'Front Page' at Long-Sharp Gallery

at LONG-SHARP GALLERY

Front Page

COVER:

Dialog I © Miriam Londoño 2022

Handmade paper

Left Head: 17 x 16 x 11 inches (43 x 40 x 28 cm)

Right Head: 17 x 17 x 12 inches (44 x 44 x 30 cm)

Front Page

LAVETT BALLARD 8

YULIA BRODSKAYA 14

MOIRA CAMERON 20

CONSTANCE EDWARDS SCOPELITIS 28

MARY EVANS 34

FIONA GRADY 40

ROSE ELECTRA HARRIS 48

JULIA IBBINI 56

TAMAR KANDER 64

SABINA KLEIN 74

MIRIAM LONDOÑO 80

DESTINY PALMER 88

NICOLE PIETRANTONI 96

LOIS MAIN TEMPLETON 104

FOREWORD

Front Page at Long-Sharp Gallery

The words “front” and “page,” when placed together in that order, signal that something important is afoot. “Front page” historically referred to the lead story in a printed newspaper. Paper was thus the vehicle to convey the most significant events happening in the moment.

Through this exhibition, we highlight the sensational work being created across the globe in the paper medium. And we announce “above the fold” that paper is every bit a medium of fine art as any other. No longer is paper’s primary use a means of sketching an idea or a vehicle for preparatory work for a grander project. No longer is paper relegated to page six.

The Front Page story, as told by the fourteen artists participating in this exhibition, is that paper as a medium is the equal sibling of canvas, metal, and stone. It is a medium for painting, printmaking, collage, and sculpture. It is a medium for compositions that are abstract, figurative, realist, sculptural, and more.

The careers of the represented and invited artists that combine to tell this story are as diverse as the works. Some have already been the subject of museum exhibitions, while others are in the early years of their careers. As a collective, these artists and this body of work are a testament to artists who take a fragile piece of paper and, with their vision, empower it, redefine it, and make it their own.

With special thanks to the LSG vanguard for its twoplus years of work putting this exhibit together; to gallery director Nicole ML Sharp for introducing us to many of these artists; to our editor Rose Shingledecker for assembling this catalog; and, most of all, to gallery and art patrons who understand the importance of championing artists young and not-as young.

In Art We Trust, Rhonda Long-Sharp

LAVETT BALLARD

(American, b. 1970)

Lavett Ballard holds dual bachelor’s degrees in Studio Art and Art History from Rutgers University, as well as a master’s degree in Studio Arts from University of the Arts (Philadelphia, PA).

Ballard describes her work as a re-imagined visual narrative of people of African descent. Her use of imagery reflects social issues affecting primarily Black women’s stories within a historical context. Her current body of work uses collaged photos adorned with paint, oil pastels, and metallic foils. These photos are deconstructed and layered on reclaimed wood fences; the use of fences is a symbolic reference to how fences physically keep people in and out, just as racial and gender identities do so socially. The fusion of wood and photography offers artwork that both explores Ballard’s southern roots, as well as visually speaks volumes to continuing themes within her community.

Her artwork has been featured on the cover of TIME magazine, selected for the “100 Women of the Year” edition in 2020. Named by Black Art in America as one of the Top 10 Female Emerging Artists to Collect, Ballard has placed works in the private collections of the African American Museum of Philadelphia, The Colored Girls Museum, the Petrucci Family Foundation Collection, and the Grant and Tamia Hill Private Collections.

© Ted Waters

The Revisioners [SOLD]

2021

Mixed media/collage on Stonehenge paper 15 x 22 inches (38.1 x 56 cm)

“The Revisioners is inspired by a book of the same title by Margaret Wilkerson Sexton. It often feels like Black folk are having to always revise how we navigate the world and how the world sees us. The image of a woman sitting melancholy, dressed expensively yet forlorn, represents how no matter how we adorn ourselves and try to assimilate, we are often considered outsiders. The other Revisioner is a female volunteer training to deal with the violence a.k.a. ‘the slap’ of the South as a potential Civil Rights registrar. These Revisioners are examples of revisions of African American females from the past.” Lavett Ballard

“The idea of being ‘bound’ to a person can be an emotional, mental, and physical relationship. The Black nannies or even wet nurses were expected by ownership to serve their masters even over their familial duties to their blood kin. Mothers were expected to nurse their charges before feeding their own children and care for and raise their future masters. These children and their future owners walked the fine line with those that served them and those they owned. They played and learned from the colored women that raised them and were expected to cut these binds into adulthood, forcing one to question: can such binds be cut cleanly when so tightly bound?” Lavett Ballard

Mixed media/collage on Stonehenge paper 30 x 22 inches (76.2 x 55.9 cm)

2022

Mixed media/collage on 90lb Stonehenge paper 48 x 37 inches (122 x 94 cm)

“The start of spring brings forth brightly colored blooms and warmth. Beaches with names like Highland, Chicken Bone, Atlantic, Martha’s Vineyard, the Idlewild, and Inkwell call for long, playful summer days. For a time, segregation is a haven for people of color where the illusion of freedom and peace is promised with the call of the sun.” Lavett

Ballard

Here Comes the Sun [SOLD]

LAVETT BALLARD

Education

2017 MFA (Studio Art), University of the Arts, Philadelphia, PA

2014 BA (Studio Art & Art History), Rutgers University, Camden, NJ

2021 AS (Art), Rowan College at Burlington County, Mount Laurel, NJ

Select Solo Exhibitions

2022 Long-Sharp Gallery- ‘My Soul Has Got to Move’- Indianapolis, IN

Rush Arts Philadelphia- ‘Rooted: From our head to our Souls’- Philadelphia, PA

Syracuse University/Community Folk Arts Center- ‘Stories My Grandmother Told Me’- Syracuse, NY

2020 Long-Sharp Gallery- ‘When She Roars’- Indianapolis, IN

Saint Joseph’s University- ‘Just Like a Woman’- Philadelphia, PA

Rutgers University-SWG- ‘Her-Stories: Visual Narratives of Women of the African Diaspora’- Camden, NJ

2019 Noyes Museum Stockton University- ‘Souls of Black Folk’- Atlantic City NJ

Art Sanctuary- ‘Reclaiming Her Time’- Philadelphia, PA

Select Group Exhibitions

2021 Cornell Art Museum- ‘Heart of the Square’- Delray Beach, FL

Prizm Art Fair- Galerie Myrtis

Art Miami Art Fair- Long-Sharp Gallery

Newark Arts Festival- ‘Dionne Warwick: Queen of Twitter’- Newark, NJ

UTA Artist Space- ‘Literary Muse’- Beverly Hills, CA

2020 Prizm Art Fair- Galerie Myrtis

Galerie Myrtis- ‘Women Heal through Rite and Ritual’- Baltimore, MD

Penn State- Women X Women-Petrucci Family Foundation Group Show, -Lehigh Valley, PA

2019 Prizm Art Fair- Black Art in America Booth

Noyes Museum of Art, Kramer Hall ‘Driving While Black’- Atlantic City, NJ

Houston Museum of African American Culture- ‘Dorsey Family collection’- Houston, TX

Noba Art space, ‘PHOTO-Based’- Bala Cynwyd, PA

2018 Trestle Project Space Gallery- Contain her, NY, NY

African American Museum of Philadelphia- ‘Art for Social Change’- Philadelphia, PA

Timicua Arts House- ‘Housewives Collectives’- Orlando, FL

Little Berlin Gallery- ‘Mother ’s Day’- Philadelphia, PA

Rush Arts Gallery Philadelphia- Giving up the Ghosts- Philadelphia, PA

2017

MFA Thesis Exhibition- Icebox Project Space- Philadelphia, PA

The Colored Girls Museum- ‘Urgent Care’- Philadelphia, PA

Select Bibliography

2020 Cover Art: Her View. Signs: Journal of Women in Culture and Society. University of Chicago Press, 2020.

Heguiaphal, Maia. “Lavett Ballard’s African American & Female Narratives.” Daily Art Magazine, December 14, 2020.

Baker, Chenoa. “‘To Set at Liberty Them That Are Bruised:’ Hybrid Antidotes Artistic Apothecaries and Women of….”

Sugarcane Magazine, July 14, 2020.

Dobrin, Peter. “Philly actors, musicians, dancers can’t imagine when they’ll work again:…” Philadelphia Inquirer, April 25

Graves-El, Ahmad. “Timeless Perfection: Local Artist Creates Cover for TIME’s 100 Women of the Year Issue.” SNJToday, April 7 Cover Art: 1955 The Bus Boycotters. “Special Edition Women of the Year.” TIME Magazine, March 10-17, 2020.

Valentine, Victoria. “Time Magazine Recognizes 100 years of Influential women with Covers by....” Culturetype Magazine, March 8

2019 Osterheldt, Jenee. “Art Basel bears far better fruit than that $120,000 banana.” The Boston Globe, December 11, 2019.

2018 Robinson, Shantay. “Artist on the Move: Lavett Ballard.” Black Art In America.com, June 14, 2018.

Najuma, Ayana. “New Generation of Artists weaves common threads for community empowerment.” March on Washington Film Festival Catalog, July 11.

Robinson, Shantay. “10 Emerging Black Female Artists to Collect.” Black Art in America.com, June 14, 2018.

Carroll, Angela N. “Giving Up the Ghost Artifacts: A Study of Power & Solidarity Against White Violence in Modernity.” Sugarcane Magazine/Global Black Art & Culture, February.

2014 Friedman, Sally. “Juried show offers a generous display of S.J. talent.” Courier Post-ARTs section, September 14, 2014. Carbone, Mariel. “Art for Every Taste.” Burlington County Times, September 18, 2014.

2012 “RU Ready.” Rutgers University Camden. MATTER Magazine, January 2012.

2008 Featured Artist Article. Art Scene NJ, 2008.

“Home Décor with a personal touch.” Burlington County Times, March 2008.

2007 “Voices and Vision Art.” Burlington County Times, February 2007.

2004 Mikel, Valerie. “Lavett Ore knows how to paint the own.” 2001.

Artwork © Lavett Ballard

Media

CFAC/Syracuse University- Black Art Speaks- Highlight

Studionoize Podcast- ‘In My Life Time w/ Lavett Ballard’

Yale University Radio- Praxis- ‘Interview with Brainard Carey’

Good Day Street Talk, Fox News NY- ‘African American Art and its impact today’

Monmouth County Local Television- ‘Struggles and Success in the Arts’- PNC African American Festival, 2009

Speaking Engagements/Visiting Artist Lectures

2021 Howard University- Panelist- Art for Social Change- Washington DC

Art Institute of Chicago- Visiting Artist lecture- Chicago, IL

University of the Arts- Visiting Artist Lecture- Philadelphia, PA

Rutgers University- Visiting Artist Lecture- Camden, NJ

Columbia College- Visiting Artist Lecture- New York, NY

2020 John Hopkins University- Black Womanhood: Language Art & History

2019 Tulane University- Visiting Artist Speaker Series- New Orleans, LA

2018 International Curators International- Livestream Artist Talk on Social Justice

2016 Kean University at Ocean Toms River NJ- Visiting Artist symposium

Awards and Honors

2020 Yaddo Artist Residency Summer Fellow 2020

2018 Listed by Black Art in America as one of the ‘Top 10 Emerging Black Female Artists to Collect’

The Colored Girls Museum Artist-in-Residence

Alice C. Cole Fellowship Nominee, Wesley College

The Pew Center for Arts & Heritage Fellowship, Nominee through the AAMP

2016 Artist of the Year of Philadelphia- The Harvest Spoken Soul 215 1st Annual Awards

2014-15 Bombay Sapphire Artisan Competition Semi-Finalist- NY & Philadelphia

2014 University of the Arts, Philadelphia PA- Graduate Fellowship

Odyssey Arts Award Travel Scholarship

Gullkistan Student Artist Residency- Gulfoss, Iceland

First Place Center for the Arts of Southern NJ-Marlton NJ

2013 Roberta K. Tarbell Art History Scholarship

Select Collections/Collectors

U.S. Embassies program- Ambassador Natalie Brown- U.S. Embassy Kambala

The Petrucci Family Foundation Art Collection

The Grant and Tamia Hill Art Collection

Jule Collins Smith Museum of Fine Art at Auburn University

Stockton University Art Collection

Syracuse University collection/Community Folk Arts Center

Saint Joseph’s University/Barnes Museum- shared Private Collection

ABC Studios

CBS Studios

NBC/Universal Studios

The Colored Girls Museum

African American Heritage Museum of South Jersey

YULIA BRODSKAYA

(Russian, b. 1983)

Yulia Brodskaya is a renowned paper artist who pushes the boundaries of the centuries-old paper craft known as quilling. Thanks to a decade of her paper art practice, quilling is enjoying a modern revival.

