrobang / Red Hen Press, 2013, This is not a sky / Black Lawrence Press, 2014 and Obliterations / Red Hen Press, 2016.
Margaux Williamson is an artist from Toronto, born in Pittsburgh. Her first book of paintings, I Could See Everything (Coach House Books) accompanied shows at Frith Street Gallery in London, and Mulherin+Pollard in New York. Her full-length movie, Teenager Hamlet, premiered at the Toronto International Film Festival, and now lives on UbuWeb. And a YouTube video she made in collaboration with the band Tomboyfriend, dancing to the end of poverty, was praised by Playground Magazine in Madrid as "Finally, a generation using YouTube the way God intended", Her text projects, including How to Act in Real Life, have been commissioned by museums, festivals and anthologies. Her work has been covered by Frieze, the New York Times, Canadian Art, Vogue, The Believer, and elsewhere. She has been artist-in-residence at MacDowell in New Hampshire, the Art Gallery of Ontario in Toronto and the Klondike Institute in the Yukon. Her most recent work was an on-line show with White Cube, March 2021.
Branches / 63 x 90 in / 160 x 228.6 cm / 2021 / oil on canvas
Table and Chair / 160x228 cm (63x90in)/ oil on canvas / 2016
Anna Conway, New York, 2019
Anna Conway (b. 1973) first came to prominence in the 2005 group exhibition, Greater New York, at MoMA PS1, where her meticulously rendered paintings announced the arrival of a singular talent. Her stylistic development has emerged from spectacular and unpredicted encounters with natural forces beyond normal human experience, to a more anthropological and psychological exploration of the human condition. Conway’s paintings are a testament to the continued relevance and fascination of the centuries-old tradition of realist painting—an archaic practice, which seems to grow only stronger with every passing year. She has exhibited extensively in the United States and Europe, and is the recipient of numerous accolades, including: the John Simon Guggenheim Fellowship (2014); the Pollock-Krasner Foundation (2011 and 2005); and the William Metcalf Award from the American Academy of Arts and Letters (2008).
Anna Conway, Fishing for Minnows on the Back of a Whale, 2021. Oil on panel 45 x 68 x 2 inches (114.3 x 172.7 x 5.1 cm) © Anna Conway; courtesy of the Artist and Fergus McCaffrey
Anna Conway, Ark, 2021. Oil on panel 45 x 68 x 2 inches (114.3 x 172.7 x 5.1 cm) ©Anna Conway; courtesy of the Artist and Fergus McCaffrey
Photo courtesy of Mizuyo Aburano/Woodstock School of Art
Polly M. Law is an artist, bricoleur, and mythologenist living and working in the Mid Hudson Valley of New York. She explores attachment in both the literal and spiritual senses, humans and nature are her vehicles. Bricolage and monoprinting are her media which she exploits ignoring the boundary between art and craft- especially the traditionally feminine hand-crafts. She has been a craftswoman, illustrator- advertising and editorial, bricoleur, and printmaker. She turned her interest in language into a book: "The Word Project: Odd & Obscure Words- Illustrated," featuring over 100 of her "word-dolls." Ms. Law has an abiding interest in semiotics, the symbolism inherent in everyday objects; and an abiding and futile anxiety about entropy.
"Numen I/ Greenman" 9"x9" Bricolage
"Greenman D" 13.5"x11" Monoprint
Screen Capture from Class Demo Video
Paula Rebsom describes herself as an Artist, Mother, Educator, and Trickster. All of these identities inform her interdisciplinary visual art practice which includes making sculptures from wood and fabric, site-specific installations, and image-based work using motion-sensor cameras. She’s always had an interest in science, specifically wildlife ecology, and applies elements of that into her work.
Born and raised in Southwest North Dakota she spent a great deal of time exploring nature and learning to sew and craft. Much of her work after grad school was situated outdoors and used motion-sensor cameras to document animal interactions with site-specific installations. Becoming a mother 6 years ago radically shifted her practice. No longer able to spend extended periods of time in remote locations, she returned to sewing, making quilts in order to process the raw emotions she was experiencing as a new mother. She is currently returning towards more image-based surveillance work by documenting the flora and fauna using her backyard and neighborhood greenspaces as installation sites.
She is currently full-time faculty in the art department at North Seattle College. Her work has been exhibited across the US, including group shows in New York City, Philadelphia, Miami, and Los Angeles, along with solo exhibitions at The Art Gym in Portland, OR, Gallery of Contemporary Art in Colorado Springs and SOIL Gallery in Seattle.
The Books mentioned in the interview were Never Home Alone and The Artist as Culture Producer.
Undetected, 2013, Digital image taken with a RECONYX motion detection infrared camera, Dimension Vary.
Absence of Color, 2019, Pigment Print, 24"x18"
Paula Matthusen is a composer who writes both electroacoustic and acoustic music and realizes sound installations. She has written for diverse instrumentations, such as “run-on sentence of the pavement” for piano, ping-pong balls, and electronics, which Alex Ross of The New Yorker noted as being “entrancing”. Her work often considers discrepancies in musical space—real, imagined, and remembered. Awards include the Walter Hinrichsen Award from the American Academy of Arts and Letters, a Fulbright Grant, two ASCAP Morton Gould Young Composers’ Awards, and the 2014 - 2015 Elliott Carter Rome Prize. Matthusen is currently Professor of Music at Wesleyan University. The book mentioned is Edges & Fray by Danielle Vogel, published by Wesleyan University Press. LOOM • ROOM • HARP has it's own web site here: https://loom-room-harp.space/
one thing five times from Paula Matthusen on Vimeo.
between systems and grounds, with Olivia Valentine. Photo by Olivia Valentine. More info at https://betweensystemsandgrounds.com/
Photo by Anastasia Blackman
Sébastien Léon is a French Los Angeles-based creative director, designer, and multi-media artist who has shown internationally with cultural institutions (Palais de Tokyo, the Park Avenue Armory, the New Museum, the Palazzo della Triennale, UCCA), and developed ambitious artistic projects with brands (Audemars Piguet, Krug, Samsung, Audi). Sébastien Léon’s work brings to life ethereal physical environments and sculptures that are at once tangible, familiar, and yet unmistakably abstract. His designs, typically relying on tubular metallic structures, are strongly influenced by his immediate environment. His decade in New York translates into collections inspired by the world of construction sites, and his move to California morphs into designs drawn from insects, rock formations, and the ocean.
Léon is the founder of acclaimed experiential studio Formavision, and the recipient of the FGI Rising Star award for his design work for Atelier d’Amis, the furniture company he co-founded in 2015. / www.atelierdamis.com / www.formavision.info / www.sebleon.com
Hydrochrom Sulu
Golden Horns
Clement Page, was born in Exeter, Devon, United Kingdom, and moved to London in 1990 where his formative experience as an artist took shape. In early 90’s London as well as making his own work, Clement founded a studio complex in an abandoned hat factory in Bethnal Green, curated artist led exhibitions, wrote and published art criticism and gave artist lectures at Tate gallery, Sotheby’s, Goldsmiths and Ruskin school of art. In 1996 Clement moved to New York City where he witnessed the emergence of the Chelsea gallery district and had a studio on the bowery. In 2006 he moved to Berlin and now lives between Berlin and Bristol in the UK. Clement works with painting, film, and installation.
Currently Clement is working on a monograph of his work with Hans Ulrich Obrist and Sacha Carddock, to be published in 2023. His recent ‘mirror paintings’ will be exhibited at HSBC gallery London and Santa Lucia galerie, Berlin in the coming year.
His films from the Goetz Media Art collection, Munich have been shown at Pinakothek der Moderne, Munich Germany, and Haus der Kunst, Munich Germany. and The Freud Museum, London.
Beth Stephens and Annie Sprinkle have been creating multi-media art projects about love, sex, and queerness together for 20 years. Annie was a sex worker from 1973 to 1995, and morphed into a feminist performance artist and sex educator. Beth was a sculptor and installation artist and became a University art professor.
She’s taught at University of California Santa Cruz for 27 years. These days the duo make environmental films through an ecosexual gaze, they produce symposiums, do theater and performance artivism. Their Ecosex Manifesto launched the Ecosex Movement.
They are making a new film about fire for which they got a Guggenheim Fellowship in 2021. A new book, Assuming the Ecosexual Position—the Earth as Lover (University of Minnesota Press) chronicles their epic love story and art/life adventures.
Claudio Zulian is a visual and sound artist, film director, writer and musician. He holds a PhD in Aesthetics, Science and Technology of the Arts from the University of Paris-Saint Denis (France). He is a resident in Barcelona (Spain).
Many of Claudio Zulian's works are articulated around the notions of body and territory, often ironically dialectised. An example of this is one of his latest works Vallès: making pasts, making futures, a series of video installations whose exhibition was on view at La Virreina Centre de la Imatge in Barcelona in 2019, curated by Valentín Roma. Another example of the study of these concepts was the exhibition Double Self-Portrait (2019), at the Espai Souvenir gallery in Barcelona. Previously, these themes had given rise to other works such as those included in the exhibition Enthusiasm (2012) at the Bòlit Centre d'Art in Girona and in ACVic or Political Poetics (2008) at CaixaForum in Barcelona.
Complementing these two notions, another of the central issues in his works is history. Stories of the Future was the title chosen by the Jeu de Paume in Paris for the retrospective held in October 2013, which included pieces such as Power no Power (2013), L'Avenir (2004) and Panamamundi (2006).
In 2010 he received the City of Barcelona Award and the National Film Culture Award for his video installation, film and book A través del Carmel (The shifting city) - an intimate portrait of the eponymous Barcelona neighbourhood, shot in a single 90-minute sequence shot.
In 2020 he released We were not born refugees, a documentary about the lives of eight refugees in Barcelona. In the same year he shot The Magic Mountain, a documentary and video installation about the effects of globalisation in a village in northern Italy.
He has carried out an intense work as a composer and performer of contemporary music.
He regularly publishes articles in newspapers and magazines, many of which can be read on his blog.
La montagna incantata TRAILER from ACTEON on Vimeo.
In collaboration with the fluid processes of photography, Holly Murkerson’s work makes visible an emergent space where body and environment bleed into one another. Based in Chicago, Illinois, Murkerson is a Co-Director of the artist-run gallery, Adds Donna.
Past exhibitions include 65Grand, Chicago; Comfort Station, Chicago; Rainbo Club, Chicago; Heaven Gallery, Chicago, Apparatus Projects, Chicago; Rockford University Art Gallery, Rockford, IL; Roots & Culture, Chicago; Julius Caesar, Chicago; Andrew Rafacz Gallery, Chicago; Neiman Gallery at Columbia University, New York. She has been a resident at the Vermont Studio Center, The Ragdale Foundation, and Oxbow School of Art, as well as the recipient of grants from The Illinois Art Council and the Chicago Department of Cultural Affairs.
The book mentioned in the interview is Having and Being Had by Eula Biss.
One and one make three, 2020 Unique silver gelatin print, 20 x 16 inches
Two halves make a hole, 2020Unique silver gelatin prints mounted on archival rag board, diptych, 20 x 36 inches
Ryan Takaba is a material artist whose sculptures, tableaux, and installations are centered around a study of scientific reason and the power of belief, incorporating thematic materials -flowers, ash, wax, and water.
He exhibits his work throughout the United States and has participated in residencies at the European Ceramic Work Center -Netherlands, The Pottery Workshop in Jingdezhen -China, and was awarded a residency through Blue Star Contemporary to live and work at Kunstlerhaus Bethanien in Berlin -Germany.
He earned an MFA in Ceramics from Kent State University and a BFA in Ceramics from the University of Hawaii. Ryan currently lives and works in San Antonio, Texas.
The books mentioned in the interview are Stuff Matters by Mark Miodownik and The Disappearing Spoon by Sam Kean. The Atlantic article mentioned can be read here.
A Relationship with Flight 2020-2021 Glassine Paper, Ivory Roses, Basswood, Incense Ash, Helium, Latex, Pillar Wax, Wick, Steel 235” * 341” * 120”
A Relationship with Flight 2020-2021 Glassine Paper, Ivory Roses, Basswood, Incense Ash, Helium, Latex, Pillar Wax, Wick, Steel 235” * 341” * 120”
kara lynch is a time-based artist living in the bronx, ny – born in the momentous year of 1968. kara completed the MFA in Visual Arts at the University of California, San Diego and has been a research fellow at the African and African Diaspora Studies Department, University of Texas Austin and the Academy of African Studies at Bayreuth University in Germany. She is an emerit@Professor of Video and Critical Studies at Hampshire College. In 2020 kara was awarded a Tulsa Artist Fellowship and joined Gallery of the Streets as a principled artist collaborator.
Her art practice is re-memory, vision, and movement. It manifests as poetics, process, and conjures autonomy for Black and Indigenous people across Diaspora. Through low-fi, collective practice, and social intervention lynch explores aesthetic/political relationships between time + space. This artist’s practice is vigilantly raced, classed, and gendered – Black, Queer and Feminist.
Major projects include: ‘BlackRussians’ – a feature documentary video, ‘The Outing’ – a video travelogue, ‘MouhawalaOula’ – a gender-bending trio performance for oriental dance, live video & saxophone; ‘We Travel the Space Ways: Black Imagination, Fragments and Diffractions’– an edited volume of Black Speculation; and the current project, ‘INVISIBLE’ – an episodic, speculative, multi-site video/audio installation that excavates the terror and resilient beauty of the Black-Indigenous experience.
Current explorations include: RuleReverse! a series of video interventions learning from Sylvia Wynter's Maskarade; "Come Prepared or Not At All" a series of drawings concerned with Black Towns and Futures. "Stories from the Core" a collaboration with Sarah and Maryam Ahmed; and Blues U - a bi-monthly radio show on radiocoyote.org/FM 90.1 Tulsa.
Spy-boi_prelude_RuleReverse! - still from performance September 2020/Greenwood Ave Tulsa, Indian Territory
SAVED [episode 03 of Invisible] postcard 2008/2013
Lola Clavo (Barcelona 1983) is an independent director-producer that often navigates the boundaries between documentary and fiction. A graduate in Film Directing by ESCAC (2007), she lived and worked in London for over 10 years, where she also graduated MFA in Film Making by Goldsmiths University of London (2012) on a full scholarship by Obra Social “La Caixa” Foundation. Her work has a strong social component, questioning gender roles, the representation of the body, femininity and sexuality. Her filmmaking philosophy is close to that of DIY, although always loyal to a theory and structure base learned during her years at film school. She’s been awarded several prizes, mostly related to the representations of sexualities, and screened work internationally. Clavo co-founded in 2012 the art collective Exotica Loom, along with multidisciplinary artist Mariana Echeverri, where they develop curatorial and experimental film projects. In 2006 she finished her fist documentary “La Plaza” (2016), an autobiographic reflection on subjects such as family, memory and the physical space around us. It premiered at Alcances Documentary Film Festival of Cadiz, wining the UPTOFEST prize for best medium-length film. Her following work, “Pennie” (2018), a portrait documentary reflecting on the concepts of feminity, body and sex work, was selected as closing film for the November Film Festival (London) and as part of Festival Rizoma’s parallel section Voyeur (Madrid), as well as being screened at an art gallery context. Clavo has also attended art residencies and been part of numerous talks and panel discussions in spaces such as Nottingham Contemporary and EACC (Space for Contemporary Art Castelló). She’s also passionate about teaching and leads courses and workshops on filmmaking with an LGBTQ+ focus, as well as the portraying of intimacy in the audio-visual medium, specifically scenes with simulated sex and/or nudity. The book mentioned in the interview is LA VIDA COTIDIANA DEL DIBUJANTE UNDERGROUND, by Nazario.
A still from current project in development "WOMEN a butch ode"
A still image from the film "Pennie"
MUJERES una oda butch - teaser corto from lolaclavo on Vimeo.
Stephanie Ellis Schlaifer is a poet and installation artist in St. Louis. She is the author of the poetry collections Well Waiting Room (Fordham University Press, fall 2021) and Cleavemark (BOAAT Press, 2016) and the children's book The Cloud Lasso (Penny Candy Books, 2019). Her poems and art have appeared in Bomb, Bennington Review, Georgia Review, Harvard Review, Iowa Review, AGNI, Washington Square, At Length, The Offing, Denver Quarterly, LIT, Colorado Review, and on PoetryNow and the Poetry Foundation website, among others. She frequently collaborates with other artists, most recently with Cheryl Wassenaar on the installation The Cabinet of Ordinary Affairs at the Des Lee Gallery. Her work can be viewed at stephanieschlaifer.com.
“The Archive of the Interior,” from The Cabinet of Ordinary Affairs. A collaborative, multimedia installation with Cheryl Wassenaar.
Installation view, The Cabinet of Ordinary Affairs. A collaborative, multimedia installation with Cheryl Wassenaar.
Installation view, The Cabinet of Ordinary Affairs. A collaborative, multimedia installation with Cheryl Wassenaar.
Montana Ray is a poet, translator, and scholar. Her first book of visual poetry, (guns & butter), was described by Cathy Park Hong as a mix of “Apollinaire with Pam Grier.”
She holds an MFA and a PhD in comparative literature from Columbia University, where she wrote her dissertation on settler longing in the work of Cuban and feminist artist Ana Mendieta.
Ray is at work on a narrative nonfiction book, To thicken it, which explores the relationship between "the South" and Central and South America through genealogies, monuments, and cultural performances; you can read her creative nonfiction in The Point, BOMB, Narrative Magazine, and The New Inquiry. She also translates from Spanish and Portuguese mainly feminisms of the 1970s.
"Crazy Desire: chronicles of the AIDS ward," Asymptote Magazine, 2020. Photograph by Leonora Calderón.
"Os Confederados: 'Family and History' in the Plantation Americas," The Point, 2020.
Emily Skillings is the author of the poetry collection Fort Not (The Song Cave, 2017), which Publishers Weekly called a “fabulously eccentric, hypnotic, and hypervigilant debut.” Her poems can be found in Poetry, Harper’s, Boston Review, Granta, Hyperallergic, jubilat, and the Brooklyn Rail.
Skillings is the editor of Parallel Movement of the Hands: Five Unfinished Longer Works by John Ashbery, which was published by Ecco/HarperCollins in 2021. She is a member of the Belladonna* Collaborative, a feminist poetry collective, small press, and event series. Skillings received her MFA from Columbia University School of the Arts, where she was a Creative Writing Teaching Fellow in 2017. She currently teaches creative writing at Yale, NYU, and Columbia and lives in Brooklyn.
Jarrett Key (b. 1990) lives and works in Providence, RI. Key is a recent MFA graduate from RISD Painting. Key is one of Forbes’ 30 under 30 for Art and Style 2020. Key’s practice embodies several modes of production in one frame. Through form, image, and material, the objects they make integrate a sculpture, painting, and performance practice. Excavating lost stories and the oral histories that define their upbringing in rural Alabama, Key’s work seeks to criticize those historical conditions that are the seeds of contemporary issues in their life, while creating spaces that celebrate beauty, joy and survival. Key has been featured in exhibitions and residencies at 1969 Gallery, Fierman Gallery, the RISD Museum, La MaMa Galleria, The Columbus Museum, Gallery 67, Swiss House/MGLC, Galerija Kresija, Museum of Contemporary African Diasporan Art, New York University Tisch School of the Arts, Caelum Gallery, SPRING/BREAK Art Show, Outlet Fine Art, Former Pfizer Pharmaceutical Factory, Secret Dungeon, La Maison D’Art, Shanghai Theater Academy, and East Meet West Gallery, among others. Key’s work is in the collections of the The Lumpkin-Boccuzzi Family Collection, the Columbus Museum, Brown University, RISD Special Collection, the Schomburg Center, the Museum of Modern Art Library, and the Metropolitan Museum of Art Library, among other institutions. The Hair Painting Series series has been featured at the Studio Museum in Harlem and at the Harlem Arts Festival in Marcus Garvey Park.
2019, Silkscreen and Cement on Paper Collaboration with Merrick Adams
ESP Slab 1 2018 40” x 30” Silkscreen on Cement
Amaranth Borsuk’s work focuses on textual materiality—from the surface of the page to the surface of language.
Her most recent projects are the chapbook W/\SH: Initial Contact (Above/Ground, 2021), a speculative ecopoetic collaboration with Terri Witek; The Book: 101 Definitions (Anteism, 2021), a collection of definitions of the book by artists, writers, scholars, librarians, and book artists; and Curt Curtal Sonnet Corona (QPL, 2020), a printable chapbook of computer-generated curtal sonnets. Borsuk is also the author of The Book (MIT Press, 2018), a brief introduction to the book as object, content, idea, and interface published in the MIT Press Essential Knowledge series.
Her books of poetry include Pomegranate Eater (Kore Press, 2016), Handiwork (Slope Editions, 2012), selected by Paul Hoover for the 2011 Slope Editions Poetry Prize; and Tonal Saw (The Song Cave, 2010), a chapbook-length erasure. Abra (1913 Press, 2016), a book of mutating poems created with Kate Durbin, received an NEA-sponsored Expanded Artists’ Books grant from the Center for Book and Paper Arts at Columbia College Chicago and was released as a limited-edition book with a free iPad / iPhone app created by Ian Hatcher. The collaboration As We Know (Subito Press, 2014), selected by Julie Carr for the Subito Prize, reshapes 60 entries from Andy Fitch’s summer diary into a collective confessional/constructivist collage that foregrounds the tensions of authorship.
Collaboration and materiality are central to Borsuk’s practice. Together with Brad Bouse, she created Between Page and Screen (Siglio Press, 2012; Springgun Press, 2016), a book of augmented-reality poetry. It has been featured on Salon.com, BrainPickings, Wired, and other media sites and has been exhibited widely. Through a grant from CT@Work and SiteProjects, Inc., Borsuk and Bouse completed Whispering Galleries (2014), a site-specific interactive text work for the New Haven Free Public Libraries that uses the Leap gestural controller to invite visitors to brush the dust from a historic diary, revealing poems hidden within it. Borsuk’s other digital collaborations include Wave Signs, an immersive sound installation with Carrie Bodle; and The Deletionist, an erasure bookmarklet created with Nick Montfort and Jesper Juul.
Borsuk is currently an Associate Professor in the School of Interdisciplinary Arts and Sciences at the University of Washington, Bothell, where she also serves as Associate Director of the MFA in Creative Writing and Poetics. The book mentioned at the end of the interview was by Renee Gladman: Houses of Ravicka
Pomegranate Eater (Kore Press, 2016)
The Book (MIT Press, 2018)
Photo of Nicolás by Wadi Céspedes Raful / Courtesy of Nicolás Dumit Estévez Raful Espejo Ovalles
Nicolás Dumit Estévez Raful Espejo Ovalles treads an elusive path that manifests itself performatively through creative experiences that he unfolds within the quotidian. He has exhibited or performed at Madrid Abierto/ARCO, The IX Havana Biennial, PERFORMA 05/07, IDENSITAT, Prague Quadrennial, Pontevedra Biennial, Call/Walks, Queens Museum, MoMA, Printed Matter, P.S. 122, Hemispheric Institute of Performance Art and Politics, Princeton University, Anthology Film Archives, El Museo del Barrio, Center for Book Arts, Longwood Art Gallery/BCA, The Smithsonian National Museum of the American Indian, Franklin Furnace, and Lower Manhattan Cultural Council. Nicolás has received mentorship in art in everyday life from Linda Mary Montano, a historic figure in the performance art field. Residencies attended include P.S. 1/MoMA, Yaddo and MacDowell. Nicolás holds an MFA from Tyler School of Art, Temple University, Philadelphia, PA, where he studied with Coco Fusco; and an MA from Union Theological Seminary in the City of New York. Born in Santiago de los Treinta Caballeros, Dominican Republic, in 2011 he was baptized as a Bronxite; a citizen of the Bronx.
Since 2006, he has pursued trainings with key people in the healing, somatic movement, and writing fields. Nicolás is the founding director of The Interior Beauty Salon, a space working at the intersection of creativity and healing.
Learn more and follow The Interior Beauty Salon on Instagram.
Nicolás Dumit Estévez Raful In Bed with the Tropicals, 2015, inaction Photo: Frances Pollitt / Courtesy of Nicolás Dumit Estévez In Bed with the Tropicals consisted of a five-hour stopover by a sleeping subject in Wave Hill’s conservatory, NY. This dormant being rested uninterruptedly, side by side with the vast array of orchids, lichens, air plants and ferns that make up the lush greenhouse’s collection. In this exercise, which relied on inaction, the cessation of the most visible movements on behalf of the sleeper were meant to put him on a par with the imperceptible activity generated by the plant world around him. In Bed with the Tropicals was meant to conjure images of hibernation, catalepsy, the Dormition of the Virgin, and the continuous interplay between life and death. It also signaled the urgent call for what deep ecology activist Joanna Macy refers to as the “greening of the self” or the eco-self; an awareness for one’s inextricable interdependence with all living beings irrespective of the lesser status “humans” have assigned to them.
Rhina Valentin and Nicolás Dumit Estévez Raful with Michael Max Knobbe and Angel RodríguezThe Metropolitan Portal, 2020, art in everyday lifePhoto: Argenis Apolinario / Courtesy of Nicolás Dumit EstévezNicolás Dumit Estévez Raful Espejo invites Rhina Valentín, who in turn invites Master Percussionist Angel Rodríguez to represent her spiritual guide, and BronxNet Executive Director, Michael Max Knobbe to represent her connection to community. They step into Rhina’s everyday portal through the shopping district of Parkchester, reminiscent of the walk she would take to get to the train when she lived there with her Mother—through improvisational ritual choreography that launches near the fountain of Parkchester and processes through Metropolitan Avenue. Mantras, colors, and drum beats are all part of the portal through which Rhina skillfully takes the group: a magical field. She eventually leads all involved out into the day-to-day buzz of the City to enjoy the echo of any transformations experienced during the action. This action is part of Performing the Bronx. Performing the Bronx is an expansion of Nicolás’s on-going efforts to generate work with and within different communities in the Bronx. It is also representative of his interest in recovering, reclaiming and remembering histories of the area’s inhabitants that run the risk of being effac...
Ben Balcom (b. 1986, Massachusetts) is a filmmaker currently living and working in Milwaukee, WI. He is an assistant professor at the University of Wisconsin—Milwaukee and is the co-founder and co-programmer of Microlights Cinema. Since 2013, Microlights has hosted over 50 film and video artists from around the world. Combining elements of documentary, fictional narrative, and abstraction, Balcom’s films investigate the relationship between cinematic artifice and ordinary affects. He has explored melodrama, essay film, and, most recently, regional histories. His films have been exhibited at venues and festivals such as the European Media Festival, Media City Film Festival, Anti-Matter Media Arts, Alchemy Film, Ann Arbor Film Festival and Slamdance. Balcom received his MFA in Film, Video, Animation, and New Genres from the University of Wisconsin-Milwaukee, and his bachelor’s degree in Film-Video Production from Hampshire College.
The books I mentioned in the interview are Kim Stanley Robinson's Mars Trilogy and Douglas Kearney's Sho.
Garden City Beautiful from Ben Balcom on Vimeo.
News From Nowhere from Ben Balcom on Vimeo.
Eric Fleischauer is a Chicago-based artist whose projects engage the histories of media culture to examine technology’s nuanced influences and forgotten genealogies. Working across various mediums, fleischauer utilizes conceptually-driven production strategies to make work that can be read as an aestheticized form of media theory and criticism.
His work has been exhibited at the MCA Chicago, Interstate Projects (NYC), Corcoran Gallery of Art, the Kunstmuseum Bonn, and discussed in Artforum, The Washington Post, Afterimage Journal, and rhizome.org.
Currently he is an Associate Professor, Adjunct at the School of the Art Institute of Chicago.
Universal Paramount, 2010, digital image, dimensions variable
homeland security, 2020, staples on paper, xerox print, 11" x 14"
twohundredfiftysixcolors (preface) 2013 from eric fleischauer on Vimeo.
Self-Portrait Ian Weaver is an Artist and Professor at Saint Mary's College, South Bend, IN. His M.F.A. is from Washington University in St Louis (2008). He has exhibited at the South Bend Museum of Art; The Chicago Cultural Center; the Indianapolis Museum of Contemporary Art; and Saint Louis Art Museum. His residencies include Bemis Center for the Contemporary Arts; Ox-Bow; the ISCP Residency, New York; and Yaddo and the Millay Colony, both in upstate NY. Awards include the Stone and DeGuire Contemporary Art Award; Artadia and the Joan Mitchell Foundation, both based in NY; and the Illinois Arts Council.
Christopher Kondrich is the author of Valuing (University of Georgia Press, 2019), selected by Jericho Brown as a winner of the National Poetry Series, by Library Journal as a Best Poetry Book of 2019, and as a finalist for The Believer Book Award in Poetry, as well as the book-length poem Contrapuntal (Free Verse Editions, 2013).
His poetry and essays appear widely in such venues as the Academy of American Poets’ Poem-a-Day, The Believer, Bennington Review, Conjunctions, Harvard Review, The Kenyon Review, The Paris Review, and Poetry Northwest, and his work has been recognized with an Iowa Review Award (selected by Srikanth Reddy), The Paris-American Reading Series Prize, and four Pushcart Prize nominations. He has received fellowships from the MacDowell Colony, the Virginia Center for the Creative Arts, the I-Park Foundation, the University of Denver, and Columbia University.
During the 2021 — 2022 academic year, he will be teaching creative writing at George Washington University, and will also be Writer-in-Residence at the State University of New York, New Paltz. An Associate Editor for 32 Poems, he lives in Maryland.
George working on "Tia Catrina"
George Rodriguez addresses sensitive sociopolitical issues through his highly ornamented figurative ceramic sculptures. There is a tongue-in cheek-ease that is evident in the sense of warmth his works convey. Themes of culture and identity recur throughout his sculpture, celebrating the unique attributes of diverse cultures as well as the similarities that unite us all.
Rodriguez’s ceramic sculptures eloquently communicate the emotions they embody, through figures spanning a wide range of forms and personalities. Aspects of certain forms echo elements of African, Italian, and South American ceramic traditions, yet the resulting pieces are dynamically modern.
George received a BFA in ceramics from the University of Texas El Paso then went on to receive an MFA from the University of Washington. His world curiosity grew as a recipient of a Bonderman Travel Fellowship where he traveled the world through most of 2010. His work can be found in the permanent collection of the National Mexican Museum of Art in Chicago, Hallie Ford Museum in Salem, Oregon and the Smithsonian’s Renwick Gallery amongst others. George is represented by Foster/White Gallery in Seattle, WA and is the Artist in Residence at the Tyler School of Art and Architecture in Philadelphia.
The book he was reading that was mentioned in the interview was Natalie Diaz Book of Poems.
Mexican/American Gothic. 2018. ceramic with glaze. 84 X 39 X 30 in.
An Altar. 2018. ceramic with glaze. 100 X 60 X 60 in.
Susan Mastrangelo was born and raised in New York City and Washington D.C. She studied at the Kansas City Art Institute and the New York Studio School, and received her MFA from Boston University under the tutelage of Philip Guston. Based in New York since graduate school, she has shown nationally and internationally, and is a recipient of a Mercedes Matter Award, a Rockwell Grant and two grants from the Pollock Krasner Foundation. She has been a visiting artist at the American Academy in Rome, a guest at Civitella Raneri, and a resident at Yaddo, The Virginia Center for the Creative Arts, The Ragdale Foundation, The Triangle Workshop (as a student of Anthony Caro), and the Tyrone Guthrie Center. For 27 years she taught and chaired the Art Department at the Buckley School in New York City, and now works as a full time multidisciplinary artist at the Can Factory in Gowanus, Brooklyn.
High expectations, 2020, Knitting, cord filler, fabric, acrylic paint on wood panel, 60 x 48 inches.
Not A Ghost Town, 2020, Knitting, cord filler, fabric, acrylic paint on wood panel, 60 x 48 inches.
Robert Schirmer’s novel Barrow’s Point won the Gival Press Novel Award and was a finalist for a Foreword INDIES Book Award. He’s also published a collection of short stories titled Living with Strangers (NYU Press), winner of the Bobst Award for Emerging Writers. His stories have appeared in a wide range of literary journals such as Glimmer Train, The Sewanee Review, Epoch, New England Review, Fiction, Byliner, Confrontation, Joyland, and The Best of Witness. Over the years he’s won an O. Henry Award, a Pushcart Prize, a Walter E. Dakin fellowship to the Sewanee Writers’ Conference, and a fellowship from The Chesterfield Writer’s Film Project. His screenplays have been optioned by Amblin Entertainment and Warner Brothers. He’s also been a Visiting Writer at the Southwest Writers Series and at Stetson University as part of the Tim Sullivan Endowment for Writing.
Selina Trepp (Swiss/American b.1973) is an artist researching economy and improvisation. Finding a balance between the intuitive and conceptual is a goal, living a life of adventure is a way, embarrassment is often a result.
She works across media, combining performance, installation, painting, and sculpture to create intricate setups that result in photos, drawings and animations.
In addition to the studio-based work, Selina is active in the experimental music scene. In this context she sings and plays the videolah, her midi controlled video synthesizer, to create projected animations in real-time as visual music. She performs with a varying cast of collaborators and as one half of Spectralina, her long running audiovisual collaboration with Dan Bitney.
Woven from Selina Trepp on Vimeo.
Michael Shewmaker is the author of Leviathan (2023) and Penumbra (2017), winner of the Hollis Summers Poetry Prize. He is the recipient of fellowships from the Bread Loaf Writers’ Conference, the Sewanee Writers’ Conference, and Stanford University, where he was a Wallace Stegner Fellow. His recent poems appear in Best American Poetry, The Believer, Oxford American, Ploughshares, Southern Review, Yale Review, and other literary journals and anthologies. Born in Texarkana, Texas, he earned an M.F.A. from McNeese State University and a Ph.D. in creative writing from Texas Tech University. He teaches creative writing at Stanford University and lives in the San Francisco Bay Area with his wife, Emily.
Lissa McClure is the inaugural Executive Director of the Woodman Family Foundation, which stewards the work and legacies of Betty Woodman, Francesca Woodman, and George Woodman. She directs the vision and strategy for the Foundation with the Board of Directors and oversees its administration, operations, and partnerships. Prior to joining the Foundation, she was a longtime director of the Marian Goodman Gallery, where she worked closely with Julie Mehretu, John Baldessari, and Lawrence Weiner, and with Betty and George Woodman on behalf of Francesca Woodman. She was the founding Senior Director of Kurimanzutto New York and is currently on the Board of Directors of the John Baldessari Family Foundation.
Francesca Woodman, Untitled, Rome, Italy, 1977-1978 Vintage gelatin silver print: 4 5/8 x 4 3/4 in. (11.6 x 11.9 cm). Photograph courtesy of Woodman Family Foundation and Marian Goodman Gallery, © Woodman Family Foundation / Artists Rights Society (ARS), New York, 2021.
Francesca Woodman, Untitled, Providence, Rhode Island, 1975-1978 Vintage gelatin silver print: 5 1/2 x 6 1/2 in. (13.8 x 16.5 cm). Photograph courtesy of Woodman Family Foundation and Marian Goodman Gallery,© Woodman Family Foundation / Artists Rights Society (ARS), New York, 2021.
Francesca Woodman Contact sheet, Italy, c. 1977-1978 Vintage gelatin print; 8 x 10 in. (20.3 x 25.4 cm). Photograph courtesy of Woodman Family Foundation and Marian Goodman Gallery, © Woodman Family Foundation / Artists Rights Society (ARS), New York, 2021.
Self portrait
Nikolas Ventourakis is a visual artist living and working between Athens and London.
His practice situates in the threshold between art and document, in the attempt to interrogate the status of the photographic image. A quest that unfolds in the decisive years of the digital revolution, when a crucial overlap between producers and viewers seems to have reset all previous critical discourses. Central to Ventourakis's visual work is a denial for a one-way resolution and an invitation to embrace an ambiguous imagery, where the photographic is not yet real, and the familiar is a projection of a mix of memory - stemming from both private and media experiences - with abstract thinking. Ventourakis’ fascination lies in our need for stories to be conclusive, which cannot but clash with the impossibility for apparent pictures to provide any evidence nor "objective truth". This is why his work allows for bias and misinterpretation. Ventourakis completed an MA in Fine Art (Photography) with Merit at Central Saint Martins School of Arts (2013) and is the recipient of the Deutsche Bank Award in Photography (2013). He was selected for Future Map (2013), Catlin Guide (2014) and Fresh Faced Wild Eyed (2014) in the Photographers Gallery as one of the top graduating artists in the UK. In 2015 he was a visiting artist at CalArts with a FULBRIGHT Artist Fellowship and is a fellow in New Museum’s IDEAS CITY. He was shortlisted for the MAC International and the Bar-Tur Award. Recently he has exhibited in FORMAT Festival, Derby; the NRW Forum, Düsseldorf, the Mediterranean Biennale of Young Artists 18, the parallel program of the Istanbul Biennale , Hors Pistes 14 at Centre Pompidou, and The Same River Twice, at the Benaki Museum. Since 2017 he is the artistic director of the Lucy Art Residency in Kavala, and is co-curator of the project “A Hollow Place” in Athens. He is a 2020 Stavros Niarchos Artworks Fellow. The book mentioned in the interview at the end is Foundation by Isaac Asimov. Current Exhibitions mentioned: Tell Me I Belong group show and Betwixt and Between. https://www.miscathens.com/exhibitions To earn more about the Band that we discussed at the end of the interview, click here and see the video below; RAMDAT.
Unlikely Outcomes: An Improvision from NIKOLAS VENTOURAKIS on Vimeo.
Nikolas Ventourakis, XX. “It was a Good Sunday as far as I remember it”, 2021, mounted on Dibond, in artist’s frame, 80 cm x 100 cm. Installation shot from Tell Me I Belong Exhibition
Nikolas Ventourakis, IX. interior false memory composition - left 2019, inkjet print on baryta archival paper, mounted on Dibond, artist’s frame, 125x85cm (120x80cm print) Installation shot from Unlikely Outcomes.Exhibtion*
Kathleen Winter is the author of three poetry collections: Transformer (The Word Works), I will not kick my friends (Elixir Press), and Nostalgia for the Criminal Past (Elixir Press). Her chapbook Cat’s Tongue is forthcoming from Texas Review Press in 2022.
Kathleen’s poems and short fiction have appeared in The New Republic, The New Statesman, Poetry London, Yale Review, Agni, Five Points and Colorado Review. She was granted fellowships by the James Merrill House, Cill Rialaig Project, Sewanee Writers’ Conference, Dora Maar House and Vermont Studio Center. Her awards include the Poetry Society of America The Writer Magazine/Emily Dickinson Award and the Ralph Johnston Fellowship at University of Texas's Dobie Paisano Ranch. Winter teaches creative writing at Sonoma State University.
Duane Michals (b. 1932, McKeesport, PA) is one of the great photographic innovators of the last century, widely known for his work with series, multiple exposures, and text. Michals first made significant, creative strides in the field of photography during the 1960s. In an era heavily influenced by photojournalism, Michals manipulated the medium to communicate narratives. The sequences, for which he is widely known, appropriate cinema’s frame-by-frame format. Michals has also incorporated text as a key component in his works. Rather than serving a didactic or explanatory function, his handwritten text adds another dimension to the images’ meaning and gives voice to Michals’ singular musings, which are poetic, tragic, and humorous, often all at once.
To see all the work discussed in the interview as well as upcoming work, find Duane on Instagram and Vimeo. You can also see all the PDFs mentioned here.
