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).

Rochelle Voyles

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.

Torbjørn 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.

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.

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.

Omar 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.

They 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.

Their 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).

In 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.

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.

Clementine 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.

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).

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.

Xanthe 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. 

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. 

Paul 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.

Aglaé 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.

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.

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.

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. 

Sophie 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. 

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.

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.

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.

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.

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.”

She received her BFA from Iowa State University and her MFA from the University of Washington and lives and works in Seattle.

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.

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.

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.

Marisa Adesman

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.

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.

Melanie 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.

Matt Magee

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.

Born 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.

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.

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.

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.

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.

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

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.

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.

Lin 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.

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.

Eva Lake

]]> Brainard Carey full 24:03 https://museumofnonvisibleart.com/interviews/robert-janitz/ Thu, 21 Aug 2025 10:37:52 +0000 https://museumofnonvisibleart.com/interviews/?p=15784 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.

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.

Born 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).

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.

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.

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.

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.

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.

Many 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.

Dena 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.

Julianne 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.

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).

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.  

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.

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.

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.

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).

Nicolás 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.

 

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(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.

Brooklyn-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.

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.

Born 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).

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.

Jessica 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.

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.

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.

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.

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.

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.

Riley 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.

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.

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.

Aaron 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.

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.

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.

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.

Adam Erlbaum

Erlbaum has exhibited in Philadelphia, Aspen, South Carolina, and St. Louis.  He paints at The Mill Studios in Philadelphia.

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).

Stephanie 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.

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.

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).

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.

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).

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.

Marcelle 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.

Leo 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.

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.

Ana 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.

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.

He now works out of his studio in Long Island City Queens, and lives with his small family in nearby Astoria.

Matthew 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.

Mark van Yetter

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Elise Engler’s art ranges from the personal to the political, to various combinations of those elements.

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.

Ever Baldwin

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.

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.

Born 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.

Morning 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.

Kati 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. 

Over 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.

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.

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.

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.

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.

Maja 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 visionary
painters 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.

Leora 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 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.

Anthony 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.

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 Gallery

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

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.

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.

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).

Jen 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.

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.

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.

Jack 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.

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.

Kejoo Park (B.1956, Daejeon, Korea) lives and works in Frankfurt and New

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).

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 Anaya Maya was born in Bogot. D.C., raised in rural Colombia, and currently

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.

Raquel Rabinovich

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.

Nana 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.

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.

Diego 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.

For 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.

Sari 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.

Alan 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.

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.

Marianne 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.

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.

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.

For 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.

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.

Trudy 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.

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.

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.

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.

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.

Elizabeth 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.

Tony 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.

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.

Chase 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.

Dapper Bruce Lafitte (b. 1972 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.

“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 Malouf

Malouf 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.

BARRO 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 and
shapes 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 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.

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.

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.

Elizabeth 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.

Asad Raza (born in Buffalo, USA) creates dialogues and rejects disciplinary boundaries in his work, which conceives of art as a metabolic, active experience.

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.

Ge, Asad Raza, 2020. Commissioned for The Shape of a Circle in the Mind of a Fish: The Understory of the Understory, Serpentine Galleries.

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.

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.

Andrew 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.

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.

Emma 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.

The Thing in Front of You

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.

For 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. 

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.

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.

Sydney 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.

Donna 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.

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.

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.

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.

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.

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.

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.

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.

Originating 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.

Andrew 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.

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.

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.

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.

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.

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.

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.

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.

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.

Edward Povey was born in London, England in 1951, the only child of a merchant seaman and a seamstress.

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.

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.

Enemy Combatant

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.

Born 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).

Mikael Levin explores our conceptions of place, identity and temporarily. His photographs are

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.“

Skuja 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.

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.

Julien 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.

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.

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.”

As 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).

Anita 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 is your material. You may pick up a paint brush and find that your making is not on canvas or wood but in relations between people. You may set out to walk across the room but getting to what is on the other side might take ten years. You have to be open to all possibilities and to all routes — circuitous or otherwise.

But not knowing, waiting and finding — though they may happen accidentally, aren’t accidents. They involve work and research. Not knowing isn’t ignorance. (Fear springs from ignorance.) Not knowing is a permissive and rigorous willingness to trust, leaving knowing in suspension, trusting in possibility without result, regarding as possible all manner of response. The responsibility of the artist… is the practice of recognizing…”

Henry Mandell was born in New York City.  He received a BFA in Fine Art from Ithaca College and went on to study art at The School of Visual Arts and Parsons School of Design / The New School in New York.  His artworks have been exhibited in galleries and museums across the United States and internationally, with artworks held in public, private and corporate collections.  Museum collections include The Museum of Fine Arts Boston, The Columbia Museum of Art and the Rhode Island School Of Design Museum.  Mandell’s studio is currently in the Pacific Northwest.

Judy Fox

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).

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.

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.

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.

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.

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.

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

Se Yoon Park 박세윤 (b. 1979, South Korea) is a sculptor living and working in New York. Park’s foundation in architecture is reverberated through the deft construction of his geometries and manipulation of gravity in his sculptural installations. Integral to his perspective is the deconstructivist approach of Dutch architect Rem Koolhaas, founder of Office for Metropolitan Architecture (OMA), Netherlands, where Park began his career as an architect. Koolhaas’ concept of the diagram, sourcing all possibilities on approach to a structure, is a defining principle of Park’s practice as a sculptor.

Park conducted his undergraduate studies in architecture at the department of Architectural Engineering at Yonsei University in Seoul and holds a Master of Architecture from Columbia University in New York. In addition to his time at OMA, his work in the realm of architecture includes positions with Bjarke Ingels Group (BIG), Fernando Romero Enterprise (FREE), and with Joshua Ramus (REX). Park began his exploration of light and shadow in his own work as a sculptor in 2014. His work has since been shown by the European Culture Centre in Venice, in tandem with the 57th Venice Biennale, at the United Nations in the 13th UNCCD exhibition, and in solo and two-person exhibitions in New York and Seoul, at Carvalho Park (New York), Gallery Mark (Seoul), and Huue Contemporary (Seoul, Singapore), and as public art commissions in South Korea. His work has been featured in the Brooklyn Rail, Wallpaper* magazine, Artnet News, Dovetail magazine, Surface, Naver Design Press, Artsy Editorial, the Seoulive, Segye Daily, Seoul Economy Daily, among others.

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.