Originally trained as a graphic designer and illustrator, Brodskaya’s first paper artworks were self-promotional pieces created to impress potential design clients. She quickly earned an international reputation for her inventive paper illustrations. In 2009, she was named a “breakthrough star” by Creative Review magazine. Within a few years, she completed nearly two-hundred projects and brand collaborations with an impressive group of international clients including Neiman Marcus, Hermès, Starbucks, Cadbury, Target, Bentley, Hennessy, Ford, Issey Miyake, Wimbledon, Paramount Pictures, and Balvenie, among many others. In 2016, she created a Forever® stamp design for the United States Postal Service.

Brodskaya’s latest experiments with portraiture and natural motifs straddle the line between paper quilling and Impressionist-style painting. She describes her innovative technique of shaping and manipulating thin strips of paper into figurative, three-dimensional works as painting with (rather than on) paper. By combining different color strips in a method similar to mixing paints on a palette, the tightly packed, glued-edge strips imitate painted brushstrokes. This new technique comes as close to actual painting as possible, but with the added quality of a third dimension.

Brodskaya earned a BA (Graphic Design and Illustration) and MA (Graphic Communications) from the University of Herfordshire, UK. She is the author of Painting with Paper: Paper on the Edge (Atglen: Schiffer Publishing, 2019). The artist lives and works in the UK.

Dream Catcher [SOLD]

2020 Paper

Size: 25.5 x 20 inches (65 x 51 cm)

Framed: 27 x 21.375 inches (69 x 54.3 cm)

“Inspired by Shamanic traditions and lucid dreaming, Dream Catcher explores the dissolution of the veil between the sleep and awake states of consciousness; we can choose to go on a journey to retrieve important messages or ‘pearls of wisdom’ from our dreams.” Yulia Brodskaya

Detail from Seeshall

Seeshall [SOLD]

2019

Paper

Size: 39.5 x 31.5 inches (100 x 80 cm)

Framed: 41.625 x 33.625 inches (106 x 86 cm)

“Seeshall is about human evolution and spiritual growth. Seeshall is a Divine Human highly attuned to nature and cosmic consciousness that is the source of all life. She embodies a moment on our spiraling journey.” Yulia Brodskaya

Detail from Dream Catcher

YULIA BRODSKAYA

Education

2006 MA (Graphic Communications) with Commendation, University of Hertfordshire, Hatfield, UK

2005 BA (Graphic Design & Illustration), First Class 1 : 1, University of Hertfordshire, Hatfield, UK

Professional Experience

2008-Present Freelance Paper Artist

Selected Clients: Neiman Marcus, Hermes, Starbucks, Cadbury, Target, CaféRouge, Westfield, Godiva, Bentley, Country Music Association, Hennessy, RobbReport, The Guardian, Balvenie, Washington Post, New York Observer, Issey Miyake, Wimbledon, Clarks, Ford, London Kings College, United States Postal Service, Paramount Pictures

Selected Collections

Oprah Winfrey, Ferrero, Hermès, San Francisco Museum of Modern Art, Paramount Pictures, Country Music Association, Wimbledon, Mr. Issey Miyake, and numerous private collectors.

Notable Achievements

2019 Author of Painting with Paper: Paper on the Edge book (Schiffer Publishing)

2015-16 Official Wimbledon Clubhouse Artist

2016 Created a Forever® stamp design for the United States Postal Service

2009 Named the “Breakthrough Star” of 2009 by Creative Review magazine

Selected Publications

2021 Paperists: Infinite Possibilities in Paper Art. Berkeley: Gingko Press, 2021.

2019 Brodskaya, Yulia. Painting with Paper: Paper on the Edge. Atglen: Schiffer Publishing, 2019.

2017 Creative Extremes: The World’s Most Amazing Creative Projects. Stuttgart: Frechverlag/TOPP, 2017.

2015 Du, Yufei, et al. Paradise of Paper Art 2: The World of Dance Paper. Hong Kong: Designerbooks, 2015. Minguet, Eva. Paper Art Now! Barcelona: Monsa, 2015.

2014 Gildersleeve, Owen. Paper Cut: An Exploration into the Contemporary World of Papercraft Art and Illustration. Beverly: Rockport, 2014.

2013 Youjia, Nie. Beyond Graphics: Mixed Media Illustrations by Contemporary Artists. London: CYPI Press, 2013.

2011 Heyenga, Laura. Paper Cutting: Contemporary Artists Timeless Craft. San Francisco: Chronicle Books, 2011.

Klanten, Robert, et al. Paper-Craft 2: Design and Art with Paper. Berlin: Gestalten, 2011. Book of Creation Hors-série. Paris: Oracom, 2011.

2010 Illustration Play 2: An Expedition to the Extraordinary. Hong Kong: Victionary, 2010.

Images 34: Best of British Illustration 2010. London: Association of Illustrators, 2010.

Playful Type 2: Ephemeral Lettering and Illustrative Fonts. Berlin: Gestalten, 2010.

Abbink, Jeanette, and Emily C.M. Anderson. 3D Typography. New York: Mark Batty, 2010.

2009 Klanten, Robert, et al. Illusive: Contemporary Illustration Part 3. Berlin: Gestalten, 2009.

Klanten, Robert, et al. Papercraft: Design and Art with Paper. Berlin: Gestalten, 2009.

Sloman, Paul. Paper: Tear, Fold, Crease, Cut. London: Black Dog Publishing, 2009. D&AD Annual 2009. London: D&AD, 2009.

Selected Talks, Conferences, and Television

2017 Reasons to (Brighton), Brighton, UK

2015 Making Art Work: First Idea to Final Piece (film). BBC Two: April 29, 2015.

2014 The Art of Illustration, Guardian Masterclass

2009 Friends of St Bride Library, London, UK

Artwork © Yulia Brodskaya

MOIRA CAMERON

(British, b. 1962)

Moira Cameron was born in London to a family of artists. Her father was the celebrated figurative sculptor Ronald Cameron (1930-2013). Her mother, Dorothy Cameron, was a sculptor in her own right. Half a century earlier, Dorothy’s mother had been among the first women to attend art school.

Cameron earned a BA (Fine Art) from Ravensbourne College of Art and an MFA from Chelsea College of Art. In the 1980s, she and her husband, artist David Spiller (1942-2018), moved to New York City. Amidst the bustling streets and graffiti-fueled art scene, Cameron began experimenting with paper sacks as a medium for her artwork. Sourced from her daily life and travels, then cut, patched, glued, and stenciled into something new, the shopping bags are both imbued with personal memories and more broadly representative of the signs, symbols, and sayings of 1980s and 1990s popular culture. As art historian Fraser Brough notes, Cameron’s work repurposing and transforming the discarded materials of everyday life “still looks fresh, raw without being messy, expressive without being naïve.” And over thirty years later, the way in which Cameron embraced sustainable art forms and popular slogans such as “Reduce, Re-use, Recycle” feels, in Brough’s words, “remarkably prescient” for our world today.

Cameron also creates artwork in partnership with her son, Xavier Spiller-Cameron, under the moniker Spiller +Cameron. Their works are assembled in union, with each collaborator bringing his and her strengths and weaknesses to the partnership—Xavier introducing his youthful, contemporary energy to Cameron’s maturity and experience. The duo describes their artistic process as a sort of “alchemy,” in which a base product is mystically transformed into something beautiful. Like Cameron’s work with paper bags, Spiller + Cameron “upcycle” discarded paint rags and other materials; after they are primed, ironed, and meticulously stitched together, the resulting “collages” are so precise that the stitches almost disappear. The paintings harness the energy of the materials’ previous use and, like alchemy, transmute a base product into something worthy of contemplation.

“The paper bag works are made using a collection of various bags from different retail shops from around the world. Many bags date back to the 1980s and document the time I spent in New York. They are mementos of my time spent in the USA and my travels through Europe; memories encapsulated in an everyday shopping bag. For a period during the late 1980s, I lived in New York. I loved all the different art materials on sale from Pearl Paint: neon colours, spray paints, metallic and pearlescent paints, scrapers, and text stencils. Exciting new supplies to work with, on top of ordinarily discarded grocery bags. These works evoke the first time I’d encountered such amazing graffiti that dominated the streets and subways; the words, slogans, and images of New York at the time of Haring and Basquiat. I was energised by visual anarchy and feeling as though I was living in a work of art. The paper grocery bags were a part of the great American dream culture, being iconic American objects from the movies. They were extremely durable and came with ready-made slogans printed over them, banners that proclaimed: ‘Just say no to drugs’ and ‘Reduce, Re-use, Recycle.’ Important messages addressing global issues that are as pertinent, if not more so, today.”

Moira Cameron

America’s Choice

1990

Acrylic and spray paint on paper bags

21 x 30 inches (53 x 76.2 cm)

“I used a paper grocery bag from the A&P (Atlantic & Pacific) supermarket in New York, the slogan on the bag reading: ‘America’s choice.’ (An appropriate message for its return to America for the show at Long-Sharp Gallery.) This work made was made in 1988 while I was living in a small loft, a block south of Canal Street, the stenciled lyrics taken from the iconic song about New York by Frank Sinatra, encapsulating the consistent buzz and vibrancy, with the egalitarian possibilities afforded to anyone, and the importance of ‘making it’ in New York, the city that captured my heart.” Moira Cameron

Better World 1990

Acrylic and spray paint on paper bags

21 x 37 inches (53 x 94 cm)

“The paper grocery bag came from the Grand Union Supermarket on Washington Square, the local store to get groceries from during the time I was living in Manhattan in 1986. I transcribed elements of the printed text from the bag, re-emphasising the slogan in my own stencil text format. It proclaimed a ‘new’ environmental message, now seen as a powerful, prophetic slogan. Spray paints, metallic paint, and pearlescent paints were layered on and scraped off with ridged paint scrapers to achieve a richly textured surface and the look of a worn poster.” Moira Cameron

Brood [SOLD]

1990

Acrylic and spray paint on paper bags

19.3 x 31 inches (49 x 79 cm)

“I worked on a paper bag from the local bread shop on the remote and desolate Dutch island. The bag details the old lighthouse and encapsulates memories of taking a smelly diesel ferry to the island, the strangest place I have ever visited, and the feelings of complete isolation from the rest of the world. My travels through Europe took me to the Rijksmuseum and this work was inspired by the colour palette of the artists I studied: Rembrandt brown laid over cream tones, the text deliberately taking a muted colour palette inspired by early Dutch painters. The stenciled text is a quote I adored from one of Spiller’s early scribbles; the sentiment expressed following my visit to the island: needing to know there was something else out there.”

Moira Cameron

Spiller + Cameron

2020

Mixed media on stitched paper bags

Size: 44.5 x 53.5 inches (113 x 136 cm)

Framed: 49 x 59.5 inches (125 x 151 cm)

Angel (Rebel)

MOIRA CAMERON

Education

Master of Fine Art, Chelsea College of Art, London, UK

Bachelor of Fine Art, Ravensbourne College of Art, London, UK

Foundation, Croydon College of Art, Croydon, UK

Solo Exhibitions

Patricia Knight Gallery, London, UK

Trudelhaus Gallery, Baden, Switzerland

Twining Gallery, New York, USA

Oblong Gallery, London, UK

Group Exhibitions

Mall Gallery, London, UK

Patricia Knight Gallery, London, UK

Camden Annual, London, UK

The London Group, London, UK

Yamanashi Museum, Yamanashi, Japan

Twining Gallery, New York, USA

Perimiter Gallery, Chicago, USA

London Art Fair, London, UK

Oblong Gallery, London, UK

Private Collections

Nicholas Logsdale, Lisson Gallery

Artwork © Moira Cameron

SPILLER + CAMERON

Exhibitions

2022 Masterpiece London, Long-Sharp Gallery, London, UK

Jari Lager Gallery, Art Busan, South Korea

Jari Lager Gallery, Cologne, Germany

2021 Art Miami, Long-Sharp Gallery, USA

Armony Online, Vigo Gallery, London, UK

Heart of the Square, Cornell Art Museum, Delray Beach, FL, USA

Eye of the Collector, Long-Sharp Gallery & Vigo Gallery, London, UK

On the Brighter Side, Long-Sharp Gallery, Indianapolis, IN, USA

Photo London, Long-Sharp Gallery, London, UK

Spiller + Cameron: Alchemy, Long-Sharp Gallery, Indianapolis, IN, USA

2020 Art Miami, Long-Sharp Gallery

Palm Beach Modern + Contemporary, Long-Sharp Gallery

Art Wynwood, Long-Sharp Gallery

Spiller + Cameron, Conrad Indianapolis Lobby Exhibit, Indianapolis, IN, USA

Stratify, Long-Sharp Gallery Project Space, New York, NY, USA

Spiller + Cameron: Virtually Going Places, Long-Sharp Gallery | Virtual

London Art Fair, Vigo Gallery, London, UK

Gallery artists (virtual), Vigo Gallery, London, UK

Untitled Miami (virtual), Vigo Gallery, London, UK

Masterpiece (virtual), Vigo Gallery, London, UK

2019 Art Miami, Long-Sharp Gallery

Private Collections

Viola Grosvenor

Kathy and Roger Penske

CONSTANCE EDWARDS SCOPELITIS

(American, b. 1955)

Constance Edwards Scopelitis graduated with a fine arts degree from Indiana University. She continued her studies with legendary American figurative painter Isabel Bishop. Further studies at the Art Students League of New York set Edwards Scopelitis on a career path of executing large-scale narrative figure paintings. She has been awarded national and international fellowships including the Creative Renewal Fellowship through the Eli Lilly Foundation and the DeHaan Artist of Distinction Award in 2020. She also regularly exhibits at national and international art fairs including Art Miami during Basel Week.