The Boy Who Counted Stars from Duane Michals on Vimeo.
Mari Shaw is an intellectual property lawyer, an art collector, educator, and author.
She also organizes programs and collaborations among cultural institutions.
Since 2020, she has been teaching by zoom about the arts, writing, and social justice in Philadelphia public schools and written about these issues.
Yury Urnov
An image of Stuart Netsky as he appears today.
Nathan Hoks’s most recent book, Nests in Air, was published in 2021 by Black Ocean Press. Previous books include Reveilles (winner of Salt Publishing’s Crashaw Prize), The Narrow Circle (winner of the National Poetry Series), and the chapbook Moony Days of Being (winner of the Tomaž Šalamun Prize). He has also published translations of work by Vicente Huidobro, Christian Dotremont, and Henri Michaux.
In 2018 Hoks was a poet-in-residence at the Tomaž Šalamun Poetry Center in Ljubljana, and he has also held residencies at the Vermont Studio Center and the Millay Colony for the Arts. Hoks occasionally works as an editor and letterpress printer for Convulsive Editions, and teaches creative writing at the University of Chicago and in the MFA in Writing program at the School of the Art Institute.
Books mentioned in the interview: Wuthering Heights and Will Alexander's Across the Vapor Gulf.
My practice varies from project-to-project, and is sometimes collaboration-based and at other times the result of my personal art making practices in diverse media, including site-specific installations, sculptures, performances, works on paper, films and audio pieces. My work has been exhibited at galleries in New York and elsewhere, including David Zwirner Gallery, Postmasters, Ronald Feldman Gallery, Xavier Hufkens (Brussels), Studio 10, and Pierogi 2000. In 1999 and 2000, a grant from Phillip Morris Foundation in conjunction with the Künstlerhaus Bethanien, Berlin allowed me to live and create work in Berlin. I had a major exhibit at the Brooklyn Museum in 2013, as part of its Raw/ Cooked series. It featured multi-media installations in several parts of the museum, and a film program. In addition, I have done many projects abroad, including shows/installations/projects in Germany, Scandinavia and Ramallah.
1990 till 2000, I hosted and co-directed the Four Walls art space in Williamsburg, Brooklyn, a project space whose function was something between a clubhouse and laboratory. It was a place where exhibitions, panel discussions, performances and projects took place, creating a nexus of cultural exchange for artists. In 1989, I received a National Endowment for the Arts grant which became seed money for the Four Walls project. My intent was to create a condition for the exchange of ideas.
From1993 to 2011, I directed, curated and organized The Slide and Film Club. I invited artists—and non-artists— to show Super8 films , 35mm slideshows and videos. A house band played improvised music to programs that lacked soundtracks, should someone request it. The project brought together hundreds of visual artists, writers and musicians such as Brian Dewan, Christian Marclay, Joy Garnett, Jim Torok and Carla Pearlman among others. It fostered the work of many artists, as well as my own Super 8 film work.
My studio practice over the past five years has primarily been object based. I have often relied on processes based on coincidence, or cues that I receive from my life in order to generate works which perform a useful function, or at least an approximation of one. For example, “Weathervane” at Pierogi Gallery in 1997, fulfilled its metrological role, as well as a quasi-metaphorical one: it took the form of an abstracted Pinocchio head. “Moo-Moo” (2010), was a giant, sculptural cow head on the roof of the Brooklyn restaurant, Diner. It was a portrait of one of the locally-sourced animals being served. “Billboard” in Hudson, New York played with the nature of what billboards are, using them to present subtly disorienting landscape images in unlikely places.
Since March of 2020, the world, and certainly my world, has been circumscribed by COVID, making it more difficult to present art in the usual ways. One piece I did in early 2021 was a guerrilla installation in a local park. In the tangle of branches of bushes and trees near the entrance of Cooper Park, one might find two blue rope-like sculptural forms weaving around the forms of the trees. Those pieces are called “Jay” and “Pea” and, in addition to bringing visual play to the local park, they commemorate my friend, the artist Joyce Pensato, who passed away the year before. It was the park she used to frequent with her dog.
Another recent project had a commemorative aspect, this year’s “Word of Bird is Cured” shown at Studio 10, Bushwick. My friend, the artist and writer Matt Friedman had passed away after a long illness. My piece covered the windows of the gallery with blue paper, with thousands of silhouettes of birds cut into the paper by hand. The gallery faced west, and as days grew long, projections of the birds flooded the room. In the room I created a series of cellophane bags, based on the forms of boulders.
The bags were inflated by fans from below, precariously erect and quick to wither when the fans were turned off.
Austin Thomas is an artist, curator, and community builder and is currently the exhibitions manager at FIT. A graduate of NYU, she has received numerous residencies and fellowships, including Wave Hill, Guttenberg Arts, The Elizabeth Foundation for the Arts, and Smack Mellon. From 2007 to 2014, she directed the influential Pocket Utopia gallery. In 2016, New York City unveiled her permanent public sculpture for a new park in Brooklyn. She has also done public commissions for the Public Art Fund and Grinnell College. Thomas's work is in the book Living and Sustaining a Creative Life: Essays by 40 Working Artists and its sequel, The Artist as Culture Producer: Living and Sustaining a Creative Life, edited by Sharon Louden. In addition, Thomas's work has been shown nationally and internationally and written about in the New York Times, New Yorker, Art in American, The Brooklyn Rail, The Paris Review, and Hyperallergic. She is a seminar instructor at the New School, where she teaches the "Artist as Entrepreneur. " During the COVID shutdown, Thomas became a New York City history buff, walking her city and discovering it anew. She is a nature lover and enjoys nature writing, most recently reading Visualizing Nature, Essays on Truth, Spirit, and Philosophy edited by Stuart Kestenbaum.
Austin Thomas "COVID-19 Sequence," 24x42 in., ink on paper Crane's Blue Stationery
Austin Thomas "COVID Sketchbook," 5x7 in., 2020 Pen, pencil, and collage
Marci Vogel is a California-born poet, writer, and translator. She is the author of Death and Other Holidays (Melville House Press, 2018), winner of the inaugural Miami Book Fair/de Groot Prize for the Novella and translated into French as La Mort et autres jours de fête (Éditions do, 2020). Her debut poetry collection, At the Border of Wilshire & Nobody, was awarded the inaugural Howling Bird Press Poetry Prize and selected for musical score by Brazilian composer, Renato Goulart.
The recipient of a Willis Barnstone Translation Prize, Vogel's poetry, prose, translations, and cross-genre inventions have appeared in such publications as ZYZZYVA, Seneca Review, Waxwing, and Jacket2, and include the translation-focused commentary series A Poetics of the Étrangère. Vogel's writing has been recognized with grants and residencies by the Fondation Ténot, the Napa Valley Writer's Conference, the Community of Writers, and North Street Collective. She has been invited for readings and talks at the San Francisco Conservatory of Flowers, the University of Strasbourg, Kelly Writers House, the University of Pennsylvania, the School of Beaux-Arts in Tours, France, and the University of Louvain-la-Neuve, Belgium.
A first-generation scholar, Vogel holds a PhD in creative writing and literature from the University of Southern California, where she currently serves in the Dana and David Dornsife College of Letters, Arts and Sciences as a Mellon Postdoctoral Fellow in the Humanities and the University of the Future.
Dr. Adam Zaretsky of NADLinc is a nomadic Wet-Lab Art Practitioner mixing Ecology, Biotechnology, Non-human Relations, Body Performance and Gastronomy. Zaretsky stages lively, hands-on bioart production labs based on topics such as: foreign species invasion (pure/impure), radical food science (edible/inedible), jazz bioinformatics (code/flesh), tissue culture (undead/semi-alive), transgenic design issues (traits/desires), interactive ethology (person/machine/non-human) and physiology (performance/stress). A former researcher at the MIT department of biology, Adam runs labs on DIY-IGM (Do-It-Yourself Inherited Genetic Modification of the Human Genome). His art practice focuses on an array of legal, ethical, social and libidinal implications of biotechnological materials and methods with a focus on transgenic humans, methods of transgenesis and germline aesthetics. http://artsci.ucla.edu/node/1128
What he has been reading: Genbank Online Bioinformatics Database meet the genome of the Dolphin Lipotes vexillifer UBE3D for fun reading: https://www.ncbi.nlm.nih.gov/gene/?term=Lipotes+vexillifer+UBE3D Czech out the HECT_2; HECT-like Ubiquitin-conjugating enzyme (E2) binding FASTA and Sequence Viewer (Graphics) too! For further research, the links Mentioned:
https://www.hackteria.org/workshops/thgap/ https://www.makery.info/en/author/adam-zaretsky/ https://www.makery.info/en/2021/09/01/english-human-germline-gene-editing-is-bioart-an-open-letter-to-lulu-and-nana/
Warplanes for Vultures – the failure of Art or Science to stop endless collateral damage, interspecies enrichment, sympathetic magick, eating the war machine, eaten by vultures during “Animal and Other Non-Human Enrichment in Parks and Preserves (Seeking Provisioning Advice)”, Bambi Seminar, Smithsonian Tropical Research Institute, Panama, 2019.
Hybrid DNA Isolation, Vivoarts: Biology and Art Studio Master Class, University of Leiden, 2007
Photo credit: Margarita Corporan Gina Apostol's fourth novel, Insurrecto, was named by Publishers' Weekly one of the Ten Best Books of 2018 and selected as an Editor's Choice of the NYT. Her third book, Gun Dealers' Daughter, won the 2013 PEN/Open Book Award. Her first two novels, Bibliolepsy and The Revolution According to Raymundo Mata, both won the Juan Laya Prize for the Novel (Philippine National Book Award). She was a fellow at Civitella Ranieri in Umbria, Italy, and Emily Harvey Foundation, among others. Her essays and stories have appeared in The New York Times, Los Angeles Review of Books, Foreign Policy, Gettysburg Review, Massachusetts Review, and others. She lives in New York City and western Massachusetts and grew up in Tacloban, Leyte, in the Philippines. She teaches at the Fieldston School in New York City.
More than 500 of Bertha Rogers’s poems have been published in journals and anthologies; and in several chapbooks and full-length collections, among them Wild, Again (Salmon, 2019); Heart Turned Back (Salmon, 2011); and Sleeper, You Wake (Mellen, 1991). She is completing What Want Brings: New and Selected Poems (also to be published by Salmon in 2022). Her translation of Beowulf was published by Birch Brook PRESS in 2000, and her translation and illuminations of the riddle-poems in the thousand-year-old Anglo-Saxon Exeter Book were published as Uncommon Creatures (Six Swans Artist Editions) in 2019. She co-founded Bright Hill Press & Literary Center of the Catskills in 1992; although retired, as a master teaching artist, she still leads literary workshops and edits poetry collections for the Press and other organizations. She lives on a mountain in New York’s western Catskills.
Charles H. Traub has been a photographer/educator for over 50 years. His work is represented in major museums and collections all around the world. In 1988, he founded the MFA program of Photography, Video and Related Media at the School of Visual Arts in NYC and still serves as its Chair. Formally, he was a founder of the Museum of Contemporary Photography, Columbia Collage, Chicago. Later he directed New York's prestigious Light Gallery, and for over 25 years was president of the Aaron Siskind Foundation.
Traub has received numerous awards including the prestigious ICP Infinity Award for his work on here is new york: A Democracy of Photography. He has published 17 books, including 9 monographs of his own. Recent publications include Dolce Via (2014) Lunchtime (2015), the iBook No Perfect Heroes-Photographing U.S. Grant (2016), Taradiddle (2016), and Tickety-Boo (2021).
This diptych were shot in 2020. They are published in the book, Tickety-Boo.
This diptych were shot in 2020. They are published in the book, Tickety-Boo.
Beatriz Bustos Oyanedel is a Chilean curator residing in Santiago, Chile. She has produced and curated different cultural initiatives in museums and cultural centers in South America, Asia and Europe. She worked as Director of Art and Education for the Mar Adentro Foundation. She is currently the director of Centro Cultural La Moneda, the main space for the arts in Chile. Under her direction, relevant exhibitions have been exhibited, such as Obra Viva by Joaquín Torres García and J. M. W. Turner. Watercolors Tate Collection. And recently, in 2020, Soplo by Ernesto Neto, among others.
Her investigative and curatorial work is oriented towards the search for meaning and the activation of critical thinking, through artistic and cultural instances related to the context.
In 2021, under an intercultural methodology that involved joint work with representatives of the Selk'Nam, Kawésqar and Yagán First Nations communities, she directed the curatorship of El Ancho Mundo. Aproximaciones a Magallanes.
She developed the production in Chile for the Tomie Ohtake Institute, Brazil, for the exhibition Yayoi Kusama: Infinite Obsession. Between October 2014 and January 2015 she curated the Christian Boltanski project in Chile at the National Museum of Fine Arts, Santiago, and the Animitas installation in the Atacama desert, which was later exhibited in the All the World's Futures exhibition at the Venice Biennale whose General curator was Okwui Enwezor.
Together with Zara Stanhope, she co-curated the exhibition Space to Dream: Recent art from South America, held in 2016 at the Auckland Art Gallery Toi o Tamaki Museum, New Zealand, highlighted by the local press as the best exhibition of the last thirty years.
Curator of the exhibition Our Site, South American Artists for the Niteroi Contemporary Art Museum in Rio de Janeiro, Brazil, and for the Visual Arts Museum, Santiago, Chile.
Curator and co-producer of the exhibition Umbraculum, by Belgian artist Jan Fabre, at the Tomie Ohtake Institute, Sao Paulo, Brazil, the Museum of Modern Art in Medellín, Colombia, and the Tambo Quirquincho Museum, La Paz, Bolivia.
During 2005 and 2008 she was Coordinator of the Production and Programming Unit at the Museum of Contemporary Art (MAC) in Chile.
She also participated as co-curator and general producer of the exhibition Desde el Otro Sitio/Lugar at National Museum of Contemporary Art, Seoul, Korea (2005); co-curator and producer of Correspondencias, at the Haus am Kleistpark, Berlin, Germany (2002). And from 2010 to date, she is a member of the advisory board of Key Performance, in Sweden.
The book mentioned in the interview is Violeta Parra en el Wallmapu. Su encuentro con el mundo mapuche by Paula Miranda, Elisa Loncon, Allison Ramay.
Ketta Ioannidou with Black Spring painting
Ketta Ioannidou (b. Nicosia, Cyprus) lives and works in New York, NY. Ioannidou holds an MFA from School of Visual Arts and a BA (Honours) from Central Saint Martins College of Art and Design.
Ioannidou represented Cyprus in the Cairo and Alexandria Biennales in Egypt and the 18th Asian Biennale in Bangladesh. She has had solo exhibitions at The Yard, Brooklyn, NY; South Oxford Space, Brooklyn, NY; Diatopos Centre of Contemporary Art, Nicosia, Cyprus; chashama 266, New York, NY.
Ioannidou has participated in group exhibitions at Thierry Goldberg, New York, NY; Superchief Gallery NFT, New York, NY; SPRING/BREAK Art Show, New York, NY; the Bronx Museum of the Arts, Bronx, NY; NARS Foundation, Brooklyn, NY; KUSTERA PROJECTS RED HOOK, Brooklyn, NY, Islip Art Museum, NY, and Local Project Art Space, Long Island City, NY. Residencies include Lower Manhattan Cultural Council’s Swing Space, AIM at the Bronx Museum, I-Park, and Aljira Emerge. Her work has been reviewed in The New York Times, Art in America, Flash Art, the Brooklyn Rail, and Hyperallergic.
"Black Rainbows", 2020, Oil on canvas, 43 x 34 inches
"Black Spring", 2021, Oil on canvas, 72 x 55 inches
"TARDIS_Time and Relative Dimensions In Space", 2020, Oil on canvas, 43 x 34 inches
Greg Slick (born 1961 in Jersey City, NJ) is a visual artist and independent curator based in Beacon, NY. Time, history, archaeology, and anthropology play major thematic roles in his work. Most recently his work was featured in the group exhibitions One Thing Leads to Another at The Lockwood Gallery, Kingston, NY, and Collective Expeditions, at both BSB Gallery, Trenton, NJ and SUNY Ulster, Stone Ridge, NY. Other group exhibitions include Take Back the Walls at the Rochester Contemporary Art Center, Rochester, NY; Painting in the 21st Century, at Site:Brooklyn, Brooklyn, NY; and Time Travelers at The Samuel Dorsky Museum of Art at SUNY New Paltz, New Paltz, NY. Recent solo exhibitions include Old Bones and Broken Stones at No. 3 Reading Room & Photo Book Works, Beacon, NY and Opened Ground at the Seligmann Center, Sugar Loaf, NY. Slick is the founder and co-curator of the artists’ collective The International Society of Antiquaries.
Slick’s paintings investigate ideas of monumentality through the geometries of prehistoric archaeological sites. Using color, texture, patterns of entoptic phenomena, and occasional references to archaeological drawing, his work examines how megalithic shapes can occupy space in different and compelling ways within an abstract language. Hardedge forms reinterpret tumbles of stones at Neolithic sites as a composition of texture/color upon a vibrant ground. Color schemes allude to changing light in rural areas where these stones are found. The intended challenge to the viewer is to read deeply and consider the meaning and politics of monument building along the human journey. Specific Neolithic and Iron Age sites that are referenced in his paintings are located in Ireland, the UK, and Spain. Visits to Los Toros de Guisando and the dolmens of Antequera in Spain, for example, galvanized an interest in the prehistory of Spain. As his practice developed around this theme, he became more invested in how traditional cultural forms, such as abstract patterns and building techniques, have persisted across millennia. The long shadow of prehistoric cultures can still be seen today in Spain in such things as rural structures (eg, shepherds’ huts) and folk designs on clay and ceramic wares.
Books mentioned in this interview include Sapiens by Yuval Noah Harari and The Neolithic of Britain and Ireland by Vicki Cummings.
Cave Consciousness, 2021, acrylic on wood panel, 36 x 30 in.
Old Materiality, 2021, acrylic on wood panel, 24 x 20 in.
Kristan Kennedy is a Portland-based artist, curator, and educator. She is the Artistic Director, Curator of Visual Art for the Portland Institute for Contemporary Art (PICA). For more than a decade, Kennedy has focused on commissioning new work by international emerging artists in the form of large-scale, site-specific installations and solo projects that exist at the borders of genres. Kennedy teaches in the Visual Studies MFA program at the Pacific Northwest College of Art (PNCA) Contemporary Art.
Kennedy is represented by Fourteen30 Contemporary, Portland, Oregon. While the artist identifies as a painter, she also questions the history, process and medium that she is complicit in perpetuating.
Curator and critic Stephanie Snyder says of Kennedy’s paintings in Artforum, “their intense dialectic of beauty and repulsion mirrors the artist’s philosophical struggles—we sense that both artist and artwork have gone through the wringer—together—to achieve a hard-won grace”.
Recent exhibitions include Flat Fix, Halsey McKay Gallery, NY; Eyes, Ditch Projects, OR; Sunday, Crisp-Ellert Museum, FL; Kristan Kennedy Meets a Clock, Soloway, NY; Sleeper, Fourteen30 Contemporary, OR; OO, Misako & Rosen, Tokyo; Tomorrow, Tomorrow, CANADA and Other Colors, Fourteen30 Contemporary.
The Snake, featuring DB Amorin, Judy Cooke, Jessica Diamond, Marcus Fischer, keyon gaskin, Daniel Godinez Nivón, and Kameelah Janan Rasheed Curated by Kristan Kennedy, Portland Institute for Contemporary Art (PICA) 2018
Kristan Kennedy W.L.L.B.L.N.D.N.E.S., 2017. Ink, dye, and bleach on linen. Collection of the Portland Art Museum
Before joining Creative Capital as President and Executive Director, Christine Kuan was CEO/Director of Sotheby’s Institute of Art-New York. With twenty years of experience in both nonprofit and commercial sectors of the art world, Kuan has expertise in art education, museums, and digital strategy across cultural institutions and the art market. She was formerly Chief Curator and Director of Strategic Partnerships at Artsy, where she oversaw the organization’s museum and institutional partnerships, digital collection strategy, open access policy, educational initiatives, and auctions. Prior to Artsy, Kuan was Chief Curatorial Officer and Vice President of External Affairs at Artstor, a nonprofit image library founded by The Andrew W. Mellon Foundation, and Editor-in-Chief of Oxford Art Online/Grove Art Online at Oxford University Press, where she significantly expanded access to scholarly information on women artists and artists of color. Kuan has also worked at The Metropolitan Museum of Art, and has taught at the University of Iowa, Peking University, Rutgers University, and Stanford University’s pilot program of Arts Leadership.
Kuan holds an MFA in Creative Writing Poetry from the University of Iowa Writers’ Workshop, and a BA in Art History and English Literature from Rutgers University. Kuan serves on the History of Collecting Advisory Committee at the Frick Collection in New York and the Steering Committee of The Brooklyn Rail.
The Jumpsuit Project by Sherrill Roland. Photo credit: Christian Carter Ross. Roland wears an orange prison jumpsuit and stands in front of the Capitol Building in Washington DC.
Descent (Flying) by Alice Sheppard and Laurel Lawson of the ensemble Kinetic Light. Photo credit: Jay Newman/ MANCC. Sheppard and Lawson perform in wheelchairs on stage. Sheppard is on her back with Lawson balancing on her raised legs and wheels. On her belly, Lawson lifts her own wheels and arms towards the air.
Joshua Sanchez’s debut feature film 'Four' won the Best Performance Award at the Los Angeles Film Festival, the Best Feature Film Award at the Urbanworld Film Festival, and was nominated for an Independent Spirit Award. He was awarded the Hodder Fellowship from Princeton University’s Lewis Center for the Arts and the NYSCA/NYFA Artist Fellowship in Screenwriting. He’s a member of the Writers Guild of America, East and teaches screenwriting at SSHH… in New York City. He’s contributed to The Guardian, The Creative Independent, and Lambda Literary.
Four from Wolfe Video on Vimeo.
23, Edmund from Joshua Sanchez on Vimeo.
Dr. Kristine Stiles is Distinguished Professor of Art, Art History and Visual Studies at Duke University. She holds an Honorary Doctorate of Arts from Dartington College of Arts/University of Plymouth, England. She specializes in art-ists' writings, global contemporary and experimental art, and trauma studies.
She has authored over 100 articles, and her books include Concerning Consequences: Studies in Art, Destruction, and Trauma (2016), Correspondence Course: An Epistolary History of Carolee Schneemann and Her Cir-cle (2010), Theories & Documents of Contemporary Art (1996, 2012). Her essay “Uncorrupted Joy: International Art Actions,” is a monograph-length essay for the exhibition Out of Actions: Between Performance and the Object 1949–1979. She has curated several exhibitions at Duke, including Rauschenberg: Collecting & Connecting (2014–2015) and States of Mind: Dan & Lia Perjovschi (2007).
Rachel Adams is the Chief Curator and Director of Programs at the Bemis Center for Contemporary Arts. Past curatorial appointments include Senior Curator at UB Art Galleries, Curator-in-Residence at Disjecta Contemporary Art Center and Associate Curator at Arthouse at the Jones Center (now The Contemporary Austin). Adams holds an MA in Exhibition and Museum Studies from SFAI and a BFA from SAIC. Her areas of research are varied but include a focus on the crossover between contemporary art and architecture, performance and video and new media practices. Select exhibitions include All Together, Amongst Many: Reflections on Empathy, Paul Mpagi Sepuya: Drop Scene, Claudia Wieser: Generations (co-curated), Alison O’Daniel: Heavy Air, Jillian Mayer: TIMESHARE, The Language of Objects, Wanderlust: Actions, Traces, Journeys 1967-2017 and Introducing Tony Conrad: A Retrospective (co-curated). Forthcoming projects include exhibitions with Maya Dunietz and the 2023 group exhibition Presence in the Pause.
Installation view: All Together, Amongst Many: Reflections on Empathy at Bemis Center for Contemporary Arts, 2021
Installation view: Alison O'Daniel: Heavy Air at Bemis Center for Contemporary Arts, 2019
Blankets Project 2018-2019, Eight felt blankets, screen print, metal hinges. 180cm x 220cm eachThis is the project about migration and borders, belonging and alienation, statelessness and trauma. As part of The Sea is the Limit project I made a series of eight printed felt blankets that reflect on the experience of being a migrant. The blankets are conceived as an interactive installation, where the participants are invited to wear the blankets in the exhibition space as an act of sharing and empathy. Picture: Anthony Chappel-Ross
Varvara Keidan Shavrova is a visual artist, curator, educator and researcher. Born in the USSR, she lives and works between London, Dublin and Berlin. She studied at the Moscow State University of Printing Arts, received her MFA from Goldsmiths, University of London, and has been awarded Arts & Humanities Research Council Studentship by London Arts & Humanities Partnership, to conduct her practice-based PhD at the Royal College of Art in London.
She has exhibited internationally, including at the Venice Biennale of Architecture, Gallery of Photography Ireland, Moscow Museum of Modern Art, Espacio Cultural El Tanque, Tenerife.Shavrova curated international visual arts projects, including The Sea is the Limit at York Art Gallery (2018) and Virginia Commonwealth University, Qatar (2019), and co-curated Beijing Map Games: Dynamics of Change , an international art and architecture exhibition in Beijing (China), Birmingham (UK) and Terni (Italy).
She is the recipient of the National Lottery Arts Council of England Project Awards (2019-2020 and 2020-2021), the Arts Council Ireland Visual Arts Bursary Award (2021), and the Prince’s Trust Individual Artist’s Award, among others. Her work is included in a number of public and private collections worldwide, including at the Department of the Foreign Affairs and Trade of Ireland, at the Office of Public Works art collection in Dublin, at the Ballinglen Arts Foundation collection in County Mayo, and at the Museum of the History of St.Petersburg in Russia. Shavrova is represented by Patrick Heide Contemporary Art, London.
Inna’s Dream. 2019 Hand tufted Axminster wool carpet objects, digital embroidery on velvet, acrylic and emulsion on wall. 7 m x 5.5 m x 4 m. In 1930 my great uncle, Vadim Borisovitch Shavrov, a well-known Soviet engineer and author, designed and built the first Soviet amphibious plane Sh-2 in his apartment in Petrograd. Between 1934 and 1964 the Sh-2 flying boat was used by the agricultural, medical and military sectors, as well as in exploration of the Arctic. In my recent installation Inna’s Dream, I reinterpret the Sh-2 by rendering it in carpet and textiles. This demilitarized and domesticized version of a deflated military machine echoes the collapsed Soviet dreamworld, while the materials I use comment on women’s labour.
The Palace of the Soviets and King Kong. 2020 Digital knitting, hand stitching and embroidery, wool and synthetic thread. 122cm x 255 cm In these recent works that created during the lockdown, I am questioning the symbols of global power and authority by juxtaposing iconic images from movie stills and archival documents associated with the Communist and the Capitalist empirical architecture, the Palace of the Soviets and the Empire State Building. I employ methodologies of knitting, stitching and embroidery, to physically interlink the historically opponent political narratives that appear uncannily similar.
Erik Beehn is an artist and educator working out of Las Vegas. Beehn received his MFA from the School of The Art Institute of Chicago (’15) and is currently adjunct faculty at the University of Nevada Las Vegas.
Beehn’s work employs painting, photography, printmaking and installation to investigate an arc of mark making techniques throughout the 20th century, and the evolution of observational painting into abstraction. Beehn is the founder and director of Test Site Projects, a fine art publishing house located in Las Vegas.
He was interviewed a year earlier on this program, which you can listen to here.
Plum Burst, 2021 28" x 22" Acrylic, Ink, Solvents and Oil Pastel on photo paper
Deep Space, 2021 28" x 22" Acrylic, Ink and Solvents on Photo Paper
Two-time Emmy Award winner Patricia Lee Stotter composes and writes for film, theatre and television. From SESAME STREET to HBO/PBS documentary films, from independent features to plays and musicals, Stotter is all about the right voice at the right time.
Her engagement in veteran issues shows in the films she has both produced and composed music for (and which have been screened on the Hill). Awards: Emmy Awards (two wins, five nominations); American Cine Eagle; Apple Award; Shining Service World Wide Award; Silver Star Award from the Volunteers of America.
The book mentioned in the interview is Apeirogon: A Novel.
Bishakh is an Indian-American trans femme visual artist and author. Her work has appeared in The New Yorker, We're Still Here (The first all-trans comics anthology), Beyond, vol. 2, The Strumpet, The Boston Review, Black Warrior Review, VICE, The Brooklyn Rail, Buzzfeed, Ink Brick, The Huffington Post, The Graphic Canon vol. 3 and Little Nemo: Dream Another Dream. She received the Xeric grant in 2003 for her comics collection Angel. Her graphic novel Apsara Engine (The Feminist Press) is the winner of a 2021 L.A. Times Book Prize for Best Graphic Novel and a 2021 Lambda Literary Award winner for Best LGBTQ Comics. Her graphic memoir Spellbound (Street Noise Books) was also a 2021 Lambda Literary Award finalist.
Bishakh has illustrated two books about architecture: The Prefab Bathroom: An Architectural History, (McFarland Press) and Cocktails and Conversations: Dialogues on Architectural Design (AIA New York).
Bishakh’s artwork was featured in solo shows at ArtLexis Gallery and at Jaya Yoga Center and in group shows at The Society of Illustrators in New York, the Bannister Gallery at Rhode Island College, Issyra Gallery, the Grady Alexis Gallery, De Cacaofabriek in the Netherlands and most recently at Art Omi in Ghent, NY. You can see her work at www.bishakh.com.
Exceprt from "Swandive" from the graphic novel Apsara Engine
Excerpt from "Apsara Engine" from the graphic Novel Apsara Engine.
Traci Brimhall is the author of four poetry collections: Come the Slumberless from the Land of Nod (Copper Canyon); Saudade (Copper Canyon); Our Lady of the Ruins (W.W. Norton), winner of the Barnard Women Poets Prize; and Rookery (Southern Illinois University Press), winner of the Crab Orchard Series in Poetry First Book Award.
Her poems have appeared in The New Yorker, Poetry, The Believer, The New Republic, Orion, New York Times Magazine, and Best American Poetry. She’s received fellowships from the Wisconsin Institute for Creative Writing and the National Endowment for the Arts. She’s the Director of Creative Writing at Kansas State University and lives in Manhattan, KS.
The musical concerts mentioned at the end of the interview can be explored through this link. Below are two examples of concerts and Sir Norman Rosenthal's biography is beneath that.
Norman Rosenthal was born in Cambridge, UK, in 1944, the son of Paul Rosenthal and Kaethe Zucker, who came to England in 1941 and 1939 respectively. He was educated at Westminster City Grammar School and the University of Leicester, where he graduated in 1966 with a degree in history. He undertook postgraduate studies at the School of Slavonic and Eastern Studies, as well as the Free University of Berlin.
Norman Rosenthal organised his first exhibition in 1965 Artists in Cornwall at the Leicester Museum and Art Gallery in connection with the University Arts Festival. Since that time his professional career took him to Thomas Agnew & Sons, the well known firm of London art dealers, as librarian and researcher from 1966 – 1970; Brighton Museum and Art Gallery as exhibition officer from 1970 – 1971; Artist’s Market, a non-profit making gallery in Covent Garden, as organiser; from 1973 to 1976 director of European art exhibitions at The Institute of Contemporary Arts, London, responsible for two festivals, one in 1974 devoted to contemporary German culture, which inter alia brought Joseph Beuys to London for the first time, where he made his famous blackboard environment Richtkräfte, now belonging to the Nationalgalerie Berlin. The other, in 1975, was devoted to contemporary Greek culture, which brought inter alia Jannis Kounellis to London.
From 1977 –December 2007 Norman Rosenthal was Exhibitions Secretary of the Royal Academy of Arts, London, where he enabled and organised all loan exhibitions, including Robert Motherwell 1978; Post Impressionism 1979-1980; A New Spirit in Painting 1981; Painting in Naples 1981; David Hockney: A Drawing Retrospective 1995; Sensation 1997; Joseph Beuys: The Secret Block for a Secret Person in Ireland 1999; Georg Baselitz 2007; and many more.
Many of the above exhibitions were organised in conjunction with major museums, largely in Europe and in North America. Norman Rosenthal has been particularly associated with a series of exhibitions at the Royal Academy documenting the art of the 20th Century, including German art in the Twentieth Century 1985; British Art in the Twentieth Century 1987; Italian Art in the Twentieth Century 1989; Pop Art 1991; American Art in the Twentieth Century 1993.
At the Martin Gropius-Bau, the leading exhibition venue in Berlin, Norman Rosenthal was jointly responsible for two ground-breaking exhibitions of contemporary art: Zeitgeist in 1982 and Metropolis 1991, as well as The Age of Modernism- Art in the 20th Century, 1997. In 2005 Norman Rosenthal was curator of the exhibition From Luther to the Bauhaus – National Treasures from Germany, for the Konferenz National Kultureinrichtungen [KNK], in collaboration with the Kunst – und Ausstellungshalle der Bundesrepublik Deutschland [KAH], Bonn.
Appointments and awards include: 1985-2000 Member of the Board of the Palazzo Grassi, Venice 1987 Honorary Fellow of the Royal College of Art, London 1988 Chevalier de l’Ordre de Arts et Lettres of the French Republic 1989 Cavaliere Ufficiale of the Italian Republic 1993 Bundesverdienstkreuz of the Federal Republic of Germany 1994-1998 Opera Advisory Board, Royal Opera House, Covent Garden 2002-2012 Appointed to Board of Trustees, Thyssen Bornemisza Foundation, Madrid 2003 Officier de l’Ordre des Arts et Lettres of the French Republic 2003 Honorary Degree of Doctor of Letters [D, Litt] University of Southampton 2004-2007 Member of Board of Trustees, Baltic Centre for Contemporary Art, Gateshead 2005 Member of Comité Scientifique, Réunion des Museés Nationaux, Paris 2006 Honorary degree of Doctor of Letters [D, Litt] University of Leicester 2006 Member of the Order of the Aguila Azteca of the Federal Republic of Mexico
Photo credit: Gina Ruggeri
Robert(a) Marshall’s biography of Carlos Castaneda, American Trickster, is due out from University of California Press in 2022. Their novel, A Separate Reality, was published by Carroll & Graf in 2006; their writing has also appeared in Salon, The Evergreen Review, N + 1 Online, the Kenyon Review, Barcelona Review, Another Chicago Magazine and numerous other publications.
Their paintings, photographs, and videos have been shown at Participant Inc, White Columns, Art in General, Baxter Street, Studio One Gallery, and many other venues in the United States, Europe, and Latin America. They are the coproducer of Trickster, a podcast about Castaneda.
Double Self portrait 1 42 x 36 UV Curable Ink on Mirrored Dibond 2020
Car Window 42 (JFK) 42 x 56 UV curable ink on Mirrored Dibond 2019
Martin Durazo received his Master of Fine Arts from the University of California, Los Angeles, and a Bachelor of Arts degree in English and Art from Pitzer College. Durazo is the recipient of the 2012 C.O.L.A. Individual Artists Fellowship from the City of Los Angeles and a 2011 California Community Foundation Fellowship Award, funded by the Getty Trust.
His work was included in the inaugural 2011 SUR Biennial and in 2010 he was an Artist-in-Residence at the 18th Street Arts Center in Santa Monica. He has exhibited at the Torrance Art Museum; PULSE Los Angeles Contemporary Art Fair; Pomona College Museum of Art; MexiCali Biennial 2013; Harris Art Gallery at the University of LaVerne; White Box in New York City; ArtForum Berlin and Art Basel Miami Beach. His work has been reviewed in Flash Art International, the Los Angeles Times, The New York Times, LA Weekly, Artweek, and Art Review. He has also been a producer for KPFK Radio, where he is regularly featured in discussion about art and social issues.
Oculus, Pablo, and Papa Smurf 2019
Monolith(ic) 2019
Seema Yasmin is an Emmy Award-winning journalist, medical doctor, professor and author. She is director of the Stanford Health Communication Initiative, clinical assistant professor in Stanford University’s Department of Medicine, and visiting professor at the Anderson School of Management at UCLA where she teaches crisis management and communications.
Yasmin was a finalist for the Pulitzer Prize in breaking news in 2017 with a team from The Dallas Morning News for coverage of a mass shooting. She is the recipient of two awards from the Pulitzer Center on Crisis Reporting. Her reporting appears in Rolling Stone, The New York Times, WIRED, Scientific American, and other outlets. She is a medical analyst for CNN and a correspondent for Conde Nast Entertainment.
Yasmin is a fiction fellow of the Kundiman and Tin House writing workshops. Her poems and short stories have been published in literary magazines and anthologies including The BreakBeat Poets Vol 3: Halal If You Hear Me, New Moons: Contemporary Writing by North American Muslims, The Georgia Review, The Literary Review, Foundry, The Los Angeles Review, and others. Her writing has earned awards and residencies from the Millay Colony for the Arts, the Mid Atlantic Arts Council, Hedgebrook, and others.
After training in medicine at the University of Cambridge, Yasmin served as an officer in the Epidemic Intelligence Service at the U.S. Centers for Disease Control and Prevention, where she investigated outbreaks in prisons, hospitals, reservations and other settings; principal investigator for a number of epidemiologic studies; and deployed as strategic advisor to foreign ministries of health. She trained in journalism at the University of Toronto and worked as a staff writer at The Dallas Morning News covering Ebola’s arrival in Texas.
Her scholarly work focuses on the spread of health misinformation and disinformation, the growth of medical and news deserts, and the impact on public health. She teaches creative nonfiction including health and science journalism, global health storytelling, practicing medicine with empathy and compassion, and advanced clinical communication skills.
Her unique combination of expertise in epidemics, science communication and journalism has been called upon by the Presidential Commission for the Study of Bioethical Issues, the Aspen Ideas Festival and the Skoll World Forum.
Ingrid Berthon-Moine is a French visual artist based in London. Multi disciplinary artist, her work examines the construction of identity and its behavioural consequences in our society. She graduated from a Master of Fine Art at Goldsmiths University in London in 2017. In 2020, she created the online project @lackitlikeit where she interviews womxn, who work in various fields of the artistic and creative industries, on their notion of lack.
Berthon-Moine has exhibited in various group shows at venues including ‘Drawing Biennial’ at Drawing Room (2021), ‘Return to The Body’ Chalton Gallery (2020), ‘Blame The Algorithm’ Stadtmuseum München, Germany (2019), ‘Material Gestures’ Art Licks Weekend (2019), ‘Playground’ Världskultur Museerna, Sweden (2018), Espace Temoin, ‘Solitudes Molles Sous la Lumière Bleue’ Geneva, Switzerland (2018), ‘You Tear Us’ Kelder Projects, solo show, London (2018), ‘We All Have a Problem With Representation’ The Showroom (2016) and the ‘Feminist Practice in Dialogue’ ICA, London (2015).
Wank, 2020. Watercolour. 27.5 x 35.5 cm
Comiiiiiiiiiiiing, 2020. Watercolour. 27.5 x 35.5 cm
Ingrid Berthon-Moine, Thingy 1-9: Rocio Chacon
Looking At a Lack of Perspective: Thierry Bal
In her performances, sculptures, photographic works and video installations Margret Wibmer explores relations between bodies, objects and spaces. Using ambiguity and the principle of chance as a methodology to deconstruct internalized processes, norms and values deeply embedded within our societies, she creates transient ‘realities’ that explore new strategies for connecting us with the world and with others. This becomes particularly apparent in her participatory performances such as Relay where she uses choreographic elements, sound and textile props to engage the public as co-generators in her work. She frequently collaborates with dancers, composers and writers.