Edwards Scopelitis’s break-out work in Digital Art Media allows viewers to engage with interactive video programs and digital animation. Her video projects include digitally placed 2D animations based on narratives of social justice issues. Through interactive gaming programs, viewers can alter the artwork directly on touchscreens. According to D/Railed Magazine, her interactive video work exhibited during Art on Paper New York 2017 stood out for creating a “vibrant new universe” by layering “multiple elements within humanist compositions” and for exuding “creativity and innovation while absorbing and re-contextualizing the artist’s traditional figure painting roots.”

Edwards Scopelitis was selected as a Time-Based finalist for ArtPrize 8. She exhibited ten works at the Cornell Art Museum in Delray Beach, Florida (2018-19). A solo exhibition of her work, Monumental Drawings, will open at the Art Museum of Greater Lafayette (Lafayette, IN) in 2022, followed by a solo exhibition in 2023 at the Richmond Museum of Art (Richmond, IN).

Flower Boom Lenticular 2019

Lenticular print of original Flower Boom drawing

From the edition of 24

Size: 35 x 26 inches (89 x 66 cm)

Framed: 55 x 41 inches (140 x 104.2 cm)

“Creative thinking, quick wit, humor, and belief in immortality make up the definition of a teenager. It is brilliant youth who affect change in gun policy reform and climate change. It was a teenage Mick Jagger who changed our lives through music. Imagine a world where ‘fear of others’ is non-existent and any teenager of any color, gender, or identity is thought to be beautiful. Imagine a teen revealing themselves out from under their All-American hoodie and instead of perceiving them as frightening, we see glorious flowers exploding out at us.”

Constance Edwards Scopelitis

Flower Boom Drawing 2

2022

Drawing on BFK RIVES paper

Size: 22 x 15 inches (56 x 38 cm)

Framed: 27.375 x 20.25 inches (70 x 51.4 cm)

Love Letter to Self #4

2022

Drawing on BFK RIVES paper

Size: 22 x 15 inches (56 x 38 cm)

Framed: 27.375 x 21.125 inches (70 x 54 cm)

Reference photo at right

Love Letter to Self #5

2022

Drawing on BFK RIVES paper

Size: 22 x 15 inches (56 x 38 cm)

Framed: 27.625 x 20.25 inches (70.2 x 51.4 cm)

Reference photo at right

“An artist loves being alone… alone to think, create, and manifest. The preferred condition an artist desires is to be uninterrupted. The quarantine presented by a worldwide pandemic was not so frightening for artists. At last, maybe, we had time to thoroughly focus and be productive. Unrealistically, some of us thought we had time to write the Great American Novel. Some of us were more measured and thought if we just kept a Covid Journal for a year, perhaps something would evolve. Artists had time to get art done and even had spare time to learn how to cook, garden, and be mixologists. But then the loneliness set in. Too much ‘me time’ and isolation was no longer romantic. The romance of being an artist left to our own private devices literally crumpled after nine months. Like birthing a child, the three trimesters of Covid artmaking had run their course. So, pages written and drawings started began collecting the dust of boredom. These crumpled Love Letters to Self are literally the discarded ‘stops and starts’ of projects unrealized.”

Constance

Edwards Scopelitis

CONSTANCE EDWARDS SCOPELITIS

Education

1977 B.A. Fine Arts, Indiana University

1993, 95 Art Students League of New York

The artist has studied with Isabel Bishop, David Leffel, Ronald Sherr, Gregg Kreutz, Peter Cox, Selina Trieff, Aristotele Solounias, and others.

Professional Experience

1982-Present Full-time commissioned portrait artist

Selected Exhibitions

2023 Solo Exhibition (upcoming), Richmond Art Museum, Richmond, IN

2022 Solo Exhibition (upcoming), Art Museum of Greater Lafayette, Lafayette, IN

2021 ArtPrize, Grand Rapids, MI

Solo Exhibition IFPDA Fair, Spring Edition

Palm Beach Modern + Contemporary / Wynwood Art

2020 DeHaan Artist of Distinction Award Exhibition, 924 Gallery of the Indianapolis Arts Council, Indianapolis, IN

2019 Cornell Art Museum Exhibition, Delray, PL (cntd. April 2019)

SELECT 4, GarveySimon, NYC

Art Miami Art Basel Week

2018 Cornell Art Museum Exhibition, Delray, FL

Palm Beach Modern + Contemporary Art Fair

2017 Art Miami, Art Basel Week

Athena Shrugged Remix, group show Long-Sharp Gallery Indianapolis

Art Prize 9, Grand Rapids, MI

ART NY

Art on Paper, Pier 36 NYC

Solo Exhibition, Long-Sharp Gallery Project Space NYC March

2016 ArtPrize8, Grand Rapids, MI; Top 20 Jury Finalist for Time-Based Art

“Crossroads New Media,” Long-Sharp Gallery, Indianapolis

2015 ArtPrize7, Grand Rapids, MI

Solo Exhibition “Go Figure” Westside Cultural Arts Center Atlanta, GA

Spring Masters at the Armory NYC

Art Miami NY at Pier 94, NYC

2014 SCOPE NY

American International Fine Art Fair

Art Palm Beach

Solo Exhibit IN Icons, Long-Sharp Gallery, Indianapolis

2013

American International Fine Art Fair

Art Palm Beach

2012 Scope Miami

Solo Exhibit at Conrad Indianapolis - South Foyer

Solo Exhibit at Long-Sharp Curis Gallery, Detroit, MI

2011 Art Naples, Naples, FL

Artist Portraits, Painting on Exhibit, Richmond Art Museum, IN

Indy Arts Council – Contemporary Figurative Show, Indianapolis, IN

Solo Exhibit at Conrad Indianapolis – South Foyer

Solo Exhibition, Art Newport, Newport, RI

Art Greenwich, Exhibition with NAC Gallery, Greenwich, CT

Red Dot Art Fair on Exhibit with NAC Gallery, Miami, FL

2010 Solo Exhibit Brett Wesley Gallery Las Vegas

Artist Portraits, Painting on Exhibit, Indianapolis Art Center

2009 ARTBOX, Indianapolis, IN

2005-09 Marion Meyer Gallery, Laguna Beach

2006 Image Station Gallery, Maui, HI

2002 Horizon Gallery, Santa Fe, NM

1998-04 Sargent’s Gallery Lahaina, Maui

Artwork © Constance Edwards Scopelitis

Selected Awards and Public Recognition

2020 DeHaan Artist of Distinction Award of the Arts Council of Indianapolis

2019 Art Spiel Magazine

2017 D/Railed Magazine, Through the Looking Glass: Innovative Women Artists at NY Armory Week

2013 Creative Renewal Fellowship from the Eli Lilly Foundation

Studio Visit Vol.22

Art Takes Times Square published by See.Me NYC

2011 March Issue of American Art Collector

2010 Fellowship Schildersweek, Domburg the Netherlands

Vol.11 Studio Visit Magazine

May Indianapolis Star

April American Art Collector

2008 December Indianapolis Monthly

2007 August American Art Collector

May Coastline Pilot, Orange County

2005 September ArtScene Digest to Art in Southern CA

1999 Fellowship, Vermont Studio Center

Selected Collections

Sheri Salata, Author and 22-year Executive Producer for Oprah Winfrey

Adrian Smith - Ice Age Management

CCH Pounder - Award winning actress and avid art collector

Bonnie and Daniel Tisch, New York (digital work)

Isaac Levy, Owner and Designer, Yvel Jewelry

Maui Ocean Resort

Indiana University School of Law

Christel Dehaan Family Foundation and Resort Condominiums International

Simon Family Collection, Simon Group Real Estate and Developers

Fehsenfeld Family Collection, Heritage Group Environmentalists

Kite Realty and Conrad Hilton, Indianapolis

I.Schumann Brass, Cleveland

Anderson Family Collection, American Gas and Chemical

Indianapolis Library Foundation

Permanent Collection of Conrad Indianapolis

Selected Oil Portraits – Corporate, Public, Private University Michigan

Indiana University School of Medicine

Indiana University School of Law

Kite Reality Indianapolis

Christel House School Indianapolis

Simon Group Real Estate and Developers

Buckingham Companies

John Lechleiter, retired CEO Eli Lilly & Co., Family Collection

Conrad and Patsy Solinger Family Collection

Dr. Woodrow A. Myers Jr. Family Collection

Dr. Gus and Dr. Peg Watanabe Family Collection

MARY EVANS

(Nigerian & British, b. 1963)

Born in Lagos, Nigeria in 1963, Mary Evans is a London-based artist. She spent her formative years in both Nigeria and the UK. She studied at Goldsmiths College London (MA Fine Art) and the Rijksakademie Amsterdam.

Evans’s artwork thematically explores the social, political, and historical frameworks of Diaspora, migration, global mobility, and exchange. She is interested in what affects people on their journeys, what they are forced to learn and relearn, what they choose to remember and forget, and how they are irrevocably changed.

Evans’s work has been exhibited in the UK and internationally, including solo and group exhibitions at Leighton House Museum (London, UK), Museum of Mexico City (Mexico), Contemporary Art Museum St. Louis (US), Arnolfini (UK), Baltimore Museum of Art (US), 3rd Guangzhou Triennial (China), Tiwani Contemporary (UK); University of Massachusetts Amherst (US), UNISA Art Gallery (South Africa), EVA International 2016 (Ireland), MuZee (Belgium), 11 Bienal Do Mercosul (Brazil), and LagosPhoto (Nigeria).

Evans is also the recipient of several residencies, awards, and commissions, including the Smithsonian Artist Research Fellowship, National Museum of African Art, Washington DC, US (2010); Du Bois Centre Accra, Ghana (2013), and The Arts & Literary Arts Residency, Rockefeller Foundation, Bellagio, Italy (2014).

Evans is BA Fine Art Course Leader at Chelsea College of Arts London.

“Paper has been my principal medium for nearly thirty years. Paper as a medium is at once strong yet fragile. When working with paper, I often marvel at its durability and delicacy, which is reminiscent of the tenacity and vulnerability of African peoples and all that they have endured.

The Mirror Image series, started in 2012, depicts mirrored cut-out portraits of African busts backed with inked watercolour paper. The idea for these pieces, as with most of my silhouette works, is to start with inspiration from the traditional 18th century European craft of silhouette-making and substitute the European profile for an African one. In relation to this, the free-flowing use of ink on the paper is reminiscent, in colour and application, of African textile-making traditions. The combination of the colour, hairstyles, and facial features combine to make powerful pictographic portraits of contemporary subjects.”

Mary Evans

Mirror Image Viridian Green

2013

Ink on paper

Size: 27.75 x 19.75 inches (70 x 50 cm)

Framed: 30.5 x 23.25 inches (77 x 59 cm)

Mirror Image Burnt Sienna

2013

Ink on paper

Size: 27.75 x 19.75 inches (70 x 50 cm)

Framed: 30.5 x 23.25 inches (77 x 59 cm)

MARY EVANS

Education

2012 PG Cert: Academic Practice in Art, Design & Communication | University of the Arts London, UK

1993 Postgraduate | Rijksakademie, Amsterdam, Netherlands

1989 MA Fine Art | Goldsmiths College, London, UK

1985 BA (Hons) Fine Art Painting | GLOSCAT, UK

1982 Foundation in Art & Design | St Helens College of Art & Design, UK

Representation

Tiwani Contemporary, London, UK

Solo Exhibitions

2021 Saints and Saviours, offsite show John Hansard Gallery Southampton

2019 Sojourn, Layers, La Banque, Bethune, France

2012 Cut and Paste, Tiwani Contemporary, London, UK

2008 Meditations, Baltimore Museum of Art, Baltimore MD, USA

2001 Scope, Café Gallery Projects, London, UK

1997 Filter, Leighton House Museum, London, UK

1993 Mary Evans, Art & Project, Rotterdam, Netherlands

Group Exhibitions

2021 STOA 169 Project, Polling, Germany

The Maker ’s Eye, Crafts Council Gallery

2020 Mariner Touring, The Edge Gallery University of Bath

Paperoutes, NMWA, Washington DC, USA

2019 Women to Watch UK-Paper Work, Sotheby’s, London, UK Mariner, Arts Institute Plymouth

2018 The Atlantic Triangle, 11th Mercosul Visual Arts Biennial, Porto Alegre, Brazil

11 Bienal Do Mersocul, Porto Alegre, Brazil

2017 Bittersweet: Legacies of Slavery & Abolition in Manchester, The Portico Gallery, Manchester, UK

2016 Kin, Hangar: Centro de Investigação Artística, Lisbon, Portugal

Still (the) Barbarians, EVA International - Ireland’s Biennial, Limerick, Ireland

2015 Langniappe: Imagining New Orleans in a Post-Katrina World, Stella Jones Gallery, New Orleans LA, USA

Towards Intersections, UNISA Space Art Gallery, Pretoria; Museum Africa, Newtown, Johannesburg, South Africa

2014 It takes a village, Africa Utopia, Southbank Centre, London, UK

Mirrors & Echoes: Mary Evans and Emeka Ogboh, Tiwani Contemporary, London, UK

Where do I end and you begin (Edinburgh Art Festival), City Art Centre, Edinburgh, UK

2013 Feast: Radical Hospitality in Contemporary Art, Blaffer Art Museum, Houston TX, USA

Du Bois in our Time, UMCA UMASS, Amherst MA, USA

Art Dubai, Dubai, UAE

BIAC Martinique, Fort-de-France, Martinique

Paper Bag, Café Gallery Projects, London, UK

2011 The Ties That Bind Us, Tiwani Contemporary, London, UK

Camberwell Arts Festival, London, UK

Condretum, Dilston Grove, London, UK

2009 Rummage, Café Gallery Projects, London, UK

2008 3rd Guangzhou Triennial, Guangzhou, China

Port City (touring), A Foundation, Liverpool, UK

2007 Freedom & Culture, Southbank Centre, London, UK

Port City (touring), John Hansard Gallery, Southampton, UK

Port City, Arnolfini, Bristol, UK

2006 Fragments, Tom Thomson Memorial Art Gallery, Owen Sound ON, Canada

A Fiction of Authenticity (touring), Art Museum of the University of Houston, TX, USA

Fragments, Café Gallery Projects, London, UK

Look Both Ways, Stephen Lawrence Gallery, London, UK

2004 Evelina Children’s Hospital Exhibition, RIBA, London, UK

A Fiction of Authenticity (touring), Regina Miller Gallery, Pittsburgh, US

A Slither & A Slice, Café Gallery Projects, London, UK

Bling Bling, London Print Studio, London, UK

Artwork © Mary Evans; images courtesy of Tiwani Contemporary

2003 A Fiction of Authenticity: Contemporary Africa Abroad, Contemporary Art Museum St. Louis, MO, USA

Bow Festival, Roman Road Revel, London, UK

2001 Station to Station, Spacex 2, Exeter, UK

Articulate, The Station, Bristol, UK

2000 5 Continents & 1 City, Museum of Mexico City, Mexico

Continental Shift, Bonnefanten Museum, Maastricht, Netherlands

Henry Moore Show, Byam Shaw School of Art, London, UK

1999 Littoral, Spacex 2, Exeter, UK

Itinerants, Tracey, Liverpool Biennale, Liverpool, UK

48 hours, Tablet Gallery, Tabernacle, London, UK

Paper, Ikon Gallery, Birmingham UK

1998 You don’t know me but…, De La Warr Pavilion Bexhill; Winchester Gallery, Winchester; Pitzhanger Manor & Gallery, London, UK

1996 Mostyn Open, Oriel Mostyn, Llandudno, UK

Young Art 1990-96, Bonnefanten Museum, Maastricht, Netherlands

Artist Book International, Waldorf Astoria Towers, New York NY, USA

1995 The Artists Book Fair, Southbank Centre, London, UK

The Meaning of Drawing, Rijksakademie, Amsterdam, Netherlands

47th Frankfurt Book Fair, Messe, Frankfurt, Germany

East International, Norwich Gallery, Norwich, UK

Hardwork Shift Two, Exmouth Market, London, UK

1993 Open Studios, Rijksakademie, Amsterdam, Netherlands

1990 Into The Nineties 2, Mall Galleries, London, UK

British Airways New Artist Show, Olympia, London, UK

1989 MA Show, Goldsmiths College, London, UK

Awards / Residencies / Commissions

2014 Du Bois in our Time: Accra, Du Bois Centre, Accra, Ghana

Arts & Literary Arts Residency, Rockefeller Foundation Bellagio Centre, Italy

2013 Research Residency, Du Bois Centre Accra, Ghana

2010 Smithsonian Artists Research Fellowship

2005 Arts Council England Individual Grant

2004 Floor Commission, Look Ahead Housing & Care, Slough, UK

2003 Open House, Angell Town Estate, Brixton, London, UK

2001 5 Floor Commission, Evelina Children’s Hospital, London, UK

2000 Henry Moore Fellowship, Byam Shaw School of Art, London, UK

1997 InIVA Artist in Residence, Leighton House Museum, London, UK

1995 Shave International Artists’ Workshop, Bruton, Somerset, UK

East International Norwich Award Winner

1994 Basic Stipend, Ministry of Culture, Netherlands

1993 Study Bursary, Dutch Institute, Villa Borghese, Rome, Italy

Bursary, Veronica Broadcasting Organisation, Netherlands

Study Grant, NUFFIC: Netherlands Organisation for International Cooperation

1990 British Airways New Artist Award Second Prize winner

1984 Travel Bursary, GLOSCAT

Collections

Armando, Berlin, Germany

Art & Project, Slootdorp, Netherlands

Iniva, London, UK

Johan Deumens Artists’ Books, Heerlen, Netherlands

Judith Cahen, Amsterdam, Netherlands

Lakepoint Tower, Chicago IL, USA

Oce van der Grinten Collection, Venlo, Netherlands

Veronica Broadcasting Organisation, Hilversum, Netherlands

Harry David Art Collection

FIONA GRADY

(British, b. 1984)

Fiona Grady is a site-responsive artist. Her colorful and dynamic geometric artworks include architectural interventions that transform their physical environments. The setting of Grady’s artwork becomes a canvas that defines the size of the work and provides inspiration for her design motifs. She plays with light, color, shape, surface, and scale to create uniquely transformational and impactful works. Each piece changes with the light of day to emphasize and reflect upon the passing of time, memory, and experience.

Born into a family of mathematicians, Grady has always had a keen eye for balance. She uses ratios of numbers, harmonious colors, and systematic approaches to divide space. Grady considers her artistic process as problem solving. She refers to her artworks as giant jigsaw puzzles, as they employ repetition of forms to build a larger image. She uses each piece of the puzzle to create a whole picture that has an unconscious equilibrium within its surroundings.

Grady has over ten years of experience in the arts with solo exhibitions at University of Brighton; Chapter Arts Centre, Cardiff; and The Eye Sees, Arles, France. She has been commissioned worldwide by organizations and institutions including: Pitzhanger Manor & Gallery, Canary Wharf Group, ITV, Heals London, Walthamstow Wetlands Visitor Centre, British Land, Watts Gallery Artists’ Village, Kensington + Chelsea Art Week, NHS Nightingale Projects, and Kensington and Chelsea Council. She was awarded the Mark Rothko Memorial Trust Bursary and has received grants from Arts Council England, among other organizations.

Her works are held in public and private collections across Europe, North America, and New Zealand, including Bagri Collection, Linklaters, Paul Smith Ltd, and the Tim Sayer Collection bequeathed to the Hepworth Wakefield Museum (Wakefield, UK).

Grady lives and works in London.

“My new works on paper, Interplay , are a series of watercolours that explore the infinite possibilities of the grid. Each piece starts with a piece of stretched watercolour paper that has been divided into two columns by four rows and a selection of two or three primary / secondary colours. From here, anything can happen. I use the grid as a guideline or parameter for creating cross sections and pathways. I am looking to follow the lines around the paper to introduce movement within the 2D space. The layering of translucent colours allows a field of depth and illusion within the borders of the paper; however, there is a sense that it could go beyond the page. The colours are complimentary palettes: the temperature of the tones resonates with the colours of changing light, implying different points in the day. The warm reds and oranges are suggestive of sunset, whilst the crisp greens and blues more reflective of daylight. The harmonies in the colours have a sense of musicality too.

The drawings are quite spontaneous. The rough composition is predetermined, but I mix the colours and work automatically. I normally work on three to four drawings at one time. As soon as a layer is laid down, I begin on the next. As they are done in quick succession, the colours often bleed together, and there a small splatters of ink and water across the surface. The lines are imperfect. The wobble of the artist’s hand and brush strokes are apparent. They have a delicate sense of touch in what could otherwise feel somewhat mechanical. The pieces reference motifs used in my wider studio practice—they are zonedin details of my larger installations, exploring the magic of the intersecting lines, merging of colour, light, and pattern.”

Fiona Grady

Interplay (Sunset) I [SOLD]

2021

Watercolour ink on Fabriano 5 300gsm paper

Size: 18.75 x 12.75 inches (47.5 x 32 cm)

Framed: 24 x 17.625 inches (61 x 45 cm)

Interplay (Sunset) II [SOLD]

2021

Watercolour ink on Fabriano 5 300gsm paper

Size: 18.75 x 12.75 inches (47.5 x 32 cm)

Framed: 24 x 17.625 inches (61 x 45 cm)

Interplay (Sunset) III [SOLD]

2021

Watercolour ink on Fabriano 5 300gsm paper

Size: 18.75 x 12.75 inches (47.5 x 32 cm)

Framed: 24 x 17.625 inches (61 x 45 cm)

Interplay (Sunset) IV [SOLD]

2021

Watercolour ink on Fabriano 5 300gsm paper

Size: 18.75 x 12.75 inches (47.5 x 32 cm)

Framed: 24 x 17.625 inches (61 x 45 cm)

Interplay

2021

Watercolour ink on Fabriano 5 300gsm paper

19 x 13.5 inches (47.8 x 34 cm)

Interplay

2021

Watercolour ink on Fabriano 5 300gsm paper

19 x 13.5 inches (47.8 x 34 cm)

(Daylight) I

(Daylight) II

Interplay (Twilight) I

2021

Watercolour ink on Fabriano 5 300gsm paper

Size: 18.75 x 12.75 inches (47.5 x 32 cm)

Framed: 24 x 17.625 inches (61 x 45 cm)

Interplay (Twilight) II

2021

Watercolour ink on Fabriano 5 300gsm paper

Size: 18.75 x 12.75 inches (47.5 x 32 cm)

Framed: 24 x 17.625 inches (61 x 45 cm)

Interplay (Winter Solstice) I

2021

Watercolour ink on Fabriano 5 300gsm Paper

Size: 18.75 x 12.75 inches (47.5 x 32 cm)

Framed: 24 x 17.625 inches (61 x 45 cm)

FIONA GRADY

Education

2010-11 MA Fine Art, Wimbledon College of Art, University of the Arts London

2004-07 BA (Hons) Fine Art, Cardiff School of Art, University of Wales Institute in Cardiff

2003-04 Foundation Diploma in Art and Design, Leeds College of Art and Design

Solo Exhibitions

2022 Capturing Light, The Foundry Gallery, London, UK

2021 Connection Points, The Art Station, Saxmundham, UK

2019 LUX, The Eye Sees, Arles, France

Spectra Waves, University of Brighton Gallery, Brighton, UK

2018 Kaleidoscope, Broadgate, London, UK

Shadow Play, Chapter Gallery Art in the Bar, Cardiff, UK

2017 Light Shifts, The Tin for Coventry Biennial, Coventry, UK

The Movements, Ad Hoc, Bochum, Germany

2016 Rendered Invisible, The Art House, Wakefield, UK

2015 Tempered Deflections, Footfall Art, London, UK

2014 Fields of Light, Barbican Arts Trust, London, UK

Group Exhibitions

2022 Rough or Smooth, Coles Gallery, Leeds, UK

2021 Close to Home, JGM Gallery, London, UK

Reflection, The Cello Factory, London

Recreational Grounds x The Factory Project, London

Cloud Nine, Grey Space Gallery, Auckland, New Zealand

The Unfolding Terrace, Passengers, London, UK

Recreational Grounds: Off-site, Thames-side Gallery, London, UK

Drawing Biennial, Drawing Room, London, UK

The Waiting Place, The Art Station, Saxmundham, UK

2020 MERRY-GO-ROUND, JGM Gallery, London, UK

Woolwich Contemporary Print Fair (Online Edition), UK

Cure3 Exhibition curated by Artwise Curators, Bonhams, London, UK

Abstract Colour, JGM Gallery, London, UK

MK Calling, MK Gallery, Milton Keynes, UK

London Art Fair with Eagle Gallery, London, UK

2019 Small is Beautiful, Flowers Gallery, London, UK

Creekside Open, APT Gallery, London, UK - selected by Brian Griffiths

One of One, 163 Gallery, London, UK - curated by After Projects

Drawing Biennial 2019, Drawing Room, London, UK

London Art Fair with Flowers Gallery, London, UK

2018 Dialogues: Fiona Grady, Tess Jaray, Bridget Riley and Carol Robertson, Flowers Gallery, London, UK

Dentons Art Prize 6, Dentons, London, UK

Plenty of Light, Plenty of Shadow: Yukako Shibata + Fiona Grady, White Conduit Projects, London, UK