Margret Wibmer was born in Lienz, Austria. After her studies at the University of Applied Arts in Vienna, she spent a large part of the 1980s in New York where she worked as assistant for Sol Lewitt together with Kazuko Miyamoto. Since her first exhibition at Fashion Moda in the South Bronx, she has exhibited and performed internationally in venues such as Palais de Tokyo in Paris (2016, 2017), RMIT Design Hub in Melbourne (2015), Oude Kerk Amsterdam (2014, 2019), Ishikawa Nishida Kitaro Museum of Philosophy in Japan (2013); KAI 10 – Arthena Foundation in Düsseldorf (2012), Kunstpavillon Innsbruck (2006). Her works have been featured in publications such Sony Style Magazine and Vestoy, monographies have been published by Kerber Verlag (2010) and VfmK – Verlag für Moderne Kunst (2020). She has received grants from the Pollock-Krasner Foundation, Mondriaan Fonds, Prins Bernhard Cultuurfonds / Tijlfonds, Land Tirol, Austrian Federal Ministry for Arts and Culture among others. Her work is included in private and public collections in Europe and beyond. She lives in Amsterdam, The Netherlands and is currently teaching online at Nanyang Academy of Fine Arts in Singapore.
The upcoming exhibition mentioned: Hella Berend, Margret Wibmer, ‘Intrinsic Oddity’ at LABOR Ebertplatz in Cologne, curated by Marion Scharmann. Opening during DC Open 3 – 5 September, 2021.
The book mentioned in the interview: Don’t cross the bridge before you get to the river Francis Alÿs, exhibition catalog with essays by Kazuhiko Yoshizaki and Yukie Kamiya
Margret Wibmer The walze 2017 Fine art print on Hahnemühle paper 80 x 64 cm (31 x 25 inches) Ed.5 + 1 AP
Margret Wibmer Exchange in Orbit 2012 Archival pigment print on Baryta paper mounted on dibond. In boxframe with museumglas or diasec. 100 x 110 cm (39 x 43 inches) Ed. 5 + 1 AP
left: Margret Wibmer A day in July 2005 Fabric, metal, wood 139 x 20 x 18 cm (55 x 8 x 7 inches) Unique right: Margret Wibmer Breathe – dreams may follow 2020/2021 Fabric, aluminum Installations view: 300 x 170
Mandy Morrison, Ridgewood, Queens, NY 2021
Mandy Morrison’s process explores how the body projects itself in varying contexts. Her particular focus is on physicality; its expression, and how it’s capacity for agency and mobilization is affected by colonized or corporatized structures.
With a practice that straddles between Baltimore and New York, she generates projects that link capital and control with the politics of movement. Her interest derives from a body’s meaning, in having different forms of entitlement to public, private and mediated space. Over the years, her collaborative efforts with video and performance engage with architectural environments and include, dancers, youth groups, and local community participants. Her works have been performed, exhibited and screened internationally at festivals, galleries and museums, including the Whitney Museum of American Art, the Brooklyn Museum, Dixon Place (NYC), the Kunstlerhaus e.V., Hamburg, CINESONIKA in Vancouver, and the Center for Art, Design and Visual Culture in Baltimore.
Grants, fellowships and residencies include the Illinois Arts Council, the New York State Council on the Arts, Wexner Center for the Arts, and the Sacatar Institute in Bahia, Brazil. A distinguished educator she has been faculty at Pratt Institute and Rutgers University, and a visiting artist at Sarah Lawrence College, the University of Minnesota, University of Wisconsin, Museum School of Fine Arts, Boston, and SUNY Oswego.
In the summer of 2021 she is performing with other artists in the work of Maja Bekan (Netherlands/Serbia) in “Hold It Together (We Have Each Other)” at the International Studio and Curatorial Program in Brooklyn, NY developed over 2020 during Covid.
She is a 2021 recipient of an Individual Artist Grant from the Tree of Life Foundation.
The book mentioned in the interview is Underland: A Deep Time Journey, by Robert Macfarlane.
Housekeeping (Video Still) 2018 Single-channel video installation with audio Dimensions: 9’5” x 16′ Duration: 01:46 (loop)
Spirits of Promise and Loss, 2020 (Installation view) Six-channel video installation with audio Dimensions: 4’ x 40’ Duration: 02:31 (loop)
Photo by Michelle Äärlaht
Alias Trate is a London-based outsider artist, working under a pseudonym that refers to the human traits he paints.
He employs a haunting childlike aesthetic to chronicle stark elements of the human condition through traceable brush strokes and distorted physical forms. His evocative canvases marry lightness of colour and form with the gravity of existential interrogation; ontological questions of being, becoming and existence are recurring themes.
The signature on his figurative works is derived from a reimagined coin of Antonius Pius, the adoptive father of Marcus Aurelius, the Roman philosopher king. The coin displays a crowned, faceless bust encircled by the Latin inscriptions Fortem, Immortalem and MCMLXXIV. Having painted in private for over two decades, Alias Trate launched his public debut in 2019 with two solo shows, Emotive Brutes and Unwanted Children, both exhibited at Trate Studios in London. In 2020, his works featured in the virtual exhibition Technicolour Malaise and then in the solo show entitled Zeus’ Bastards at 15 Bateman Street in London. In the spring of 2021, his works featured in a drone-led interactive gallery, entitled The Dionysian Kid, curated by Belgian born curator and academic Tim Goossens, Associate Director at the Sotheby’s Institute of Art in New York.
His work is held in private collections in England, Mexico, the US, France, the UAE and the UK.
The book mentioned in the interview is Invisible Cities by Italo Calvino.
Zeus' Batards
Gentle Depravity, 2021, Oil On Canvas, 60cm x 40cm
Lynn Herring at the Samuel Dorsky Museum of Art
Born in Chicago to a working-class family, Lynn Herring came to New York in her 20’s to pursue a career as an advertising art director and to develop her studio practice as a visual artist in the city that produced many of the contemporary artists that inspired her.
Living in the NYC metropolitan area gave Lynn the opportunity to study at the School of Visual Arts while working at her advertising job. She ended up taking a break from her advertising career and graduated from SVA with honors in 2008 with a BFA in Sculpture.
After graduating from the School of Visual Arts, Lynn began showing her video installations at a funky little gallery on the Lower East Side and had the remarkable opportunity to show her videos in the Pera Museum in Istanbul, Turkey before her eventual move to the Hudson Valley.
Upon arriving in Kingston, NY in 2016, Herring found studio space in Kingston’s Brush Factory. Here was an amazing 100-year old industrial space filled with artists and entrepreneurs quietly living and making their work.
Herring’s studio work is influenced by her work in the advertising industry where bold simple imagery and witty short headline copy is used to execute complex strategies. Her sculpture and print work have a hard-edged and clean graphic aesthetic on the one hand and a wonky cartoon-like form and line quality on the other hand. It is as if Donald Judd and Dr. Seuss collided with each other.
Her most recent work is a reengineered Tic Tac Toe game designed to “Make America Relate Again”. Created with organic crooked-shaped, brightly-colored wood Xs and Os and using a more complicated wonky-shaped game board, Herring’s game is an object used to help many different kinds of people to connect for a playful and sane moment in this time of cultural and political toxicity.
Her interest in minimalism, contemporary culture, social psychology, spirituality, play and humor inform Herring’s work.
Herring has been exhibiting her work since 2005 and has been included in several juried shows including the Pera Museum in Istanbul, Turkey, the WAAM museum in Woodstock, NY, the Visual Arts Gallery in Chelsea and at Wired Gallery in High Falls, NY.
Herring recently completed her MFA studies with honors at SUNY New Paltz in a multi-disciplinary program with a concentration in printmaking and sculpture. She is now taking her XOX game on the road. So, keep on the lookout for her in your local diner, coffee shop, park, gallery or museum. You never know where she may pop up to play a game with you.
Click here to learn about her show that was mentioned in the interview.
The book mentioned in the interview was Slaughter House-Five by Kurt Vonnegut.
XOX! Share the Love®, multi-media social art installation at the Samuel Dorsky Museum of Art at SUNY New Paltz
XOX! Share the Love®, social and public art piece with artists (from left to right) Michael Asbill, Lynn Herring and Maxine Leu on the campus of SUNY New Paltz
Promotional image for the Brattleboro, VT events listed below: Lynn Herring Retrospective at CX Silver Gallery Brattleboro VT August 5 through September 5, 2021 814 Western Ave. Brattleboro VT Contact: Adam Silver, CX Silver Gallery adamsilvervt@gmail.com XOX! Share the Love at Brattleboro Museum and Art Center - Brattleboro VT Saturday, August 6 from 5-8pm Artist's talk and discussion at 6pm 10 Vernon St. Brattleboro VT XOX! Share the Love at Brooks Memorial Library - Brattleboro VT Saturday August 7, from 2-5pm Artist's talk and discussion at 3pm 224 Main St. Brattleboro VT
Susan L. Aberth is the Edith C. Blum Professor of the Art History and Visual Culture Program at Bard College. She received her M.A. from the Institute of Fine Arts, New York University, and her Ph.D. from the Graduate Center, City University of New York.
In addition to her 2004 book Leonora Carrington: Surrealism, Alchemy and Art (Lund Humphries), forthcoming is Leonora Carrington: The Tarot (Fulgur Press, 2020) co-authored with Mexican curator Tere Arcq. She has contributed to Surrealism and Magic, Guggenheim Venice (2021); Seeking the Marvelous: Ithell Colquhoun, British Women and Surrealism (Fulgur Press, 2021), Agnes Pelton: Desert Transcendentalist (Phoenix Art Museum, 2019), Juanita Guccione: Otherwhere (Napa Valley Museum, 2019), Surrealism, Occultism and Politics: In Search of the Marvelous (Routledge Press, 2018), Leonora Carrington: Cuentos Magicos (Museo de Arte Moderno & INBA, Mexico City, 2018), Unpacking: The Marciano Collection (Delmonico Books, Prestel, 2017), and Leonora Carrington and the International Avant-Garde (Manchester University Press, 2017), as well as to Abraxas: International Journal of Esoteric Studies, Black Mirror, and Journal of Surrealism of the Americas.
A painting (Necromancer) using The Magician tarot imagery, oil on canvas
Photo by Elizabeth Bick
Artist and Curator of the Every Woman Biennial: C. Finley, based in New York City and Rome, is known for her elaborate paintings and intense use of color, monumental murals, multi-disciplinary collaborations, and her activism through urban art interventions, including her acclaimed Wallpapered Dumpsters.
As the creator of the 2014-2021 Every Woman Biennial she exhibited over 1200 female and non-binary artists in New York, Los Angeles and London.
The book mentioned in the interview was At Certain Points We Touch by Lauren John Joseph.
Ecstasy of Santa Theresa 111x73.5 in acrylic on canvas 2020
Mano Divina 24x20in acrylic and gouache on canvas 2021
Kevin O’Brien is a Brisbane based architect. In 2018 he joined BVN as a Principal, becoming part of one of Australia’s largest and most highly acclaimed architectural practices. In 2017 he became the Professor of Creative Practice at the School of Architecture, Design and Planning at the University of Sydney. He is a former Board member of La Boite Theatre, and the Institute of Modern Art in Brisbane.
Kevin is passionate about the arts. He collaborates broadly within the visual and performing arts sector as well as his creating his own works. He has produced set designs for Queensland Theatre Company, La Boite Theatre and Moogahlin Performing Arts, and installations for Urban Theatre Projects, Bleach Festival, the Sydney Festival and QAGOMA. Exhibition designs have been completed for the National Gallery of Australia, the National Museum of Australia, the Queensland Museum, the Institute of Modern Art, and the Venice Architecture Biennale.
Of specific significance is the Finding Country project that began in 2005 and continues to this day as a guide for practice, teaching and thinking about architecture and its relationship with the Aboriginal concept of Country. In 2012 this endeavour took the form of the Finding Country Exhibition as an official collateral event of the 13th Venice Architectural Biennale. The central artefact of the exhibition was an 8m x 3m drawing of Brisbane containing 44 grids emptied by 50% to reveal an argument for the form of Country. The drawing was burnt on the opening night as a performative act demonstrating fire as a tool of Country.
Kevin’s current focus is on the development and demonstration of a Designing with Country methodology that seeks to locate people in settings that enable a sense of belonging to (as opposed to owning) Country.
Blak Box – travelling sound pavilion. Sound and light works by Indigenous artists to connect visitors to stories of the Country it is located on
Finding Country Exhibition, Venice Architecture Biennale 2012 – 8mx3m drawing of Brisbane emptied by 50% to reveal an argument for the form of Country.
An-My Lê lives and works in Brooklyn, New York. Lê received her BA from Stanford University and a Master of Fine Arts from the Yale University School of Art. She is the Charles Franklin Kellogg and Grace E. Ramsey Kellogg Professor in the Arts at Bard College, New York, where she has taught since 1999. In addition to her survey exhibition, On Contested Terrain, traveling in the US, she has had solo exhibitions at the MK Gallery, Milton Keynes (England) and Museum aan de Stoom (Belgium) in 2014; Baltimore Museum of Art in 2013; San Francisco Museum of Modern Art / SFMOMA in 2008; Dia:Beacon in 2006-07; and MoMA PS1 Contemporary Arts Center in 2002.
As a teenager Lê fled Vietnam with her family in 1975. They eventually settled in the US as refugees. Her work often addresses the impact of war on culture and on the environment. Lê says her "main goal is to try to photograph landscape in such a way that it suggests a universal history, a personal history, a history of culture."
Lê is the recipient of numerous awards and grants: in 2012 she was awarded the John D. and Catherine T. MacArthur Foundation Fellowship; in 2010, the Louis Comfort Tiffany Foundation Award; in 2007, the National Science Foundation, Antarctic Artists and Writers Program Award; in 2004 the John Gutmann Photography Fellowship; and in 1997 the John Simon Guggenheim Memorial Foundation fellowship.
The exhibition, đô-mi-nô, runs from 24 June – 20 August 2021 at Marian Goodman Gallery New York (24 W 57 Street, New York, NY 10019). For further information, please contact the gallery at (212) 977-7160.
An-My Lê Untitled, Ba Vi, Viêt Nam, 1998 Silver gelatin print Image: 16 x 23 in. (40.6 x 58.4 cm) Frame: 21 1/8 x 27 3/4 in. (53.7 x 70.5 cm) Courtesy of the artist and Marian Goodman Gallery
Installation view An-My Lê ,“đô-mi-nô,” Marian Goodman Gallery, New York, 2021 Courtesy of the artist and Marian Goodman Gallery Photo credit: Alex Yudzon
Installation view An-My Lê ,“đô-mi-nô,” Marian Goodman Gallery, New York, 2021 Courtesy of the artist and Marian Goodman Gallery Photo credit: Alex Yudzon
David Daut Makala is a self-taught artist born in 1983 Lusaka, Zambia. Makala is known for his versatility with materials manifesting in sculpture, painting, printmaking, digital art and performance. He considers his studio practice a form of research space where thoughts and ideas gather resulting in exquisite pieces of art. For David, the processes involved in production also allow for greater interrogations in themes such as "Identity politics and mapping". Makala works from his studio in Chilenje which he purposely chose as a way of working with the community. His works are part of the collection at the renowned Lechwe Trust and Chaminuka Lodge collections.
He has participated in numerous exhibitions and art fairs such at the FNB Johannesburg Fair.
Paige Ackerson-Kiely is the author of three poetry collections, most recently Dolefully, a Rampart Stands (Penguin 2019).
She's the director of the MFA in Writing Program at Sarah Lawrence College, and lives in New York City.
Autumn Wallace (b. 1996, Philadelphia, PA) is a visual artist who works across media to create paintings and sculptures that examine human sexuality, gender, and the black femme experience.
Influenced by early 90’s cartoons, Byzantine aesthetics, Baroque Style, and what Wallace describes as “low-quality adult materials”, Wallace’s work generates a sense of fluidity whereby figures defy spatial, social, physical, emotional, and psychological boundaries. Wallace is a graduate of the Tyler School of Art at Temple University.
Recent solo exhibitions include How to Hug Yourself: 10 Steps (with Pictures), Gaa Gallery, #THECONTAINTERSTORE, Fine Arts Work Center, Provincetown, MA; #MAJORSEXUALCHEESEFETISH, Portside Art Parlor, Philadelphia, PA; How Could I Say No To You?, HOUSE Gallery, Philadelphia, PA; and #SingleWithPets, Stella Elkins Gallery, Philadelphia, PA. Wallace is the recipient of numerous fellowships including residencies at the Fine Arts Work Center, Provincetown, MA; Massachusetts Museum of Contemporary Art (MASS MoCA), North Adams, MA; the Vermont Studio Center, Johnson, VT; and Yaddo Saratoga Springs, NY.
The books mentioned in the interview are Aesop's Fables the Unabridged version, and Nature Poem by Tommy Pico.
'Double Dutch' Acrylic, Oil, Pastel and Rhinestones on Canvas hung by Grommets - approx 73 x 61" - 2020
'Gold Plated Moment' Acrylic, Oil, Pastel and Gold Leaf on PVC - 48 x 48" - 2021
MATTILDA BERNSTEIN SYCAMORE is most recently the author of The Freezer Door, a New York Times Editors’ Choice, one of Oprah Magazine’s Best LGBTQ Books of 2020, and a finalist for the PEN/Jean Stein Book Award.
Her previous nonfiction title, The End of San Francisco, won a Lambda Literary Award, and her novel Sketchtasy was one of NPR’s Best Books of 2018. Sycamore is the author of two nonfiction titles and three novels, as well as the editor of five nonfiction anthologies.
Her sixth anthology, Between Certain Death and a Possible Future: Queer Writing on Growing up with the AIDS Crisis, will be out in October.
Mattilda Bernstein Sycamore signing at Elliott Bay, 11-19-20, by Karen Maeda-Allman
Shingo Francis is an artist and painter who employ a minimal and abstract approach to his work to explore color, time and expanse. He has a keen appreciation for how these elements shape our perceptions.
Shingo Francis grew up between California and Japan, two locations that inform his work and practice. Through the process of compositional reduction and color as space Francis created a series of paintings titled “Blue’s Silence” with simple two tones in blue. These paintings subsequently evolved into a new series of paintings titled “Infinite Space” with an overall monochrome color as space with a simple composition with one line towards the bottom signifying an attention to presence. The central color is autonomous due to the refined composition dissipating both at the top and bottom of the canvas revealing a subtle motion of transparent layers. Both series of paintings produce a sense of silence and space with experiences of shifts in tone and complimentary juxtaposition of color.
A recent series of paintings titled “interference” utilize a material with small particles cut in an angle to reflect a specific spectrum of color. There is no pigment such as cobalt or cadmium but only color from the color spectrum of light similar to how a rainbow reveals color through the refraction of light in rain droplets. Yet there is an opposing color as well to each refracted color, therefore the painting will shift between two complimentary colors. For example, if the light reflects the color green, it will also be the color magenta when the light is not reflecting back but looked in ambient light. Besides the interesting mechanics of these paintings, the square composition is symmetrical and produces a space to project and hold ones attention or presence. The ever-changing phenomena of these paintings reflect the cyclical nature of time and how our bodies move through space.
Shingo Francis also works on large scale drawing installations, he paints on a large roll of watercolor paper which is suspended from the ceiling in a semicircle allowing the viewer to be subsumed by the curvature of the paper and image.
Francis received a Bachelor of Arts degree from Pitzer College in Claremont and a Master of Arts degree from Art Center College of Design, in Pasadena, California.
Francis’s work has been exhibited in Japan, United States, Germany, South Korea, and Switzerland. He has been included in museums shows at the Kawamura Memorial DIC Museum of Art, Sezon Museum of Modern Art, Ichihara Lakeside Museum and the Martin Museum of Art. He received the Fumio Nanjo Award in Tokyo, and is represented by MISA SHIN GALLERY and William Turner Gallery.
The book mentioned in our interview is Interaction of Color by Josef Albers.
Infinite Space (red) Oil on linen 76” x 51”/ 194 x 130cm 2015
“Subtle Impression (violet, blue and emerald)”Oil on canvas40 x 34” / 100 x 86cm2019
Marco Casagrande, Finland, Shenzhen
Marco Casagrande (born 1971) graduated from the Helsinki University of Technology Department of Architecture in 2001. From the early stages of his career Casagrande started to mix architecture with other disciplines of art and science landing with a series of ecologically conscious architectural installations around the world. All in all, more than 86 realized works in 16 countries.
He is the laureate of the European Prize for Architecture 2013, Committee of International Architecture Critics CICA Award 2013 for conceptual and artistic architecture and UNESCO & Locus Foundation’s Global Award for Sustainable Architecture 2015.
Casagrande’s works and teaching are moving freely in-between architecture, landscape architecture, urban and environmental design and science, environmental art and circus adding up into cross-over architectural thinking of «commedia dell’architettura», a broad vision of built human environment tied into social drama and environmental awareness. «There is no other reality than nature». He views architects as design shamans merely interpreting what the bigger nature of the shared mind is transmitting.
He views cities as complex energy organisms in which different overlapping layers of energy flows are determining the actions of the citizens as well as the development of the city. By mixing environmentalism and urban design Casagrande is developing methods of punctual manipulation of the urban energy flows in order to create an ecologically sustainable urban development towards the so-called Third Generation City. The theory views the future urban development as the ruin of the industrial city, an organic machine ruined by nature including human nature.
Urban Acupuncture: a cross-over architectural manipulation of the collective sensuous intellect of a city. The City is viewed as a multi-dimensional sensitive energy-organism, a living environment. Urban acupuncture aims into a touch with this nature. UA: Sensitivity to understand the energy flows of the collective chi beneath the visual city and reacting on the hot spots of this chi. Architecture as environmental art is in the position to produce the acupuncture needles for the urban chi. A weed will root into the smallest crack in the asphalt and eventually break the city. Urban acupuncture is the weed, and the acupuncture point is the crack. The possibility of the impact is total, connecting human nature as part of nature. The theory opens the door for uncontrolled creativity and freedom. Ruin is something man-made having become part of nature.
Casagrande has been teaching in 65 academic institutions in 25 countries since the year 2000 including the Aalto University, Helsinki University of Art and Design, Tokyo University Tadao Ando Laboratory and China Central Academy of Fine Arts. He was a visiting professor at the Bergen School of Architecture 2001–2004 and Taiwanese Tamkang University Department of Architecture 2004-2009, Principal of the independent cross-disciplinary research centre Ruin Academy in Taipei and Taitung, Taiwan (2010 -) and Artena, Italy (2013 -) in cooperation with the Aalto University’s SGT Sustainable Global Technologies Centre. Casagrande is the Vice-President of the International Society of Biourbanism (2014 -). Currently he holds the professorship of architecture at the Bergen School of Architecture, Norway.
Marco Casagrande is the Principal of the Casagrande Laboratory (2003-), a Finland based internationally operating multi-disciplinary architecture and innovation office.
Ultra-Ruin by Marco Casagrande
Marco Casagrande, Ultra-Ruin
Bug Dome by WEAK! in Shenzhen
Ward Shelley works as an artist in New York and Connecticut. He is interested in constructed worlds and intersecting narratives; how they create, mediate and inform each other. He wants to know how things really work. Shelley specializes in large projects that freely mix architecture and performance. For more than a decade, he has been collaborating with Alex Schweder, using experimental architecture to explore the dance between the designed environment and its consequences. Since 2007, the duo have designed, built, and lived in (or on) seven structures, all of them in locations where the public are invited not only to witness, but also to actively engage with the artists in direct dialogue about their practice—an activity that has coalesced into what they call “performance architecture.” Shelley also works on diagramatic paintings: information-based timelines on culture-related subjects and historical postmortems. He frequently works with Douglas Paulson on installations and environments that attempt to turn mind, text, and meaning inside out (for a better look). They created the “The Last Library” project for Spaces in 2015. Shelley’s work has been exhibited in more than 10 countries and is in a number of museum collections including the Museum of Modern Art, The Whitney Museum, the Brooklyn Art Museum, and The Elizabeth A. Sackler Center for Feminist Art. Shelley received a Painting and Sculpture award from the Joan Mitchell foundation, and has been a fellow of the American Academy in Rome since 2006. He has received NYFA and NEA fellowships in sculpture and new media categories, a Bessie Award for installation art, and grants from the Jerome Foundation and the Pollock-Krasner Foundation. He is represented by Pierogi Gallery in New York. A new septuagenarian, this year Ward claims to be taking a year off to re-evaluate the direction of his life and his work. He has re-booted and found time for few extra-curricular activities, particularly around music and reading, and has begun rescuing plants (otherwise known as gardening). Being outside has become a priority. The book mentioned in the interview was: A Brief History of Thought: A Philosophical Guide to Living by Luc Ferry.
Carl Berg has been a curator and gallery director for almost thirty years. He is the founder/director of PRJCTLA a new alternate gallery in downtown Los Angeles. He has owned galleries in Los Angeles and Amsterdam and has worked as a curator organizing over 150 exhibitions in Los Angeles, Berlin, Seoul, Amsterdam, Berlin, Rotterdam and elsewhere. He has organized several groundbreaking exhibitions over the years including: “Southern California Car Culture” that highlighted the works of 15 LA artists including Slater Bradley, Chris Burden, Andrew Bush, Carolie Dixon, Ed Kienholz, Mathew Luem, Kori Newkirk, Patrick Paeper, Annica Carlson Rixon, Steve Roden, Haley Rodman, Ed Ruscha, Robert Stone, Erik Treml, Paul Tzanetopoulos and car designs by BMW (Designworks USA), Lexus (CALTY), Lincoln Mercury, Mazda, Mercedes Benz Advanced Design (SMART CAR), Schools: Art Center College of Design. This exhibition looked at the culture of the automobile in Los Angeles and how artists reacted to this unique environment. There was a diverse blend of work from blue chip, mid-career and emerging artist all of which addressed “Car Culture” in his or her own unique way. As part of the mix in the exhibition Berg also included car designs by major Los Angeles based design studios including studios from Ford, Mercedes Benz, BMW, Mazda and Toyota. The show included early designs of the Smart Car, the [irst BMW SUV and full-scale rendering of the Mazda Miata. “Booster Up Dutch Courage” that featured the work of 17 artists from many prominent Dutch artists which premiered their LA debut including Aernout Mik, Rob Birza, Mathilde ter Heijne, Tariq Alvi, Lisa May Post, Rik Meijers and Federico D. Orazio. This exhibition co-curated by Theo Tegelaers was the [irst to introduce a new generation of Netherlands based artist to the West Coast. This exhibition was followed up by a show of 20 Los Angeles based artist titled “CA 9000-185” at W139, a prominent non-pro[it space in Amsterdam, The Netherlands. Some of the artists included Slater Bradley, Jessica Bronson, Greg Colson, Tim Hawkinson, Steve Hurd, Martin Kersels, Habib Kheradyar, Charles LaBelle, Marcos Lutyens, Yunhee Min, Patty Wickman, and Liz Young. This exhibition co-curated by Theo Tegelaers was the first of its kind introducing a new generation of Dutch artists to the LA art scene. More recently Berg curated “Framing Time” an exhibition of photography focused on the concept of movement in still photos. The show includes Los Angeles-based artists Uta Barth, Stephen Berens, John Divola, Robbert Flick, Tim Hawkinson, George Legrady, Sharon Lockhart, Ed Ruscha, and Augusta Wood and formerly from LA Dinh Q Lê (now living in Vietnam). Berg has also worked on many solo exhibitions with compelling artists including Tim Hawkinson (LA) , Folkert de Jong (Amsterdam), Slater Bradley (Berlin), Neha Choksi (LA and Mumbai), Iva Gueorguieva (LA), Megan Williams (LA), Diana Cooper (New York), Rob Birza (Amsterdam), Federico D’Orazio (Bangkok), Asad Faulwell (LA), HK Zamani (LA) amongst others. In addition to his curatorial practice, Berg has organized a residency exchange with Foundation Kaus Australis in Rotterdam, The Netherlands and has sent over 70 artists from Los Angeles to this program from 2002-17. In Berg’s newest project, yet to be titled, he is interviewing a broad range of Los Angeles-based gallery owners, curators, collectors, critics and also artist. His objective is to create a historical document in a video format for future generations to study and enjoy. His [irst interview will be with renowned LA galleries Rosamund Felsen and he has many other exciting interviews planned for this project.
Lisa Le Feuvre at Spiral Jetty by Robert Smithson
Lisa Le Feuvre is a curator, writer, and editor. She is inaugural Executive Director of Holt/Smithson Foundation, an artist-endowed foundation dedicated to the creative legacies of artists Nancy Holt (1938-2014) and Robert Smithson (1938-73). Between 2010 and 2017 Le Feuvre was Head of Sculpture Studies at the Henry Moore Institute, a part of the Henry Moore Foundation. She led a program of education, research, publications and exhibitions, and the development of the Leeds sculpture and collection archive. Previously Le Feuvre taught on the post-graduate Curatorial Program at Goldsmiths College, led the contemporary art program at the National Maritime Museum and was Course Director of the post-graduate program in Arts Policy and Management at Birkbeck College, University of London. She has sat on various juries including Sculpture Dublin (2021), Arnaldo Pomodoro Foundation Prize (2019),the Turner Prize (2018), Hepworth Prize for Sculpture (2016), British representation at the Venice Biennale (2015), and co-curated the quinquennial exhibition British Art Show 7: In the Days of the Comet (2009-10).
In this interview she discusses the Robert Smithson exhibition at Marian Goodman Gallery in NYC, Abstract Cartography, June 24th - August 20th, 2021.
Nancy Holt and Robert Smithson, Mono Lake (still) (1968/2004) 8 mm film and Instamatic slides Color, sound; 19 minutes, 54 seconds © Holt/Smithson Foundation, Licensed by VAGA at ARS, New York Distributed by Electronic Arts Intermix Courtesy Holt/Smithson Foundation and Marian Goodman Gallery
Robert Smithson Dallas-Fort Worth Regional Airport Layout Plan: Wandering Earth Mounds and Gravel Paths, 1966 Pencil and crayon on map 11 x 14 in. (27.9 x 35.6 cm) Courtesy Holt/Smithson Foundation and Marian Goodman Gallery ©Holt/Smithson Foundation, Licensed by VAGA at ARS, New York Photo credit: Alex Yudzon
Robert Smithson SNAP SHOT NOTES Pertaining to "Double Nonsite" California + Nevada near Baker Cinder Cones Rock Collected at site (LAVA) and "Death Valley Nonsite" Rock Collected at Site (Chalk), 1968 Black and white gelatin silver contact prints, felt tip marker on paper 20 x 8 in. (50.8 x 20.3 cm) Courtesy Holt/Smithson Foundation and Marian Goodman Gallery ©Holt/Smithson Foundation, Licensed by VAGA at ARS, New York Photo credit: Alex Yudzon
Brittany M. Watkins (b.1989) is an interdisciplinary artist based in the Southern United States. Her practice examines contemporary society through a lens of psycho-analysis and social critique as she moves between a range of media. From immersive installation to hyper edited video-performances, her intuitive (subconscious) process mirrors the push and pull between interiority and public life, linking larger social issues to the fragility of the human psyche. Since obtaining her Master’s Degree of Fine Art in 2016 from Florida State University, she has exhibited in venues ranging from international art fairs and museums to experimental, artist-run-spaces in the U.S. and abroad. Her site-specific installation
Working in the border territory between abstraction and representation, James Esber uses a variety of media to disassemble and distort the emotionally charged and often clichéd images of Americana. The characters he’s drawn to, pawed-over icons of popular culture, include things like gunslingers, flag-wavers, dimpled children holding flowers, deadbeat alcoholic dads, and self-absorbed selfie-takers. His paintings, built through a process of hyperbolic mark-making, are done with myopic focus on each part, shifting between scales and allowing for improvised digressions which nudge the image toward abstraction. The resulting hybrid images are often fragmenting and imploding while at the same time stubbornly retaining their integrity.
James Esber has shown his work in New York and abroad including a 25-year survey at the Clifford Gallery at Colgate University (2014) and a solo exhibition at the Aldrich Contemporary Art Museum in Ridgefield, CT (2011). He has had multiple one-person shows at PPOW, NYC, Bernard Tolle in Boston and Pierogi in both New York and Leipzig. He has also shown widely in group exhibitions, including One Work at the Tang Museum (2014), The Land of Earthly Delights at The Laguna Art Museum (2008), and SITE Santa Fe’s Fifth International Biennial: Disparities and Deformations: Our Grotesque (2004).
He lives in Brooklyn, NY and is represented by Pierogi Gallery.
The book mentioned in the interview is The Inkblots by Damion Searls.
Hero, 2021, Acrylic on PVC panel, 48 x 62.5 inches
Thinker 2, 2020, Acrylic on PVC panel, 40.5 x 32 inches
Artist Bisa Butler at the Art Institute of Chicago. phot: John J. Kim. Bisa Butler was born in Orange, NJ, the daughter of a college president and a French teacher. She was raised in South Orange and the youngest of four siblings. Butler's artistic talent was first recognized at the age of four, when she won a blue ribbon in an art competition. Formally trained , Butler graduated Cum Laude from Howard University with a Bachelor's in Fine Art degree. It was during her education at Howard that Butler was able to refine her natural talents under the tutelage of lecturers such as Lois Mailou Jones, Elizabeth Catlett, Jeff Donaldson and Ernie Barnes. She began to experiment with fabric as a medium and became interested in collage techniques. Butler then went on to earn a Masters in Art from Montclair State University in 2005. While in the process of obtaining her Masters degree Butler took a Fiber Arts class where she had an artistic epiphany and she finally realized how to express her art. "As a child, I was always watching my mother and grandmother sew, and they taught me. After that class, I made a portrait quilt for my grandmother on her deathbed, and I have been making art quilts ever since." Bisa Butler was a high school art teacher for 10 years in the Newark Public Schools and 3 years at Columbia High School in Maplewood, New Jersey. In February 2021 Bisa was awarded a United States Artist fellowship.Butler’s work is currently the focus of a solo exhibition at the Art Institute of Chicago, the second stop of a traveling exhibit which began at the Katonah Museum of Art. She is represented by the Claire Oliver Gallery of New York. Butlers work has been acquired by many private and public collections including The Smithsonian’s National Museum of African American History and Culture,The Los Angeles County Museum of Art, The Art Institute of Chicago, The Museum of Fine Arts Boston, The Nelson-Adkins Museum , 21cMuseum Hotels, The Kemper Museum of Art, The Orlando Museum of Art, The Newark Museum, The Toledo Museum of Art and the Minneapolis Institute of Art.
*Don’t Tread On Me , God Damn, Let’s Go! ; The Harlem Hellfighters, 2021 Cotton, silk, wool and velvet * a work in progress, Photo by Bisa Butler
I Go To Prepare A Place For You, Harriet Tubman’s last words ,2021 Cotton, silk ,wool and velvet 120” x 120” Quilted and appliquéd Photo by John Butler
photo by Jamie Carr
Rebecca Bryant creates danceworks that combine movement with text, video, and objects. Originally trained in visual art, Bryant’s dances emphasize improvisational methods and performative states, as well as non-hierarchical collaboration across disciplines. Bryant has shown her work in 26 US states and in Canada, Mexico, Colombia, Ecuador, Argentina, Spain, Germany, Romania, Hungary, Denmark, Norway, and Sweden. She worked extensively with the Lower Left Performance Collective for 13 years and is a co-founder of PMPD (dance/music/new media). Her projects have received support from residencies such as Djerassi Resident Artist Program (USA) and Guapamacátaro Art and Ecology Residency (Mexico), and a choreographic grant from the Puffin Foundation. Bryant has danced for renowned and emerging choreographers including Nina Martin, Wally Cardona, Victoria Marks, Kim Epifano, Shelley Senter, Lionel Popkin, and Marianne Kim. She has taught workshops in New York, Stockholm, Oslo, Berlin, Buenos Aires, Bogota, and at the Los Angeles Improvisational Dance Festival, West Coast Contact Improv Festival, Texas Dance Improvisation Festival, Contact Festival Freiburg, TransContact Festival, Kontakt Budapest Festival, and at numerous universities across the US. She holds a BA in Visual Art and an MFA in Dance, and teaches dance improvisation, composition, somatics, and pedagogy at California State University, Long Beach.
The book mentioned in the interview is The Genius of Birds by Jennifer Ackerman.
Benjamin Bertocci lives with his small family and has been working out of his studio in Queens, New York since 2005. He was raised in Stockbridge Massachusetts, and attended Bard College at Simon’s Rock, UMASS Amherst, and worked as Visiting Assistant professor of Printmaking at Southern Illinois University.
He primarily shows with VonAmmonco Gallery.
Children’s Singer, oil on plastic entombed canvas, 8”x8”, 2021
Holocene Threnody XVI, oil on marble drink coaster, 4”x4”, 2020
Christy Gast
photo credit: Keil Troisi
(Amenia, New York) is an artist based in New York whose sculptures and video installations focus on issues of politics and aesthetics with regard to landscape.
Her work has been exhibited at MoMA/P.S.1 Contemporary Art Center, Performa, Exit Art and Artist’s Space in New York, Perez Art Museum of Miami, Bass Museum, de la Cruz Collection and Nina Johnson Gallery in Miami, Matucana 100 and Patricia Ready Gallery in Santiago, CL, and the Kadist Art Foundation in Paris.
Cucú and Her Fishes (Act 1)
Binational Seminar on Patagonian Peat Bogs
Marta Popivoda (Berlin/Belgrade) is a filmmaker, video artist, and researcher. Her work explores tensions between memory and history, collective and individual bodies, as well as ideology and everyday life, with a focus on antifascist and feminist potentialities of the Yugoslav socialist project. She cherishes collective practice in art-making and research, and for several years has been part of the TkH (Walking Theory) collective. Popivoda’s first feature documentary, Yugoslavia, How Ideology Moved Our Collective Body, premiered at the 63rd Berlinale and was later screened at many international film festivals. The film is part of the permanent collection of MoMA New York, and it’s featured in What Is Contemporary Art? MoMA’s online course about contemporary art from 1980 to the present. Her work has also featured in major art galleries, such as Tate Modern London, MoMA New York, M HKA Antwerp, Museum of Modern Art + MSUM Ljubljana, etc. Popivoda received the prestigious Berlin Art Prize for the visual arts by Akademie der Künste Berlin and Edith-Russ-Haus Award for Emerging Media Artist. Her new feature documentary Landscapes of Resistance premiered in the Tiger Competition of the International Film Festival Rotterdam 2021. It won the Best Picture Prize in the International Competition of the 22nd Jeonju International Film Festival, South Korea, and Library Award at the 43rd Cinéma du réel - Festival international du film documentaire, Paris.
Landscapes of Resistance, Marta Popivoda, Film Still
Landscapes of Resistance, Marta Popivoda, Film Still
Cristina Mejías (Jerez de la Frontera, Spain, 1986) We have become accustomed to preconceiving the academic world as the legitimate container and transmitter of knowledge. We have the luxury of being able to forget something because we can always retrieve it from books. But here it is not enough to simply dry a leaf and store it in a herbarium, because a living plant is bitten by the air, and it is important that this happens. Libraries need to be driven by our desire in order to take on life. The practice of orality cuts across bodies. The listener listens.
Cristina Mejías’ work is predicated on familiar narrations and storytelling, challenging the strict, traditional methods used to construct history by means of a linear narrative. What has brought us here to the present is founded upon the strata of History and stories that predate us. The creation of something regarded as new always begins with seizing a murmuring that triggers the story.