Do Re Mi Fa So La Ti, Griffin Gallery Perimeter Space, London, UK

Expanding Systems, APT Gallery, London, UK

2017 Notes on Painting, Koppel Projects, London, UK

A Many Sided Thing, Wimbledon Space, UK

Mono, Flowers Gallery, London, UK

Colour, Order, System, Sid Motion Gallery, UK

Shaping the Void II, Tannery Arts Project Space, London, UK

A5 x n, dalla Rosa Gallery, London, UK

2016 Exchange Rates, New York, USA - Sluice Projects hosted by Arte 3 (USA) / Saturation Point (UK)

STEAM: Ahead, South Square Gallery, Thornton, UK

The Overview Effect, Lewisham Art House, London, UK

Youth Uncovered, Gerald Moore Gallery, London, UK

Prison Drawing Project, Scarborough Old Town Prison, Scarborough, UK

2015 Beyond Repetition, Bowery Gallery, Leeds, UK

Schichtwechsel, APT Gallery, London, UK

The Imaginary Museum: Monuments and Landmarks, Leeds City Museum and Leeds University, Leeds

Spatial Centres, Projektraum, Am Flutgraben, Berlin, Germany

Artwork © Fiona Grady

2014 A Restless Geometry, Union 105 Gallery at East Street Arts, Leeds, UK - curated by The International 3 Geometric Sequences, HUSK Gallery, London, UK

A5, Lubomirov-Easton, Platform Projects, Art Athina Art Fair, Athens, Greece

2013 Leeds Light Night, Leeds Town Hall, Leeds, UK

Bainbridge Open, Embassy Tea Gallery, London, UK

The Revolution Will Not Be Televised, ArtLacuna, London, UK

2012 Deptford X, Deptford Rail Station, London, UK

2011 Postgraduate Printmaking in London 2011, Clifford Chance Gallery, London, UK

MA Degree Show, Wimbledon School of Art - University of the Arts, London, UK

Fly Tipping, The Centre for Drawing, London, UK

2010 Salad, Wimbledon College of Art, London, UK

A Library of Mirrors, Bookartbookshop, London, UK

2008 Ex, Leeds College of Art & Design, Leeds, UK

UWIC Printmakers, The Millennium Centre, Cardiff, UK

UWIC Degree Show, Cardiff School of Art & Design, Cardiff, UK

Residencies and Awards

2021 National Lottery Project Grant from Arts Council England

Being in Architecture Residency at Passengers, London, UK

2020 Arts Council England Emergency Funding Grant

2019 Mark Rothko Memorial Trust, bursary and residency for the Mark Rothko Foundation, Daugavpils, Latvia

2018 PADA Residency, Barreiro, Lisbon, Portugal

2017 Wimbledon School of Art residency as part of ‘A Many Sided Thing’ collaborative project

2016 The Art House residency, Wakefield, UK

Selected Commissions

2022 Ripple Effect, St Charles Centre for Health and Wellbeing, London UK; commissioned by Nightingale Projects with Central and North West London NHS Foundation Trust

2021-22 Pedestrian Crossing, Pitzhanger Manor and Gallery, London, UK

2021 Waves of Light, St Charles Centre for Mental Wellbeing, London, UK; commissioned by Nightingale Projects with Central and North West London NHS Foundation Trust

Meeting Points at The Ridings Centre, commissioned by The Art House, Wakefield, UK

Kaleidoscopic Prisms at Jubilee Plaza for Canary Wharf Management Group, London, UK

2020 Art Deco Paradise, High Street Kensington, commissioned by Kensington and Chelsea Council in collaboration with Kensington + Chelsea Art Week, London, UK

London Style at Nishura East Showroom, London, UK

Shatterproof, Kensington + Chelsea Art Week, Kings Road, London, UK

YMCA Wimbledon commissioned by DLA Architecture and Thornsett Homes

2019 A Glimpse of the East, Watts Gallery Artists’ Village, Guildford, UK

ITV Creates, aired nationally on ITV tv channel, UK

Heal’s Tottenham Court Road as part of the ‘Designs that stick’ campaign, London, UK

2017 Natural Triangulations for Walthamstow Wetlands Visitor Centre, London, UK

2013 Illumination III for Leeds Town Hall, Leeds, UK

2012 A Field of Light for Deptford Rail Station, London, UK

Collections

Bagri Foundation

Guerrini-Maraldi Collection

Linklaters Collection

Paul Smith Ltd

Tim Sayer Collection, London (bequeathed to Hepworth Museum, Wakefield)

Various private collections in Europe, North America and New Zealand

ROSE ELECTRA HARRIS

(British, b. 1991)

Rose Electra Harris is a London-based printmaker and painter.

Harris uses her work to explore interior space, utilizing both obscure and everyday objects to create vibrant, colorful still lifes. Fascinated by color, line, shape, texture, and pattern, Harris arranges objects—some from memory, some imagined, some collected over time—in her roomscapes, always in search of a balanced and harmonious composition.

To Harris, a room is an oasis, and the things within bring the space to life. She reimagines the colorful dialogue that exists between room and furnishings, as interested in the negative space between objects as she is in the items themselves. Harris does not portray objects exactly as they are; rather, she employs a singularly distorted, ever-so-slightly off-kilter perspective to depict the subjective emotional experience they invoke.

Harris earned a BA (Hons) in Fine Art from the University of Brighton in 2015. Since then, her work has been featured in exhibitions throughout the UK. The artist now works from her studio in south London.

Green Teapot [SOLD]

2021

Aquatint etching with chine-collé

Image: 9.7 x 7.8 inches (24.6 x 19.8 cm)

Sheet: 15 x 11.3 inches (38 x 28.5 cm)

Framed: 20 x 16.25 inches (50.8 x 41.3 cm)

“Inspired by both Sicily and Morocco, Green Teapot incorporates objects that I felt particularly drawn to. What I particularly like about this etching is the distorted perspective, and the variety of lines and angles taking your eyes into different directions. I’ve used chine-collé quite sparingly in this print as the colour blue feels so provocative of these two places.” Rose Electra Harris

Red Bed [SOLD]

2021

Acrylic, gouache, ink, watercolour pencil and pastel on paper

Size: 8.8 x 11.8 inches (22.3 x 29.9 cm)

Framed: 13.6 x 16.8 inches (34.6 x 42.7 cm)

“Rather than painting particular objects and creating a space for them to live in, I started to draw my studio after lockdown, which became a refuge. My studio is full of things that hold certain importance to me, mainly my childhood red iron bed which lives below the windows.” Rose Electra Harris

Rosetta IX [SOLD]

2022

Aquatint etching with chine-collé

Image: 10 x 8.2 inches (25.5 x 21 cm)

Sheet: 18.7 x 16.9 inches (48 x 42 cm)

Framed: 23.6 x 21.8 inches (60 x 55.6 cm)

“ThisetchingplatewasmadewhenIwaslivinginMexicoCityandincorporates a few of my favourite things from the city: a lucha libre mask on the floor and a sink from the restaurant Rosetta in Roma Norte. The whole bathroom was actually a beautiful pink marble, which you can see suggested in the reflection in the mirror above the sink. I worked in a new way making this plate, starting with soft ground first to create more textured marks, followed by hard ground, aquatint, and then printed using chine-collé. This plate was the first time I’ve used copper and now I can’t go back to zinc.” Rose Electra Harris

Detail from Sundowner II

Sundowner II [SOLD]

2022

Oil, acrylic, ink, oil pastel and wax crayon on somerset satin paper 315gsm

Size: 29.6 x 44 inches (112 x 76 cm)

Framed: 34.6 x 49 inches (87.9 x 124.5 cm)

“Similar to Red Bed, Sundowner II is a larger mixed media work on paper of the same viewpoint in my studio, but changing certain elements, like the bedspread and window detail behind. Painting an object or scene multiple times allows me to experiment with other aspects of the work, i.e., materials, textures, colour combinations. There are areas that are more representational and others more abstract. I like that it is up the viewer to work these things out. It is also quite unlike me to leave areas of the paper untouched, but I felt the white was needed to balance the array of colours I’ve used.”

Rose Electra Harris

ROSE ELECTRA HARRIS

Education

2021-22 Turps Banana Correspondence Course

2012-15 BA (Hons) Fine Arts, Printmaking, Brighton Faculty of the Arts, Brighton, UK

2012 Foundation, City and Guilds London Art School

Solo Exhibitions

2019 Moving Rooms, Partnership Editions, Islington Square, London

2018 Sicillian Setaccio, William Yeoward, London

The Modern Society, London

The Difference Between Things, Blue Shop Cottage, London

Group Exhibitions

2022 An Allegory of Love and Time, New Normal Projects, London

What She Said, Purslane, London

British.Cool, Bonhams Auction House, London

2021 I Dream in Colour, Greatorex Studios, London

Dandelion, Delphian Gallery, Art Basel, Switzerland

Felt Collection 0I, Felt Collections, London

The Healing Wound, Purslane, London

My Love is your Love, Every Woman Biennial, Copeland Gallery, London

YAC Selects, Digital Exhibition curated by Josh Davies

Origin, Delphian Gallery, 25 Henrietta Street, London

Top 100, The Auction Collective, The Department Store, 248 Ferndale Road, London

British.Cool, Bonhams Auction House, London

2020 IN PRINT: 20/20 vision, Watts Contemporary

Super Nature, The Garden Museum, London

Works on Paper 2, Virtual Exhibition, Blue Shop Cottage, London

A Dream is not a Dream, Virtual Exhibition curated by Charlie Siddick

Charleston Inspires, Virtual Exhibition curated by Emily Maudey

Curated for Covid, Virtual Exhibition curated by Beth Rodway and Rachael Neale

Show of Support Exhibition, Virtual Exhibition curated by Kesewa Aboah

Spring Exhibition, Auction Collective, Virtual Exhibition

2019

The Christmas Show, Abbeville Village, London.

Woolwich Contemporary Print Fair, Woolwich, London.

The Crossover, Auction Collective, Candid Arts, London

9th, Slaughterhaus Print Studio, London

Laura Lopes Summer Exhibition, Wiltshire.

Miniatures - Partnership Editions, Benk & Bo, E1 7AW

2018

Woolwich Contemporary Print Fair, Woolwich, London

Rixo Pop Up, 43 Carnaby Street, London

Choose Love ‘Help Refugee’s, Somerset House, London

Bainbridge Open 2018, London

Spring Exhibition of 20th & 21st Century Art, North Hidden Far, Wiltshire

OM 175/50: Art New Contemporaries, Mount House Gallery, Wiltshire

Exhibition of British Art, The Sicily Oak Gallery, Cheshire

Bottom Drawer, Sydney Mews, London

I Contain Multitudes, East of Elsewhere, Berlin

2017 The Great Women Artists: Women on Instagram, curated by Katy Hessel, Mother, London

Blisters The Paperback Edition 2017, Mc Motors, London

The Affordable Art Fair Battersea, Battersea Park, London

No Boundaries, Slaughterhaus Print Studio, London

Summer Screen Prints, Somerset House, London

Summer Salon, Palm Tree Gallery, London

2016 The Makers Shop, 45-46 Charlotte Road, London

The Affordable Art Fair Battersea, Battersea Park, London

Jamaican Pulse: Art and Politics from Jamaica and the Diaspora, Royal West of England Academy, Bristol

In Two Parts: Printmakers Council Exhibition, Lombard Street Gallery, Margate

Artwork © Rose Electra Harris

2015 The Printing Process, Tom’s Etching Studio, Hackney Wick, London

The Little Picture Show, Josie Eastwood Fine Art, Winchester

Unosolostudio, Berengo Art Gallery, 5 Dorsoduro 868, 30123, Venice

‘We Made it’, Brighton Arts Degree Show, Brighton

2014 Artonomy, Belgrave Music Hall & Canteen, Leeds

Parade, Grand Parade, Brighton Editions, Brighton

Residencies

2016 Print Club London

Prizes / Awards

2018 Bainbridge Open, The Art Academy Prizes

2015 University of Brighton Printmaking Award

JULIA IBBINI

(Jordanian & British, b. 1980)

Julia Ibbini is a visual artist and designer with a background in graphics and collage. She earned a BA (Hons) in Visual Communications from the Leeds University College of Art and Design, UK. Her work combines digital design processes and traditional craftsmanship to create highly detailed, visually complex, and delicate pieces that intersect contemporary design, art, and craft.

Ibbini Studio is an ongoing collaboration between Ibbini and Stephane Noyer, a computer scientist and maker with an interest in computational geometry. Ibbini and Noyer have worked on projects together since 2016, traversing analog and digital to create works of extreme intricacy and machined precision, but which remain distinctly human in origin. Studio Ibbini works predominantly with materials such as archival paper, veneer woods, or mother of pearl—selected for their delicate, tactile qualities—that are then layered and meshed together using a complex collaging method. Individual projects take up to a year to complete.

In 2019, Ibbini Studio received the prestigious Van Cleef & Arpels Middle East Designer Prize. Over the last few years, the work has been shown at Sharjah Islamic Arts Festival 2018, Art Basel Miami, LA Art Fair, Tashkeel Dubai and Jeddah 21,39 - 2020.

Ibbini Studio is based in Abu Dhabi in the United Arab Emirates.

Symbio Vessel 15.171.15 [SOLD]

2021

Acid free papers and card

6.75 x 6 x 6 inches (17.1 x 15.2 x 15.2 cm)

“I wanted to explore the notion of a traditional vessel (typically intended to be utilitarian and simple) and augment and contrast that by introducing abstract structural modifications, complexity, and detail achievable through algorithms and computational geometry. I also sought to push the boundaries of possibilities in terms of medium and chose to experiment in paper with its beautiful, tactile, delicate qualities. The build process for the vessels revolves around both a sequential back-and-forth and an interactive collaboration between human and machines. Individual elements first are hand-drawn, then refined using digital design tools. They are then arranged in an interactive parametric design phase where various curves and values are tuned through visual feedback to obtain the final shape. Computers and a laser cutter compute the shape of and physically cut the many hundreds of parts. The assembly of each vessel is done entirely by hand using glue, pins, and a scalpel. It is the flaws which come with the human hand that produce the beautiful end result.” Julia

Ibbini

Detail from The Sands of Time 2.1

The Sands of Time 2.1 [SOLD]

2021

Acid free papers

Size: 17 x 11.5 inches (43 x 29 cm)

Framed: 19 x 13.5 inches (49 x 35 cm)

“Combining algorithmic concepts and techniques with what could be considered very traditional motifs is always fascinating for me. The initial (handmade) drawings for these works are turned into computational tree structures on which graph theory algorithms are applied. (Graph theory is used in everything from maps to biology applications.) From there, it’s a back and forth between myself and the algorithms. While it’s ultimately me that determines how and where the piece should ‘fade’ through the layers of paper, there are dozens of iterations required in order to make it flow perfectly.” Julia

Ibbini

Detail from Nashak II

Nashak II [SOLD]

2022

Acid free papers & mother of pearl inlay

Size: 15.75 x 11.75 inches (40 x 30 cm)

Framed: 17.5 x 13.5 inches (45 x 35 cm)

“Motifs for this piece were drawn from multiple antique Persian carpets. I wanted the tendrils and flowers to break free of their symmetry and grow outward toward the edge of the composition as a way to counter the rigidity of the symmetrical form inherent in the original design.” Julia

Ibbini

Symbio Vessel 15.171.15

STUDIO IBBINI

Education

Julia Ibbini

2002 BA (Hons) Visual Communications

Leeds University (College of Art and Design), United Kingdom

Stephane Noyer

2010 MS Computer Science and Software Engineering (focus on scientific data visualization)

Université de Pau et des Pays de l’Adour, France

Exhibitions

2022 Sharjah Islamic Arts Festival, Museum of Art, Sharjah, UAE

2020 21,39 Jeddah Arts with Van Cleef & Arpels and Tashkeel, Jeddah, Saudi Arabia

2019 Van Cleef & Arpels Design Prize Winner

‘The Sublime Line’, with Jonathan LeVine Projects, USA

2018 ‘An Ode to Ornament’, at Sharjah Islamic Arts Festival, Museum of Art, Sharjah, UAE

‘Adornment’, Pen & Brush, NYC, USA

‘By a Thousand Cuts’, Parlor Gallery, NJ, USA

LA Art Show, Los Angeles, USA

2017 Scope Basel Miami with Jonathan LeVine Projects, Miami, USA

Delusional 2nd Prize Award, Jonathan LeVine Projects, NJ, USA

Artwork © Julia Ibbini

TAMAR KANDER

(American,

b. Israel 1958)

Tamar Kander is a painter and mixed media artist. Her paintings and works on paper are primarily nonrepresentational and influenced by architectural symbols, landscape, and a love of texture. Kander builds the surfaces of her canvases with a variety of materials and elements of collage. When combined with color and form, they constitute an expression of her inner, emotional experience and subjective response to the outer world. Her artwork is born of an intuitive conversation between artist and canvas.

Kander’s complex yet fluid images are informed by her experiences as a world citizen. Kander was raised in Israel and South Africa. She studied fine art at the University of the Witwatersrand (Johannesburg, BFA) before traveling to Italy on a merit scholarship. Kander then earned an MFA (Painting and Art Therapy) from Goldsmiths, University of London, UK. She later moved to the United States and studied printmaking at the Art Students League of New York. She now lives and works in Indiana.

Kander’s works are included in museum, corporate, and private collections worldwide, including the Oxfordshire County Council (Oxford, UK); Studio Ten (London, UK); Jacoby Architectural (Toronto, Canada); PNC Bank (New York, NY); Merrill Lynch (New York, NY); New York University (New York, NY); Indiana State Museum (Indianapolis, IN); Eli Lilly & Co. (Indianapolis, IN); Indiana University Health (Indianapolis, IN); Chicago Equity Partners (Chicago, IL); Glenview Trust (Louisville, KY); the Kathy and Roger Penske Collection; and many more.

“When I reflect on my work, I see references to nature and landscape; these are unconscious connections that emerge from my visual and emotional storehouse. They are not obvious or descriptive associations; rather, they are allusions and made up of spontaneous marks, drawings, and gestures. A flat area may suggest a plane or horizon, a color may suggest water, an object…, and so on.

My compositions are used to symbolize as well as describe. I am teetering between literal and metaphorical representation. Both the abstract and symbolic nature of my work is further emphasized by the titles. I choose titles to convey a range of possibilities and encourage viewers to make their own associations.

These works on paper consist of different types of paint, graphite, fabric, and paper collage—anything that it takes my fancy to include! I arrange various elements in an intuitive way and enjoy using non-traditional materials like sandpaper, marble-dust, and drywall compound, to name a few. I often use cotton and string and sometimes include stitching with needle and thread instead of attaching with adhesive.”

Tamar Kander

Another Bridge [SOLD]

2022

Mixed media on paper and canvas

Size: 9.5 x 9.5 inches (24 x 24 cm)

Framed: 20 x 19 inches (51 x 48 cm)

Entrance [SOLD]

2022

Mixed media on paper and canvas

Size: 9.5 x 9.5 inches (24 x 24 cm)

Framed: 20 x 19 inches (51 x 48 cm)

“My works entitled Another Bridge, Entrance, Ravine, and Realm all use fragments of paper, canvas, and mixed media. Another Bridge revisits a theme I have been immersed in—that of the bridge. I use that word figuratively as well as literally. In Entrance, t he familiar subject of space is explored again. I express depth and expanse, and at the same time I reaffirm the flatness of the actual picture plane with the use of texture and collage.”

Tamar Kander

Ravine [SOLD]

2022

Mixed media on paper and canvas

Size: 9.5 x 9.5 inches (24 x 24 cm)

Framed: 20 x 19 inches (51 x 48 cm)

Realm [SOLD]

2022

Mixed media on paper and linen

Size: 9.5 x 9.5 inches (24 x 24 cm)

Framed: 20 x 19 inches (51 x 48 cm)

“Ravine suggests a shift or fissure/valley in the earth and is alluded to with the use of attached materials, various marks, as well as a strip of collaged sandpaper. Realm uses color and a horizon line to suggest landscape, but associations are not restricted to that reference.” Tamar Kander

Lake 2022

Mixed media on paper

Size: 11 x 12 inches (28 x 31 cm)

Framed: 20.5 x 20.5 inches (52 x 52 cm)

“Both Lake and Mountains use ‘shorthand’ – or distilled shapes – to convey their subjects. I enjoyed using various elements of collage to enhance the spontaneous compositions.” Tamar Kander

Mountains 2022

Mixed media on paper

Size: 11 x 13 inches (28 x 33 cm)

Framed: 20.5 x 20.5 inches (52 x 52 cm)

Window/Crete [SOLD]

2022

Mixed media on paper

Size: 8.6 x 9.2 inches (22 x 23.5 cm)

Framed: 20 x 19 inches (51 x 48 cm)

“Window/Crete uses photographs I took while in Greece. I printed these and then altered, tore, and collaged them, adding other elements to suggest the colors, atmosphere, and feelings of my time on the island of Crete.” Tamar Kander

Road/Africa [SOLD]

2022

Mixed media on paper

Size: 13.5 x 14 inches (34 x 36 cm)

Framed: 20.5 x 20.5 inches (52 x 52 cm)

“Road/Africa started as a mono-print that I printed onto paper. I then worked onto the print by adding paint and graphite. I grew up in South Africa and that landscape is imprinted on my soul. I used red to convey the richness of the soil and the heat of the day.”

Tamar Kander

TAMAR KANDER

Education

1984-87 Printmaking Program, Art Students League of New York, New York, NY

Awarded scholarship for excellence in printmaking (1986)

1980-82 M.F.A. (Painting, Art Therapy), University of London, Goldsmiths, London, England, UK

1976-79 B.F.A. (Painting) with Honours, University of the Witwatersrand, Johannesburg, South Africa

Awarded scholarship for Best Art Student (1979): six-month travel and artist residency in Italy

Representation

Long-Sharp Gallery, Indianapolis, IN

Ventana Fine Art, Santa Fe, NM

Vivid Gallery, Winnetka, IL

Selected One- and Two-Person Exhibitions

2021 One-Person Show, New Work, Vivid Gallery, Winnetka, IL

Two-Person Show, Ventana Fine Art, Santa Fe, NM

2020 Topography of Color, New Paintings, Ventana Fine Art, Santa Fe, NM Scratch the Surface, Long-Sharp Gallery, Indianapolis, IN (with catalogue)

2019 Guest Artist, Vivid Gallery, Winnetka, IL

2018 Other Worlds, Ventana Fine Art, Santa Fe, NM

2017 New Work, Ventana Fine Art, Santa Fe, NM

2016 Tamar Kander, NEW WORK, Gruen Galleries, Chicago, IL

New Paintings, Lanning Gallery, Sedona, AZ

2015 Tamar Kander and Doug Dawson, Ventana Fine Art, Santa Fe, NM

2014 Clay, Form, Paint and Texture: Tamar Kander and Jamas Brooke, University of Indianapolis, Indianapolis, IN

2013 New Paintings, Gruen Galleries, Chicago IL

2012 Tamar Kander, Skyline Club, Indianapolis, IN

2011 Transition; New Works on Canvas, Gruen Galleries, Chicago, IL

Interval, Mixed Media Works, Ventana Fine Art, Santa Fe, NM

2009 New Work and Salon, Ventana Fine Art, Santa Fe, NM

The Space Between, Catherine Kelleghan Gallery, Atlanta, GA

Abstracts; Paintings on Linen, Gruen Galleries, Chicago, IL

2008 Pulse and Rhythm; New Paintings, Joyce Robins Gallery, Santa Fe, NM

2007 Time Passages, Gruen Galleries, Chicago, IL

2006 New Work, Chapman Friedman Gallery, Louisville, KY

Abstract Paintings, Gruen Galleries, Chicago, IL

Passages, Ruschman Gallery, Indianapolis, IN

2005 In the Balance, Joyce Robins Gallery, Santa Fe, NM

2004 Space and Place, Mary Bell Galleries, Chicago, IL

2003 New Paintings, Galerie Hertz, Louisville, KY

2002 Abstraction II, Mary Bell Galleries, Chicago, IL

2001 Canvas and Paper, The Gallery, Bloomington, IN

2000 New Paintings, Galerie Hertz, Louisville, KY

New Paintings, Mary Bell Galleries, Chicago, IL

Selected Art Fairs and Group Exhibitions (1999-Present)

2021 Driven to Abstraction, Virtual Exhibition, Long-Sharp Gallery

2019 Palm Beach Modern + Contemporary Art Fair, Long-Sharp Gallery, IN & NY

Rock, Paper, Metal, Long-Sharp Gallery, Indianapolis, IN

2018 Gallery Group Show, Long-Sharp Gallery, Indianapolis, IN

2016 Gallery Group Show, Lanning Gallery, Sedona AZ

2013 Group Show, Jacksson Gallery, Columbus, IN

New Acquisitions, Indiana State Museum, Indianapolis, IN

Making It in the Midwest, Invitational Show, Indiana State Museum, Indianapolis, IN