Mejías has a degree in Fine Arts from UEM (Madrid) and NCAD (Dublin) and a Master’s in Research in Art and Creation from UCM (Madrid). After several years living in Berlin, now she lives and works in Madrid.
Her work has recently been exhibited individually in Art centers such as Centro Párraga (Murcia, SP)- A un tiempo. Unos higos y un cántaro , Museum of Jaen and Museum of Cadiz (Jaen/Cádiz, SP)- For What Cannot Be Recovered Can at Least Be Reenacted, Blueproject Foundation (Barcelona, SP)- You Can't Leave Fingerprints on Stone, a project born thanks to the collaboration with archaeologist and performer Efthimis Theou-, and the Contemporary Art Museum from Maracaibo (Maracaibo, VZ)- Tejer y contar.
Her work has also appeared in group exhibitions in Art institutions such as Tabakalera Donostia- Estudiotik at (San Sebastián, SP), CA2M- Colección XX (Madrid), La Casa Encedida- Generación 2020 and Things That Never Happened but Have Always Existed (Madrid, SP), SCAN Projects-Where water Rumbles (London, UK), CentroCentro (Madrid, SP), C3A-Touching Ground (Cordoba, SP), Fundación Mendoza- Correspondencias de Ultramar #4 Ana Navas y Cristina Mejías (Caracas, VZ), Artothèque-Ceux qui nous lient (Bordeaux, FR) or Tea-La tierra tiembla (Tenerife, SP). Along with her personal artistic work, currently she is collaborating with artist and performer Víctor Colmenero and their work has been seen or will be seen in places such as Volcánica Festival (Guadalajara, MX), La Capilla Theatre and Proyecto H (Mexico City, MX) or Pradillo Theatre (Madrid, SP).
She has recently won a number of awards and grants, including Generación 2020, Blueproject Foundation, VEGAP XXIII, Comunidad de Madrid|Estampa award or Iniciarte. Over the course of the last months, she has been artist in residence at Pico do Refúgio (Azores, PT), Hangar Lisboa (Lisboa, PT), C3A (Cordoba, SP), Matadero Madrid (Madrid, SP), Ateliers dos Coruchéus (Lisboa, PT), Tabakalera Donostia (San Sebastián, PT) and MACZUL (Maracaibo, VZ)
The book mentioned was by Ursula K. Leguin: The Wave in the Mind: Talks and Essays on the Writer, the Reader and the Imagination
You Can’t Leave Fingerprints on Stone, solo exhibition at Blueproject Foundation (Barcelona, SP, 2020). Photo by Roberto Ruiz
A un tiempo. Unos higos y un cántaro, solo exhibition at Centro Párraga (Murcia, SP, 2020). Curated by Ana García Alarcón. Photo courtesy of Centro Párraga.
Zeren Oruc is an independent curator based in Belgrade, Serbia, and Istanbul, Turkey. Her curatorial practice revolves around the environment, comparative cultural analysis, and intercultural communication through art. To reflect on the current artistic structures and social issues that art tackles, she tends to take an innovative and multidisciplinary approach, and adapt accordingly to the artist, the project, or the geography that she is working in. After working with various art institutions in Europe, she founded Belgrade-based initiative, iksvy art, focusing on interdisciplinary art projects and art in Eastern Europe. As a part of iksvy art's program, she led and managed several projects, such as Collective Journaling and Curatorial Round Tables, Curatorial Sessions, and the podcast “iksvy art talks”.
In 2019, she was invited to revitalize the studio of deceased German artist Wolfgang Simon, in Andalusia, Spain. Her efforts resulted in co-founding and curating Montemero Art Residency dedicated to sustainable ecology and alternative art production. She aims to bring people together to build a network for eco-art projects and research alternative materials for art production, while actively supporting the artists in the residency through curatorial sessions.
Currently, she is working on several exhibitions in Belgrade and in Gemer, Slovakia, conducting curatorial brainstorming sessions with artists and giving portfolio reviews. The book mentioned in the interview is Women Who Run with the Wolves: Myths and Stories of the Wild Woman Archetype.
Muma Paduri - solo show of Joan Alvado, curated by Zeren Oruc, Instituto Cervantes in Belgrade
Muma Paduri - solo show of Joan Alvado, curated by Zeren Oruc, Instituto Cervantes in Belgrade
Christine Suárez is a choreographer, performer, educator and community activist based in Los Angeles. Born in Caracas, Venezuela and raised in Baton Rouge Louisiana, she founded Suarez Dance Theater in 2003. They create at the intersection of collaborative dance-making and community outreach. Their work has been seen in theaters, parks, classrooms and houses and toured nationally and internationally. They have been awarded grants from Los Angeles County Department of Arts and Culture, Santa Monica Cultural Affairs, Flourish Foundation and Foundation for Contemporary Arts. Christine is co-creator of Dance for Veterans - a program that builds creative expression and social cohesion at Los Angeles VA Hospitals.
Christine Suarez & Shelby Williams-Gonzalez performing On Being American for students at Culver Park HS. photo by Alex Millar
Pictured are dancer/collaborators Bernard Brown and Nguyen Nguyen performing Mother.Father. @ the Neighborhood Unitarian Universalist Church in Pasadena, CA photo by Christine Suarez.
Photo by Audrey King
Kimberly Brooks is a contemporary American artist and author of The New Oil Painting with Chronicle Books. She is known for her portraits and landscapes in series addressing identity and memory (“Mom’s Friends”, “The Stylist Project”, “I Notice People Disappear”.) Her paintings have been exhibited and featured internationally. Her latest exhibition “New Abstractions” in Los Angeles at Zevitas Marcus, is a result of a year long investigation of capturing the essence of painting for the cover of her book.
Brooks speaks about her work, and the science of creativity to museums, Tedx, and Podcasts including the National Endowment for the Arts. Brooks conducts workshops at institutions online via her acclaimed artist program. For information on exhibitions and more:
Storm 20 x 16 in. Oil on Linen
Red Wave 20 x 16 oil on Linen
Elizabeth Munro was born in London in 1939 and currently lives near Porthmadog, in North Wales. She is a painter and art/life practitioner. She was influenced early on by Harry Thubron, her inspirational mentor at Leeds College of Art- and later by the groundbreaking Judson Dance Theatre where she participated in various performances. Arlene Rothlein, Malcolm Goldstein, and Philip Corner became good friends. Yvonne Rainer was a powerful influence.
Her paintings have been exhibited in various galleries in the U.K. and New York. In the Eighties in Upstate New York she met and collaborated with Linda “Rosita” Montano, performance artist, as well as becoming a friend of hers for life.
Elizabeth Munro calls her work “Survival Art” and now sees it as a healing response to her childhood sexual abuse. She attributes her freedom of movement in painting- and the painting itself- inspired by the influence of Sam Francis, Jackson Pollock and the Abstract expressionists-in helping to create a Lifeline for her: for escape, survival, and healing from early child sexual abuse.
At the moment she has her studio in Wales and plans to do whatever she wants to next.
Currently reading: The Tibetan Book of Living and Dying by Sogyal Rinpoche, Ninth Street Women by Mary Gabriel, Look At Me by Anita Brookner and Self- Help by Lorrie Moore.
Scroll painting by Elizabeth Munro - ‘Millstream’, early spring, pink rushing water, Woodstock N.Y.
Photo from my dear friend Sky’s natural burial in Boduan Wood, Eternal Forest Trust, near Pwllheli in Wales. Birds were singing as I scattered flowers and rosemary on the wicker casket.
Photo by Whitney Browne
Alethea Pace is a Bronx-based choreographer and performer. Her first solo performance work, trying to sweep back the ocean with a broom, was created with support from Pepatian’s Open Call Residency and was performed at BAAD! (2016) and New York Live Arts (2017). Her second evening-length work, Bring Me Flowers, was developed with support from residencies including New York Live Arts’ Fresh Tracks, Dancing While Black, 92Y Harkness Dance and premiered at Pregones Theater in 2018.
She is currently working on Here goes the neighborhood... , a multimedia performance installation that reminds us of the wealth of knowledge we have in our bodies, memories and geographies, and empowers us to dream of radical visions for our future.
As a dancer, Alethea has performed with a variety of choreographers and was a member of Arthur Aviles Typical Theatre for eight years. She has been a collaborator in numerous multimedia community-centered arts projects including Angela’s Pulse and the Laundromat Project. Alethea trained at Mind-Builders Creative Arts Center in the Bronx. She has a BA in Urban Design from NYU where she completed her thesis project on the history of Bronx housing. She is currently expanding her artistic practice as an MFA candidate at the City College of New York’s Digital and Interdisciplinary Arts Practice program. She was awarded the BRIO award and CUNY Dance Initiative in 2019 and was BAAD!’s Muse Artist in Residence in 2020. Read more at aletheapace.com or follow her on instagram @alethea_pace
Alethea Pace and Richard Rivera perform Here goes the neighborhood... Photo by Trevon Blondet
Alethea Pace performs Bring me flowers at Danspace Project in 2019. Photo by Paula Lobo
Dara Haskins (b.1992 Baltimore, MD) Has rooted her practice in Philadelphia working primarily in painting oil portraits and figurative oil and mixed media paintings. Addressing the ways the black body has been represented and looked at throughout history, she challenges the identity of being seen and unseen connecting historical content to contemporary spaces and how that relationship coexists. She is currently working on a series called “Havana time” expressively from her own photographs of people she spent time within Cuba.-Her large to small-scale paintings of objects, people, and places connect daily in domestic environments within the African diaspora. She is also working on a series called “ quraintin paintings” that reflects on dealing with isolation, time, and opportunity during the pandemic of COVID 19. Haskins received her BFA at The Pennsylvania Academy of the Fine Arts in 2019. Winning the Artist of the week from Rush Art gallery May 2020) and The J Henry Scheidt Memorial Travel Scholarship to Cuba in (2019). She currently lives and works in Philadelphia. The book that was mentioned in the interview is The Black Interior.
Desire to be 40 x 46 oil on canvas
Are you listening 35 x 34 oil on canvas
Biraaj Dodiya (b. 1993) is a Mumbai based visual artist primarily working in painting and sculpture.
Forms and language around absence, uncertainty and impermanence influence her work. Working within abstraction, her paintings are built through processes of repair and erasure, often evoking the nocturnal landscape and bringing up questions of distance and temporality. Dodiya’s sculptural works often combine discarded objects, industrial material, personal relics and studio detritus. Dodiya received her MFA from New York University (2018) and BFA from School of the Art Institute of Chicago (2015). Her recent solo Stone is a Forehead was at Experimenter, Kolkata in 2020.
She is currently reading Bernard Malamud Rembrandt’s Hat.
Silver grip 78 x 60 inches, Oil on linen, 2021
Green Ray 78 x 60 inches, Oil on linen, 2020
Timothy Gierschick (b. 1976, Reading, PA) is an artist living and working in Philadelphia, PA. His paintings and works on paper have been exhibited and collected both nationally and internationally, including by Duane Morris LLP offices worldwide, and Capital One Bank NA. Timothy earned his Bachelor of Arts, concentrating in Printmaking, from Messiah College in 2000. He is also employed by the Barnes Foundation as preparator.
Books mentioned at the end of the interview are Mona, by Pola Oloixarac: and Zen Mind by Suzuki.
Bad Blood, latex and enamel on rag paper, 36 x 30”, 2021
The Skater, latex and enamel on rag paper, 40 x 30”, 2021.
Junkie, latex and enamel on found panel, 19 x 40”, 2020
Rana Tahir is a poet, artist, and educator living in Portland, OR. She earned her MFA from Pacific University and is a Kundiman Fellow. Her work has previously appeared in Print Oriented Bastards, Fresh Literary Magazine, and Catch among others.
Books mentioned in the interview: Artists of the Harlem Renaissance: Countee Cullen, Cavendish Square Publishing (2016) Choose Your Own Adventure Spies!: Noor Inayat Khan, ChooseCo LLC (2020)
"Asrar" Oil on Canvas, 24 x 16 inches (This painting is inspired by and named after the Kuwaiti resistance member Asrar al-Qabandi. The Kuwaiti flag is painted upside down, a symbol for distress.)
"Crossings" Oil on Canvas, 16 x 24 inches
"Bukhoor" Oil on Canvas, 10 x 5 ft. (This is the painting we talked about. Bukhoor is a type of incense made from wood chips soaked in oil, it is a staple in households in the middle east. Bukhoor is also the name of the manuscript of these Gulf War poems.)
Avery Z. Nelson (they/them) was born in Rhinebeck, NY and received their MFA from Columbia University. Recent solo exhibitions include the Rubber Factory (NYC) and JDJ | The Ice House (Garrison, NY). Nelson has received press in The Brooklyn Rail, ARTFORUM, Huffington Post, Bad at Sports, Newcity, and New American Paintings. They are a current resident of the Sharpe-Walentas studio program in Brooklyn and images of their work can be found on their website: www.averyznelson.com. They recently finished a book of selected diaries of Lou Sullivan, "We Both Laughed in Pleasure," and would highly recommend to anyone looking for a delightful summer read.
Shifting Contours, 2020, 60" x 48", oil on canvas
Headspace, 2021, 76" x 56", oil and collage on canvas
Šejma Fere creates collages, mixed media artworks and installations. Her artworks deal with potential of multiple narratives. She is discovering hidden values and uses of found material to create new structures out of it. Her paintings are created in the mode of free associations from numerous fragments, using the recycled materials, technique of collage and digital process. There, by means of the non-linear narration about private sphere, she explores the entanglement of borders of intimate and public space and investigates the ideological constructs, gender stereotypes and the economic conditions that govern home and everyday life. Sewing patterns, lists, charts and statistic data appropriated from textbooks, documents, furniture catalogs and lifestyle magazines are parts of reality that intrude the private sphere and indicate a failed attempt to adapt to prescribed and homogenized world of mass culture. By superimposing one structure onto another, domestic surrounding is presented as a stage where characters live their reality brought by modern life and technology. These multiple perspectives create spatial and temporal disorientation. It is an open work where viewers fill the gaps and create their own interpretation, becoming a part of this imagined world. She graduated painting and printmaking. Lives and works in Belgrade.
In the interview Sejma mentioned the following;
Norient, audio visual gallery and community for the sound of the world. "Among Women: Serbian Contemporary Art", curated by Rachel Klipa, 937 Gallery, 937 Liberty Avenue, Pittsburgh, PA 15222 (opening on September 6, 2021) "We are alive", exhibition of Saša Stojanović and Šejma Fere, Gallery Šok Koridor, Art Klinika, Novi Sad (14 September-30 October, 2021 in Šok koriodor, Art klinika, Novi Sad)
Books mentioned: Tomi Ungerer, children books, J.P. Oliva, L'isolation thermique écologique, Agatha Christie, An Autobiography, George Orwell, Down and Out in Paris and London.
Šejma Fere, Sofi, kolaž, 2019
House in zemun, 2018- 2021
Sopheap Pich b. 1971, Battambang, Cambodia. Lives and works in Phnom Penh, Cambodia.
Sopheap’s family left Cambodia as refugees in 1979. Having first settled in camps in Thailand and the Philippines, they arrived in the United States in 1984 at age 13 years old and began his formal education.
He took art classes in Junior High School but shifted his passion to wood shop in high school and worked as a stagehand in college. He first majored in Pre-Med but later switched to Fine Arts in his Sophomore year, a choice that allowed him to travel to France, Italy and Mexico and led him to spent a year in Paris studying at the national art school at Cergy Pontoise. These travels impacted his views of the possibilities and limitations of art that have guided his thinking since.
He returned to Cambodia 2002. And in 2004, began making sculptures using rattan and bamboo, his main materials to this day. Aside from working on his art, he also owns a farm in the Kirirom Mountain areas where he plants hardwood trees, coconuts and date palms.
His works has been shown at dOCUMENTA 13, the Venice Biennale, the Asia Pacific Triennale, among others. And are in major museums collections including the Metropolitan Museum, the Guggenheim, the National Gallery of Singapore, M+ Hong Kong, and the Centre Pompidou in Paris, among others.
Kapok, 2021, Wood, metal, rattan, bamboo, 160 x 530 x 170cm
La Danse, 2021. Dimension varies. Each tree appr. 7 meters tall. Repurposed aluminum and metal.
Annie Jael Kwan is a curator and researcher whose exhibition-making, programming, publication and teaching practice is located at the intersection of contemporary art, cultural and pedagogical activism with an interest in archives, feminist, queer and alternative histories and knowledges, collective practice and solidarity. She is founder of Something Human, a curatorial platform focusing on intersectional live art that launched the landmark Southeast Asia Performance Collection in London in 2017, co-founder of Asia-Art-Activism, the interdisciplinary research network exploring the paradigm of "Asia" and its proximities in art and activism. She is the recipient of a Diverse Actions Leadership Award 2019, and the founding council member of Asia Forum 2021/2022 that will have its inaugural programme in Venice in 2021 at the Fondazione Querini Stampalia.
Southeast Asia Performance Collection, launched by Something Human at the Live Art Development Agency 2017. Production photo from ‘I am LGB’ (2016), The LGB Society of Mind. Singapore International Festival of Arts 2016. Photo by Wan Zhong Ha
Till We Meet Again IRL, Best Wishes, Asia-Art-Activism, 2020, co-curated by Annie Jael Kwan, Arianna Mercado, Cuong Pham and Howl Yuan, with the support of the Bagri Foundation and Arts Council England. Image courtesy of Yarli Allison.
Dana Lok (b. Berwyn, PA) lives and works in Brooklyn, NY. Recent solo exhibitions include "One Second Per Second" at Page, New York, "Words Without Skin" at Clima, Milan and "Mind's Mouth" at Bianca D'Alessandro, Copenhagen. Lok recently participated in the group exhibitions "Regroup Show" at Miguel Abreu and "15 Painters" at Andrew Kreps, New York, and "The Conspiracy of Art, Part II" at Chateau Shatto, LA. Her work has been covered in the New York Times, Frieze, and Cura Magazine. Lok received her MFA from Columbia University and her BFA from Carnegie Mellon University. In 2018, she received the Rema Hort Mann Emerging Artist Grant. Recently, Lok's work digs into the metaphors we use to understand basic components of human experience, like time and representation.
Mentioned in interview was Philosopher Sally Haslanger, her books and articles can be found on her homepage. Also mentioned was Krazy Kat and Emily Dickinson.
Weather System, 2021, Oil on canvas, 70 x 78 in
Causal Wedge, 2020, Oil on canvas, 56 x 65 in
Portrait of Damien Deroubaix by Arno Lam
Damien Deroubaix, born 1972 in Lille, France. Lives and works in Paris and Meisenthal (France).
Damien Deroubaix studied in Saint-Etienne and in Germany (Karlsruhe, 1998). Since 2003, his work has been shown in the leading European institutions and has been presented in many solo shows, particularly in Switzerland and Germany. He has spent a good deal of time abroad, notably for residences at the Künstlerhaus Bethanien in Berlin (2005) and ISCP in New York (2008). In 2009, he is nominated at the Marcel Duchamp Prize. His works are in the largest national collections : the Musée d´Art Moderne, the Centre Pompidou, the MAMC Strasbourg, the FRAC Midi-Pyrénées, Limousin and Basse Normandie, the FNAC CNAP, the Musée du Dessin et de l'Estampe Originale in Gravelines, and international collections, among them those of the Museum of Modern Art, New York, the Mudam, Luxembourg, the Saarlandmuseum, Saarbrücken, the Museu Coleçao Berardo, Lisbon, the Albrecht-Dürer-Haus-Stiftung, Nuremberg, the Kunstmuseum, St. Gallen. Damien Deroubaix's artistic practice features a great diversity of forms and techniques: oil painting, watercolour, engraving, tapestry, wooden panel carving, but also sculpture and installation. This variety combines with highly eclectic references, often cohabiting in his works in a spirit that is reminiscent of iconoclastic Dada montages. Motifs from medieval danses macabres mingle with evocations of tragic chapters from modern history; topical images are juxtaposed with mythology and folklore; the history of art and the metal music scene collide. His paintings are openly expressionist, often making reference to apocalyptic themes, and perhaps this is what makes them so timeless.
Metamorphosis oil and collage on canvas 78x59 inches, 2018.
Death, oil and collage on canvas 78x59 inches, 2018
Self portrait, 2004, Oil on Panel, 5 x 4" Jim Torok was born in South Bend, Indiana. He moved to New York in 1979 to study art at Brooklyn College, and received an MFA there in 1981. Several years later, Torok began doing cartoons as a regular feature for Paper Magazine, while at the same time doing realistic paintings of interiors and objects. He also produced animations for MTV. In the mid ‘90s he started making miniature portraits, and had his first one person show at Bill Maynes Gallery in 1997. He has been making and exhibiting both cartoons and portraits ever since. Torok's work has been exhibited widely in the US and Europe, including a one-person show at the Denver Art Museum, and a three-person show at the National Portrait Gallery in Washington, DC. His work is in the collections of the Metropolitan Museum of Art, and the Museum of Modern Art in New York. Recently, several of his pieces were added to the collection of the Lucas Museum of Narrative Art, which is scheduled to open in Los Angeles in 2023. Represented by Hyphen Advisory . The book mentioned in the interview is My Struggle, Book 6, by Karl Ove Knausgaard
Day55, 2020, Ink on Paper, 11 x 8 1/2"
Do Not Worry About It, 2020, Acrylic on panels, 5' x 26'
Ville Laaksonen (b. 1978, Turku, Finland) is a curator, formerly also working as an artist and critic. He has been recently focused on curating international exhibitions and consulting art organisations to innovate how they function and operate in current art-ecologic shift. He is working from Turku and Helsinki, Finland with most recent projects in Los Angeles, Mexico City and Slovakia. Before pursuing an career as an international curator he’s main focus was on esoteric painting and critical thinking, working also as a critic.
As an artist he’s contemporary esoteric works open gates, doors and windows to visualise heaven and hell on earth – and an aesthetic view on life through the vision of an idealist in beauty. Embracing spirituality in life reveals its significance in its unique and delicate ways. Laaksonen was stipendiate for the Union of Finnish Art Associations 2012 and exhibited in Varkaus Art Museum. At the same time Laaksonen had also been invited to exhibit in Artchapel, Turku and nominated as the curator for the Paulo Foundation Annual 2012. Laaksonen works actively on Finnish art scene and he has worked on several trusted positions. He is a member of Helsinki and Turku artists associations, Arte organisation and SKY, The Finnish Society for Curators. Laaksonen has exhibited in several solo and museum exhibitions.
Laaksonen has been working last years through he’s platform Art Incubator, which is a curatorial platform that focuses on developing the role of artists, curators and other art professionals. Collaborating and consulting arts organisations the Art Incubator aims to shift the way art works and helps to organise more conventional practises to new forms.
Wunderkammer exhibion view, Helsinki, 2015
From W0RMH0LE exhibition, Los Angeles, 2020, Works by Teija and Pekka Isorättyä and Jyrki Riekki
Wilfried Souly, photo: Robyn Nisbet
Wilfried Souly is a choreographer, dancer, drummer and Taekwondo expert, originally from Burkina Faso in West Africa. He was trained in African traditional and contemporary dances since his youngest age in the acclaimed company “The Bourgeon du Burkina.” In September 2000, he co-founded “Compagnie Tâ” with two other choreographers and co-choreographed many dance pieces presented around the world, including one work that was selected as a finalist at the fifth Choreographic Encounters of Africa and Indian Ocean in Madagascar. The piece was then presented at the Great Barbican Center in London for a full week event. Compagnie Tâ also collaborated with an association of visual artists on Genies de la Bastille, Paris. Willy himself has collaborated with international choreographers and performed in works such as Space i Tiempo, choreographed by Robert Battle (USA) and Gerardo Delgado (Mexico) in Tampico, Mexico; and Dole Danle, with the French Hip-Hop Company E.Go, directed by Eric Mezzino and Gilles Schamber. In 2007, Willy moved to Los Angeles and joined Baker & Tarpaga Dance Project as an Associate Director, where he co-choreographed and performed Arbre D’Adaptation (2007), which won the Best Choreography award at “Emerging Above Ground 07”; Sira Kan (2008), presented at the NOW Festival 08; and “Dar Es Salaam” (2009).
Willy has collaborated with many local artists and companies, including Maria Gillespie (Exquisite Corps 2010), Victoria Marks (Smallest Gesture/Grandest frame; Medium big inefficient considerably imbalanced dance; Solar Duplex & Watch This), Heidi Duckler Dance Theatre Company (Governing Bodies; Expulsion; Governing Bodies Ventura; Cleopatra; Catch your Breath) and Viver Brasil Dance Company (Xire 2008). He choreographed and produced the dance film Bayiiri (Home Town) in 2011. In 2014, his solo “Saana/The foreigner” is premiered at the Redcat NOW Festival and the Ethna Negria Celebration at Teatro Balboa in Panama City May 2015. “Unarmed”, a piece about social injustice, was presented at the Barnsdall Theater, at “For Our Boys” first edition.
In August 2016 he created On Becoming, a quest for identity at 12th edition of NOW Festival. On October of the same year, his last two works Tekre (Evolution) and Maam /Me were presented at the third Edition of the festival Africa in America at the Barnsdall Gallery Theatre. Willy is an Adjunct professor at the UCLA World Art & Culture/Dance Department since 2009 and has been guest choreographer at colleges including Santa Monica College, Los Angeles Valley College, Chadwick school… He teaches community West African Dance classes at Your Neighborhood Studio in Culver City, and has been an Arts Educator for the Fullerton School District since 2009. Willy is currently anMFA candidate at the UCLA World Arts & Cultures/Dance department.
The book that was mentioned was Vetiver by Librecht Baker.
“Unsung”, rehearsal at Centre de Development Chorégraphique in Ouagadougou, Burkina Faso. Photo by Wilfried Souly
“Saana/The Foreigner”, NOW Festival at Redcat Theatre in Los Angeles. Photo: Steve Gunther
Will Corwin, photo: Brett Dakin
William Corwin is a sculptor and journalist from New York. He has exhibited at The Clocktower, LaMama and Geary galleries in New York, as well as galleries in London, Hamburg, Beijing and Taipei. He has written regularly for The Brooklyn Rail, Artpapers, Bomb, Artcritical, Raintaxi and Canvas and formerly for Frieze. He curated and wrote the catalog for Postwar Women in 2019 at The Art Students League in New York, an exhibition of the school’s alumnae active between 1945-65, and 9th Street Club in 2020, an exhibition of Perle Fine, Helen Frankenthaler, Mercedes Matter, Grace Hartigan, Lee Krasner and Elaine Dekooning at Gazelli Art House in Mayfair. He is the editor of Formalism; Collected Essays of Saul Ostrow, to be published in 2021 by Elective Affinity Press, is curating Downtown Train at PS122 in March 2021 which features the work of Boris Lurie, Penny Arcade, Gabriella Grimes, Gordon Matta-Clark, and many others, and he will participate in the exhibition Roots/Anchors at the Newhouse Center for Contemporary Art at Snug Harbor Cultural Center in August 2021. He currently has an exhibition "Green Ladder" at Geary Contemporary in New York, on view through April 24th. He is represented by Geary. The book mentioned in the interview was Daniel Deronda by George Eliot.
Green Ladder (Installation) 3, images courtesy Geary
Double Ladder, 2020, aluminum, 40 in. x 10 in. x 6 in. image courtesy Geary
Tim with Nurse Tracy in progress
Tim Okamura investigates identity, the urban environment, metaphor, and cultural iconography through a unique method of painting - one that combines an essentially ‘realist’ approach to the figure with collage, spray paint and mixed media. The juxtaposition of the rawness and urgency of street art and academic ideals has created a visual language that acknowledges a traditional form of story-telling through portraiture, while infusing the work with resonant contemporary motifs.
Born in Edmonton, Canada, painter Tim Okamura earned a B.F.A. with Distinction at the Alberta College of Art and Design in Calgary, Canada before moving to New York City to attend the School of Visual Arts in 1991. After graduating with an M.F.A. in Illustration as Visual Journalism, Okamura moved to Brooklyn, New York, where he continues to live and work.
Tim Okamura - a recipient of the 2004 Fellowship in Painting from the New York Foundation for the Arts – has exhibited extensively in galleries throughout the world, including the U.S., Canada, Italy, Germany, Hong Kong, Japan, Ecuador and Turkey, and has been selected nine times to appear in the prestigious BP Portrait Award Exhibition at the National Portrait Gallery in London, England.
In 2006, Okamura was short-listed by the Royal Surveyor of the Queen’s Picture Collection for a commissioned portrait of the Queen of England.
In 2013, the University of North Carolina hosted a retrospective exhibition of Okamura’s work that focused on nearly a decade of production.
Okamura received an invitation to The White House in the Fall of 2015 to honor artists whose work addresses issues of social justice – there he received a letter of commendation from Vice President of the United States, Joe Biden.
Okamura’s painting titled “I Love Your Hair” was selected in 2016 for inclusion in the “American Portraiture Today” exhibition, featured at the Smithsonian National Portrait Gallery in Washington, D.C. and subsequently toured museums across the United States.
Several of Okamura’s works were recently featured in the “Still I Rise” exhibition at the Massachusetts Museum of Contemporary Art.
Tim Okamura’s art is on display in the permanent collections of the Davis Museum at Wellesley College, Jiménez Colón Museum in Puerto Rico, The Sonja Haynes Stone Center for Black Culture and History at the University of North Carolina, The Alberta Foundation for the Arts, the Toronto Congress Center, the Hotel Arts in Calgary, Canada, and Standard Chartered Bank in London, England.
Collectors include Uma Thurman, Meg Ryan, John Mellencamp, DJ Black Coffee, Ahmir “Questlove” Thompson, athletes Courtney Lee and PK Subban, director Ben Younger, and actors Bryan Greenberg, Hill Harper, Annabella Sciorra, and Spike Lee.
"PPE", 48 x 60", oil, color pencil and graphite, 2021
"Two Front War", 55 x 56, oil on canvas, 2021
"Nurse Tracy", 40 x 60", oil on linen, 2021
Rowan Hisayo Buchanan is the author of Harmless Like You and Starling Days. She has won The Authors’ Club First Novel Award and a Betty Trask Award and been shortlisted for the Costa Novel Award. Her work has been a New York Times Editors’ Choice, an NPR Great Read.
Rowan's first novel Harmless Like You.
Janet Biggs Photo Régis Figarol
Janet Biggs is an interdisciplinary artist known for her immersive work in video, film and performance. Biggs’ work focuses on individuals in extreme landscapes or situations, navigating the territory between art, science and technology. Her work has taken her into areas of conflict and to Mars (as a member of crews at the Mars Desert Research Station and Mars Academy USA). Biggs has worked with institutions from NOAA to NASA and CERN. She has collaborated with high energy nuclear physicists, mathematicians, neuroscientists, Arctic explorers, aerospace engineers, astrophysicists and a robot named Shimon. Last year, Biggs sent a project up to the International Space Station as part of MIT Media Lab’s Space Exploration Initiative.
Biggs has had solo exhibitions and film screenings at the Museos de Tenerife; Neuberger Museum of Art; SCAD Museum of Art; Blaffer Art Museum; Musee d'art contemporain de Montréal; Hirshhorn Museum and Sculpture Garden; among others.
Her work and research have been supported by the John Simon Guggenheim Foundation, the New York State Council on the Arts, Anonymous Was a Woman Foundation, and the National Endowment for the Arts. Reviews of her work have appeared in the New York Times, New Yorker, ArtForum, ARTNews, Art in America, and many others.
Biggs is a member of the New Museum’s cultural incubator, NEW INC with the support of Science Sandbox. She works with Cristin Tierney Gallery, CONNERSMITH, Galerie Analix Forever and Hyphen-Hub. Learn more on Instagram.
Here is a link to RSVP for the April 8th performance discussed n the interview: https://www.cristintierney.com/events/26/
The books mentioned in the interview are Alan Lightman's Einstein's Dreams, Alice and Bob Meet the Wall of Fire, the biggest ideas in science from Quanta, Edited by Thomas Lin, The Sublimity of Document, Cinema as Diorama by Scott MacDonald, and Women Artists, The Linda Nochlin Reader, edited by Maura Reilly.
"Singular Value Decomposition" announcement for upcoming July 8th performance.
"A Step On the Sun," 2012. Four-channel HD video installation with sound.
"Weighing Life Without a Scale," 2018. Three-channel HD video installation with sound.
Jeffrey Say is an art historian specialising in Singapore and Southeast Asian art history. An author of numerous essays on art, his seminal co-edited work Histories, Practices, Interventions: A Reader in Singapore Contemporary Art (2016) remains a critical anthology for researchers, curators and students on Singapore art to date. Importantly, Say undertook pioneering research and study of the history of sculpture in pre-and post-war Singapore.
Prior to joining LASALLE College of the Arts in 1997, Say was a curator at the then National Museum where he was overseeing the collection of Buddhist and Indian artefacts. As a museum curator, Say curated major exhibitions on Tibetan Buddhist art, the maritime silk route and Alamkara: 5000 Years of India.
Say has been instrumental in the development of art history studies at LASALLE supporting artists to develop a contextual and historical understanding of the evolution of visual arts. In 2009, he designed the world’s first Master’s programme focussing on Asian modern and contemporary art histories. He is presently its Programme Leader. This programme has produced graduates who have made significant contributions to the field in the area of scholarship and curation.
Say is a public advocate of the importance of art history as a way to promote visual literacy. He is a frequent public speaker at museums, universities and galleries, and conducts short courses which remain hugely popular among various publics. Say is also a regular commentator on the local visual arts scene.
Say’s current research interest is on Singapore modern and contemporary art histories. He has written an essay on the early contemporary art scene of Singapore which offers a revisionist view on the beginnings of contemporary art in Singapore (published in the July-Sept 2019 edition of BiblioAsia). He is currently working on the second volume on Singapore modern art as well as a children’s series on Southeast Asian art and culture, both of which will be published in 2022. His essay on the beginnings of contemporary art in Singapore can be found on this link; July-Sept 2019 issue.
Book cover with flap open
James Maurelle is an interdisciplinary artist, sculpture, video, photography, and sound art are his analog and digital primes. His work investigates the correlation formed between labor and creativity, at the center of this byway is the spirit of his work. Constructing objects and moving images are not unlike creating music compositions, the accompaniment, i.e., tools and materials, are a call and response to dexterity. The rubric to complete any composition is to know ones’ instrument(s)/tools; the creative process is based on this reciprocal understanding. Jazz is the primer which propels the work, the tone/feel of every composition is in direct association with the culture. Every object I compose is a physical versioning of a historic recording or happening, every tool used is an augmented scale referencing an industrial progression. The materials (wood, metal, plastic, film) are the staff paper, and every committed strike upon these materials forms a note or chord. The fluidity connecting mind, hand, and tools are based on the augmented triad which is the cornerstone of my work ethic. The main objective is to continue creating full-bodied compositions, as long as the staff paper flows, I will inscribe upon it. His work has shown in solo and group exhibitions in New York, Minneapolis-Saint Paul, Austin, Philadelphia, New Orleans, Richmond, Cincinnati, and San Francisco. He is a recipient of the Skowhegan School of Painting and Sculpture Fellowship (2015).
Nile, 2014, copper, brass, solder, 44 x 17 x 10"
dogon azul, 2017, wood, laminate, copper, graphite, paint, 53 x 19 x 15"
Javier Orcaray, (Barcelona, 1980) is a Spanish cultural manager, curator, photographer and environmental activist. He holds a MA in World History and a MA in Visual Culture: Theory (NYU).
In 2010 he opened the artist residency La Fragua, which soon became a benchmark in Spain for research and thought in the rural world.
In 2014 he was a founding member of CoMbO, an independent arts space in the city of Cordoba that proposed new exhibition discourses based on the production work at La Fragua, with emerging contemporary artists such as Jacobo Castellano, Nathalie Haüsler, Angel Masíp, Tobias Sojber, David Bestué, Pablo Captain del Río, Fernando M. Romero, ATOI, Laia Estruch, Ethan Hayes-Chute and Tommy Hovik among others.
In 2020 he opened /Plata, the only independent space in Cordoba dedicated for the arts and transdisciplinary research.
Included in his most relevant curatorial projects are:
“Mi casa es tu Casa” with the international collective Kandor13 (Catherine Czacki, Brock Enright, Pablo Jansana, Daria Irincheeva, Andrea Galvani, Cecilia Vicuña, Carolina Saquel, Santiago Reyes Villaveces, Balam Bartolomé, Esperanza Mayobre, Angélica Teuta, Alejandro Almanza Pereda, Felix Lazo, Lars Laumann at Centro de Arte Pepe Espaliú).
"How a Grape can Float in the Ocean" with artist Javier Arce at Centro de Arte Pepe Espaliú as part of the 16th biennial of photography in Cordoba .
"AABAS: Art Agriculture Biodiversity Food and Health" a symposium of experts and artistic residencies with Pedro Soler, Aniara Rodado, Laura M. Dávila, Daniela Moreno-Wright at the Center for Contemporary Creation of Andalusia.
Plata. The new cultural space in Cordoba, 2021
Adding compost for AABAS (Art, Food, Biodiversity and Health) at Centro de Creación Contemporánea de Andalucía 2017
CoMbO (2014-206). Tommy Hovik and Pablo Capitán del Río. Exhibition at our gallery.
Jennifer Coates is a painter based in NYC and Lakewood, PA. She has a solo show up through April 8 entitled "Pagan Forest" at the Knauer Gallery at West Chester University in PA. Other recent solo shows include "Toxic Halo" at High Noon Gallery, NY 2020, and "Correspondences" at Freight and Volume Gallery, NY. She has collaborated with Wells Chandler in the show "Electric Mayhem" at Crush Curatorial, NY and with David Humphrey in the shows "Mountain Man and Uncle Fritz" at Fiendish Plots in NE and "Plush Onus" at Arts & Leisure, NY. She is the 2021 recipient of the John Koch Award in Art from the American Academy of Arts and Letters, a residency from the Civitella Ranieri Foundation in 2019, as well as a residency at the Sharpe Walentas Studio Program in 2018-2019. She plays violin, ukulele and sings, performing with various bands in the pre Covid times. Books mentioned in the interview are; What Color is the Sacred by Michael Taussig, Ministry For the Future by Kim Stanley Robinson, Parable of the Sowers by Octavia Butler and A Children's Bible by Lydia Millet.
Triumph of Pan (Aqua), acrylic and spray paint on canvas, 5x6 ft, 2020
Triumph of Pan (Purple), acrylic and spray paint on canvas, 4x5 ft, 2020
Russell Maltz (b. 1952, Brooklyn, NY) has exhibited work in numerous solo and group exhibitions throughout the United States and internationally, including in Australia, Germany, Austria, France, Italy, Israel, Denmark, Mexico, Switzerland, Japan and New Zealand. His work has been reviewed in publications such as The New York Times, Artforum, Art in America, Hyperallergic and The Village Voice. His works are in the collection of The Brooklyn Museum, Yale University Art Museum, Fogg Art Museum, Harvard University Art Museum, Kunstraum-Alexander Burkle, Freiburg, Germany, San Jose Museum of Art, San Jose, California, Arkansas Art Center, Little Rock, Arkansas, Saarland Museum, Saarbrucken, Germany, Stiftung fur Konkreter Kunst, Reutlingen, Germany, Wilhelm-Hack Museum, Ludwigshafen , Germany, Gallery of Western Australia, Perth, Australia. He has been facilitating with Critical Practices Incorporated since its inception and serves on its advisory board. A survey exhibition exploring 40 years of his work was recently mounted at the Stadtgalerie in Saarbrucken, and at Galerie Michael Sturm in Stuttgart, Germany and ran from May through August 2017. The exhibition was accompanied by a monogram book covering his work from 1976 through 2017 and published by The Stadtgalerie Saarbrucken and printed by Kerber Verlag in Biefeld, Germany. In NYC he exhibits at Minus Space.