Text and Image, Artamo, Santa Barbara, CA

Tamar Kander and Jamas Brooke, Chapman Friedman Gallery, Louisville, KY

Print Portfolio #1; 6 Artists, Ruschman Gallery, Indianapolis, IN

Works on Paper, Ruschman Gallery, Indianapolis, IN

Artwork © Tamar Kander

Tamar Kander and Patrick Adams, Chapman Friedman, Louisville, KY

10th Anniversary Show, Joyce Robins, Santa Fe, NM

Palette, Gallery Artists, Joyce Robins, Santa Fe, NM

Abstraction 2000, 3 Painters, Mary Bell Galleries, Chicago, IL

True to Nature, Indiana Painters, White River Gardens, Indianapolis, IN

3 Painters, Humana Festival of the Arts, Actors Theatre, Louisville, KY

New Gallery Artists, Mary Bell Galleries, Chicago, IL

Water Tower Annual, Louisville Visual Arts Association, Louisville, KY

Three-person Invitational, Fisher Gallery, New York, NY

Invitational Show, Benefit Auction, Herron School of Art, Indianapolis, IN

Scholarship Benefit Fund Show, SOFA Gallery Indiana University, Bloomington, IN

Selected Museum Collections and Exhibitions

2009 Making It in the Midwest, Invitational Show, curated by Rachel Perry, Indiana State Museum, Indianapolis, IN

2005 Indiana Now! Juried Show, Art Museum of Greater Lafayette, Lafayette, IN (2nd Prize)

Nominated for inclusion in Shouts and Whispers, Indiana State Museum, Indianapolis, IN

2002-03 The First Lady of Indiana’s Art Series, 18 Central Indiana artists chosen for the Governor’s Mansion, Indianapolis, IN

2002 Wabash Currents (one-person show), Swope Art Museum, Terre Haute, IN

1997 Ohio Valley Annual, Floyd County Museum, New Albany, IN

53rd Annual Wabash Valley Exhibition, Swope Art Museum, Terre Haute, IN

1996 Ohio Valley Annual, Floyd County Museum, New Albany, IN

1994 Nine Years of Acquisitions, Swope Art Museum, Terre Haute, IN

Exhibition 280, Huntington Museum of Art, Huntington, WV

1993 Western Places, Missoula Museum of the Arts, Missoula, MT

49th Annual Wabash Valley Exhibition, Swope Art Museum, Terre Haute, IN

1992 Art by Women…Voices and Priorities, Vincennes University, Vincennes, IN

The Space Between: Art of Tamar Kander (one-person show), Swope Art Museum, Purchase of NY Airshaft #1, etching, 1990, Terre Haute, IN

Indianapolis Museum of Art, Portfolio Section, Arts Indiana

Selected Public and Private Collections

Kathy and Roger Penske

Meitus Gelbert Rose LLP, Bloomington, IN

T.M. Crowley and Associates, Indianapolis, IN

Clayton Miller Law, P.C. Indianapolis, IN

Centaur Interiors, Chicago, IL

New York University, President’s Conference Room, Bobst Library, New York, NY

Stoll Keenon Ogden, PLLP, Indianapolis, IN

Indiana State Museum, Indianapolis, IN

IU Outpatient Center IUPUI, Indianapolis, IN

Reyes Holdings, Chicago, IL

Bloomington-Monroe County Convention Center, Bloomington, IN

Wabash College, Crawfordsville, IN

Manchester College, Manchester, IN

PNC Bank, New York, NY

M & I Bank, Indianapolis, IN

Westye Group, New York, NY

Sub-Zero Wolf, New York, NY

Archer, Daniels, Midland, Decatur, IL

Scheuer, Yost & Patterson, Santa Fe, NM

Marcadia Biotech, Carmel, IN

Kilkenny Capital, Chicago, IL

Hunter Industries, San Diego, CA

The Credit Union, Indianapolis, IN

Fultz Maddox Hovious & Dickens PLC, Louisville, KY

Riley Bennett and Egloff, Indianapolis, IN

Betz Law Offices, Indianapolis, IN

Metropolitan Place, Chicago, IL

Gtech Corp., W. Greenwich, RI

Salton Inc., Lake Forest, IL

Weill, Public Collection, New York, NY

Brown Forman, Louisville, KY

Glenview Trust, Louisville, KY

Chicago Equity Partners, Chicago, IL

Baker & Daniels, Indianapolis, IN

Marchfirst, Milwaukee, WI

Lilly Industries, Indianapolis, IN

Indiana University Health (formerly Clarian Health), Indianapolis, IN

Freihofer Inc., Indianapolis, IN

Bingham McHale Law Firm, Indianapolis, IN

Hickman & Associates, Indianapolis, IN

Lincoln National Corp., Fort Wayne, IN

Channel 13, Indianapolis, IN

Eli Lilly & Co, Indianapolis, IN

Mallor Clendening Grodner & Bohrer Law Offices, Bloomington, IN

Ice Miller Donadio & Ryan, Indianapolis, IN

Bank One, Indianapolis, IN

Oxfordshire County Council, Oxford, England, UK

Studio Ten, Commercial Enterprises, London, England, UK

Jacoby Architectural, Toronto, Ontario, Canada

Michael Albano, New York Council for the Arts, New York, NY

Deborah Frazier, Merrill Lynch, New York, NY

C.I.D. Venture Partners, Investment Consultants, Indianapolis, IN

Dutton and Overman, Law Offices, Indianapolis, IN

Kirr, Marbach & Co. Investment Managers, Columbus, IN

Kunz and Kunz, Law Offices, Indianapolis, IN

Boyd-Sobieray Associates Inc., Architects, Indianapolis, IN

Gallerie Primitief, Indianapolis, IN

Law Offices, T.A. Trollip, Johannesburg, South Africa

Indiana University Medical Center, Indianapolis, IN

Sheldon Swope Art Museum, Terre Haute, IN

Capitol Holding, Louisville, KY

P.N.C. Bank, Louisville, KY

Welborn Hospital, Evansville, IN

Bell South Telephone, Louisville, KY

Awards and Public Commissions

2019 Set of Six Paintings for Kathy and Roger Penske Collection

2013 Purchase of In A Mellow Tone (60 x 60 in), New York University, New York, NY

2012 Purchase of Thinking Out Loud (40 x 82 in), Bloomington-Monroe County Convention Center, Bloomington, IN

2009 Purchase of Autumn Moon (36 x 36 in), Indiana State Museum, Indianapolis, IN

2005 2nd Prize, Indiana Now! Juried Show, Art Museum of Greater Lafayette, Lafayette, IN

2002 I.A.C. Grant Recipient (Individual Artist Fellowship)

2000 I.A.C. Grant Recipient (Individual Artist Fellowship)

1998 Lilly Research Center, Commission (three works), Indianapolis, IN

1996 Metropolitan Place, Commission, Indianapolis, IN

Proposal accepted, work shown at Blanden Museum, Fort Dodge, IA

1992 Indiana Artists, Indianapolis Museum of Art, Indianapolis, IN

2nd prize, Regional Artists’ Biennial, University of London, England, UK

Merchants National Bank Award of Merit, 49th Annual Wabash Valley Show, Swope Art Museum, Terre Haute, IN

1990

1st Prize (Mixed Media) American States Insurance Co., Indianapolis, IN

Merit award, IN Arts Postcard Competition, Indianapolis Museum of Art, Indianapolis, IN

1986 Scholarship, Art Student’s League of New York, New York, NY

1st Prize, Palm Beach Gallery Third International Show, Palm Beach, FL

1979 Giovanna Millner Award for Best Art Student (six-month artist residency in Italy), University of Witwatersrand, Johannesburg, South Africa

Selected Bibliography: Reviews, Catalogues and Articles

2020 Tamar Kander. Indianapolis: Long-Sharp Gallery, 2020 (catalog).

2011 Allan, M.D. “Easel Money.” Indianapolis Monthly, July 2011 (article).

2009 Robinson, Sarah. “Interview with Tamar Kander.” IN FOCUS, August 2009 (article). Perry, Rachel Berenson. Making It in the Midwest: Artists Who Chose to Stay. Indianapolis: Indiana State Museum, 2009 (catalog).

2008 McGarry, Susan. “Pulse and Rhythm.” Santa Fean, June 2008 (article).

“Preview: Kander at Joyce Robins.” The Magazine, June 2008 (article).

Thibodeaux, Julianna. “Looking Closer.” Nuvo, May 14 2008 (review).

2007 Conger, Peggy. “Art Meets Life.” New At Home, Autumn 2007 (article). Barry, S.L. “Where the Art Is.” Indianapolis Monthly, September 2007 (article). Cronin, Blaise. “Monet Makes the World Go Round.” In Bloomington Daze: More Town and Gown in Middle America. Bloomington: AuthorHouse, 2007 (book chapter).

2006 Rhea, Tom. “Artist Crafts Poetic Metaphors from Use of Rugged Materials.” Sunday Herald Times, May 21, 2006 (review). Thibodeaux, Julianna. “Memory Collage.” Nuvo, May 10, 2006 (review).

2004 McGarry, Susan Hallsten. “Touchstones Unique and Universal…” Focus Santa Fe, April 2004 (article).

2002 Finkelstein, Lydia B. “Tamar Kander Uses the Abstract to Evoke Meaning.” The Herald-Times, 2002 (article).

2000 Calhoon, Sharon L. “A Pleasant Surprise on the Avenue.” Nuvo. May 2000 (review).

Mannheimer, Steve. “Local Galleries Examine Expressions of Exoticism.” Indianapolis Star, 2000 (review).

1999 Rhea, Tom. “A Violent Precision, Tamar Kander at the Gallery.” Bloomington Voice, 1999 (review).

1997 Exhibition 280. Huntington, WV: Huntington Museum of Art, 1997 (catalogue).

1996 Rhea, Tom. “Occluded Flesh.” Bloomington Voice, October 1996 (review).

1993 49th Annual Wabash Valley Exhibition. Terre Haute: Swope Art Museum, 1993 (catalogue). Finkelstein, Lydia B. “Pottery, Paintings have Simple Purity.” Sunday Herald-Times, 1993 (review).

1992 Delaney, Tom. “Art Inspired by Buddhist Literature.” Terre Haute Tribune Star, 1992 (article). McQuiston, Julie Pratt. “Abstract Weather.” Chicago Art Review and Nuvo, September 1992 (review).

Mikkalo, Erika. “Tamar Kander, Painting Landscapes of the Soul.” Bloomington Voice, July 1992 (review).

1990 Art by Women: Voices and Priorities. Vincennes, IN: Vincennes University and Indiana Art Review, 1990 (catalogue).

1987 Western Places. Missoula, MT: Missoula Museum of the Arts, 1987 (catalogue).

SABINA KLEIN

(American, b. 1949)

A New Yorker at heart, Brooklyn-born Sabina Klein is a printmaker and painter whose work has been shown throughout the United States and around the world. Klein established her own printmaking studio, where she has engaged in platemaking and edition printing for eminent artists over the years. She has printed for Krishna Reddy, Louise Nevelson, Al Held, Peter Milton, Larry Zox, and Richard Haas, among others.

Klein is a realist with traces of abstraction pervading her work. Elements of light, atmosphere, and mood saturate her gorgeously colored, kaleidoscopic paintings. Art critic and curator Lilly Wei describes Klein’s abstract yet representational work as “a compellingly reimagined version of symbolism and surrealism.” Her work conveys, in Wei’s words, “a point of view that sees reality and the human condition as a jumble of contradictions and complexities in which hope and beauty, despair and horror co-exist, the former all the more precious in the wake of the latter.”

Klein attended Hunter College (New York, NY) where she received her bachelor’s and master’s degrees. After Hunter, she continued her education in France for two years, studying with S.W. Hayter at Atelier 17 in Paris. She later taught at Parsons School of Art and Design and the New School for Social Research.

Detail from The Nothing That Contains Everything

Indignant and Aggrieved [SOLD]

2018

Oil paint, oil sticks, and colored pencil on paper

Size: 30 x 22 inches (76.2 x 55.9 cm)

Framed: 35 x 27.25 inches (88.9 x 69.2 cm)

“This was the little girl and woman in me feeling indignant and aggrieved. It is for the life I have lived, for the anger of being alive and not being able to control things. The cruelties and the injustices that exists and not having dominance over them. It is for recognizing the powerlessness in a world that has no likes and dislikes, encompassing everything, good and evil. And yet, thankfully, hopefully, we change… constantly. The butterfly begins as a worm and through an eternity of darkness emerges as a butterfly. That is Indignant and Aggrieved.”