Russell Maltz lives and works in New York City.
BALLPARK - Installation View 2012 - Minus Space Gallery, Bklyn., NY, Works from the series dating from 1976 to 2012, Mixed Media - Dimensions Variable
Stacked Orange, 2021 Polyurethane and Acrylic on plywood (7) plates stacked against the wall 96 x 48 x 15 inches, (243.8 x 121.9 x 38 cm)
Ellen Hackl Fagan builds connections between color and sound using installations, an interactive web app, and collaborative projects that combine color-saturated paintings with sound. Balanced between randomness and intention, like jazz music, Fagan’s art continues to reveal limitless possibilities for improvisation. Echoing life’s chaotic beauty, her color-saturated paintings are sourced in pop music, Rimbault, Jungian psychology, the theory of correspondences, minimalism and decorative art. Ellen Hackl Fagan is the inventor of The Reverse Color Organ and the ColorSoundGrammar Game, two projects that enable viewers to interact aurally with color. The Reverse Color Organ is a web app, downloadable to a smart phone, thus placing this synaesthetic tool into peoples’ hands to be used, not only to expand the language of color, but also as a crowd-sourced musical instrument. Fagan exhibits her work extensively throughout New England and New York City. Books she continues to reference in her work are: James Joyce, Finnegan's Wake, Ellen Dissanayake's Homo Aestheticus, and Ogham, An Irish Alphabet which tap into her deep interest in prehistoric art and earthworks. In 2014 she expanded her independent curatorial practice into a full time business and is now the owner of ODETTA Gallery, based in New York City and Greenwich, Connecticut. Since that time Fagan has created and produced over 70 exhibitions of contemporary art, working with over 150 artists, in addition to maintaining her studio practice. As director of ODETTA, she is exploring new platforms in gallery practice and community building, both virtually and in real life. During the pandemic, she has opened ODETTA Digital on the SHIM Art Network platform, and is their Director of Sales, bringing together groups of artists to develop their own exhibition opportunities and curatorial skills. She also has opened ODETTA Petite, a replica of the ODETTA Bushwick gallery space. Here she exhibits works as model scaled proposals for monumental works of art, to be purchased as commissioned works. ODETTA has been critically reviewed in numerous notable publications, both in print and in blogs, like The New Criterion, Artillery Magazine, and Hyperallergic. Public commissions include Coach’s flagship store on 5th Avenue and David Yurman Jewelers’ showroom in Tribeca. ODETTA's exhibitions have traveled to Real Art Ways in Hartford, CT, The Flux Art Fair at Marcus Garvey Park in Harlem, NYC, Bronx Art Space, NYC, and the Morris Museum of Art, Morristown, NJ.
Ellen Hackl Fagan, installation view Helpless 2020 Five Points Torrington CT.
Ellen Hackl Fagan, SeekingtheSoundofCobaltBlue, Bounty, 2020, inkpigment acrylic on readymade object, 2020, 12-x-12-inches, Private Collection.
Emily Larned
has been publishing as a socially engaged art practice since 1993, when as a teenager she made her first zine. She is co-founder of Impractical Labor in Service of the Speculative Arts (ILSSA, est. 2008), a union for reflective creative practice, which to date has counted over 400 members in 37 states and 6 countries. ILSSA explores the immaterial working conditions of impractical laborers through participatory projects, publications, and exhibitions. Through her imprint Alder & Frankia (est. 2016), Emily publishes new collaborations and reissues of feminist archival material.
Emily's award-winning artist books, zines, & publications (including Muffin Bones zine, Memorytown USA zine, Parfait zine, & artist books under her former imprint Red Charming) are collected by over 70 institutions internationally, including the Tate, the Brooklyn Museum, the V&A, & the Smithsonian, & are exhibited around the world. Her work has received accolades from the AIGA (50 Books | 50 Covers), the Type Directors Club (TDC) (The World's Best Typography), and the Connecticut Art Directors Club (CADC) (Gold & Silver awards in Book Design, Spirit of Creativity Award). She graduated from Yale School of Art with an MFA in Graphic Design and is currently Assistant Professor of Graphic Design at the University of Connecticut, Storrs.
The book mentioned in the interview is Cassandra Speaks: When Women Are the Storytellers, the Human Story Changes by Elizabeth Lesser.
A sampling of publications from Impractical Labor in Service of the Speculative Arts (ILSSA or Impractical Labor for short). Established in 2008 as a collaboration between Emily Larned and Bridget Elmer, ILSSA is a union for reflective creative practice. As a union for artists, makers, and creative practitioners of all kinds, ILSSA focuses on improving the immaterial working conditions of members. ILSSA publishes contemplative tools and resources; organizes participatory projects, exhibitions, and events; facilitates an annual group residency; and observes an annual holiday, the Festival to Plead for Skills. ILSSA seeks to restore the relationship between makers and their tools, makers and their time, and makers and what they make. Basic membership is free and open to all who which to join.
Partial view of the installation “Police Others As You Would Have Others Police You,” part of “Who Governs?” curated by Frank Mitchell, Artspace New Haven, October 30-December 12, 2020. Print installation made from the archives of Kay Codish, feminist theater director turned head of the New Haven Police Academy from 1992-2008. In the foreground is a reprint of her 1996 article.
Known for combining high and low culture through elements of painting, drawing, graphic design, animation, and collage, Bevilacqua characteristically works in a saturated palette, covering his glossy canvases with brand logos and doodles.
Michael Bevilacqua's semi autographical mixed-media works serve as a platform for exposing his cultural, intellectual and spiritual preferences.
His work can be found in numerous public collections including the Whitney Museum of American Art, New York and the San Francisco Museum of Modern Art.
Learn more on his Instagram account.
The book mentioned in the interview was The Devil you know by Charles M Blow.
Balen/SEGA 2019 paint and acrylic on digital canvas 55” x 65”
Shake this Disease 2020 paint pen and acrylic on paper 24” x 18”
Data Moshers 2017 UV ink on canvas 60” x 48”
April Bey grew up in The Bahamas (New Providence) and now resides and works in Los Angeles, CA as a visual artist and art educator. Bey’s interdisciplinary artwork is an introspective and social critique of American and Bahamian culture, feminism, generational theory, social media, AfroFuturism, AfroSurrealism, post-colonialism and constructs of race within supremacist systems.
Bey’s work is in the collection of The California African American Museum, The National Art Gallery of The Bahamas, The Center for Contemporary Printmaking, Fullerton College Art Gallery, Museum of Art and History, Lancaster, CA, and more. Bey has exhibited in biennials NE7, NE8 and NE9 in The Bahamas. Bey has also exhibited internationally in Italy, Spain and Accra Ghana, West Africa.
Bey has launched 5 solo exhibitions: Picky Head at Liquid Courage Gallery in Nassau, Bahamas, COMPLY at Coagula Curatorial in Chinatown, Los Angeles, MADE IN SPACE at Band of Vices Gallery in West Adams, a large survey of work spanning several years, Welcome to Atlantica at Fullerton College Art gallery and most recently a solo presentation with UPFOR Gallery at UNTITLED ART ONLINE Art Fair.
Bey is both a practicing contemporary artist and art educator having taught a controversial course at Art Center College of Design called Pretty Hurts analyzing process-based art and Beyoncé hashtag faux feminism. Bey is currently a tenured professor at Glendale College.
And I'm Calm, Calculated and Perfectly Aligned aprilbey@gmail.com Watercolor drawing, acrylic paint, epoxy resin, hand-sewn "African" fabric, oil impasto 40 x 30 in 2020
COLONIAL SWAG: First Edition Atlanticans aprilbey@gmail.com Digital print stapled into eco fur on panel 30 x 24 in 2021
Charlotte Becket lives and works in New York City where she is an Associate Professor at Pace University.
She attended Hunter College's MFA program and received her BFA from the Cleveland Institute of Art. Solo and two person exhibitions include LaMama Galleria, New York City, Valentine Gallery NY, Crisp Gallery in London, LEAP in Berlin, Taxter and Spengemann in New York City as well as group exhibitions at Gazelli Art House in London, Gasser and Grunert, Anna Kustera, NY Studio Gallery, Passerby and the Invitational Exhibition Academy of Arts and Letters in New York City.
She has been invited to lecture on her work at various galleries and universities and has been the recipient of grants from The New York Foundation for the Arts, Socrates Sculpture Park, The Joan Mitchell Foundation, The Tony Smith Foundation, the Verizon Foundation, and the Center for Book Arts. Her work has been reviewed in The New York Times, TimeOut London, ArtForum, and Art in America, among others, and included in the publication, 100 Artists, a compendium of interviews with 100 international contemporary artists by Francesca Gavin.
Force Field Book Series, 2019, paper 8"x3"x3"
Particle Horizon, 2020, paper 26"x26"x30"
Fran Shalom has exhibited widely throughout the United States, including the Fogg Art Museum in Cambridge Mass, and the Newark Museum. Her work is included in the collections of the Metropolitan Museum of Art, the Brooklyn Museum, the Rose Art Museum and the Biblioteque Nationale in Paris.
She has been the recipient of a Pollack Krasner Arist Grant, a MacDowell Colony Fellowship and an Art Omi Residency. She is represented by the Kathryn Markel Gallery in New York City.
The book mentioned in the interview is A Shoe Story by Lesley Chamberlain.
Untitled, 2021, 24x24” oil on panel
Rendevous,2020, 24x24” oil on panel
Judith Page was born in Lexington, Kentucky, and studied art at the University of Kentucky and Transylvania University. Early influences were her father, an amateur historian, photographer, and raconteur, who instilled in her a love and respect for history and the creative process, and writers such as Flannery O’Connor and Carson McCullers who provided her with many potent visual images. Other early influences include the Roman historian Tacitus and the politician Cassius Clay. Page says that her "art emerges from a Gothic sensibility, a place where horror and beauty exist in close proximity, where innocence encounters depravity, where the spirit is consumed and revived from moment to moment.”
Page lived and worked in Florida until relocating to New York City in 1992, and currently lives in the Williamsburg section of Brooklyn. She received individual artist grants from the Gottlieb Foundation, the Pollock-Krasner Foundation and the State of FL. Exhibitions include Pop Surrealism and The Photograph as Canvas, The Aldrich Contemporary Art Museum and Disarming Beauty: The Venus de Milo in 20th Century Art, Dali Museum, and solo exhibitions at Luise Ross Gallery, New York, NY; Wake Forest University, Winston-Salem, NC; Massry Center for the Arts, Albany, NY; Lesley Heller Gallery, New York, NY and Stetson University, DeLand, FL.
Known for her inventive use of materials and stimulating social commentary, Page’s numerous exhibitions and installation projects were written about in Art Papers, Sculpture, The New York Times, Art on Paper, and Art in America. Page’s art is represented in numerous public collections including Vanderbilt University; FSU Museum of Fine Arts, Tallahassee; University of KY Art Museum; Mint Museum of Art; University of TN; University of Iowa Museum of Art; and Orlando Museum of Art, FL. She was on the General Fine Arts faculty of MICA from 2004-2011 and on the faculty of the MFA Fine Arts program at SVA from 2010-2016. Her website is www.judithpage.com.
Fruits of War (Brooklyn), 2021, archival pigment print on rag paper
Spider’s Kiss (Manhattan), 2021, archival pigment print on rag paper
Photo: Xi Zhou
Kristin Marting is a director of hybrid work based in NYC. Over the last 25 years, she has constructed 29 stage works, including 9 original hybrid works, 6 opera-theatre and music-theatre works, 9 reimaginings of novels and short stories and 5 classic plays. She works in a collaborative, process-driven way to fuse different disciplines into a cohesive whole. She has developed a unique directorial form that features a “gestural vocabulary” used both as an emotional signifier and as a choreographic element.
Kristin has directed 19 works at HERE and also premiered works at BAM, 3LD, Ohio Theatre, and Soho Rep. Her work has toured to 7 Stages, Berkshire Festival, Brown, MCA, New World, Painted Bride, Perishable, UMass, Moscow Art Theatre, London and Oslo. She has directed readings, workshops and premieres for Clubbed Thumb, New Georges, National Sawdust, Playwrights Horizons, Prototype, Public Theatre, Target Margin, and others. Selected residencies include Cal Arts, LMCC, Mabou Mines, MASS MOCA, NACL, Orchard Project, Playwrights Center, Smack Mellon, Voice & Vision and Williams. She has also directed productions for Cal Arts, NYU, and Sarah Lawrence.
Kristin was recently named a nytheatre.com Person of the Decade for outstanding contribution, a Woman to Watch by ArtTable and honored with a BAX10 Award. Selected grants include 2 MAP Fund, NEA, NYSCA, Greenwall, Harkness, Jerome and Santvoord Foundations. Prior works have been reviewed in all major NY papers.
Kristin is a political activist who has organized many art actions and a frequent panelist for the NEA, TCG, NYSCA, DCA, and ART/NY. She has taught Creative Producing and Directing as well as lecturing at a number of universities. She served as Co-President of the League of Professional Theatre Women. She assisted Robert Wilson on Salome and Hamletmachine and co-founded the tiny mythic theatre company. She graduated from NYU’s Tisch School of the Arts with honors in 1988.
Kristin is co-founder and Artistic Director of NYC’s HERE Art Center, where she directs projects, cultivates artists and programs two performance spaces for an annual audience of 30,000. She also co-founded and is Co-Artistic Director of the annual Prototype opera-theatre festival.
Assembled Identity, photo: Purva Bedi
Looking at You, photo: Blythe Gaissert”
SANDRA MANN, photo: Tom Kauth Sandra Mann is one of the most renowned artists and photographers of Germany. In her cross-genre oeuvre - she employs a wide range of artistic forms of expression such as photography, installations, sculpture, and video - she conceptually addresses the relationship between people themselves and between people and nature, the environment, the animal world, and gender. Her work and teaching is defined by an exploration of the fundamentals of photography, imagery, and image perception. She also curates exhibitions in and outside Germany. She is a member of the international curator network Qipo and works as a jury member for photography and art competitions. Alongside various other prizes she got scholarships such as the Stipendium der Universitätsstiftung Augsburg, the Stipendium der Deutschen Künstlerhilfe, the Helsinki-Reisestipendium des Kulturamt and the Goetheplakette of the city of Frankfurt am Main. She was 2016/17 Artistic Ambassador of Stiftung Palmengarten und Botanischer Garten and since 2017 she is Artistic Ambassador of the Keep The World Foundation. Her works are represented in national and international collections, including Museum für Moderne Kunst in Frankfurt am Main, MUCA in Mexico City, Kunsthalle Wien in Vienna, Vehbi Koç Foundation in Istanbul, and the Art Collection Deutsche Börse Photography Foundation.
060814-8816 Hommage an Monet (Jessica & "Seerosen", Buchschlag, Germany), 2014
210819-1309 Tigertarn (Le Brothers & LeLe Fire,Phu Quoc, Ru Cha, Hue, Vietnam), 2019
Adeeba Shahid Talukder is a Pakistani American poet, translator, and singer. She is the author of What Is Not Beautiful (Glass Poetry Press, 2018) and her debut collection, Shahr-e-jaanaan: The City of the Beloved (Tupelo Press, 2020), is a winner of the Kundiman Poetry Prize. Her poetry has appeared in Poem-A-Day, Glass, Gulf Coast, Meridian, and The Margins, and her translations in PBS Frontline and Words Without Borders. Adeeba holds an MFA in Creative Writing from the University of Michigan and an Emerging Poets fellowship from Poets House.
Below is the film trailer for An American Prayer, featuring "A Song For My Nation"
Arhm Choi Wild is a queer, Korean-American poet who grew up in the slam community of Ann Arbor, Michigan, and went on to perform across the country, including at Brave New Voices, the New York City Poetry Festival, and Asheville Wordfest. Their debut book of poems, CUT TO BLOOM, was the winner of the 2019 Write Bloody Book Contest. Arhm is a Kundiman fellow with an MFA in Poetry from Sarah Lawrence College, and was a finalist for the Jake Adam York Prize in 2019. They have been anthologized in Daring to Repair by Wising Up Press and The Queer Movement Anthology of Literatures, and their work appears in Barrow Street, The Massachusetts Review, Pleiades, Split this Rock, and other publications. They work as the Director of the Progressive Teaching Institute and as a Diversity Coordinator at a school in New York City.
Mark Jason Weston was born in Jamaica, and now lives and works in Philadelphia.
He studied English Literature and Creative Writing at Central Connecticut State University, and has had poetry published in various American and UK literary magazines.
Somewhere on the Island, 19 x 24 inches, mixed media collage on paper, 2019
Ground Provisions, 19 x 24 inches, mixed media collage on paper, 2020
Portrait of Brian Curtin, 2021, by Be Takerng Pattanopas
Brian Curtin is an Irish-born art writer, lecturer, and curator of contemporary art. He has been based in Bangkok since 2000 where he lectures in the Department of Communication Design at Chulalongkorn University.
Brian’s work explores dialogues between contemporary art, Queer theories and studies in visual and material cultures. His commentary, essays, interviews and reviews have been published in Art Journal, Artforum, Art Asia Pacific, Circa, Craft Research, Flash Art, Frieze, Journal of Curatorial Studies and Parachute, amongst others. Brian’s monograph Essential Desires: Contemporary Art in Thailand will be published by Reaktion Books in June 2021. Research work addresses challenges in thinking through hierarchies and antagonisms that limit critical approaches to modern and contemporary art; and published essays in this respect explore the art-historical marginalizing of ‘decoration’ and also problems of national identity as a frame for recent art. Brian has presented at conferences and symposia in Kuala Lumpur, Kyoto, London and Singapore. And has held writer’s residencies in Beijing and Kuala Lumpur.
Seminar with artist Lim Sokchanlina at Toot Yung Gallery Bangok 2014
Essential Desires Publication in June 2021
Marta Obiols Fornell is a curator and an art gallery owner in Gozo, Malta. She runs the gallery together with Tomas Hed with a focus on modern, contemporary art.
She studied Philosophy in Spain and Germany and also Religious Sciences. Her strong motivation and determination in dealing with artists in Malta, especially in Gozo, has enabled her to launch a number of exhibitions, art talks, philosophy meetings, music sessions, etc. Having created interest and curiosity around art related activities, she plans to develop her gallery as a centre of culture, innovation; as a place to enjoy and share art and ideas.
She has established contacts with other galleries from Europe and continues to grow in her dealings with locals and foreigners artists. Marta’s art experiences have been quite an exciting adventure and more is to come! Marta received the Gozo’s Best Female Entrepreneur of the year 2019 Award. And she has recently published in Malta “Easeful Death”, a philosophical essay.
Tomas Hed, originally from Sweden, lives in Gozo (Malta), where he lets his imagination and creativity go wild. Here he has found his place to exploit his talents: composing music, writing and, of course, painting. He worked for many years as an Art Director in Stockholm, having his own studio in Gamla Stan, the old part of the city. As a seeking youth Tomas developed in an artistic atmosphere, living in a community with other artists. Tomas’ father was an artist too; therefore paint and canvases have always been around him.
Always polemical, provocative and with strong opinions, it’s impossible to be indifferent to his creations. The spirit of his art is inspired by an indomitable character, with a special obsession for challenging values, or “bubbles” as he calls them, of our daily life.
Edgar Oliver, photo by Pavel Antonov Edgar Oliver is a writer and performer who has lived and worked in New York for many years. He started out reading his poems and performing monologues at the Pyramid night club in the early 1980’s.
This is his third interview with Brainard Carey in this series.
From 1988 to 2001 he wrote and staged a series of autobiographical plays – premiering a new play almost every year in the Club at LaMama on east 4th Street.
Titles include The Seven Year Vacation, The Ghost of Brooklyn, Mosquito Succulence, Motel Blue 19, and The Drowning Pages.
In recent years he has written and performed a series of one man shows that have won much critical acclaim. These shows include Helen and Edgar – directed by Catharine Burns of The Moth – and East 10th Street: self-portrait with empty house, In the Park, and Attorney Street – all three directed by Randy Sharp of the Axis Theatre Company.
The images below are book covers and spreads from the poetry books mentioned in the interview that are published and sold by Oilcan Press.
Bek Andersen received an MFA in photography from the Yale School of Art in 2017 after working for several years as a fashion and entertainment photographer in New York City.
A queer spiritualist raised by devout Mormon parents in a suburb of Oklahoma City, Andersen’s work is concerned with the fictive and performative identities of power, gender, sex and the mythologies through which the present claims authenticity.
This background situates the work between a variety of technologies and attendant politics of display. Her photographs and installations present visions of truth as a provocation to look more closely at the narratives that shape our worldview.
The book mentioned in the interview was She Said, by Jodi Kantor and Megan Twohey
Garden Pleasure, Yale Architecture Gallery, Jan 2020 Window Triptych: (Pods, Figs, Pods). Common Milkweed, Camille holding figs. Materials: Newsprint, face mounted with Vegetable Oil. This Piece is 100% Compostable. 10 1/4' h x 23 1/2' w.
Who Governs? Artspace New Haven, Oct 2020 Power Portraits: The official unofficial leadership of New Haven's social justice movement Materials: Fiber Inkjet prints, Wheatpaste 6' h x 8' w
Art Values & Philosophies
By Daniel Foster
Art is fundamentally about the pursuit of beauty and/or truth. Beauty is not always truthful, and truth is not always beautiful. Very few professions work with such important content and tools for change and the humanistic benefit of the individual, family, groups, organizations, communities, and society.
Everyone’s “Wow” is equal and authentic. We are all visual creatures that become experts about what we love to look at a very early age – and then institutionalized child development and educational processes work to undermine our confidence in our own eyes and natural “response system”, further reinforced in adulthood by the art world elitist establishment and its intellectual and cultural arrogance. Eventually, too many adults don’t know or are too scared to express what they like or don’t like in art.
Trend towards collective vs. isolated impact models. Competition in the capitalistic marketplace may be good; but, it’s ‘poison’ in the charity/nonprofit world. Funders/philanthropists create grant competitions for funding between similar-missioned nonprofit organizations in the same definable community. Ultimately, this produces highly siloed, fragmented, and disorganized community efforts that DO NOT address the systemic causal factors --- but, simply place a “band aid” on the year-after-year problem. Sustainable impact models require collaborative, coordinated, and leveraged approaches utilizing many diverse leaders/organizations with adequate long-term resource support. After a century of American philanthropy, the nonprofit sector needs a revolutionary change (like every other major industry/institution in America over 100 years old). The nonprofit “operating system” has grown arcane, wasteful, and ineffective in addressing the needs of its citizens/communities. Read “Collective Impact” by Stanford Social Innovation Review.
Art is Content AND Context. The realm of content has been explored extensively in the 20th century – particularly in the postmodern era...The new frontier in art is comprehensively exploring the ‘contextualization’ of this content into our daily public and private lives and hour-by-hour “consciousness”. Many civic-public arts programs are a crude form of “tokenism” …A token nod or gesture to the local arts community. The difference between a ‘good’ and a ‘bad’ arts community is generally about 2-3 dozen outdoor sculptures/artworks scattered around many square miles of land, walkways, and streets! Most residents in a ‘good’ art city live without any ‘good’ art in their visual public/outdoor landscape, other than an occasional sculpture or mural observed for a few seconds while in transit. Most offices and workplaces are devoid of ‘good’ or ‘original’ art that reflect the values (and artists) of the local community; and, the same is true for most people’s homes. It’s befuddling that many people who spend $500,000 on a home; and $50,000 on a car; won’t even spend $500 on a good original artwork, instead opting to spend $50 on a generic framed art poster over the sofa. FYI, the art in your home speaks as loudly about YOU to your family and friends as the car or the home, maybe even more so!
Art is the “artifact” of a creative journey/process designed/executed by the artist. Most great artists are firmly committed to the “process”, recognizing that good ingredients and good processes produce good outputs and results…usually. The “artifact” is like an artist’s snapshot of his/her journey at a certain moment in time and place.
Art is spiritual technology. Many artists find their source of inspiration from deep within their soul – a powerful portal to connecting with their deepest spiritual, religious, and philosophical beliefs and sense of purpose. Thus, artmaking can be a form of spiritual practice which can produce powerful and enlightened moments of personal transformation, identity, and/or spiritual awareness.
Jared Ledesma is Associate Curator at the Des Moines Art Center in Iowa. The Des Moines Art Center is a nationally renowned modern and contemporary art museum with an esteemed permanent collection, and an art school that offers studio classes for artists of all ages. Since arriving at the Art Center in 2017, Ledesma has organized more than a dozen exhibitions. This includes Queer Abstraction (2019-2020), the Art Center’s first exhibition in its 70-year history to focus on gender and sexuality. The exhibition earned a commendation from the 2019 Sotheby’s Prize jury for its groundbreaking scholarship and the 2020 SECAC Award for Outstanding Exhibition and Catalog of Contemporary Materials. Other exhibitions Ledesma has organized include Hedda Sterne: Imagination and Machine (2020), Jeffrey Gibson: I Was Here (2019), The Art Students League of New York (2018-2019), and I, too, am America (2017). Currently, Ledesma is working on Louis Fratino: Tenderness revealed, a major exhibition opening on November 13, 2021.
Before working at the Des Moines Art Center, Ledesma was curatorial assistant in the department of painting and sculpture at the San Francisco Museum of Modern Art (SFMOMA). Ledesma is originally from the San Francisco Bay Area and holds both a BA and MA in art history from San Francisco State University.
The book mentioned in the interview was The Householders by Robert Duncan and Jess.
The images below are from an upcoming show by Olivia Valentine who has also been interviewed previously here.
Olivia Valentine, Mediate/Equivocate mockup for the exhibition “Iowa Artists 2021: Olivia Valentine,” presented at the Des Moines Art Center, March 12–May 16, 2021.
Not of longing, but of light, 2019, Plaster, rabbit skin glue, watercolor. Photo: Olivia Valentine © Olivia Valentine
Alison Ward is a multimedia artist based in Kingsbury, Texas. Her work spans the gamut from vaudeville to multimedia installation sculptures, but in everything she does she creates pieces that involve a larger audience, getting them directly involved and participating in the work. She is currently working on a collective project called Habitable Spaces. Habitable Spaces is part ecovillage, part living sculpture. It is a continually evolving project that invites a community of artists and farmers in to help visualize utopia.
Before arriving in Kingsbury, Alison lived and worked in New York city showing and performing at the Queens Museum, The Dumbo Arts Center, the Bronx Museum, the CCCB Museum in Spain, RAW Space Gallery in Australia, Castlefield Gallery in England, and the Ponce Museum in Puerto Rico. She has done residencies at Raw Space in Australia, The Artist in the Marketplace Program, the LMCC studio program, Swing Space, Flux Factory and the Islington Mill in Manchester. She has received grants and awards from the Brooklyn Arts Council, the Lewisham Arts council in London, the Idea fund in Houston, the GVEC Power up grant, Union Pacific, the San Antonio Area Foundation and the Texas Commission on the Arts.
Image of artist at home during Zoom video conference
José Guadalupe Garza was born along the US/Mexico border. He is an artist, educator, and veteran working in new and traditional media. His studio practice utilizes cinema and popular culture as theoretical frameworks to explore the changing demographic and cultural landscape of the U.S. with significance to the Latinx experience. Garza borrows from films, music, literary works, and the science fiction genre to create reimagined narratives. His projects take on various forms such as ad hoc libraries, curated screenings and exhibitions, improvisations and reenactments, experimental lectures and presentations, workshops, drawing, photography, sculpture, and video.
Garza has exhibited nationally and internationally including the 2017 Biennale de Spazio Pubblico in Rome (2017), From the Archives, Video Art in America at Everson Museum (2019), Border Control at University of Michigan Stamps Gallery (2019), and the Counterpublic Triennial (2019). He earned a BFA in Drawing from the University of Florida and an MFA in Visual Arts from Washington University in St. Louis. Currently, he serves as the Museum Educator at the Contemporary Art Museum St. Louis, is a founding member of Monaco, an artist run cooperative in St. Louis, MO, and serves on the boards of Bread and Roses Missouri, Latinx Arts Network, Paul Artspace, and the Tarble Arts Center at Eastern Illinois University.
Some of the books mentioned in the interview - My Year of Rest and Relaxation by Ottessa Moshfegh and Black Hole Survival Guide by Janna Lavin and artwork by Lia Halloran and The Broken Heart of America: St. Louis and the Violent History of the United States by Walter Johnson, also mentioned was "The Slow Cancelation of the Future", a title of a body of work and in reference to the first chapter of Mark Fisher's book, Ghosts of My Life and Franco ‘Bifo’ Berardi.
Shelter in Place (El Norte), 15 framed Polaroid photographs, 18x24 inches, 2020
WhiteNoise/BlindContour series (Skull, Books, Headphones, Fruit), archival ink on graph journal paper, 12x8.5", 2020
Carlos works with a variety of processes and materials, both living and nonliving, that result in sculptural and participatory artworks.These span across different levels of bodily sensation and awareness; from the microbiological to the performative and social bodies. His main line of line of work traces evolutionary processes that stem from digestion and cognition and result in the distribution of biological processes across multi-species entanglements and cybernetic metabolisms. Carlos has developed collaborative projects at spaces such as Autoitalia, Seventeen Gallery and Diaspore Project Space, London, Cráter Invertido, Mexico, Hangar, Lisbon as well as institutions such as CA2M, and Matadero, Madrid, HIAP Helsinki, and has shown his individual practice at LUMA Arles, Z33, Istanbul Design Biennial or the Tallin Biennial amongst others. The books mentioned in the interview were Sensitive Chaos by Theodor Schwenk, Nose Dive a field guide to the world’s smells by Harold McGee and Entangled Life by Merlin Sheldrake.
Colloquy of Vessels-2018-2020 Hand Blown Glass, steel tubing, cotton thread, avocado stone.
SAUNA - 2017
Catherine Pierce (photo by Megan Bean / © Mississippi State University)
Catherine Pierce is the author of four books of poems, most recently Danger Days, published by Saturnalia Books in October 2020.
Her other books are The Tornado Is the World, The Girls of Peculiar, and Famous Last Words.
Pierce’s work has appeared in The Best American Poetry, The New York Times, American Poetry Review, The Nation, The Southern Review, and elsewhere. An NEA Fellow and two-time Pushcart Prize winner, she is professor of English at Mississippi State University, where she co-directs the creative writing program.
Books mentioned in the interview - Danger Days, The Tornado is the World, The Girls of Peculiar and Famous Last Words.
Lenard Smith is a first generation Ghanaian-American interdisciplinary artist living and working in Los Angeles, California. Smith’s Advanced Photographic Studies MFA from Bard College grounds his work in traditional practices and methodologies — his interest in tableaux pictures are derived from historical guide books that offer solutions to life or death scenarios. Smith's experimentation with sculpture comes from an urge to collect and make meaning of the natural world we inhabit and what humankind has made of the world.
In 2020 Smith was included in virtual exhibitions with Los Angeles Municipal gallery and received grants from the Los Angeles Department of Cultural Affairs and an Artist Relief Grant to continue his studio practice from home.
Smith has held artist residencies at Salmon Creek Farm (Mendocino CA), Unpublished Studio (Los Angeles CA), and Light Work Artist Residency Program (New York), published books with Pau Wau Publications, &Press, and has had his book featured in the Radical Reading Room (2019) project at Studio Museum Harlem.
Fig. 56 Position of Bearers, 2010 From the series 'In Case of Emergency' Archival Pigment Print 30 x 40 inches Edition of 3 + 2 A.P.
Runaway Slave, 2020 Archival Pigment Print 40 x 60 inches Edition of 5 + 2 A.P.
Whether with chisel, cast shadow, plumb bob, or the tow-line of a kite, Erdim’s practice investigates the intersection of projection, place, and materiality to question axioms of architectural imagination. His work has been exhibited recently at the Constance Gallery at Graceland University (IA, USA), Yellow Door Gallery (IA, USA), the Spartanburg Art Museum (SC, USA), the Museo dell’Altro e dell’Altrove di Metropoliz (Rome, Italy), Windor (Madrid, Spain), and the Royal Danish Academy of Fine Arts (Copenhagen, Denmark). He was the co-founder of Flash Atölye, an experimental project space for art and architecture in İzmir, Turkey. This work has been supported by the Daniel J. Huberty Fellowship and the Center for Excellence in Arts and Humanities at Iowa State University, and by residencies at I-Park (CT, USA), Vermont Studio Center (USA), Babayan Culture House (Turkey), the Bernheim Arboretum and Research Forest (KY, USA), and Heima (Iceland). Awards include the 2014 Founders Rome Prize in Architecture from the American Academy in Rome, and a 2016 Santo Foundation Award for Individual Artists. He has a Bachelor of Architecture Degree from the Cooper Union, and a Master of Architecture Degree from the University of Virginia. Erdim is currently an Assistant Professor of Architecture at Iowa State University.
The book mentioned in the interview: Carlo Rovelli, Anaximander (2007) and Rovelli’s The Order of Time (2019).
Kite Choir Sounding: December 25, 2020. Waterworks Park, Des Moines. from Firat Erdim on Vimeo.
Still from Kite Choir Sounding, June 12, 2019 cookie can resonator reels
Still from Kite Choir, Sounding, May 5, 2019, Wood plate ribbon reel
Sophie Grant is an artist using painting, drawing, collage, and processes of transference and erasure to create energetic abstractions. In her work, foregrounds and backgrounds fluctuate with compositions that challenge depth perception. Pours of paint and crusty stains coagulate, evoking erosion and relief. Hand built ceramics punctuate fields of flatness, adding dimension to the rigid support of a wall. Her recent drawings are graphite rubbings that explore temporary physical and psychological sites through the echoes of histories embedded in object surfaces. These works grapple with ideas of boundaries and containers, and question what delineates the periphery of objects. Sophie's practice culls and compresses disjointed gestures, allowing shapes, digits, and surface variations to become units of measurement and unknowable markers. The result is a materially varied set of transcribed bodily perceptions, grounded in the subject of landscape.
Sophie Grant was born in Santa Cruz, California and lives and works in New York City. She received her BA in Painting from the University of California, Santa Barbara in 2008, completed her MFA at Hunter College in 2015, and attended the Skowhegan School of Painting and Sculpture in 2015. She has been a former participant in Shandaken's Paint School, The Hercules Art Studio Program, and The Keyholder Program at the Lower East Side Printshop in New York, NY, as well as a former resident at The Atlantic Center for the Arts in New Smyrna, FL, The Pajama Factory in Williamsport, PA, and Painting's Edge in Idyllwild, CA. Her work has been exhibited at Flag Art Foundation, Spring Break, Underdonk and Y2k Gallery among others. Publications include The New York Times, Hyperallergic, The Artist's Institute Hunted Book Series, and New American Paintings.
Hope Mountain, Graphite and pigment stick on canvas, 52”x 39”, 2020
Burned-over District, Graphite on canvas, 60” x 45”, 2020
An award-winning poet and playwright, Josepha Gutelius made a radical switch to visual art in 2015 — inspired by an impulse to continue writing on the canvas, to convert narratives into visions. She usually works in series, each painting an interdependent expression of a particular theme. Themes such as “Shape of Water,” “School Days,” “Theater Pieces,” “Roman Elegies,” and most recently, “Inhabiting New Earth.” Her series “Silence of Nowhere” received a generous grant from the Barbara Deming Memorial Fund. Two of her paintings are currently on view at the Albany Institute of History and Art, selected by Susan Cross, senior curator at Mass MoCA.
She lives in Saugerties, New York with her husband, whom she met at Salvador’s house in Cadaques, Spain, in 1971.
Images of her recent work can be seen on Instagram #josephagutelius.
This is the book discussed in the interview: The Elegance of the Hedgehog.
Studio View
Studio View
Mark Gerard Brogan was born in London where he studied art as an under- and post-graduate at Goldsmiths college. For over 15 years he has been living in Belgrade working as an artist and translator. As a resident in Belgrade – a foreigner in the “relaxed”, “bipolar” position of belonging – in his watercolour paintings and collages he reads society’s problems from the cracks, fractures and overlapping of socio-politico-historical phenomena.
He first exhibited in Serbia in 2010 at the Belgrade Cultural Centre showing an experimental film about an artist-run telephone call-centre. In 2017 he exhibited the large-scale photo-wallpaper “Unforgetting Aelita” in the courtyard of the Gallery-Legacy of Milica Zorić and Rodoljub Čolaković, and more recently participated in the 13th International Aquarelle Biennial in Zrenjanin, Serbia and his exhibition “Shadowy Stories” was held at Remont Independent Art Space in Belgrade. His works are in amongst others the collections of Deutsche Telekom and the InterSpace Association, Sofia, Bulgaria - Transitland. Video art from Central and Eastern Europe 1989-2009.
30 Juin 1960 Zaire Independent installation
Between Worlds
Sutthirat Supaparinya lives and works in Chiang Mai, Thailand. Her works encompass a wide variety of mediums such as installation, objects, still and moving images. Through her works, she questions and interprets public information and reveals or question what’s structure affect her/us as a national/global citizen. Her recent projects focus on history and the impact of human activities on other humans and the landscape. Sutthirat seeks to cultivate freedom of expression through her art practice.
As a visual artist among the art community in Chiang Mai, she has participated in the founding and operation of CAC – Chiangmai Art Conversation since 2013. She was a director of Asian Culture Station (ACS) in the year 2016-2019 when CAC partnered with the Japan Foundation Asia Center Tokyo to establish the project. CAC aims to promote contemporary art in Chiang Mai while ACS activated Asian culture and its network. Sutthirat earned a BFA in painting from the Faculty of Fine Arts at Chiang Mai University and a postgraduate diploma in Media Arts from Hochschule Fuer Grafik und Buchkunst in Leipzig, Germany. She is a 2005 Imaging Our Mekong media fellowship and a 2010 Asian Cultural Council fellowship at International Studio & Curatorial Program – ISCP in New York City. She was selected to participate in the International Creator Residency Program at the Tokyo Wonder Site Aoyama in 2012, Foundation Künstlerdorf Schöppingen, NRW, Germany in 2013 and Wellington Asia Residency Exchange, New Zealand in 2015. She was nominated for the Prudential Eye Awards 2016 shortlist in ‘Best Emerging Artist Using Digital/Video’, Singapore. Winners of Institut Français for an artist-in-residence at Cité Internationale des Arts, Paris, France in 2018.
Museums and galleries that have featured Sutthirat’s work include Tokyo Photographic Art Museum, Hiroshima City Museum of Contemporary Art, Mori Art Museum, Japan, Jim Thompson Art Center, Maiiam Contemporary Art Museum, Gallery Ver, Thailand, Queensland Art Gallery and Sherman Contemporary Art Foundation, Australia, the Solomon R. Guggenheim Museum, USA, Singapore Art Museum and ArtScience Museum, Singapore, Kuandu Museum of Fine Arts, Taiwan, Hong Kong Arts Centre, Hong Kong and Centre for Contemporary Art Ujazdowski Castle, Poland.
International festivals and biennials; Koganecho Bazzar 2011 in Yokohama, Yebisu International Festival for Art & Alternative Visions 2012 and 2018, Japan, EVA International [Ireland’s Biennial] in Limerick City, Ireland, 12th Gwangju Biennale, Gwangju, South Korea, Cairo Biennale 13 in Cairo, Egypt and Biennale Jogja Equator #5, Yogyakarta, Indonesia.
The highlight of upcoming exhibitions such as After Hope: Videos of Resistance, the video program under #MuseumFromHome and engage with art at a distance policy, the Asian Art Museum, San Francisco, USA [Open from Spring 2021] and The 10th Asia Pacific Triennial of Contemporary Art (APT10), Queensland Art Gallery | Gallery of Modern Art, Brisbane, Queensland, Australia [27 November 2021 – 25 April 2022]. Recently, she is a fellow of the DAAD Artists-in-Berlin Program in 2021, the one-year artist in residence in Berlin, Germany.
When Need Moves the Earth, synchronized 3 – channel video, 2014 ©Sutthirat Supaparinya
Ten Places in Tokyo, synchronized 10 – channel video, 2016, ©Sutthirat Supaparinya
These are the books that she is reading which were mentioned in the interview -
Here are the links to books that Sutthirat Supaparinya is reading: Most of them are old books and a rare find. [1] https://www.se-ed.com/product/Pirates-of-Tarutao-The.aspx?no=9789748904696&nomobile=true [2] เสียงแผ่นดิน และอ้อยในปากช้าง [3] https://m.se-ed.com/Product/Detail/2229090006237 [4] เส้นทางยุคศรีอาริยะ บันทึกกบฏ
Craig Santos Perez is a Pacific islander poet originally from Guam.
He is the author of five books of poetry and the co-editor of five anthologies.
He teaches in the English department at the University of Hawaiʻi, Manoa.
The book mentioned in the interview was Habitat Threshold.
Habitat Threshold (2020)
unincorporated territory [lukao] (2017)
Edgar Oliver, photo by Pavel Antonov
Edgar Oliver is a writer and performer who has lived and worked in New York for many years. He started out reading his poems and performing monologues at the Pyramid night club in the early 1980's.
From 1988 to 2001 he wrote and staged a series of autobiographical plays - premiering a new play almost every year in the Club at LaMama on east 4th Street.
Titles include The Seven Year Vacation, The Ghost of Brooklyn, Mosquito Succulence, Motel Blue 19, and The Drowning Pages.
In recent years he has written and performed a series of one man shows that have won much critical acclaim. These shows include Helen and Edgar - directed by Catharine Burns of The Moth - and East 10th Street: self-portrait with empty house, In the Park, and Attorney Street - all three directed by Randy Sharp of the Axis Theatre Company.
The images below are book covers and spreads from the poetry books mentioned in the interview that are published and sold by Oilcan Press.
Lunar - Photo by Sanja Tusek
Slaven Kosanovic, better known as Lunar, is a Croatian graphic and street artist, philosopher and interdisciplinary person; coming to both music and art as a child, Lunar entered what would become a career as an artist in 1989 when he first picked up a spray paint can. Thirty years later, he is a unique living witness and participant in graffiti’s evolution since then as both a subculture and an art form, and the transformations of graffiti, hip hop, and electronic music subcultures in supporting one another towards their current mainstream popularity.
Lunar has always been pushed by curiosity, discovery, and creativity. Around the time he realized he probably couldn’t make it as a paleontologist or natural scientist, a la David Attenborough -- his childhood dream -- Lunar was also fascinated by graffiti, hip hop culture, and discovering and collecting every possible form of music that he could find. Entering the world of graffiti was a way for Lunar to assert the other, non-scientific side, of his identity as an interdisciplinary artist, to make sense of the world and find a place in it. As he began painting and establishing his network throughout Croatia, he was inspired by painters and musicians from other cities and countries who were building their lives in pursuit of the most idealistic dreams; by the early 1990’s Lunar was painting with them and friends throughout Europe, while offering them insider knowledge of where and how to paint in Croatia, and places to stay when others came to Eastern Europe.
Lunar describes street cats as confident, cheeky, independent, and symbolic of the streets; he also pulled his first artistic inspiration from his cat, Jinx. His artistic career, built largely around continual reinvention of his Catso character, has also been much like that of a street cat: charting his own path, making his own rules, and constantly pushing his boundaries of creativity. Thus, by the mid-1990’s, in seeking to expand beyond graffiti and nomadism, and to push the limits of his own creativity, Lunar entered a career in graphic design (while continuing graffiti); recently, he has also started hosting his own national-level radio show in Zagreb and DJing, both as a way of sharing his passion and excitement for hip hop and electronic music that has always inspired and propelled him as an artist.
Lunar’s constant search to discover and learn from other peoples’ experience, perspectives, and creative methodologies has led him to create art on every continent, and to be included in global graffiti publications including Graffiti world-Street art from 5 continents, 100 European graffiti writers,World Piecebook, Street art & Graffiti Europe, Street Art Graffiti Guide Paris, Graffiti Planet, Style is a Message, Painted Walls Havana, Munich Walls, Street Art Amsterdam, Street Art Zagreb, 400ml, The Book of Tags, and Cinco -- 5 Years of Calle Libre. Beyond the world of graffiti, Lunar’s work and ability to independently turn creativity into a successful career have also earned him features in Playboy, Forbes, Backspin, DJ Mag, Stylefile, Graphotism, Xplicit Grafx, Bomber, Urban Roots, and Code Red, and invitations to speak at TEDx Zagreb 2015 and CreArt Encounter 2019 in Aveiro, Portugal.
Lunar’s new book “From Zagreb with Love” is hotly anticipated as one of the first histories written of graffiti as a clandestine, global, multidisciplinary art movement in Eastern Europe, which also maps its parallel development with rap and electronic music, written from the inside by one of its first practitioners. “From Zagreb with Love” will be launched at QRU in Amsterdam, the Netherlands, in collaboration with Street Art Museum Amsterdam, on 16 August 2019.
Rhytm of the Saints - Osijek 2016 - Photo by Samir Kurtagic
Blushing - Paris 2017 - Photo by Ivo Kosanovic
Some of the books mentioned in the interview are Vladimir Pistalo: Tesla: A Portrait with Masks and Matej Su...
Ward Shelley works as an artist in New York and Connecticut. He is interested in constructed worlds and intersecting narratives; how they create, mediate and inform each other. He wants to know how things really work.
Shelley specializes in large projects that freely mix architecture and performance. For more than a decade, he has been collaborating with Alex Schweder, using experimental architecture to explore the dance between the designed environment and its consequences. Since 2007, the duo have designed, built, and lived in (or on) seven structures, all of them in locations where the public are invited not only to witness, but also to actively engage with the artists in direct dialogue about their practice—an activity that has coalesced into what they call “performance architecture.”
Shelley also works on diagramatic paintings: information-based timelines on culture-related subjects and historical postmortems. He frequently works with Douglas Paulson on installations and environments that attempt to turn mind, text, and meaning inside out (for a better look). They created the “The Last Library” project for Spaces in 2015.
Shelley’s work has been exhibited in more than 10 countries and is in a number of museum collections including the Museum of Modern Art, The Whitney Museum, the Brooklyn Art Museum, and The Elizabeth A. Sackler Center for Feminist Art. Shelley received a Painting and Sculpture award from the Joan Mitchell foundation, and has been a fellow of the American Academy in Rome since 2006. He has received NYFA and NEA fellowships in sculpture and new media categories, a Bessie Award for installation art, and grants from the Jerome Foundation and the Pollock-Krasner Foundation. He is represented by Pierogi Gallery in New York.
Information on the book mentioned in the interview - The Righteous Mind: Why Good People are Divided by Politics and Religion is a 2012 social psychology book by Jonathan Haidt, in which the author describes human morality as it relates to politics and religion.Haidt presents moral foundations theory, and applies it to the political beliefs of liberals, conservatives, and libertarians in the US.
In Orbit; 2014 - A collaboration of Alex Schweder and Ward Shelley in Brooklyn. As a performance, the artists lived on the wheel for 9 days and nights. Walking together turns the wheel and brings them their beds, bathroom, kitchen and desks. photo credit Double Cyclops
Work, Spend, Forget; 2013 - In this diagram, Shelley traces the parallel histories of consumerism, manufacturing, and marketing using the form of a dissected frog to suggest their effect on society. photo courtesy of Pierogi Gallery.
The Room Where It Happened; 2020 - A diorama that imagines a series of rooms in which plans are made to alter and direct public opinion for political and economic purposes. An immersive yet diminishing environment, the rooms contain charts, files, books, and notes, all which have a certain historical resonance. Ward Shelley and Douglas Paulson. photo credit: Carlton Bright
George Abraham (they/he) is a Palestinian american poet from Jacksonville, FL. They are the author of Birthright (Button Poetry) and the specimen’s apology (Sibling Rivalry Press). He is a recipient of fellowships from Kundiman and the Boston Foundation, and a board member for the Radius of Arab American Writers (RAWI). Their poetry and nonfiction have appeared in The American Poetry Review, The Baffler, The Paris Review, The Missouri Review, Mizna, and elsewhere. He currently resides on stolen Massachusett land, where he is a Bioengineering PhD candidate at Harvard University, and teaches in Writing, Literature, and Publishing at Emerson College.
Order Birthright, in print or audiobook form, from Button Poetry: bit.ly/georgebirthright
Bazzett and his dog, Zeus, playing chess during the pandemic. (photo credit: Leslie Bazzett)
Michael Bazzett is a poet, teacher, and translator. His debut collection of poems, You Must Remember This, won the Linquist & Vennum Prize in 2014, and his fourth collection, The Temple, was published by Bull City Press in 2020.
His fifth book, The Echo Chamber, is forthcoming from Milkweed Editions in 2021. His work has appeared in The American Poetry Review, The Threepenny Review, Image, The Sun and Ploughshares, and his verse translation of the Mayan creation epic, The Popol Vuh, (Milkweed, 2018) was longlisted for ALTA's National Translation Award, as well as being named one of 2018’s ten best books of poetry by the NY Times.
He has received fellowships from the NEA, Teachers & Writers' Collaborative; you can find out more at www.michaelbazzett.com.
Tim McFarlane is a painter based in Philadelphia, PA. His paintngs and works on paper examine the fluid and contradictory nature of memory and place, with an emphasis on color, multi-layered systems and process. His practice has extended to include wall-based painting and drawing installations, as well. Much of his work is informed by everyday observations of the visual impact of human activity and engagement with the outdoor environments of his native Philadelphia. Tim is a 1994 Temple University/Tyler School of Art graduate who has exhibited his work extensively in the U.S. and has been featured in major art fairs in New York, Miami, Dallas and San Francisco. He has been a visitng artist and lecturer at several universities, has been a regular participant in artist panels and has taught at Tyler School of Art & Architecture. Tim McFarlane’s paintings and works on paper reside in numerous private and public collections such as Bucknell University, Fox School of Business (Temple University) and West Virginia University. His work is represented by the Bridgette Mayer Gallery (Philadelphia) and ParisTexas LA (Los Angeles). The book mentioned in the interview was: Because Internet
Installation view of Until The Break of Dawn, 2020, mixed media on drywall, 9.5' x 10' x 3'
Born and raised in East New York Brooklyn, Vocal Artist, Performer, Composer, Storyteller Shelley Hirsch, has been pushing boundaries with her unique vocal art and performance work, drawing on her life experiences, her memory and her vivid imagination for decades. She has performed her work on five continents and can be heard on more than 70 recordings. Hirsch has received prestigious awards including a John Simon Memorial Guggenheim Fellowship; A Foundation for Contemporary Arts Grants to Artists; four NYFA awards in Music and Interdisciplinary Work, a Creative Capital Grant , and residencies including the DAAD in Berlin, Yaddo, and six at Harvestworks Digital Media Center in NYC. In 2018 Hirsch's archives were acquired by The Fales Library at NYU for The Downtown Collection. See / hear more of her work in quarantine include performance improvisations at home. And Generating text Field recordings in Quarantine, and an excerpt from her performance/installation as artist in residence at QueensLab.
Jenny Roesel Ustick is Associate Professor of Practice and Foundations Coordinator in the School of Art - DAAP at the University of Cincinnati. She holds an MFA from the same program and a BFA from the Art Academy of Cincinnati. A Cincinnati native, Ustick has become one of the most prominent muralists in her region, completing over 10 large-scale public mural projects with ArtWorks and several independent projects that include commissions from the US Soccer Federation, 21C Museum Hotel Cincinnati, and multiple local establishments. Her Mr. Dynamite (James Brown) mural in Cincinnati has earned her and Cincinnati international attention. Elsewhere in the U.S., Ustick has created or contributed to murals in Tennessee, New Mexico, Illinois, Kentucky, and Florida, including invitations to the Walls for Women mural festival in Tennessee, and the CRE8IV Mural Festival in Rockford, Illinois. Internationally, Ustick has participated in the Proyecto Palimipsesto mural residency with La Fundación ‘ace para el Arte Contemporáneo y el ‘acePIRAR, Programa Internacional de Residencias Artísticas in 2017 in Buenos Aires, Argentina, and was Artist in Residence in spring 2018 with the Graniti Murales program in Graniti, Sicily. Ustick’s multimedia solo and collaborative studio practice is based in drawing and painting, with expansions into multimedia textile and time-based installations. Her solo and collaborative works have been exhibited in numerous galleries and museum venues that include the Kentucky Museum of Art and Craft, the Contemporary Arts Center in Cincinnati, the Dayton Art Institute, the Cincinnati Art Museum, New Harmony Gallery of Contemporary Art, and Redline Contemporary in Denver. She has participated in multiple international art fairs including Governors Island Art Fair in New York, Edinburgh Fringe Festival, and ArtPrize. Ustick is also a published critical art writer, contributing essays to The Cincinnati Anthology from Belt Publishing, and Still They Persist: Protest Art from the 2017 Women’s Marches. Ustick’s mural projects have been featured in Forbes, American Quarterly, Hyperallergic, La Sicilia, and numerous local publications and broadcasts; collaborative studio projects have appeared in the Huffington Post and Venus Zine. You can find her work at www.jennyroeselustick.com, and on Instagram @j_r_ustick.
Studio Character 2, 2019, photo taken by Miki Carmi. Born in 1975, Jerusalem, Israel. Lives and works in Brooklyn, NY. Tamy Ben-Tor is a graduate of The School of Visual Theatre, Jerusalem in 2001, and the M.F.A. program in Visual Art at Columbia University 2006. Using spoken word, various soundtracks, costumes, masks and wigs, Ben-Tor's videos and performances are a hysteric embodiment of her surroundings and an amplified over exaggerated interpretation of “Normal” . “My consciousness is a sponge absorbing all of contemporary filth. The artistic process for me, in the form of a performance, is to solidify this sponge into a hard stamp tool and press it back onto the audience's consciousness for the duration of the performance. At the end, I hope they come out of it stained, impressed, as I am, by the ailments of this time which we live in.” She has had solo shows at the Moderna Museet, Stockholm; Atlanta Contemporary Art Center; Kunsthalle Winterthur; and Cubitt, London. Ben-Tor has also participated in exhibitions at ZKM, Karlsruhe; Institute of Contemporary Art, Philadelphia; Biennale of Sydney; Manifesta 7; Mori Museum, Tokyo; MoCA, Los Angeles; Reina Sofia, Madrid; as well as the PERFORMA 05 and PERFORMA 07 Biennials, New York. She has been collaborating with artist Miki Carmi since their joint Artists’ book “Disembodied Archetypes” Regency Arts Press , 2008. To learn more, check out Minerva projects link for their book project. Also, here is links to the videos discussed in the interview: Suma Kom Laudum, 2020. Bill Gates, 2020 and Revenge of The Bureaucrats, 2020.
Studio Character 3, photo taken by Miki Carmi.
Video still from young emerging artists eating and fucking, 2015
Alissa Juvan is an accredited coach and elevatED certified pole dance instructor.
A Vermont native, she moved to the UK for a number of years where she supported other artists in their creative careers through one-on-one coaching and development events before moving to Los Angeles to fulfill her own creative ambitions of being an actor.
Notable acting roles include “I Spit On Your Grave: Vengeance is Mine” and “Ryan Hansen Solves Crimes on Television”, in addition to writing, producing and starring in an original series, “Kiddie Litter”, about a lesbian couple raising their son like a cat. Recently returned to Vermont, Alissa loves supporting other women through offering sensual movement workshops, one-on-one coaching, and retreats. Learn about her upcoming event here. The book mentioned in the interview was The Hate U Give.
Post-workshop and feeling fabulous
Still from sensual movement workshop free dance
Jmy James Kidd makes dances, textiles and community spaces. She is the founder of Pieter Performance Space in Los Angeles, CA. Choreographic commissions include REDCAT, The Kitchen, Made in LA 2014, The Broad, The Getty, Pacific Standard Time 2013. Residencies include Massachusetts Institute of Technology, BOFFO, Museum of Contemporary Art Detroit. She is visioning a Music and Dance Temple to be built somewhere sometime in the next 10 years. She frequently collaborates with her wife, musician Tara Jane ONeil (musical collaborator) Insta: @jameskidd_studio. Perin Hailey McNelis is a dancer and botanist based in Patagonia, Arizona. Perin holds a BFA in dance from NYU’s Tisch School of the Arts. Perin started working with James Kidd in 2012 as a dancer in the Sunland Dancers group and as the PR manager for Pieter Performance Space.
Perin has performed at the Skirball Cultural Center, Machine Project's Mystery theater, the Hammer Museum's Made in LA biennial, the Getty Museum, the Broad Museum and various galleries. Perin returned to her home in Arizona in 2015 to pursue interests in regionally specific ethnobotany and ecological work in the borderlands. Perin joined the Borderlands Restoration Network horticulture team in 2015 and now is the Assistant Manager for the Native Plant Materials program where she manages the seed lab and coordinates art+ecology programming. Perin is passionate about somatic practices, activism and geography - particularly in the form of land stewardship.
Books mentioned in the interview were: The Wild Kindness and A Pattern Language.
video still from BRINK. 2019, Created and performed by Nickels Sunshine, Jmy James Kidd and Dezmon OMega Fair. Video Directed by Brian Getnick 2019. Costumes by Jmy James Kidd. Sound Score by Dezmon Omega Fair.
Current work, iphone video still from rehearsal October 2020 in Landers, CA titled "Believers" Jmy James Kidd (dancer/choreographer), Perin Hailey McNelis (dancer/collaborator), Tara Jane ONeil (musical collaborator)
Tammy Nguyen is a multimedia artist whose work spans painting, drawing, printmaking, and publishing. Intersecting geopolitical realities with fiction, her practice addresses lesser-known histories through a blend of myth and visual narrative. She is the founder of Passenger Pigeon Press, an independent press that joins the work of scientists, journalists, creative writers, and artists to create politically nuanced and cross-disciplinary projects. Born in San Francisco, Nguyen received a BFA from Cooper Union in 2007. The year following, she received a Fulbright scholarship to study lacquer painting in Vietnam, where she remained and worked with a ceramics company for three years thereafter. Nguyen received an MFA from Yale in 2013 and was awarded the Van Lier Fellowship at Wave Hill in 2014. She has exhibited at the Rubin Museum, The Factory Contemporary Arts Centre in Vietnam, and the Bronx Museum, among others. Her work is included in the collections of Yale University, the Philadelphia Museum of Art, MIT Library, the Seattle Art Museum, the Walker Art Center Library, and the Museum of Modern Art Library.
"This is how the village people bury their dead", Watercolor, vinyl paint, pastel, and metal leaf on paper stretched over wood panels, 24" x 20" , 2020
Martha's Quarterly, Issue 17, Fall 2020, "There are No Edges on the Moon"
Philemona Williamson is a narrative painter who has shown widely in the United States and abroad. Her work explores the tenuous bridge between adolescence and adulthood, encapsulating the intersection of innocence and experience at its most piercing and poignant moment.
The lush color palette and dreamlike positioning of the figures ensures that their vulnerability - of age, of race, of sexual identity - is seen as strength and not as weakness. “My figures navigate a world of uncertainty as they search for understanding—both internally and in ever-shifting environments. I see the figures as vehicles to explore the existence of the most vulnerable adolescents, those evolving people of color, grappling with what will define and identify them. My paintings give voice and space to invisibility.”
Williamson has exhibited her work for over 25 years at the June Kelly Gallery in NYC and recently, at her mid-career retrospective at the Montclair Art Museum in NJ. She is the recipient of numerous awards and residencies including the Joan Mitchell Foundation, Pollock Krasner, National Endowment For The Arts, New York Foundation For The Arts and Millay Colony as well as serving on the advisory board of the Getty Center for Education. Her work has been shown in many solo and group exhibitions such as The Queens Museum of Art, Wisconsin's Kohler Art Center, The Sheldon Museum in Nebraska, The Bass Museum in Miami, The Mint Museum in North Carolina, The Forum of Contemporary Art in St. Louis, The International Bienal of Painting in Cuenca, Ecuador and most recently at the Anna Zorina Gallery in NYC. She is represented in numerous private and public collections, including The Montclair Art Museum; The Kalamazoo Art Institute; The Mint Museum of Art; Smith College Museum of Art; Hampton University Museum; Sheldon Art Museum; Mott-Warsh Art Collection, and AT&T. Her public works includes fusedglass murals created for the MTA Arts in Transit Program at the Livonia Avenue Subway Station in Brooklyn, a poster for the MTA Poetry In Motion and — for the NYC School Authority — a mosaic mural in the Glenwood Campus School. She currently teaches painting at Pratt Institute and Hunter College in NYC. For Philemona’s latest project, she created a series of paintings for the children’s book Lubaya’s Quiet Roar, just out from Penguin Random House.
"The Gathering" 48" x 60 ” oil on canvas 2019
"Here I Hold Becoming” 48” x 60” oil on canvas 2020
Ali LeRoi is an Award-winning writer/director/producer best known for his work on the critically acclaimed series, CW's “Everybody Hates Chris”, TBS "Are We There Yet?" and the breakout Hit for STARZ, “Survivor’s Remorse”. Ali has five Emmy nominations as well as one win, he’s a two-time winner and five-time nominee for NAACP Image Awards, as well as scoring several nominations from the Golden Globe, WGA, and others. Ali’s major motion picture credits include producing and co-writing “Head of State” and “Down to Earth,” as well as producing cult- favorite, “Pootie Tang.” His feature film Directorial Debut “The Obituary of Tunde Johnson” premiered at The Toronto Film Festival and is slated for release in 2021. The book mentioned in the interview is Open City by Teju Cole.
Award winning portrait of Chaz Jordan/ Creative Director and Founder of Ih Nom Uh Nit.
“Sir Nose DVoidoTrump” / Protestors photographed at Los Angeles City Hall/ Inauguration day 2017
Ann McCoy is a New York-based sculptor, painter, and art critic, and Editor at Large for the Brooklyn Rail.
She was awarded a 2019 John Simon Guggenheim Foundation Fellowship. She lectured on art history, the history of projection, and mythology in the graduate design section of the Yale School of Drama until May 2020, and taught in the Art History Department at Barnard College from 1980 through 2000.
She has written about artists working with projection including William Kentridge, Tony Oursler, Nalini Malini, and Krzysztof Wodiczko. Ann McCoy and Kentridge did a conversation at the American Academy in Rome for his Tiber project, “Triumphs and Laments”, which was published in the Brooklyn Rail.
Ann McCoy’ work is included in the following collections: the Metropolitan Museum of Art, the Los Angeles County Museum of Art, the Hirshhorn Museum and Sculpture Garden, the Museum of Modern Art, the National Gallery of Australia, the Roy L. Neuberger Museum, the New Orleans Museum of Art, the San Francisco Museum of Modern Art, and the Whitney Museum of American Art, among others. Ann McCoy has received the following awards: the John Simon Guggenheim Fellowship, the Asian Cultural Council, the Pollock Krasner Foundation, the Adolph and Esther Gottlieb Foundation Award, the Award in the Visual Arts, the Prix de Rome, the National Endowment for the Art, the Berliner Kunstler Program D.A.A.D., and the New Talent Award of Los Angeles County Museum of Art.
Ann McCoy has exhibited in the Venice Biennale and the Whitney Annual, and has had one-person exhibitions in New York, Los Angeles, New Delhi, Poland, and Berlin. She is known primarily known for her large format drawings, work with projection, installation, and bronze sculpture.
Ann McCoy worked with Prof. C.A. Meier, Jung’s heir apparent for twenty-five years in Zurich. She has a background in Jungian psychology and philosophy. She has studied alchemy since the early seventies in Zurich, and Rome at the Vatican Library. Most of her work is based on her dreams, and their relationship to alchemical texts, and Christian alchemy in particular. For McCoy, alchemy is a symbolic language of processes dealing with spiritual transformation. Incarnation of spirit into matter is the key concept of the alchemical practice. The imagination is the gateway to the gods.
Dream of the invisible College (Size: 9 x 14 ft. ) pencil on appear on canvas (2018) photo credit: Peter Dressel
Processional with Resplendor (Size: 19" by 7 ft. 2" by 9 inches) cast bronze with silver crown (installation 2018) photo credit: Peter Dressler
Robin Pogrebin is a reporter on the Culture Desk of The New York Times, where she covers cultural institutions, the art world, architecture and other topics.
She is also the author, with Kate Kelly of the book, “The Education of Brett Kavanaugh: An Investigation,” published in September 2019. At the Times, she has also covered the media industry for the Business Desk and city news for the Metro Desk. Prior to joining the Times in 1995, she was an associate producer for Peter Jennings’ documentary unit at ABC News and, before that, a staff reporter at The New York Observer.
Her freelance work has been featured in magazines like Vogue, Town & Country and Departures, along with several book anthologies. Pogrebin, who also teaches writing at the School of Visual Arts, is a frequent moderator, radio guest and speaker. She lives in New York City.
Self-Portrait in Blonde Wig, 2007
Jessamyn Lovell (b. 1977, Syracuse, NY) is a conceptual artist working with photography, video, performance, and surveillance contemplating class and personal identity. Lovell holds a BFA from Rochester Institute of Technology and an MFA from California College of the Arts.
She is based in Albuquerque, NM where she is currently a Senior Lecturer and Undergraduate Director of the Art Department at the University of New Mexico. Lovell is a founding member and activist leader in the United Academics of the University of New Mexico, the institution's new faculty union and a licensed and practicing private investigator.
Lovell has received international recognition for her artwork including Dear Erin Hart, for which she found, followed and photographed her identity thief. She received her private investigator’s license in 2017 for D.I.Y. P.I. (Do It Yourself Private Investigation), a long-term conceptual art piece.
Self Portrait Mirror, 2017 Self-portrait taken on surveillance, from Do It Yourself Private Investigation (2016-current), 50"x70” archival inkjet print
Self-portrait taken on surveillance, from No Trespassing, (2007-2009), 40x70” archival inkjet print
Matthew Langley received his BFA from Corcoran School of Art in Washington DC in 1985. Since then, Langley’s work has been shown extensively in the United States and Europe through numerous group and solo exhibitions.
Recent exhibitions include; Big Circle at M17 Contemporary Art Center, Kiev, In Color at Page Bond Gallery, Richmond, VA and The Unified Field at Blank Space, New York, NY.
Langley’s artworks have also been included in various public and corporate collections including; the International Museum of Collage, Assemblage, and Construction, The Doris Patz Collection at the University of Maryland University College (UMUC), DC Commission for the Arts and Humanities, Ernest and Young, PNC Bank, Saks Fifth Avenue, Norwegian Cruise Lines, MacAndrews & Forbes and the State Department of the United States.
He currently lives and works in New York.
Books mentioned in the interview were White by Kenya Hara. Hara has been the art director of Muji since 2001. Also mentioned were the books of John le Carré
Photo of studio with the large painting in process that is mentioned in the interview; Unfinished, 2020, 60 x 96 inches
Marine Drive, 2019, 38 x 31 inches, acrylic on paper
Zine by Matthew Langley and book by J Saltz
Sarah Lawson is a writer and editor based in Brooklyn. They are a member of the Ugly Duckling Presse editorial collective, and act as UDP's Publicity Director.
Lee Norton is a member of the Ugly Duckling Presse Editorial Collective, where he also serves as the Development Director. He teaches composition and literature at Queens College CUNY, usually with a focus on the history and rhetoric of the life sciences, theories of genre, 20th-century fiction, and contemporary poetry, in some combination. He earned a PhD in English and Comparative Literature at UNC-Chapel Hill; his critical work has appeared in Occasions; his poetry, in Ohio Edit, Drunken Boat, Supermachine, and several other magazines.
Ugly Duckling Presse is a nonprofit publisher for poetry, translation, experimental nonfiction, performance texts, and books by artists. Through the efforts of a volunteer editorial collective, UDP was transformed from a 1990s zine into a mission-driven small press that has published more than 300 titles to date, and produced countless prints and ephemera.
UDP favors emerging, international, and “forgotten” writers, and its books, chapbooks, artist’s books, broadsides, and periodicals often contain handmade elements, calling attention to the labor and history of bookmaking.
UDP is committed to keeping its publications in circulation with our online archive of out-of-print chapbooks and our digital proofs program. In all of its activities, UDP endeavors to create an experience of art free of expectation, coercion, and utility.
Here is a link to the pamphlet subscription mentioned in the interview and the regular subscription is here.
And here is some more writing on the reasoning / history that went into doing the pamphlet series, in the words of editor Daniel Owen.
Soviet Texts, the first representative selected volume of poetry by Dmitri Alexandrovich Prigov, a leading writer of the late Soviet and early post-Soviet era and one of the founders of Moscow Conceptualism.
The first batch of the 2020 Pamphlet Series, with work from Simon Cutts, Sergio Chejfec, Don Mee Choi, Steven Zultanski, and Aleksandr Skidan.
Bobbie Louise Hawkins' autobiographical novel One Small Saga; and Laura Riding's first book of poetry, The Close Chaplet.
Natalija Vujošević is an artist and curator based in Montenegro, Yugoslavia.
The focus of her research and practice is the presentation of archives through exhibition-making, seeking renewed modes of communication, engagement, and understanding through new interpretations and expanded forms. She has lead and curated this kind of work on a number of research projects and public presentations, such as:
Comrades / Women's Movement in Montenegro 1943 - 1953 / with Nataša Nelević
A research project and exhibition dedicated to the AFZ archive (the anti-fascist front of women in socialist Yugoslavia. Archive + contemporary art interventions and interviews.
"Why Have There Been No Great Men Artists?" Collections of the British Council in cooperation with the National Museum of Montenegro, (with a focus on women artists and their position in collections and in the art scene.
Missing Stories / Forced labor in Nazi Germany, organized by the Goethe Institute Belgrade / Salon of the Museum of Contemporary Art Belgrade).
She is the founder and director of the non-governmental organization, the Institute of Contemporary Art in Montenegro, which has been active since 2015, which is dedicated to contemporary art theory, education, research, and archives. The Institute established the first award for the young artists in Montenegro (in cooperation with Trust For Mutual Understanding New York). In the National Library of Montenegro, they are developing an alternative book collection that consists of art theory, philosophy, and humanistic science written in the last 3 decades (after Yugoslavia).
Her recent artist research is focused around Issues of life on the sidelines of global capitalism: the fatal transition of the Western Balkans and the neo-colonial politics and the occupation of natural resources on the Adriatic coast.
The book mentioned in the interview was; Breathing / Chaos and Poetry / Franco "Bifo" Berardi.
The study of Nature, Installation in public vitrine, 2020, mirror, textile, curtains, South south lets go south Biennale Serbia.
Body Installation, 2017, ceramic tiles, textile, wood. Nida Art Colony
Ellen Winkler is a print maker, painter and graphic designer who lives in the Washington D.C. metropolitan area. She studied art during her undergraduate years at Kalamazoo College in Kalamazoo, Michigan. That educational experience afforded her the opportunity to live and work in New York City as a participant in the Great Lakes Colleges Association "Semester in New York”. She worked as an apprentice to the artist, Willard Midgette.She came to the Washington area in 1977 to pursue a graduate degree at George Washington University, where she focused on Graphic Design. She was Art Director of The Chronicle of Higher Education’s Opinion and Arts weekly magazine, The Chronicle Review and is retired. She is a member of the Los Angeles Printmaking Society.Deeply influenced by the artist Jack Boul, she has spent much time exploring monotypes as a means of responding to the landscape. She has recently been working with drypoint, copper engraving and etching. Her etchings particularly reflect recent drawings which are explorations of seen and unseen places. Additionally, she has been rendering landscapes using oil paint on prepared board.
"Getting to There”; 2020; 6 5/8" x 7 1/2"; Oil on prepared board
“Tired Going Home”; 2020; 6" x 5; Drypoint and Engraving printed with Chine Collé
Thea Matthews is a Brooklyn-based poet, activist, and educator of Afro-Indigenous Mexican heritage. Born and raised in San Francisco, California, Thea is the author of Unearth [The Flowers] (Red Light Lit, 2020).
Her work has appeared in The Rumpus, Atlanta Review, The New Republic, and others. Currently, she is an MFA Poetry candidate at New York University and editor of For Women Who Roar magazine.
Links to purchase the book and have more info, click here and also here.
The following printed poem was read during this interview.
Dr. Milena Dragićević Šešić, prof. emerita, former President of University of Arts, Belgrade, founder of UNESCO Chair in Interculturalism, Art Management and Mediation, professor of Cultural Policy & Management, Cultural studies, Media studies. Diplomas: D.E.A. Paris-VIII 1977, Mag. University of Arts Belgrade (1981), and Ph.D. in literature and communication University of Belgrade (1990). Commandeur dans l`Ordre des Palmes Academiques (French Ministry of Education) 2002. ENCATC Fellowship Laureate 2019. University of Arts Laureate in 2004 & 2019.
Guest Lecturer at numerous world universities. Published 20 books and more than 200 essays: Vers les nouvelles politiques culturelles; Art management in turbulent times: adaptable quality management; Intercultural mediation in the Balkans (both with S. Dragojevic); Culture: management, animation, marketing (with Branimir Stojković); Neofolk culture; Art and alternative… Translated in 17 languages. Expert for UNESCO, European Cultural Foundation, Council of Europe. Realized 50 projects in cultural policy and management (Europe, India, Cambodia, Arab countries, Central Asia). The books mentioned in the interview were: The Art and Culture of Dissent The Maaya entrepreneurship: the entrepreneurial model of the Festival sur le Niger and Devojka sa štapom.
In October 2019 Milena Dragićević Šešić became the first ENCATC laureat for her “outstanding achievements in cultural management and policy” ENCATC is a European network on cultural management and policy regrouping higher education institutions that have education and research in these areas. just a dot is missing in between two phrases - so it should be: In October 2019 Milena Dragićević Šešić became the first ENCATC laureat for her “outstanding achievements in cultural management and policy”. ENCATC is a European network on cultural management and policy regrouping higher education institutions that have education and research in these areas.
Milena Dragićević Šešić & Sanjin Dragojević, Intercultural mediation, in albanian language Priština, MM Publishing, 2007, Book cover and design, artist Dren Maliqi. Original edition in Bosnian-Serbo-Croat, OKO Sarajevo 2004. This book was translated in English, French, Georgian & Albanian language.
Milena Dragićević šešić and Sanjin Dragojević (2005) Art Management in Turbulent Times: Adaptable Quality Management, Amsterdam: Boekmanstichting
Suzan Shutan received her BFA from California Institute of the Arts, Valencia, CA studying with Judy Pfaff, Elizabeth Murray, Linda Benglis, Jonathan Borofsky, and so may other amazing artists who impacted her work. Her MFA was from Rutgers University Mason Gross, NJ where she studied with Leon Golub, Martha Rossler, Geoff Hendricks and a long list of great visiting artists. Her work has been shown throughout the United States, South America and Europe in 20 solo exhibits and 198 group exhibitions. She has received many grants, attended artist residencies, has been reviewed by the New York Times, Smithsonian Magazine, International Sculpture Magazine and published in the book Paper Art II by Artpower International Publishing.
Her work is in private and public collections with recent commissions by Log Me In, Boston Headquarters, MA and Sloan Kettering Hospital, NYC, NY. You can more of her work on Artsy and First Dibs with ODETTA Gallery NY, and on instagram #sshutan and on her website.
Her curating career began at the Des Moines Art Center in Iowa where she curated exhibits for the Education Wing. Her first exhibit “Mouse Art”, miniature two and three dimensional work that got exhibited along the baseboards of the entire wing, was a huge hit, was picked up by the Associated Press and went viral. She has curated twenty exhibits in the last thirty years, the most recent being in 2019, MATERIALIZED ,at Hampton Gallery at the University of Massachusetts Amherst.
Shutan, 2018, Energy Grid, Arts & Cultural Center Hollywood, FLA, 4ftx 18ft, paint, wire, pompoms.
Shutan, 2019, Toxic-Stream, tar paper, handmade dyed paper, pins, 22ft x 5.5ft x 222_Flinn Gallery Greenwich, CT
Babe, Sopot, 27.08.2020. Vesna Tasic, Goran Denic. Muzej korupcije, umetnicka instalacija, organizacija ZMUC, zemunski mali umetnicki centar. RAS foto Aleksandar Slavkovic
Goran Denić, was born 1966 in Belgrade, Yugoslavia. 1985 -89 studied Law at Belgrade Faculty of Law, 1989 - 1992 BA FA from Faculty of Fine Arts in Belgrade, University of Arts, Serbia. 1992 - 94 MA in Fine Arts with distinction in sculpture at UCT, South Africa. Besides working as an art manager and art director in native organisations he is experienced artist in cross media, from traditional (sculpture and printmaking) to audio, film and animation. Lived in Angola, Mozambique and South Africa, now lives in Belgrade, Serbia. One of the founders of ZMUC (community art centre) and Museum of Corruption. Exhibited in Albania, Israel, Japan, South Africa, Mozambique, Serbia, Thailand and Montenegro. You can see some of his works here and if you can read Serbo-Croatian you can seel and comment son his book here.
remember spain, bronze wood acrilic, 60x60x30
hallo mum, 2005, bronze steel, 120x30x40cm
Lida Winfield
Lida Winfield is an innovative and accomplished dancer, choreographer, spoken word artist and educator.
She believes that our bodies carry wisdom, history and stories. Through movement we are granted the opportunity to actively engage with that wisdom and history from a new perspective. Learn more on her website at www.lidawinfield.com.
Imaginary:Lida Winfield, Ellen Smith Ahern, Maree ReMalia, Matthew Evan Taylor and Joseph Hall. Mixing dance/theater, storytelling, lighting design and original audio scores, IMAGINARY, is a quirky, innovative yet socially poignant work that explores perception in relationship to the imagination. Photo Credit: Jonathan Hsu.
Same but Different: Christal Brown and Lida Winfield
Carrie Moyer. Photo credit: © Girl Ray, 2016
Carrie Moyer is an artist and writer known for her sumptuous paintings which explore and extend the legacy of American Abstraction, while paying homage to many of its groundbreaking female figures, among them Georgia O’Keeffe, Helen Frankenthaler and Elizabeth Murray. In equal measure abstract and representational, Moyer’s work proposes a kaleidoscopic worldview that embraces the sensual as much the rational. Playful logo-like silhouettes — vessels, towers, portals, meteorological phenomena, plant life, animal and human forms — demarcate arched prosceniums or abstract fields of color. These flattened archetypes and cheeky reference points often perform as compositional rigging around which flow cascades of paint, glitter and light. Whether invoking the natural or constructed world, inventive paint handling and succulent color seem to tempt all of the viewer’s senses, from sight to touch to taste (perhaps even sound!). The resulting spaces — lush and transporting — are uniquely Moyer’s own.Moyer’s work has been exhibited throughout the US and Europe.
Her paintings were featured in the 2017 Whitney Biennial. Previous museum shows include a traveling survey, Carrie Moyer: Pirate Jenny, that originated at the Tang Museum, Saratoga Springs, NY; and Interstellar, at the Worcester Art Museum, MA (2012). Between 1991-2008, Moyer and photographer Sue Schaffner collaborated as Dyke Action Machine!, a public art project that humorously dissected mainstream advertising through the insertion of lesbian imagery. Moyer’s writing has appeared in periodicals such as Art in America, Artforum, the Brooklyn Rail and monographs on Louise Fishman and Nancy Grossman.
She has received awards from the Guggenheim and Joan Mitchell Foundations, Anonymous Was a Woman, and Creative Capital among others. Moyer attended Pratt Institute (BFA), Milton Avery Graduate School of the Arts, Bard College (MFA) and the Skowhegan School of Art. She is of the Director of MFA Program in Studio Art at Hunter College. Moyer is represented by DC Moore Gallery in New York City.
The collaborative exhibition mentioned in the interview can be explored through this link to the Portland Museum.
Carrie Moyer, “Fan Dance at the Golden Nugget,” 2017. Acrylic, glitter on canvas. Collection of the Des Moines Art Center, Des Moines, IA
Carrie Moyer, “The Crux,” 2006. Acrylic on canvas. Private collection
Simonida Rajcevic was born in Belgrade on April 2nd, 1974. She graduated from the Faculty of Fine Arts in Belgrade in 1997 and in 1999 she received her Post Graduate's Degree and in 2015. she finished her PhD in Art at the Faculty of Fine Arts in Belgrade . She obtained a DAAD stipend to do first year post-graduate studies in Berlin, Germany. Since 2000, she has herself been working as an associate professor at the Facutly of Fine Arts in Belgrade. From 2008 until 2010 she was working as a guest associate professor at the Faculty of Architecture, Belgrade. Simonida Rajcevic has exhibited her works independently and together with other artists, both at home and abroad.
Fake Pain ,STEEL, STYRODUR, PAPER MACHE, 5,50 M X 2, 90 M, 2020
Strange waves 05,OIL ON LINEN, 203 X 160CM, 2016
Jana Danilovic, born on 1989 in Užice, Serbia. I received my Masters degree in Monumental painting from Faculty of Philology and Arts in Kraguevac in 2013, and my D.A. degree at Belgrade’s Faculty of Applied Arts, as I defended my doctoral project „City and paintig – the role of painting in public space“ in 2018. Focus of my interest is on various aspects of „public“, in my artistic practice as well as in my research. My artistic production is dominantly based on drawing, which I apply to pretty much everything, from paper, canvas, wood to walls. I like to explore possibilities of materials and contexts in everlasting attempts to illustrate and understand subjects that I personally feel affected by, but that are at the same time universal enough for pretty much anybody to empathyze with. So far,I displayed my work on thirteen solo exhibitions and over fifty collective exhibitions worldwide, and painted murals in Serbia, Croatia, Bosnia, Monte Negro, Greece and Fance. I think that art should be approachable and democratic, which is why street art and muralism became my primary field of action. Co-founder of Rekonstrukcija Street Art Festival. Worked at the Teachers` training faculty for three full semesters, before I realised I feel way better in the studio and out on the street painting. I live and work in Belgrade.
Mural titled Savage Love, painted in 2018 in Sisak, Croatia
Absence / Resistance (from Trophy Room series), 2019
Karakatag collective group photo 2015
Karkatag is Belgrade based Serbian art collective. It exists since 2009. Work of collective includes machines, interactive and autonomous installations and manipulable objects. Collective uses industrial materials and technologies in research of different natural and scientific phenomena, interactivity and performativity of machines, sound, motion. Through public actions and performances, by placing installations and machines in space as urban scenography and props, collective also introduces social aspects of its work. In those settings spectator/passer-by is being involved in co-play with machine/installation and thereby becoming an active partaker in changing the perception of space and daily routine of the city. Karkatag works are participatory and the situation generated through their use is integral part of their realization.
Aiming to encourage experimentation and to make its metalworking and mechanical knowledge available, collective organizes series of workshops as well as offering workplace, tools and advising in its open studio/artist-in-residence project.
Karkatag has three permanent members that are together defining, managing and realizing the work of collective. Nevertheless, team structure is generally fluid and from project to project it involves new people.
Setting up of the Rehearsal installation, roof of the Ars Electronica Center, Linz, Austria 2016
The Rehearsal installation 2016 Linz, Austria
The Machine, production phase, 101 Outdoor Arts Creation Space, Newbury, UK, 2016
Born in San Francisco, California, Christopher Grimes founded Christopher Grimes Gallery which presented a diverse yet rigorous program of contemporary art in a variety of media including painting, photography, installation, performance, sculpture and video. Over the gallery’s 40-year history he organized its many exhibitions, most notably Amnesia and Super 8, which traveled to institutions in the US, Europe, North and South America, including the Museum of Modern Art in Rio de Janeiro and the Bronx Museum, NY among others. The gallery was involved in the early development of the careers of artists such as Katharina Grosse, Iñigo Manglano-Ovalle, Ernesto Neto, Fred Tomaselli, and Lisa Yuskavage. He has presided over the Santa Monica/Venice Art Dealers Association and served on various international institutional boards, panels and juries including the ARCO Art Fair in Madrid, Spain, the Otis College of Art and Design Board of Governors in Los Angeles, the Otis Parsons School of Design, President's Advisory Council, Los Angeles, and served as Program Advisor for the Getty for Pacific Standard Time: LA/LA. Inspired by an interest in architecture and its relationship with art, he began developing a program focusing on integrating the two disciplines by collaborating with artists who incorporate architecture in their work. Following the closing of the gallery in 2018, he launched Christopher Grimes Projects, a multidisciplinary contemporary art program which focuses on facilitating the integration of art and architecture for large scale, site specific environments. He, alongside his son Jarred Grimes who assists in program development, aims to bring architecturally and culturally informed work to the public sphere bridging the connection between art and architecture through impactful and innovative projects. The book mentioned in the interview was Zen Mind, Beginner’s Mind.
CHRISTINE CORDAY, Sans Titre (untitled), 2020 Permanent installation, Crane Hall, Saint-Paul-Lez-Durance, ITER, France Christine Corday’s two-pound sculptural object, Sans Titre, represents Art as the 36th contributor to mankind’s largest terrestrial realization of the celestial. The site-specific and functional work, which the artist forged from metals derived from ancient stars, was integrated into the ITER fusion device late last year, a physical manifestation of Art that stands alongside the material contributions of the 35 major international country collaborators, an infrastructural object within the fabricated star that will harness fusion energy for human use. Sans Titre functions both symbolically and functionally in merging the philosophical and spiritual underpinnings between Art and Science, an intersection that is frequently overlooked. Both science and art are human attempts to understand and describe the world around us. The categorizations of science, art, chemistry, architecture, archeology, and cosmology separate what materially is unified. The subjects and methods have different traditions, and the intended audiences may be different, but the motivations and goals are fundamentally the same. Image credits: ITER Organization / R. Arnoux / EJF Riche
LUCIA KOCH, Dusk and Dawn, 2019 TEGNA Headquarters, Tysons, VA Light and air are the vital substances of a space, converting it into a place to be inhabited and transformed. Dusk and Dawn was created for an environment of coexistence and communication—though sound and air are isolated, transparent (glass) walls offer a visual continuity in between distinct spaces. For the TEGNA headquarters designed by the architectural firm Lehman Smith & McLeish (LSM), Koch created a work comprising a thirty foot LED back-lit color gradient lightbox that spans the height of the three-floor atrium. The lightbox establishes a dialogue with the free-flowing curtains installed on the opposing side of the atrium. The curtains, though separated by a floor, represent one continuous vertical color gradient est...
Elisa Strinna, photo by Jessica da Silva
Elisa Strinna is an Italian artist currently based in the Netherlands. Her work investigates the nature/culture bisection, addressing, in particular, the interdependence between individuals and technologies and the byproducts of such affiliations. She does that by studying different types of infrastructures -from the geodetic to telecommunication ones, up to green infrastructures.
Through sculpture, sound, and video, the artist intends to activate aesthetic ecosystems in which some of the hidden relationships that constitute a landscapes emerge. In these hybrid worlds, it becomes difficult to draw a separation between natural and artificial, geological and human, spiritual and material.
Her works have been exhibited at Culturgest Porto (2020), Hong-Gah Museum in Taipei (Taiwan, 2018), at Giardini Greenhouse of the Venice Biennale (Italy, 2015), at the MAXXI Museum (Italy, 2014), at 2012 Taipei Biennial (Taiwan, 2012), at Fondazione Sandretto Re Rebaudengo in Guarene (Italy, 2009), amongst others. She attended the international residency program at Jan Van Eyck Academie (Maastricht, the Netherlands 2018/2019).
The book mentioned in the interview is Laboratory Life.
Blind Sun/ Sol Cego, Installation view, Culturgest Porto (PT), 2020; Mixed Media (Porcelain, stoneware, copper, alum crystals, sound (30 m). courtesy the Artist, photo © Alexandre Delmar
Blind Sun - Third Nature, Culturgest Porto (PT), 2020; Mixed Media (Porcelain, copper, alum crystals, sound (30 m). courtesy the Artist, photo © Alexandre Delmar
Andre Bogart Szabo creates paintings and wall mounted sculptures that explore the transformative power of repetition. Embracing informal materials such as gravel, fireworks, and foraged materials, Szabo creates expansive abstract fields that are chaotic, expressive, and minimal all at once. He received his BA in Post-Production from Emerson College’s Visual Media Arts department in 2012. Szabo currently lives and works in New York. He was born in Washington, D.C. in 1990.
Untitled (Rock Garden I), Gravel, foraged media, canvas on panel, 92 x 74 x 1 1/2 inches
Untitled (detail, Rock Garden II), Gravel, bone, canvas on panel, 84 x 54 x 1 1/2 inches
Untitled (PPE Field), 2020, Foraged used gloves, mixed media, canvas on panel, 92 x 74 x 1 1/2 inches
Geoffrey Moss defines himself as “… simply a working New York artist”; painter, photographer of motorcycle culture (The Biker Code), former art restorer, Metropolitan Museum of Art, syndicated captionless political satirist of MOSSPRINTS, conceptual illustrator, children’s book author, set designer, essayist and university teacher.
Ultimately all my work is about drawing…the purity of drawing in both paintings and works on paper. Over time, the work has become comfortably less representational, focusing more on the reduction of shapes, forms to reflect the interaction of color, the energy of paint; the way the paint – the physicality of painting -- documents the personal dialogue of spontaneous movement, finding form as a visual statement as in the architecture of water. It’s about my dedication to the anatomy of shapes I arrange and rearrange. I work in series, a process beginning with sufficient numbers of drawings to continue idea-to-canvas. My lexicon stems from restrictions of the Bauhaus, 18th C. erotic Japanese prints, Russian Constructivism, religious symbols, Chinese medicine labels and vintage comic books. Experience confirms my personal truth, that art begets art, feeding a compulsion to generate and continue the dance.
I received Pulitzer Prize nominations for MOSSPRINTS, (Watergate and 9/11) resulting in the publication of a collection of my early works, The Art and Politics of Geoffrey Moss, as well as an invitation to paint Bus with White Walls for the Smithsonian Institution exhibition In the Spirit of Martin.
Moss holds degrees from The University of Vermont (B.A., Distinguished Alumnus) and Yale School of Art and Architecture (B.F.A., M.F.A.).
Learn more about Moss from Quogue Gallery and an article in Discoveries in American Art.
Shimmering Water Series: Beach Blanket, 2011, 36" x36", Oil on Canvas. Gensler New York Project
Black Drawing Series: Brief Encounter, 2015, 15" x 13", dry pigment and waxes on Stonehenge paper
Bus With White Walls, 2003, 30" x 40", Oil on Canvas. Smithsonian Institution, In The Spirit of Martin exhibition
The portrait is R. Yean, Sea forest at Mondulkiri province, Cambodia, ©Norm Phanith, 2017
H.R.H. (His Rebel/Revolt Highness) The Articurizer (Art[ist] Curator, Articulator/Writer, Researcher, and Art Advocate)
A native of Battambang, Reaksmey Yean is a self-proclaimed art advocate, an early-career art curator, writer, and researcher. Currently, he is a program director and co-founder of Silapak Trotchaek Pneik, a contemporary art space by YK Art House. He is also a part-time lecturer at Phnom Penh International Institute of the Art (PPIIA). Reaksmey is a research affiliate at Center for Khmer Studies and a Co-Investigator on Phase 2 Large Grant project ‘Contemporary Arts Making and Creative Expression Among Young Cambodians.’ Yean is an Alphawood scholar (SOAS, the University of London for Postgraduate Diploma in Asian Art – in Indian, Chinese, and Southeast Asian Art). He was an exchange scholar at the Institute of Southeast Asian Affairs, Chiang Mai University. He is an inaugural SEAsia Award Scholar (2017) of LASALLE College of the Arts, Singapore, an Asian Cultural Council fellow (2018), and a beneficiary of Dr. Karen Mcleod Adair grant for MA in Asian Art Histories at LASALLE College of the Arts. Yean was a curator for creative programs at Java Creative Café, Phnom Penh. Prior, he served several senior posts, including an Assistant to School of Performing Arts, at Phare Ponleu Selpak, a multi-disciplinary arts center, where he received his early education. He is also a founding father of a defunct collective named Trotchaek Pneik, a cultural and artistic collective based in Battambang.
Yean is interested in multi-disciplinary practices (Film, Visual, and Performing Arts). As an Art Advocate, Yean is involved in the promotion of art and culture and their histories within contemporary Cambodia via curatorial practices, art criticism, and cultural pundit. As a scholar, Yean is concerned with Buddhist Arts, Contemporary and Modern Arts, Southeast Asia, Cultural Diplomacy, and Post-colonial theory.
The books mentioned in the interview were: Cambodge: The Cultivation of a Nation, Of Grammatology, and The Truth in Painting.
Dinh Q. Lê, Splendor and Darkness #32, 2017, Foiling and screen-print on Stonehenge paper, cut, weaved and burned, 221 x330 cm, Courtesy of Reaksmey Yean
Peat Szilagyi and Umico Niwa
Umico Niwa is currently residing in Richmond Virginia, having just received her MFA in Sculpture + Extended Media from the Virginia Commonwealth University. She recently had a solo show, Fruiting Bodies, at the American Institute of Thoughts and Feelings in Tucson, Arizona. She has also been invited to lead a workshop, together with her partner, “Meet Your Gremlin, Make Your Gremlin” at Recess Gallery in Brooklyn, New York City. Umico and Peat will be having a joint show, Solar Coochie, at the end of this month at Holding Contemporary, Portland, Oregon.
Niwa’s practice explores the way Western notions of personhood subsume human life into constructs of sexuality and gender, overlooking the various other modes of unbridled existence: plant, microbial. fungal, animal, celestial bodies. Her speculative medical papers propose novel forms of body modification to combat gender dysphoria as well as playfully explore the possible efficacy of including fecal matter transplants as part of hormone replacement therapy for transgender individuals.
Collaborative work made for the show, Solar Coochie
Collaborative solar powered work made for the show, Solar Coochie, “Moon in the Spoon” being tested.
Jamie Martinez at The Border Project Space
Colombian / American artist Jamie Martinez immigrated to Florida at the age of twelve from South America. He attended The Miami International University of Art and Design then moved to New York to continue his fine art education at The Fashion Institute of Technology and The Students Art League in NYC.
He is the publisher of Arte Fuse, which is a contemporary art platform focused on art shows that are currently on display, interviews and studio visits with today’s top artists from NY and all over the world. He is also the founder and director of The Border Project Space, which was recently featured in Hyperallergic’s top 15 shows of 2018.
Jamie’s work has been featured in multiple important outlets like a half-hour personal TV interview with NTN24 (Nuestra Tele Noticias, a major Spanish TV channel) for their show Lideres (translation leaders), Hyperallergic, Yale University radio WYBCX (radio interview), Whitehot Magazine, Good Day New York (TV interview), Fox News (TV interview), The Observer, Whitewall Magazine, Interview Magazine, CNN, New York Magazine, Newsweek, The Daily Beast, Bedford + Bowery, and many more. Martinez has shown in Berlin, Brussels, Spain, Russia, Canada, Miami, California, and numerous galleries in New York City including Petzel Gallery, Galerie Richard, Whitebox NY, The Gabarron Foundation, Flowers Gallery, Elga Wimmer PCC, Foley Gallery, Rush Gallery and many more. He also participated in a group show curated by Vida Sabbaghi at the Queens Museum which was very well received by the museum and the press.
Liminality curated by Jamie Martinez at The Border Project Space, installation
The border project space curated by Jamie Martinez installation
Verge curated by Jamie Martinez at The Border Project Space
Desi Mundo was interviewed last year, and is an Oakland-based spray paint educator, hip-hop cultural diplomat and the founder of the Community Rejuvenation Project, a pavement to policy mural organization that has produced more than 250 murals, throughout the Bay Area as well as nationally and internationally. His mural with Pancho Peskador, the “Universal Language” galvanized the Oakland community in the struggle against gentrification resulting in $20 million in community benefits, as documented in the acclaimed documentary film “Alice Street.” Desi’s legacy as an educator and youth worker in K-12 schools spans two decades. He received the “Rising Leaders” Fellowship from the Youth Leadership Institute in 2005 and has been awarded the Individual Artist grant from the City of Oakland eight times. Desi recently completed “AscenDance,” a 91 ft. tall acrylic mural on Oakland’s Greenlining Institute, with an all-woman all-star team of brush painters.
AscenDance in Production (photo by Eric Arnold)
The complete mural getting several layers of clear coat for lasting protection.
photo by Ephraim Asili
Greg de Cuir Jr is an independent curator, writer and translator who lives and works in Belgrade, Serbia.
Yowshien Kuo was educated in both the U.S. and Taiwan and completed his MFA in 2014 from Fontbonne University. Kuo is an active exhibiting artist living and working in St. Louis, Missouri. He is a co-owner of the artist run space, Monaco and has recently exhibited with Superdutchess in NYC, LVL3 Chicago, Terrain Exhibitions, Granite City’s Art and Design District, Projects Plus in St. Louis, and Counterpublic with The Luminary in St. Louis. Yowshien has been an artist in residence with Paul ArtSpace in St. Louis, a recipient of Regional Arts Commission support grant and Critical Mass for the Visual Arts award. His work has appeared in publications that include New American Paintings and The Seen Journal Chicago. He currently holds teaching appointments at St. Louis Community College at Meramec, Washington University’s – University College, and Maryville University in St. Louis.
The books mentioned in the interview are Hitler's American Model by James Q. Whitman and Cannery Row by John Steinbeck.
Yowshien Kuo But Victor Denies the Similarities Between Himself and the Monster Acrylic, gouache, chalk, Carrara marble, bone ash, and glass on canvas 2019 28” X 30”
Yowshien Kuo Slipped in Hope Acrylic, gouache, chalk, Carrara marble, bone ash, and glass on canvas 2020 29” X 30”
Ljiljana Radošević was born in Belgrade (Serbia) in 1978. She got MA in Art History at the University of Belgrade by defending thesis about appearance and development of graffiti in Belgrade 1996-2005. She started her research in the year 2000 and continued to document art works and interview graffiti and street artists until present day. During her second MA studies in Management in Culture she had an opportunity to do her internship at the most important comics festival in Europe FIBD Angouleme and consequently wrote her thesis about it. After working in the field for several years she started her PH.D. studies at the University of Jyvaskyla (Finland) with the thesis under the title Understanding Street Art; A Study of European Street Art. At the moment she is in the final stages of writing but has managed to initiate in collaboration with her colleagues projects such as www.streetartwalksbelgrade.com and www.urbanheritagehub.com (not active yet).
The books mentioned in the interview are The Dresden Files, and the authors Ursula K. LaGuin and Andrzej Sapkowski. As well as the series called Urban Shaman.
Photo taken in 2016 and we see a stencil by Vudemn paying respect to Leonard Cohen and it says "Singer must die but the song is forever." And the colorful side is done by Vlica.
Dorćol Platz (@dorcolplatz) which references a traditional Balkan dance called “kolo”. Made and photographed in 2016. . . Artists: Das Drogen (@das_drogen), Nikola (@kori.nikola), Neon (@neon_blck), Linnch (@linnchlinnch), Leaf Kid (@alekleaf) and Zez (@zez_lunatic).
Katarina Radovic was born in Belgrade, Serbia. She studied History of Art at the University of Sussex in Brighton, UK in the 1990’s and acquired the BA Degree in Photography from the Academy of Arts ‘BK’ in Belgrade, Serbia, in 2006.
As a free-lance artist she has participated in a number of solo and collective exhibitions and festivals in Serbia, Croatia, Slovenia, Hungary, Austria, the Czech Republic, Lithuania, Spain, The Netherlands, France, Egypt, Japan, Senegal, USA, Israel, etc.
She received the Kultur Kontakt artist-in-residence grant in Vienna, Austria, in 2007; the European Cultural Foundation (ECF) grant in 2009 for the project Until Death Do Us Part; and the artist-in-residence grant in Malta by the Fondazzjoni Kreattività in 2019 for the project Palettes.
Her works are in: the Photography Collection EROSION (Lithuania), the TELENOR Collection of Contemporary Art (Serbia), the Museum of the City of Belgrade, the Museum of Arts and Crafts in Zagreb (Croatia), the Museum of African Art in Belgrade and the Imago Mundi BENETTON Collection (Italy).
She moves fluidly across photographic fields, trying to trace the link between reality and fiction, the real world and the socially and culturally originated visions of reality. Her photographic work consists of unique researches into identity, (self)-presentation, human relationships and communication, as well as cultural differences, and is often permeated with theatre and humour. She is also interested in design, publishing, translation and curatorial work.
The two major publications of her works are: Until Death Do Us Part, self-published monograph, Belgrade, 2011 and When You've Stopped Combing Me, I'll Stop Hating You, Museum of African Art, Belgrade, 2016.
Camera in Quarantine #1
I'm Going To Live A Hundred Years
I'm Going To Live A Hundred Years
Influenced by color theory, design history and international traditions in geometric abstraction, I grew up in a household where my mother was a women’s clothing designer and my stepfather was an architect. These two very personal visions – my mother’s love of textiles and construction and my stepfather’s introduction to the classics of modernism - had a deep impact on my development. Their influences percolated up in intriguing ways. A key point in my work is color as communication - an associative, subjective relationship, based on a lifetime of visual memories. Rejecting the notion of abstract art as a “universal language” - my work hints at pictographic signs, logo-grams, alphabetic scripts and cuneiform writing. I am interested in the highly subjective responses to composition and color.
During the past two years, I have begun to expand the parameters of my work to include hand-printed textile installations, outdoor projects and sculptural works. Having long employed printmaking techniques in my paintings and frequently making reference to textiles and textile design, my linen installations bring together several of the themes in my work into a single piece. With the sculptural work, I have begun working with vitreous enamel on steel. This particular material combination is fantastic for its luminous glass-like quality, intense colors and its extreme durability.
Elise Ferguson lives in Brooklyn and works in Queens, NY.
For more information click here and here.
Privet 2019 Silk screen ink, Acrylic paint, linen 84”x 104”x 26”
Triumph 2019 40”x60” Pigmented plaster on panel
Fernando Martín Velazco is a Mexican writer, theorist, and multidisciplinary researcher. His work focuses on the field of expanded arts and performative literature. Since 2015, he is the captain and founder of the Stultifera Navis Institutom, an organization dedicated to the artistic, scientific, and humanistic research through creative expeditions. In 2017 he started the cycle "The Leviathan Games" (2017-2020) carrying out multidisciplinary research with grey whales, a project later supported by the grants program Art, Science & Technology 2018 from the National Autonomous University of Mexico. He was curator of the art exhibition “Joy of the Whale”, presented in LA Film Boutique in Los Angeles, California (2019), and coordinator of “Fusion/Fision. Intensive poetic-body research workshop with gray whales” in Baja, Mexico (2020). He is part of the 2020 Djerassi Resident Artists Program.
Learn more on Twitter, Instagram, Youtube and Facebook.
Reading of the "Maritime ode" (2019) Site-specific intervention part of "The Leviathan Games"
"Meyihél" (2020) Photography, part of "The Leviathan Games"
Phil Smith is a performance-maker, writer and academic researcher, specialising in work around walking, site-specificity, mythogeographies and counter-tourism. With artist Helen Billinghurst, he is one half of Crab & Bee, who have recently completed an exhibition and walking project called ‘Plymouth Labyrinth (funded by Arts Council England), a short walking project in the Isles of Scilly and a residency at Teats Hill slipway. They are currently engaged in a series of walks across the UK researching their forthcoming book, ‘The Pattern’ (2020). With Tony Whitehead and photographer John Schott, Phil recently published ‘Guidebook For An Armchair Pilgrimage’ with Triarchy Press.
He is currently developing a ‘subjectivity-protective movement practice’ with Canada-based choreographer Melanie Kloetzel. As a dancer he toured with Jane Mason in ‘Life Forces’ (2014-15). With Claire Hind and Helen Billinghurst, he co-organised the recent ‘Walking’s New Movements’ conference at the University of Plymouth. As company dramaturg and co-writer for TNT Theatre (Munich), he most recently premiered ‘Free Mandela’, co-authored with TNT’s artistic director Paul Stebbings, about the end of apartheid in South Africa.
Phil is a member of site-based arts collective Wrights & Sites, who recently published ‘The Architect-Walker’ (2018). As well as ‘Walking Stumbling Limping Falling’ (Triarchy Press, 2017) with poet Alyson Hallett, Phil’s publications include ‘Making Site-Specific Theatre and Performance’ (Red Globe/Macmillan, 2018), ‘Rethinking Mythogeography in Northfield, Minnesota’ (2018) (with US photographer John Schott), ‘Anywhere’ (2017), ‘A Footbook of Zombie Walking’ and ‘Walking’s New Movement’ (2015), ‘On Walking’ and ‘Enchanted Things’ (2014), ‘Counter-Tourism: The Handbook’ (2012) and ‘Mythogeography’ (2010). He is an Associate Professor (Reader) at the University of Plymouth.
The book mentioned in the interview that Phil was reading is Embodying the Dead.
‘The Murder of Sherlock Holmes (written by Paul Stebbings and Phil Smith) performed by the Shanghai Dramatic Arts Theatre’.
‘TNT: The New Theatre’ by Paul Stebbings and Phil Smith (Triarchy Press)
VLM (Virginia Lee Montgomery) is an artist working between Texas and New York, primarily in video, performance, sound, and sculpture. She received her BFA from The University of Texas at Austin in 2008 and her MFA from Yale University in Sculpture in 2016. VLM deploys an idiosyncratic visual vocabulary of repeating gestures like drilling, dousing, or reaching and recursive symbols like circles, holes and spheres as she interrogates the complex relationship between physical and psychic structures.
VLM also works as a professional mind-map scribe, a Graphic Facilitator. Recent exhibitions include: "SKY LOOP," Lawndale Art Center, TX (2020), "SCREENS SERIES: VLM," New Museum, NY (2019), “HONEY MOON,” Midnight Moment, Times Square Arts, NY (2019); “PONY COCOON,” False Flag, NY (2019); “The Socrates Annual,” Socrates Sculpture Park, NY (2018); “CRASH TEST: The Molecular Turn,” La Panacée-MoCo, Montpellier, France (2018); “An unbound knot in the wind,” CCS Bard, Hessel Museum of Art, NY (2018); “Material Deviance,” SculptureCenter, NY (2017); and “The Particle Accelerator Memorial Project,” Physics Department, Yale University, CT (2015).
BUTTERFLY BIRTH BED from VIRGINIA LEE MONTGOMERY on Vimeo.
Still from BUTTERFLY BIRTH BED, 2020, 4K Digital Video, 5:35
MARBLE PONYTAIL I, 2019, Sculpture, Marble, string, 20" x 4" x 20"
Maria Liebana is an interdisciplinary artist who lives and works in New York City. Her practice involves collects pop-culture images and thrift-store finds to reassemble them with organic and abstract forms. Maria received her BFA from Pratt Institute and MFA from Maine College of Art. She is a recipient of 2018 and 2020 Queens Council on the Arts New Work Artist Grant. Her work has been exhibited at Field Projects (NY), Trestle Gallery (NY), ICA (Portland, ME), and Local Project Art Space (NY). Liebana’s solo show ¿Tres Marias, Donde Esta Mi Felicidada?, was exhibited at Local Project Art Space. Her work has been featured in Hole History: The Origins of the American-Style from Little Leg Press, Studio Visit + Interview with Gallery Gurls, Queens Courier and About Themselves. In 2019, she was part of the Every Woman Biennial (New York).
https://www.instagram.com/p/CB1vq7aF-x7/?utm_source=ig_web_button_share_sheet
Caren Beilin is the author of a nonfiction book on gendered medical gaslighting, Blackfishing the IUD (Wolfman Books, 2019), a memoir, SPAIN (Rescue Press, 2018), and a novel, The University of Pennsylvania (Noemi Press, 2014).
Her writing can be found in Fence, LA Review of Books, Territory, and New Life Quarterly. She teaches creative writing at the Massachusetts College of Liberal Arts in the Berkshires.
Erik Beehn is an artist and educator working out of Las Vegas. Beehn received his MFA from the School of The Art Institute of Chicago (’15) and is currently adjunct faculty at the University of Nevada Las Vegas.
Beehn’s work employs painting, photography, printmaking and installation to investigate an arc of mark making techniques throughout the 20th century, and the evolution of observational painting into abstraction.
Beehn is the founder and director of Test Site Projects, a fine art publishing house located in Las Vegas.
The book mentioned in the interview is titled Composition in Retrospect by John Cage.
Beehn_FTG2020 For the Gram 2020 Acrylic, Ink and Solvents on Archival Inkjet Print 28" x 22"
Beehn_GBSIII #Getbettersoon_III 2019 Acrylic, Solvents, Graphite and Pigmented Ink On Photo Paper 44" x 60"
Andrej Bereta (1970) is a curator, art historian and cultural entrepreneur.
He is the Co-founder of ARTIKAL, Belgrade, since 2008. Since 2011 he is investing his strengths on the Project About and around curating/Kustosiranje (co-author with Srdjan Tunic), an educative and research curatorial project, based on the idea of lifelong learning, designed for professionals and students from the fields of arts and culture and open for general public. The mission of the project includes: developing toolbox and required skills, working on curatorial practices and on the technologies of preparation and realisation of independent exhibition project, education and supporting proactive attitude of young and future art curators, team work, developing entrepreneurship in the field of culture, spreading share culture. Developed as a public program, it is strongly oriented on regional cooperation. This is an academic course for master studies at University of Belgrade in partnership with University of Vilnius and in cooperation with European Universities.
Since 2014 he is curator of Arts Kozara: international AiR, Art Laboratory in nature on mountain Kozara (BiH). In 2013 he was the director (with Srdjan Tunic) of Mikser Festival 2013 for Visual arts. In 2008 he co-created the Project ARTUR- Cultural tour for disabled persons. Andrej is co-creator and participant of Creative Mentorship. Finally, he is a lecturer on Visual Arts at Independent University of Banjaluka (BiH).
Mia Kang. Photo by Tiona Nekkia McClodden.
Mia Kang writes poems and other perversions. She is the author of City Poems (2020), a poetry pamphlet from ignitionpress.
Mia was named the 2017 winner of Boston Review’s Annual Poetry Contest by Mónica de la Torre, and her writing has appeared in journals including POETRY, Washington Square Review, Narrative Magazine, and PEN America.
She is a Brooklyn Poets Fellow, runner-up for the 2019 and 2017 Discovery Poetry Contests, and finalist for the 2019 Ruth Lilly and Dorothy Sargent Rosenberg Poetry Fellowship. She has received awards from the Academy of American Poets, the Fine Arts Work Center in Provincetown, and the Millay Colony for the Arts.
Mia is also a PhD student in the history of art at Yale University, where her research focuses on the contested rise of U.S. multiculturalism and its failures. Recent publications include contributions to The Life and Times of Alvin Baltrop (Skira, 2019), Sanford Biggers: Codeswitch (Yale University Press, 2020), Published by Lugemik: Printed Matter from 2010-2019 (Lugemik, 2019), and Plot magazine. Formerly a Mellon Mays Undergraduate Fellow, she teaches as a lecturer at Yale College and Hunter College, CUNY, her alma mater.
City Poems (Oxford: ignitionpress, 2020)
Theresa, I Miss You (Rest) performance at garden––pleasure closing exhibition, February 8, 2020, Yale School of Architecture Gallery. Photo by Bek Andersen.
Canadian artist Alana Bartol comes from a long line of water witches. Her site-responsive artworks explore divination as a way of understanding across places, species, and bodies. Through collaborative and individual works, she creates relationships between the personal sphere and the landscape, particular to this time of ecological crisis.
A multidisciplinary artist with a B.F.A. from the University of Windsor (Canada) and an M.F.A. from Wayne State University (USA), she has been a visitor to Mohkinstsis (Calgary), Alberta in Treaty 7 Territory for five years. In 2019, she was longlisted for Canada’s Sobey Art Award representing the Prairies and North. Bartol’s work has been presented in festivals and galleries nationally and internationally including Esker Foundation Project Space, PlugIn ICA, Latitude 53, Walter Phillips Gallery, Berlin Feminist Film Festival, Hong Kong Arthouse Film Festival, Brussels Independent Film Festival, Istanbul Experimental Film Festival, and Media City International Film and Video Festival, amongst others. Bartol currently teaches at Alberta University of the Arts.
For more research on this work visit Orphan Well Adoption Agency. Follow her residency with University of Lethbridge Art Gallery. Her upcoming 2-person exhibition at Viviane Art Gallery with Sandra Meigs in July-August 2020.
Alana Bartol, “Orphan Well Adoption Agency”, at Latitude 53 December 7 2018–January 26 2019. Photo by Adam Waldron-Blain.
Orphan Well Adoption Agency Promotion, 2017-ongoing. Postcards, signs, online advertising, various dimensions.
Leah Patgorski is a Pittsburgh-based artist who was born in Virginia Beach, VA. She earned a degree in Architecture at the University of Virginia followed by an MFA at the School of the Art Institute of Chicago. Drawing on a background in architecture and landscape architecture, she develops contextual textile installations for interiors as well as smaller sculptural works. Her work advocates for a connection to other humans and to history that natural fibers and colors can provide. She is particularly interested in plant-derived hues, seeking the resonance of subtle color variations within explorations of abstract form. She views the handmade and the hand-dyed as antidotes to the homogenization of architecture and of culture, which in her opinion is an unsavory trend. Leah is also part of a collective with two other women who work together on the Other Border Wall Project, an ongoing creative resistance against harmful border practices. Their work has been supported by grants from Opportunity Fund and The Pittsburgh Foundation, and their work has been exhibited at Flatland Gallery in Houston, TX. She has collaborated on projects with other artists including Michelle Litvin and Wafaa Bilal, and with design firms including Formwork and Studio Lithe. Her work has been exhibited nationally and internationally with venues including the Strohl Arts Center in Chautauqua, NY; ADDS DONNA in Chicago, IL; SWDZ in Vienna, Austria; the Westmoreland Museum of American Art in Greensburg, PA, and Assemble in Pittsburgh, PA. The book mentioned in the interview is Pachinko by Min Jin Lee.
Dr. Christine Mullen Kreamer is Deputy Director and Chief Curator at the National Museum of African Art, Smithsonian Institution, where she has worked since 2000. Her exhibitions and publications explore art and ritual, gender, African systems of knowledge, and museum practice, and they bridge the disciplines of art history, anthropology, and museum studies.
In addition to research in Togo, she has worked on museum exhibition and training projects in Ghana and Vietnam. She received her Ph.D. from Indiana University. Her more recent exhibitions and co-authored publications include Conversations: African and African American Artwork in Dialogue (2014); African Cosmos: Stellar Arts (2012); Lines, Marks, and Drawings: Through the Lens of Roger Ballen (2013); Inscribing Meaning: Writing and Graphic Systems in African Art (2007); and African Vision: The Walt Disney-Tishman African Art Collection (2007). She co-curated Visionary: Viewpoints on Africa’s Arts (2017, ongoing); she is also a contributing author for an essay on connoisseurship in the 2014 edited volume Visions from the Forest: The Art of Liberia and Sierra Leone and two essays in the 2011 edited volume Representing Africa in American Art Museums (University of Washington Press, 2011). In recognition of her outstanding achievements in the fields of art history and museum practice, Christine was named the Smithsonian Institution’s 2018 Distinguished Scholar in the Humanities.
Books mentioned in the interview include the following; For the Caravans of Gold exhibition, organized by the Block Museum of Art at Northwestern University, that was slated to open in April. Publications that the museum has worked on connected for the series on African contributions to the history of knowledge, readers could consider: Inscribing Meaning: Writing and Graphic Systems in African Art (2007).African Cosmos: Stellar Arts (2012) and Earth Matters: Land as Material and Metaphor in the Arts of Africa (2013). Dr. Christine Mullen Kreamer is currently reading newspaper articles and books touching on topics of provenance and questions of restitution. One publication you might list includes an article she wrote that focuses on Africa's arts in the publication.
Ethiopian Orthodox; Ethiopia; 19th century; Leather, ink; H x W: 21.9 x 193 cm (8 5/8 x 76 in.)
Robert Straight is an artist based in Wilmington, Delaware. He has been working as a painter for the past fifty years, during which time he has exhibited his work throughout the United States in both solo exhibits and group exhibitions. In addition to keeping the studio fires burning he is an avid gardener and enjoys time at the beach. His work is represented by Schmidt / Dean Gallery.
The book he mentions in the interview is Lakota America, A New History of Indigenous Power by Pekka Hamalaien.
P-632, 2019 48" x 48" x 3" acrylic, canvas, paper, foam, wood
P-634, 2020 59" x 48" x 3" acrylic, paper, canvas, foam, wood
Jason Bayani is the author of Locus (Omnidawn Publishing 2019) and Amulet (Write Bloody Publishing 2013).
He's an MFA graduate from Saint Mary's College, a Kundiman fellow, and works as the artistic director for Kearny Street Workshop, the oldest multi-disciplinary Asian Pacific American arts organization in the country.
His publishing credits include World Literature Today, Muzzle Magazine, Lantern Review, and other publications. Jason performs regularly around the country and debuted his solo theater show "Locus of Control" in 2016 with theatrical runs in San Francisco, New York, and Austin.
"Locus" Omnidawn Publishing
Yasue Portraiture photo by Kyle Knodell
Yasue Maetake is a Japanese-born, New York-based artist. While Maetake respond to a range of influences such as Animism, Baroque, natural forms and industrial constructions, her work centers on the creation of evocative sculptures that grapple with non-controllable forces of nature and serve as a proxy for the human body.
Maetake was recently named by Artsy as one of 20 international women advancing the field of sculpture and, her work was exhibited at Palazzo Benzon, in conjunction with the 58th Venice Biennale and The Chimney, Brooklyn.
She was a resident of El Anatsui’s studio in Nigeria with a research grant from Cultural Ministry Japan. She holds MFA from Columbia University.
Symbolic Atmosphere VIII 2020 H30 x 44 x 24 inch. assorted animal bones & seashells, steel, brass, copper, cotton pulp, synthetic clay photo by Kyle Knodell
Precarious Windbreak 2019 H115 x 67 x 71 inch. copper corrosion and steel corrosion on pulp, steel, bronze, cane photo by Allegheny Art Galleries, PA
Tilbøyelighet", Galleri Babel, Trondheim, photo credit: F. Susann Jamtøy Through long-lasting processes, the artist duo GIDEONSSON/LONDRÉ search for a dissolved state in-between paralysation and ecstasy. Their practice involves performances, installations and interventions that consist of different forms of highly regulated everyday activities, in relation to different experiences of time. How changes in rhythms and time flows open up for other positions and temporary detachments from established ideas about subjectivity. GIDEONSSON/LONDRÉ live and work in Kallrör, Sweden, and received an MFA from The Royal Institute of Art in 2014. Recent exhibitions includes Change, Havremagasinet, Sweden (2019), I am vertical, ESPAI 13, Spain (2018) and The Swamp Biennale, Art Lab Gnesta, Sweden (2018).
”The Hour of the Wolf”, Andquestionmark, Stockholm, photo credit: Nayab Ikram
Sarah E. Brook is a Brooklyn-based sculptor and installation artist from the Nevada high desert. Brook explores the relationship between external and internal (psychic) vastness through the use of translucency, layering and color gradients to morph her architectural structures into perceptual experiments.
She is particularly interested in the way perceptual experience can align (queer) identities. Brook has exhibited at Lesley Heller, Field Projects, Re:Art, the (un)Scene, NARS, Ground Floor Gallery, The Newhouse Center for Contemporary Art (NY) and was included in the 2019 BRIC Biennial in Brooklyn.
She has been awarded the 2019-2020 Leslie-Lohman Museum Fellowship (NY), the 2018 Media Arts Fellowship from BRIC (NY) and residencies from Marble House Projects, I-Park, SPACE on Ryder Farm, Jentel Foundation, Playa and Kimmel Harding Nelson Center for the Arts. Public art sculptures include Open Shelter (Prospect Park, NY, 2016), Viewfinding, a year-long installation and collaboration with queer poets (Riverside Park, NY, 2018-2019), Align (permanent installation, Crystal Park, NY, 2019) and a forthcoming permanent work commissioned by the City of New York (2023).
Here are the book mentioned in the interview - Interrupted Life and Why Be Happy When You Could Be Normal.
JWS2, spray paint on synthetic poplin, string, rebar, photography, dimensions variable, installed in rural Wyoming, 2017. JWS2 is an example of the types of short term, low-impact installations I create in solitude in remote landscapes.
Andrea Giaier was raised in a typical Midwestern town just outside of Detroit, Michigan. From an early age, she developed a deep connection to nature, which later blossomed into a profound admiration, respect, and concern for the environment and the collective future of those who inhabit the earth. Andrea currently lives in Kathmandu, Nepal, and has taught and created in Washington, Oregon, California, Montana, Honduras, Sri Lanka, and Guatemala over the past 15 years.
As an artist and an educator, Andrea focuses on collaborative, performative, and Social Practice Art, which allows people from diverse backgrounds to find their visual voice, empower themselves and create positive change through meaningful art.
Andrea received a Bachelor of Fine Art at Montana State, a Master of Fine Arts from the University of Washington, and a Master of Arts in Teaching from the Vermont College of Fine Arts.
The book mentioned in the interview is The Jealous Curator’s Book.
The street sounds mentioned are here -
https://museumofnonvisibleart.com/interviews/wp-content/uploads/2020/05/lockdown-sounds.m4a
Natural ink study, 2020
Sound and Ink study, 2020
Milica Pekić, PhD, art historian and curator from Belgrade. She graduated and received her PhD at The History of Modern Art department at Faculty of Philosophy, University of Belgrade. In her research she is focusing on confrontational artistic practices as well as on alternative forms of collective authorships, institutional transformation and potential of interdisciplinary approach both in research and production. She is co-founder of KIOSK platform for contemporary art, and since 2002 is actively engaged in creating and developing the platform’s curatorial, research and art projects. She was curator of O3ONE gallery from 2004 until 2007 and program director of Gallery12HUB in Belgrade from 2013 till 2018. As a curator she has participated in numerous projects on local, regional and international level. Currently she is a member of the program board and mentor on the Nelt interdisciplinary educational program for students. She is also one of the founders of the Association of the Independent Cultural Scene of Serbia and KOOPERATIVA – a regional platform for culture. Her essays are published in numerous magazines, publications and catalogues.
KIOSK Project Yugoslavia, Museum of Yugoslavia, Installation View
KIOSK, Performing-Democracy Project.
Studio portrait
Kevin Kearns studied at the Art Institute of Boston and went on to a successful career as an illustrator, designer, Art / Creative Director. Kearns worked in this field for over twenty five years. He transitioned to painting full time in 2002.
Kearns has had several solo, two person, and group exhibitions. He is currently represented by the Stricoff Gallery, New York City; Blue Gallery, Kansas City; Claire Carino Gallery, Boston; and Julie Nester Gallery, Park City.
His work is housed in many private and corporate collections throughout North America, Europe, Asia, and the Middle East. He works in Newburgh, NY.
Kearns has a forthcoming show at the Art Complex Museum in Massachusetts.
The book mentioned in the interview was George Inness and the Science of Landscape.
Untitled Landscape 30 x 40 inches, oil on wood panel. 2014
Untitled Landscape 48 x 48 inches, oil on wood panel. 2020
Seated in my studio between "We can't have Heaven Crammed" and "Bring Home the Bacon", both oil on linen.
Barbara Friedman is an artist based in New York City and a professor of art at Pace University. She has exhibited widely, with multiple two- and three-person shows in the last few years, at spaces including Five Myles in Brooklyn, NY; (2020), Sara Nightingale Gallery in Sag Harbor, NY (2019); and Amy Simon Fine Art in Westport, CT (2017); as well as 36 solo shows, most recently at CAS in Livingston Manor, NY and Hamilton Square in Jersey City (2017), Buddy Warren Gallery in New York, NY (2016); BCB Art in Hudson, NY (2015); Ober Gallery in Kent, CT (2014); Ethan Petitt Gallery in Brooklyn, NY (2014); the Painting Center (2012); and twice at Michael Steinberg Fine Art in New York, NY (2007, 2009). Earlier solo exhibitions were at Art Resources Transfer, The Queens Museum, and White Columns (all NYC); Carnegie-Mellon University, Cleveland State University, the Roanoke Museum of Fine Arts, and the Dana Wright Gallery in San Francisco among others. Reviews of Friedman’s work have appeared in the New York Times, the New York Sun, The Irish Times, Newsday, Art in America, ARTS Magazine, the Christian Science Monitor and Artweek.
Interviews have appeared in Artspiel.org, Figure/Ground and by Paul D'Agostino.
A group of her paintings was selected for the 2007 issue of New American Paintings, and another group for the 2010 issue. She was an Artist in Residence twice at the Marie Walsh Foundation Summer Seminar and has also been awarded residencies at Yaddo, The Virginia Center for the Arts, and the Bogliasco Foundation.
The books mentioned in the interview are: Eleanor Heartney, Doomsday Dreams: The Apocalyptic Imagination in Contemporary Art (Silver Hollow Press, 2019) and Richard Powers, The Overstory (W. W. Norton, 2018)
Self portrait with Pig
Watercolors on Studio Wall
Caveh Zahedi is an autobiographical American independent filmmaker whose feature-length films include The Sheik and I (2012), I Am A Sex Addict (2005), In The Bathtub of the World (2001), I Don’t Hate Las Vegas Anymore (1994), and A Little Stiff (1991).
He is also the writer/director of the BRIC TV series The Show About the Show.
The Show About the Show: Caveh directing his wife and her lover to re-enact their infidelity
Andrea Lawlor teaches writing at Mount Holyoke College and is a 2020 Whiting Award winner.
They have been awarded fellowships by Lambda Literary and Radar Labs, and their writing has appeared in journals such as Ploughshares, Mutha, the Millions, jubilat, the Brooklyn Rail, Faggot Dinosaur, and Encyclopedia, Vol. II.
Publications include a chapbook, Position Papers (Factory Hollow Press, 2016), and a novel, Paul Takes the Form of a Mortal Girl, a 2018 finalist for the Lambda Literary and CLMP Firecracker Awards. Paul, originally published by Rescue Press in 2017, is out now from Vintage/Knopf in the US and Picador UK in the UK & Ireland.
For a free pdf of Position Papers chapbook, click here.
Claudia Alick is performer, producer, and inclusion expert. Named by American Theater Magazine as one of 25 theater artists who will shape American Theater in the next 25 years, Alick has served as the founding Artistic Director of Smokin' Word Productions, is a NY Neofuturist alum, published playwright, recipient of NYC Fresh Fruit directing award, TedXFargo speaker, the Lilla Jewel Award for Women Artists, featured on HBO’s Def Poetry Jam and former Community Producer at the Oregon Shakespeare Festival. At OSF for ten years she produced events such as “The Every 28 Hours Plays”, "The Green Show", The Daedalus Project, OSF Open Mics as well as producing/directing audio-plays with OSF such as the Grammy nominated "Hamlet". Her personal projects include her podcast “Hold On…Wait for it”, vlog “This Week in Cultural Appropriation”, StreetPoetry, and one-person Show “Fill in the Blank” exploring disability and the medical industry. Claudia served on Oregon Arts Leaders in Inclusion, the steering committee of The Ghostlight Project, the steering committee for Black Theater Commons. She is currently managing content with The Crew Revolution black female leadership, serves as Co-president of the board of Network of Ensemble Theater, collaborated on Unsettling Dramaturgy (crip and indigenous international digital colloquium) and is on the advisory councils for the National Disability Theater and Howlround. Claudia Alick serves as founding executive producer of the transmedia social justice company CALLING UP whose projects include The Justice Quilt, Decolonizing Boards, Co-artistic direction of The FURY Factory Festival, and consulting and advising funders and companies around the country. Her latest project can be found at WeChargeGenocide.TV
Hadoucane: an ongoing photo series. Blowing folks away with the power of the cane!
Andrew Woolbright is an artist, critic, and gallerist working in Brooklyn NY. Woolbright attended the School of the Art Institute Chicago where he was greatly influenced by the work of the alternative figuration of Ivan Albright and Mary Lou Zelazny before being taught by Angela Dufresne at the Rhode Island School of Design, receiving his MFA in 2014. Woolbright has exhibited with the Ada Gallery, Nancy Margolis, and Coherent Brussels. His work has been reviewed in TimeOut New York, ArtViewer, Two Coats of Paint, the Boston Globe, the Chicago Reader, and the Providence Journal and is currently in the collection of the RISD Museum. In 2020, he will be curating a survey show of Kathy Goodell’s work at the Dorsky Museum, and he is currently planning a traveling show based on his article "Phantom Body: Weightless Bodies, Avatars, and the end of Skin" that was published in Whitehot Magazine. He has taught at the Rhode Island School of Design and currently teaches at SUNY New Paltz.
The books mentioned in the interview are Weird Realism: Lovecraft and Philosophy, Marlene Dumas: The Image as Burden and God Jr.
The Great Shrinebeast Furschlugginment (My Worries Going Super Saiyan (After Blake)). Oil on cut canvas, plaster, acrylic paint, wire, epoxy, Monster Energy Drink cans, masonite. 160 x 104 inches. 2018-2019
Sad Gundam Shrinebeast (Poem for Bill). Oil on poem. 19.5 x 11.5 inches. 2020
Warren Neidich is a conceptual artist and theorist based in Berlin and Los Angeles. He is the founding director of Saas-Fee Summer Institute of Art and the English editor of Archive Books, Berlin. He founded the website www.artbrain.org which includes the Journal of Neuroaesthetics in 1997. His Pizzagate Neon was exhibited as part of the 2019 Venice Biennial in the Zuecca Project Space. Recently published books include Glossary of Cognitive Capitalism, Archive Books, 2019; Neuromacht,Merve Verlag, Berlin, 2017. He has been guest tutor at Goldsmiths College, London 2004-2007 and the Weissensee Kunsthochschule, Berlin 2016-2018 as well as lecturing at such institutions as Harvard University, Columbia University, Princeton University, Brown University, University of Oxford and University of Cambridge
Pizzagate Neon, 2019, Neon Glass, Zuecca Project Room, Venice Biennial.
Phantoms of the Acephalous,KAI 10 Foundation, Dusseldorf,Neon Glass and Prosthetic Arms, 2020
The following video interview was done in November of 2020, discusssing Drive-By-Art -
Warren Neidich
Lawrence Weiner, 2020
Warren Neidich
Originally from San Francisco, Tongo Eisen-Martin
is a poet, movement worker, and educator. His latest curriculum on extrajudicial killing of Black people, We Charge Genocide Again, has been used as an educational and organizing tool throughout the country. His book titled, "Someone's Dead Already" was nominated for a California Book Award. His latest book "Heaven Is All Goodbyes" was published by the City Lights Pocket Poets series, was shortlisted for the Griffin Poetry Prize and won a California Book Award and an American Book Award.
In my work, I use manufacturing to reflect on human-machine dynamics, sexuality and gender queerness. I think about how the workforces’ relationship to their machinery lacks heartfelt conscious reflection. Personality and machinery are often separate. I challenge this, making work that shows how humanity, personal identity and machinery can be a reflection of one another. Human sexuality and machine movements are similar in their dynamics and relationships. In my latest body of work, I use my lathe to produce phallic objects that explore gender queer motifs relating to the machinery I work with and my own sexual expression. My work sifts through old places in our culture.Factories that have seen many years and parts made.
After attending Pratt Institute for sculpture, I received my Machinist Certificate from Housatonic College in Bridgeport CT. My interest in machine work is the catalyst for how I understand the world. Time was always an interest that I would express in mechanical terms. Eventually I began making clocks out of aluminum discs. Then I was in the group exhibition, Horology at Jack Hanley Gallery in 2019. My studio is in Brooklyn, NY, where I have a machine shop to produce my work. Crossdressing is something I have been getting into lately. Exploring femininity has been very expansive for my work. I am more in touch with who I am, which is inspiring me to make work that I’ve never made before. Note - here is the link to the online show mentioned in the interview. Also, here is a link to the book mentioned in the interview.
Aqueous (May 2020)
Bottle Butt Plugs (April 2020)
Cathy Linh Che is the author of Split (Alice James Books), winner of the Kundiman Poetry Prize, the Norma Farber First Book Award from the Poetry Society of America, and the Best Poetry Book Award from the Association of Asian American Studies.
Her work has been published in POETRY, Los Angeles Review of Books, and Gulf Coast. She has received awards from MacDowell, Djerassi, The Anderson Center, The Kimmel Harding Nelson Center, Artist Trust, Hedgebrook, Poets House, Poets & Writers, The Fine Arts Work Center at Provincetown, The Asian American Literary Review, The Center for Book Arts, The Lower Manhattan Cultural Council’s Workspace Residency, the Jerome Foundation. She has taught at the 92nd Street Y, New York University, Fordham University, Sierra Nevada College, and the Polytechnic University at NYU. She was Sierra Nevada College’s Distinguished Visiting Professor and Writer in Residence. She serves as Executive Director at Kundiman and lives in Queens.
Philip Metres is the author of ten books, including Shrapnel Maps (2020), The Sound of Listening: Poetry as Refuge and Resistance (2018), Pictures at an Exhibition (2016), Sand Opera (2015), and I Burned at the Feast: Selected Poems of Arseny Tarkovsky (2015).
His work has garnered a Guggenheim, a Lannan, two NEAs, six Ohio Arts Council Grants, the Hunt Prize, the Adrienne Rich Award, three Arab American Book Awards, the Watson Fellowship, the Lyric Poetry Prize, and the Cleveland Arts Prize. Metres has been called “one of the essential poets of our time,” whose work is “beautiful, powerful, magnetically original.” His poems have been translated into Arabic, Farsi, Polish, Russian, and Tamil. He is professor of English and director of the Peace, Justice, and Human Rights program at John Carroll University, and lives in Cleveland, Ohio.
photo by Jonathan Hsu
Christal Brown has the distinction of being many things. She endorses a short list of these attributes that includes the titles mother, artist, educator, disciple and coach. Brown is most well known as a dancer and choreographer due to her 20+ year career as a performer and artistic director. Brown describes herself as a person with a servant heart and a workaholic mind, who has used dance to touch and be touched by others. Brown grew up in a small, Eastern North Carolina town, where she frequently accompanied her mother to NAACP, Black Caucus, and community board meetings. This early exposure to social movements and communal responsibility undoubtedly has influenced Brown’s work both on and off stage.
As an undergraduate, Brown studied Dance and Business at the University of North Carolina at Greensboro. Upon graduation, she went on to tour nationally and internationally with companies such as Urban Bush Women, Bill T. Jones, Chuck Davis, and Liz Lerman before founding her own company, INSPIRIT.
Brown has served as the Founding Artistic Director of INSPIRIT for 16 years. During her tenure Brown developed curriculum for the New York Department of Education, choreographed over 75 performance works, created the Liquid Strength training module for dance, and the Project: BECOMING, self-development program for women and girls. While developing INSPIRIT Brown completed her MFA in New Media Art and Technology at Long Island University and joined the faculty of Middlebury College in 2008. At Middlebury, Brown serves as an Associate professor of dance, the current chair of the Dance Program and former Faculty Director of MiddCORE.
Her dance career has continued to thrive in performances with the Bebe Miller Company, and her most recent choreographic works; The Opulence of Integrity and What We Ask of Flesh. Brown’s newest manifestation of love is Steps and Stages Coaching, LLC; where as a Life Mastery™ Consultant, certified by the BraveThinking Institute, Brown is able to coach, facilitate, and inspire other to pursue their dreams and create a life they truly love living.
photo by Maranie What We Ask of Flesh, Kelly Strayhorn Theater
photo by: Tayler Goodwin, The Project: BECOMING Box, available at www.christal brown.com.shop
Matthew Langley received his BFA from Corcoran School of Art in Washington DC in 1985. Since then, Langley’s work has been shown extensively in the United States and Europe through numerous group and solo exhibitions. Recent exhibitions include; Big Circle at M17 Contemporary Art Center, Kiev, In Color at Page Bond Gallery, Richmond, VA and The Unified Field at Blank Space, New York, NY. Langley’s artworks have also been included in various public and corporate collections including; the International Museum of Collage, Assemblage, and Construction, The Doris Patz Collection at the University of Maryland University College (UMUC), DC Commission for the Arts and Humanities, Ernest and Young, PNC Bank, Saks Fifth Avenue, Norwegian Cruise Lines, MacAndrews & Forbes and the State Department of the United States. He currently lives and works in New York.
The Inky Blue, 2020, 48 x 48 inches, acrylic on canvas
Death / Life, 2019, One color screen print, edition of 15, 25 x 19 inches
Youssef Rakha is an Egyptian novelist, essayist and poet who writes in both Arabic and English. Born, raised and based in Cairo, he graduated from Hull University, UK, in 1998, and has worked as a cultural journalist, literary translator and creative writing coach since then. He is the founding editor of the bilingual literary website тнє ѕυℓтαη’ѕ ѕєαℓ: Cairo's coolest cosmopolitan hotel, named after his acclaimed first novel, The Book of the Sultan's Seal. He can be found on therakha.net, on Twitter @Sultans_Seal and on YouTube. The poems he reads in the course of this conversation (translated by Robin Moger) can be found here, and the essay he refers to in the context of the third poem here.
Andrew Schwartz’s practice explores the possibilities of abstract visual language using a vocabulary of color, form, light, and materiality. Collaborating with chance and the alchemical properties of paint, he employs a range of studio techniques in an improvisational flow of repetition and variation to create new visual outcomes. Each painting becomes a site for impressions, residues, and subsequent excavations. Schwartz’s recent work draws on the incidental beauty of daily visual experience, never discriminating between the monumental and the mundane. His paintings also allude to those microscopic and macroscopic abstract worlds brought into focus through the aid of technology. In an age flooded with ephemeral images all vying for attention, Schwartz is particularly interested in the role of painting as a format that demands patience and slow, intimate looking from its audience. Andrew Schwartz received a BFA with concentrations in painting and sculpture from Cornell University in 2010 and an MFA in painting from the Mason Gross School of the Arts at Rutgers University in 2016. Schwartz has exhibited his artwork at Morgan Lehman Gallery (NYC); Deanna Evans Projects (NYC); and Geoffrey Young Gallery (Great Barrington, MA); among others. The artist lives and works in Brooklyn, NY. The books mentioned in the interview are: (Major Trends in Jewish Mysticism and On the Kabbalah and its Symbolism).
Andrew Schwartz “Golem (Blue/Red)”, 2020, 30 x 22 inches, Oil, pigments, and mica on archival paper
Andrew Schwartz, “Late Bloomer”, 2019, 30 x 22 inches, Oil and pigments on archival paper
Andrew Schwartz “Impressions: Green-Wood”, 2020, 30 x 22 inches, Oil, pigments, and mica on archival paper
Arthur Menezes Brum (b.1985) is an educator, artist, and consultant. His activities focus on interrogating creativity within and beyond the fine arts.
As an educator he seeks to reinforce the controversial concept that anyone can become an artist. He received his MFA from Yale University, and his BFA in from the University of Cincinnati.
Bad Idea in Orange, 2020. Light bulb and dehydrated orange, ~12"x 3.5" x 3.5"
Ash Canary, 2020. Hand sanitizer on painted cardboard effigy, ~ 5" x 4" x 3"
Alien Space Suit, 2020. Performance/Costume: Seersucker suit, N95 respirator, goggles, sunglasses, gloves, boat shoes, and latex mask.
Randy’s job is to provide the overarching vision and direction for Intersection for the Arts, which includes finding new ways to support artists.
With over thirty years experience as an artistic director, he co-founded New York City’s HOME for Contemporary Theatre and Art and HERE Arts Center, served as the executive artistic director for Cleveland Public Theatre, and has a long career as an actor and director in NYC and regionally.
He joined Intersection for the Arts in 2008 and became Executive Director in 2015. When he’s not keeping the trains running at Intersection, you can find him cooking adventurous meals, traveling, researching his family tree, or working (at a snail’s pace) on his memoirs.
The book mentioned in the interview is Autobiography of Mark Twain, Vol. 1.
Dancing Earth is an Indigenous dance company that aims to inspire creativity, grow cultural consciousness, and support Indigenous dance.Intersection for the Arts is a historic arts and culture nonprofit that provides Bay Area based artists and arts organizations with fiscal sponsorship, resources, space, and support to grow their artistic practices.
Red Poppy Art House is an artistic and cultural center and venue in the historic San Francisco Mission district. They host diverse performances, exhibitions, workshops, and artist residencies that creatively address social, political, and community issues.Intersection for the Arts is a historic arts and culture nonprofit that provides Bay Area based artists and arts organizations with fiscal sponsorship, resources, space, and support to grow their artistic practices.
Ishion Hutchinson Neil Watson
Ishion Hutchinson was born in Port Antonio, Jamaica. He is the author of two poetry collections: Far District and House of Lords and Commons.
He is the recipient of the National Book Critics Circle Award for Poetry, a Guggenheim Fellowship, the Joseph Brodsky Rome Prize, the Whiting Writers Award, the PEN/Joyce Osterweil Award, the Windham-Campbell Prize for Poetry and the American Academy of Arts and Letters Award in Literature, among others.
He is a contributing editor to the literary journals The Common and Tongue: A Journal of Writing & Art and teaches in the graduate writing program at Cornell University. Books mentioned, two by Montale: Collected Poems and The Second Art of Life.
photo by Taso Papadakis, from "This Dance is Stolen"
Alexx Shilling is a Los Angeles-based choreographer, performer, filmmaker and teacher fully committed to the infinite investigation of movement and its potential to uncover alternative narratives and allow us to remember. Her original choreography and experimental films have been presented nationally and internationally, through residencies including Millay Colony, PAM, UCLA and Ebenbökhaus / Jewish Museum in Munich, and with generous support from institutions including Dance Films Association, Asylum Arts, Yiddishkayt, Center for Cultural Innovation, Lower Manhattan Cultural Council, CHIME (with mentor Bob Een) and California Arts Council both as Artistic Director of alexx makes dances and ann and alexx make dances (2004-2010).
She has collaborated as a performer most robustly with Victoria Marks and Richard Rivera/PHYSUAL, and recently in projects by Christine Suarez, Kevin Williamson and Nickels Sunshine. Alexx holds an MFA in Choreography from UCLA’s World Arts & Cultures/Dance Department and a degree in Dance from Skidmore College. She currently teaches at Loyola Marymount University and Cal State Long Beach, co-founded the performance platforms Hi, Solo and Gold Series and holds certifications in Pilates, Yoga, Open Source Forms and Fleming Technique.
Absence a History, photo by Taso PapadakisSarah Leddy, Nguyen Nguyen, Dorothy Dubrule and Carol McDowell in Absence: a HistoryAbsence was a suspicious attempt at constructing a past without proof; it was about creating testimony by first making fake family photographs and using them as movement language. For a change, the theatre space seemed like the perfect shadow box within which to investigate memory.Highways Performance Space, Los Angeles (2015)
Julie Troost in the opening scene of The Sun Is Over the Yardarm (2004-5) , Conceived and co-directed with Ann Robideaux taken aboard the Lightship "Frying Pan," Hudson River, photo by Bing Smith
Sarah Stolar and Merlene Schain at SFMOMA, 2012, photo credit Jeff Medinas
Merlene Schain is a painter and mixed-media artist. She holds a BFA from the School of the Art Institute of Chicago, an MFA from the University of Cincinnati, and she has been exhibiting internationally since 1972.
Cincinnati born, in the family lineage of Rookwood Pottery and German master painter Adolph von Menzel, Merlene Schain is an acclaimed art educator in the Midwest. Founder of Schain Studios, an independent art school established in 1989, Merlene is responsible for mentoring students in achieving over 300 regional and national Scholastic awards, and over $900,000 in college scholarship money from top art schools across the country.
She has also been a Visiting Professor at the University of Cincinnati and Art Academy of Cincinnati. Her own artwork is in several prestigious private and public collections including Fidelity Investments, Merrill Dow, and Lifesphere, among others. Recently, Merlene Schain retired from teaching and moved to Santa Fe, New Mexico focus on her work.
Merlene Schain’s current studio space with a selection of new drawings on the wall.
Cultural Harmony, ink and acrylic on Stonehenge paper, 44x84”, 2013
Hazel Nut Tree, Sumi ink on Stonehenge paper, approx. 12x6”, 2018, photo credit Heather Marie Bergerson
Vladimir Palibrk Curator, writer and artist.
After graduating at Comparative studies of world literature department at Belgrade University, Vladimir focused mostly on storytelling through various forms, including words, graphic art forms, and event production/network management as ways to externalize his visions. With more than 10 years of experience of working as a mediator and author both in challenging non-formal international setting as well in more structured official platforms and organizations worldwide gave him valuable experience in the nature of creative and team processes. He is based in Paris, France, since 2015.
Installation at Atelier Meraki Paris by DZAIZKU
Dzaizku collage by Vladimir Palibrk
Author Photo by Cybele Knowles
Fady Joudah has published four collections of poems, The Earth in the Attic, Alight, Textu, a book-long sequence of short poems whose meter is based on cellphone character count; and, most recently, Footnotes in the Order of Disappearance.
He has translated several collections of poetry from the Arabic and is the co-editor and co-founder of the Etel Adnan Poetry Prize.
He was a winner of the Yale Series of Younger Poets competition in 2007 and has received a PEN award, a Banipal/Times Literary Supplement prize from the UK, the Griffin Poetry Prize, and a Guggenheim Fellowship. He lives in Houston, with his wife and kids, where he practices internal medicine.
Dan Hill, Ph.D. is an internationally recognized expert on the role of emotions in politics, business, sports and culture. He pioneered the use of facial coding in business to capture emotional dynamics and has done work for over 50% of the world’s top 100 B2C companies. He’s also been a political pundit for CNN, The New York Times, Reuters, Fox, and MSNBC, among other media outlets, since the 2004 presidential race. His eight books include Emotionomics, chosen by Advertising Age as a top 10 must-read book of 2009 and featuring a foreword by Sam Simon, co-creator of The Simpsons; and among his three most recent books, First Blush: People’s Intuitive Reactions to Famous Art. Dan holds a Ph.D. in English from Rutgers University, following a M.A. in Creative Writing from Brown University and has thrice been noted with commendation in The Best American Essays series.
The conservative scientific estimation is that 95% of people’s mental activity isn’t fully conscious. First Blush is by far the largest study ever done involving eye tracking and art – plus facial coding, to capture how participants felt about what they were precisely seeing (and experiencing).
This handout picture received from Christies auction house on May 27, 2014 shows an artwork entitled "My Bed" by British artist Tracey Emin. Tracey Emin's unmade bed artfully littered with condoms, cigarette packs and underwear is expected to fetch around £1 million (1.2 million euros, $1.7 million) at auction. The work, called simply "My Bed", cemented Emin's notoriety when it was shortlisted for the 1999 Turner Prize, although the British artist eventually lost out to future Oscar winner Steve McQueen, who directed "12 Years a Slave". AFP PHOTO / CHRISTIES
Caption for Tracy Emin eye-tracking results for My Bed – Tracy Emin’s installation piece, My Bed, was the top-performing art work in First Blush. That result is based on both driving a high volume of fixations (where the eye stays with a detail long enough for it to mentally register) and a high volume of emotional engagement (when facial muscle activity reflects interest).
Leila Seyedzadeh lives and works in New York. She received a Bachelors of Fine Arts degree from The University of Science and Culture in 2014 and an MFA from Yale University School of Art in 2019.
Seyedzadeh was a recipient of the H.Lee Hirsche prize at Yale School of Art. She has been invited to participate in exhibitions which include shows at WhiteBox in New York, and Dastan Basement Gallery in Art Dubai 2019. Her work is represented in institutional exhibitions in the US and Iran which includes Green Hall Gallery at Yale University and Ahvaz Contemporary Art museum in Iran.
Seyedzadeh’s work addresses imaginary landscapes and focuses on natural subjects such as mountains that are extracted from subconscious. It is as if she is attaching together pieces of her memories, and by doing so she is destroying their meaning, and thus creating a landscape that is immersed in placelessness. The books mentioned in the interview are In Praise of Shadows and Mount Analogue.
Mount Qaf, hand dyed cotton rope, 2020
A memory of a view from my homeland, hand dyed cotton cloth, found cloth, hand dyed fringe, ribbon, string, 2018
The landscape of my voice, sound drawing based on Farsi and English, glass, fringe, wood pole, 2019
Detail, the landscape of my voice
Desi Mundo is an Oakland-based spray paint educator, hip-hop cultural diplomat and the founder of the Community Rejuvenation Project, a pavement to policy mural organization that has produced more than 250 murals, throughout the Bay Area as well as nationally and internationally.
His largest mural, the “Universal Language” galvanized the Oakland community in the struggle against gentrification resulting in $20 million in community benefits, as documented in the feature documentary film “Alice Street.” Desi’s legacy as an educator and youth worker in K-12 schools spans two decades. He received the “Rising Leaders” Fellowship from the Youth Leadership Institute in 2005 and has been awarded the Individual Artist grant from the City of Oakland eight times.
The Universal Language mural discussed in the interview.
The Universal Language mural with Destiny Muhammad, the "Harpist from the Hood".
S Surface is a Seattle-based curator of art, design and architecture, and the King Street Station Program Lead with ARTS. Previously, Surface was co-curator of The Alice, an artist-run exhibition space and writers' residency, and Out Of Sight 2017, a regional survey of Pacific Northwest artists. As Program Director at Design in Public, Surface organized the annual city-wide Seattle Design Festival and curated at the Center for Architecture & Design. Trained in graphic design, photography and entrepreneurship at Parsons School of Design, and with a M.Arch from Yale School of Architecture, research coordinator and editor with C-LAB, Volume Architectural Journal, and the Network Architecture Lab at Columbia University Graduate School of Architecture, Planning and Preservation; and a teaching fellow in the Women's, Gender, and Sexuality Studies department at Yale University. Surface served on the Seattle Arts Commission and on the board of Architects, Designers and Planners for Social Responsibility.
Carol Ann Davis is a poet, essayist, and author of the poetry collections Psalm (2007) and Atlas Hour (2011), and The Nail in the Tree: Essays on Art, Violence, and Childhood (2020), all available from Tupelo Press.
The daughter of one of the NASA engineers who returned the Apollo 13 crew from the moon, she grew up on the east coast of Florida the youngest of seven children, then studied poetry at Vassar College and the University of Massachusetts, Amherst. A former longtime editor of the literary journal Crazyhorse, she is Professor of English at Fairfield University, where she directs the Low-Residency MFA Program and is founding director of Poetry in Communities, an initiative that brings writing workshops to communities hit by sudden or systemic violence. She lives in Newtown, CT, with her husband and two sons.
Frans van Lent
La Biennale de Momon- about the solidity and continuity of the physical world as opposed to the human temporary presence. July - November, 2020. The initiative: La Biennale de Momon project was set up by Frans van Lent, a Dutch artist, based in Dordrecht, the Netherlands. His recent projects include the Unnoticed Art Festival, the ConceptBank and the ParallelShow. There is no clear distinction between his practice as a performance artist and his curatorial projects. He often invites other artists to participate on an equal basis. Frans van Lent studied at MaHKU, Utrecht (MA Fine Arts). He tutors at the Willem de Kooning Academy, Rotterdam (since 2000). The project: Maumont is a small village in the Perigord in France. It consists of 15 houses, around 30 inhabitants and there is no church, shop, café or other public facility. Only a few original residents are still living in the village; many died over the years, others left to live elsewhere. Today most inhabitants are newcomers and pensioners, often from other countries. Twenty years ago you could still smell the farms everywhere. Herds of cows and sheep were led through the village every day. The village has changed, from a place where all was related to soil, growth and the seasons, to a place where the inhabitants mainly stroll, relax and dream. Momon is the old name of the village, no longer in use since the name Maumont was introduced. Momon stands for the village as it exists in the mind. It is no longer physically linked to the location, it is linked to memories and coloured by nostalgia. La Biennale de Momon starts from the village, but it will only be that starting point. Nothing will be changed but, on the contrary, it will remain the way it is. The artists: Eight artists are working in this project: Sarah Boulton (GB), Marc Buchy (FR/BE), Joan Heemskerk (NL), Susana Mendes Silva (PT), Josh Schwebel (CA/DE), Lisa Skuret (US/GB), Elia Torrecilla (ES) and Frans van Lent (NL). They all have a certain preference for creating work without a material body, without physical traces. Their ultimate works might consist of texts, scores, images or sounds, everything that can live online without actually touching the physical ground. During one week in the first half of this year, every artist will individually stay in a small house in the village. She/he will use this time to get familiair with the village, with its surroundings, its inhabitants. And they will of course prepare and create. LaBiennaleDeMomon.org: Finally La Biennale de Momon can only be experienced online. The will be no physical traces left in the village to find. The project will officially be presented at LaBiennaleDeMomon.org on July 15, 2020.You can of course always choose to visit the location, but do not expect to see something different than what it always was: just a small village in the Perigord. And finally: In November 2020 we will organise a public conference in the Dordrechts Museum in Dordrecht, the Netherlands. In this conference all artists will talk about the meaning of this project and about their works. There will also be other speakers with a professional relation to the subject: actors, journalists, scientists. Financing the project: We are very happy that the city of Dordrecht, the Netherlands, funded part of this project. It ensures us of the means to realise many aspects as intended. One of the things that is still missing is a fee for the artists. The project is very much dependent of their efforts and I would really want to value this by offering them a fair fee. To realize that we set up the crowdfunding. The book mentioned in the interview is Underland of Robert Macfarlane.
Bull (Limousin)
View from the village of Maumont
Sarah Stolar in the studio with her pit bull Gabriel and work in-progress for her new project The Grief Club photo credit Jeff Medinas
Sarah Stolar (b. 1974, Chicago, IL) is an interdisciplinary artist who lives in Santa Fe, New Mexico. Working from a vast technical perspective, the breadth of her work includes painting, drawing, multi-media installation, film, video and performance art. Rooted in a 20-year investigation of the female psychological narrative, common threads in her work include coming of age, loss of innocence, sexuality, beauty, power, death, spirituality, and identity. Sarah is the daughter of artist and educator Merlene Schain, and in the family lineage of 19th-century German painter Adolph von Menzel and Rookwood Pottery master potter John von Menzel of the American Arts and Crafts Movement. She grew up in her mother’s art studio and award-winning art school Schain Studios in Cincinnati, OH, received a BFA in Painting from the Art Academy of Cincinnati, and an MFA in New Genres from the San Francisco Art Institute. Sarah's visual art, performance, and collaborative work have exhibited across the United States and in Argentina, Spain, Germany, Austria, Finland, Italy, and Cuba with solo exhibitions at the New Mexico Museum of Art, Harwood Museum of Art, and BGMoCA in Montevideo, Uruguay as well as awards and honors from international film festivals, et al. Her work has been featured in multiple publications including The Nation Magazine, LandEscape Art Review, Nomos Journal, and Hyperallergic. A committed educator for over fifteen years, Sarah Stolar serves on multiple boards and academic committees, and is currently the Chair of the Art Department at the University of New Mexico - Taos. The book mentioned in the interview was The Power by Naomi Alderman.
The Grief Mother / The Grief Club performance for video 2020 photo credit Audrey Valentine
She-Hulk, oil on canvas, 60x48”, 2018, photo credit Jeff Medinas (exhibited in most recent solo exhibition Alcoves 20/20 at the New Mexico Museum of Art)
Mireia c. Saladrigues (Terrassa, 1978) is a researcher and visual artist at the Doctoral Program of the Finnish Art Academy, University of the Arts Helsinki.
Via her research Behaving Unconventionally in Gallery Settings. Alteration in Cultural Practices for Rearticulating Relations among Makers, Objects, Audiences, and (Virtual) Museums, she documents and fosters human and non-human cases of alteration and strangeness in cultural practices by proposing an artistic and theoretical re-reading of nonconformity. It also experiments with implementing occasions for misrepresented behaviours that, within the (conceptual) architecture of display, are considered traditionally unacceptable. The research is being supervised by Jan Kaila, Julie Harboe and punctually by Hito Steyerl.
Her work participated the 2nd Research Pavilion in occasion of the 57th Venice Biennale (2017). She has also exhibited at: Espai 13 in Joan Miró Foundation (2011), Antoni Tàpies Foundation (2014), La BF15 in Lyon (2014), Centre d'Art Le Lait in Albi (2015), Videonale.13 in Bonn (2011), Centre Cultural Caja Madrid (2011), National Museum of Photography in Copenhaguen (2010), Kiasma Museum in Helsinki (2009), DIA Art Foundation (2008), Art Museum in Pori (2008), Onomatopee in Eindhoven (2015 i 2012), Midway Contemporary Art in Minneapolis (2010).
She has lectured at the 9th Annual Conference of the Society of Artistic Research in Plymouth, 104th Annual Conference by CAA in Washington DC, the EARN Symposium at GradCAM@DIT in Dublin, KuVA Research Days in Helsinki, as much as others.
She has received numerous awards, which the most recent are KuVA Research Position (2020-2021), Kone Publication Grant (2020), Kone Foundation Research and Art Production Grant (2016-2019), KuVA Grants (2019-2014), ETAC - Artistic Research Residency (2014), OSIC- Research and creation grant (2012).
Her Museum, in Joan Miro Foundation, Mireia c. Saladrigues, 2011
Mind your Manners, Mireia c. Saaldrigues, 2011