Sabina Klein

The Nothing That Contains Everything

2018

Oil paint, oil sticks, and colored pencil on paper

Size: 45 x 34.75 inches (114.3 x 88.3 cm)

Framed: 50 x 39.75 inches (127 x 101 cm)

“The Nothing That Contains Everything is just that: ordinary and everyday incidents which brighten my mundane life. Our everyday life is nothing special, and yet very special. A puzzle to figure out. It is the quiet desperation of life striving for something unique and understanding that a reality-centered life opens to wonder, to the magic of the moment, to the grace of what is. This painting is just that— allowing myself to awaken to the magic of the moment.” Sabina Klein

Education

1967-71 BA, Hunter College, New York, NY

1972 MA, Hunter College, New York, NY

1972 Printmaking Workshop, New York, NY

1972-74 Atelier 17, Paris, France

1973-74 École des Beaux-Arts, France

Collections

Flint Institute of Arts

The New York Historical Society

IBC – International Bancshares Corporation

The Housatonic Museum of Art

MONY Corporation

United Hospital Fund of New York

Drew University

Skadden, Arps, Slate, Meagher and Flom Law Firm

Printmaking Workshop

Atelier 17

Exhibitions

2019 Solo exhibit, Long-Sharp Gallery, NY

2018 Group exhibit, New Works, Long-Sharp Gallery, IN

Solo exhibit, Conrad Indianapolis Lobby, IN

2017 Group exhibit, Athena Shrugged Remix, Long-Sharp Gallery, IN

Solo exhibit, Long-Sharp Gallery, NY

Group exhibit, Alexander/Heath, VA

2014 Group exhibit, Gramacy Arts Club, NY

Group exhibit, Horace Mann Museum, NY

2009 Solo exhibit, Flint Institute of Arts, MI

2008 Invited to Academy of Art and Design Museum group exhibit, NY

2007 New York Historical Society group exhibit, NY and represented in their collection

2005 Solo exhibition, Gallerie Michitsch, Vienna, Austria

2004 Group exhibit, Gallery of Graphic Arts, NY

Group exhibit, Gallery of Graphic Arts, NY

2003 Invited to MacDowell Artist Colony, NH

Invited to MacDowell Artist Colony, NH

2001 Twelve etchings and monoprints selected to go into new skyscraper, Frankfurt, Germany

2000 Group exhibit in S.E. Feinman Fine Arts, NY

1999 Lecture and Demonstration at Gallaudet University, Washington, DC

1998 Drew University group exhibit, NJ

1997 Group exhibit S.E. Feinman Fine Arts, NY

1996 Vonderbank Kunsthandlug, gallery exhibit, Frankfurt, Germany

1993 Mira Mar Gallery group exhibit, FL

1991 Midday Gallery, group exhibit, NJ

1990 Gallerie Sho, Tokyo, Japan

1989 Syracuse Museum group exhibit, NY

Henock Gallery group exhibit, NY

1988 Yaddo Artist Colony 1988

1987 Boston Printmakers group exhibit, MA

1986 Society of the American Graphic Association (SAGA) NY

New School of Social Research, group exhibit, NY

Taiwan International Print Biennale, group exhibit, China

Artwork © Sabina Klein

SABINA KLEIN

1984

1982

Taiwan International Print Biennale, group exhibit, China

Norwegian International Print Biennale, Norway

Norwegian International Print Biennale, Norway

1981 British International Print Biennale, England

1980

Norwegian International Print Biennale, Norway

New Mexico State University group exhibit, NM

1978 International Exhibition of Graphic Arts, group exhibit, Poland

1977 Barbara Buley Gallery group exhibit, NY

1974 Foundation des Etats-Unis, one woman exhibit, Paris, France

1973 Foundation des Etats-Unis, one woman exhibit, Paris, France

1970 Frank Fedele Gallery group exhibit, NY

Art Fairs

2019 Art Wynwood, Long-Sharp Gallery, Miami, FL

Palm Beach Modern + Contemporary, Long-Sharp Gallery, West Palm Beach, FL

2017 Art New York, Long-Sharp Gallery, New York, NY

MIRIAM LONDOÑO

(Colombian, b. 1955)

For more than twenty years, Miriam Londoño’s artistic production has focused on working with paper and the possibility of expanding its uses as a medium. Her paper artwork includes three-dimensional and sculptural drawing and writing.

As subject matter, Londoño explores migration, communication, and social exclusion, focusing on how traumatic experiences can cause identity crises and cracks in memories. Reflecting on her personal experience as a migrant, Londoño became interested in language and communication, producing an artistic body of work that visually focuses on written texts.

Educated in her home country of Colombia as well as Italy and Spain, Londoño has placed works in collections across the globe. Her works have been included in museum exhibitions at the Museum Het Leids Wevershuis (Netherlands), Negev Museum of Art (Israel), Rijswijk Museum (Netherlands), Museo Maja (Colombia), Cornell Art Museum (US), and Papiermacher Museum (Austria), among others. She lives and works in Bogotá, Colombia.

Dialog I

2022

Handmade paper

Left Head: 17 x 16 x 11 inches (43 x 40 x 28 cm)

Right Head: 17 x 17 x 12 inches (44 x 44 x 30 cm)

“Dialog I represents our minds: an unlimited and constant flow of words, thoughts, images, and ideas, often repetitive and unstructured, but also creative, allowing us to engage in dialogue with others.

Dialog I is part of the Monologues series, which is comprised of bodies and heads made up only of letters. Loose letters feature as a latent possibility for the imagination to create words from them, and from these words, communicate stories and dreams with others.” Miriam

Londoño

Invasive Words #2

2020

Handmade paper

28.7 x 36.6 inches (73 x 93 cm)

“In the Invasive Words series, I used the expressive, gestural, and colourful forms of street graffiti to touch on themes surrounding protest and the expression of discontent. Graffiti is a striking and somewhat forceful form of writing that abounds on the street walls of the world’s great cities. They are the silent voices that scream in discontent, with a deep desire to be heard at all costs.”

Miriam Londoño

Invasive Words #3

2020

Handmade paper

29.9 x 28.7 inches (76 x 73 cm)

Londoño works with cotton and flax fibers; the fibers are beaten in a paper mill for several hours, creating a fine pulp. Different additives are then introduced to the pulp to achieve consistency and colors that do not fade with light. Londoño then adds pigments to the pulp in separate bowls to achieve the colors of her choice. Each color pulp is then poured into an applicator bottle such that she can “write” with it, typically onto a screen (similar to a cheesecloth). When the writing is dry, she lifts it from the screen and adds a varnish. Works featuring multiple colors can be created over a long period of time. When creating works with thicker lines of text (like works from the Invasive Words series), she typically writes the words separately, and then layers the compositions.

MIRIAM LONDOÑO

Education

2012-14 Master in Analysis of Contemporary Art, University of Barcelona, Spain

1977-79 Fine Arts, Academy of Arts, Florence, Italy

1979-80 Ancient Painting Techniques, Atelier Mario Palaggi, Lucca, Italy

1973-77 Bachelor of Arts, University of Antioquia, Medellin, Colombia

Solo Exhibitions

2021 Paper Memories, Art Center, EAFIT University, Medellin, Colombia

2018 Calligraphy and Memory, Museo Maja, Jericó, Colombia

2017 Uncertain Transits, Gallery 18, SBK Zuid, Amsterdam, The Netherlands

2016 Líneas de Fuga, Museo Juan del Corral, Santa Fé de Antioquia, Colombia

2015 Faculty of Arts, Technological University of Pereira, Pereira, Colombia

Neverending Story, Amsterdam Central Library, Amsterdam, Netherland

Gallery Witteveen, Amsterdam, The Netherlands

2014 Sharjah Calligraphy Biennial, Sharjah, United Arab Emirate

Galerie ‘t Haentje te Paart’, Middelburg, The Netherlands

2013 Galerie 59, Amsterdam, The Netherlands

SER Sociaal Economische Raad, The Hague, The Netherlands

2012 Pulchri Studio, The Hague, The Netherlands

Licht & Ruimt, Abcoude, The Netherlands

Galerie 106 / de Gecroonde Bel, Oosterhout, The Netherlands

2011 Gallery Clement, Amsterdam, The Netherlands

2010 Gallery Clement, Amsterdam, The Netherlands

Torpedo Gallery, Torpedo Factory Art Center, Washington, USA

2009 Gallery Arte sin Límites, Den Haag, The Netherlands

Gallery 59, Amsterdam, The Netherlands

Gallery A-Quadraat, Vorden, The Netherlands

Stichting de Grunerie – Oegstgeest, The Netherlands

2008 Calligraphies, Bijenkorf, Eindhoven, The Netherlands

Calligraphy of Conflict,TSO’AR, Leidschendam, The Netherlands

2007 Gallery Paul Bardwell, Colombo Americano, Medellin, Colombia

Gallery De Andere Kant, Tonden, The Netherlands

Gallery 59, Amsterdam, The Netherlands

Museum Het Leids Wevershuis, Leiden, The Netherlands

2006 Regentenkamer, The Hague, The Netherlands

2004 City Hall, Rotterdam, The Netherlands

2002 Somjai Reiss Gallery, Bangkok, Thailand

1988 Gallery Villa Barranca, Amsterdam, The Netherlands

1984 Bank of the Republic of Colombia, Medellin, Colombia

1983 Gallery Cultural 10, Medellin, Colombia

Group Exhibitions

2021 Art Miami, Florida, USA – Long-Sharp Gallery

Heart of The Square, Cornell Art Museum, Florida, USA

DES-HORIZONTES, Marte 247 Gallery, Bogotá, Colombia

XVII Regional Salon of Artist (Virtual) 17 SRA, Wester Region

Small Format, Museo El Castillo, Medellin, Colombia

On the Brighter Side, Long-Sharp Gallery, Indianapolis, USA

Highlight en 360, Gallery Otros 360 Grados, Bogotá, Colombia

Spell it Out, Long-Sharp Gallery, Indianapolis, USA

2020 Holland Paper Biennial 2020, Rijswijk Museum, The Netherlands

La Cosecha del Estado, Museo del Barrio, Manizales

2019 Chicas*Chicas* Chicas*, Elvira Moreno Gallery, Bogotá, Colombia

Lecture at CLAS, Calligraphy Lettering Arts Society, British Library, London, England

Paper Languages, El Museo Gallery, Bogotá, Colombia

Textual-Texture, Municipal Library of Beer-Sheva, Israel

International Paper Art Biennale, Shanghai, China

2018

El Espejo de las Almas Simples, Universidad La Salle, Bogotá, Colombia

Panográfica, Sala U Arte Contemporáneo, Universidad Nacional, Medellin, Colombia

Sofia Paper Art, National Palace of Culture, Sofia, Bulgaria

Paper Global 4, International PaperArt Triennial, Stadsmuseum Deggendorf, Germany

TraCarte 2018, International PaperArt Biennial, Foggia, Italia

International Paper Art Biennial, Haacht, Belgium

2017 Farewell Exhibition, Stichting Grunerie, Oegstgeest, The Netherlands

CODA Paper Art 2017, Museum CODA, Apeldoorn, The Netherlands

Out of the Box, HazArt Gallery, Soust, The Netherlands

2016 Nature to Nature, Campus da UnB – Darcy Rivero, Brasilia, Brasil

Onleesbaar, maar…/ Illegible, but … HazArt Gellery, Soest, The Netherlands

Paper Languages, Galeria El Museo, Bogotá, Colombia

Paper Conversation, Hafez Gallery, Jeddah, Saudi Arabia

2015 Paper Conversation, Hafez Gallery, Jeddah, Saudi Arabia

Entre les lignes, LA GALERIE des Galeries Lafayette, CAP 3000 Nice, France

2nd Paper Biennale 2015 ‘Pulp & Fiction’, Negev Museum of Art, Be’er Sheva, Israel

Buitenissing, Galerie Kolff, Zouterwoude, The Netherlands

Forming Words, Clotsworthy Arts Centre and Roe Valley Arts Centre, Northern Ireland, UK

Meister der Moderne, Interntationale Handwerksmesse Munchen, Germany

Visual Utterance, Cube Arts Gallery, Dubai, United Arab Emirates

2014 Serendipity, Haagse Kunstkring, The Hague, The Netherlands

WORDS, Maison&Object, Paris, France

Kunst in Etzenrade, Etzenrade, The Netherlands

Writing and Object, Gallery Handwerkskammer fur Munchen und Oberbayern, Munich, Germany

Kunst en Bomen 2014, Oisterwijk, Moergestel en Heukelom, The Netherlands

2013 Galerie Atelier Gerri Grijsen, Winterswijk, The Netherlands

Grensloos Kunstverkennen, Ijhorst, The Netherlands

Book Art Exhibition, Pace University, Westchester, NY, USA

2012 Book Art Object, National Library of Serbia, Belgrade, Serbia

Pulchri Studio, Najaars Salon, The Hague, Netherland

Open Stal, Olderberkoop, The Netherlands

Popierukas, Gallery Balta, Kaunas, Lithuania

Papier global – Global Paper II, Deggendorf, Germany

Greenwich Public Library’s Flinn Gallery, Greenwich, Connecticut, USA

NG Art Gallery, Chippendale, Sydney, Australia

ArtTax Gallery, Doesburg, The Netherlands

2011 Lustrumexpositie, Galerie Bibliotheek Zelhem, Zelhem, The Netherlands

Pulchri Studio, Work of New Members, The Hague, The Netherlands

Papier Textiel 4, Galerie Fort A/D Drecth, Uithoorn, The Netherlands

Najaarssalon Pulchri Studio, The Hague, The Netherlands

Contrasten, Galerie Wit, Wageningen, The Netherlands

Faszination Papier, Kunstverein Burghausen, Germany

Pulchri Studio, The Hague, The Netherlands

World Art Center, Delft, The Netherlands

2010 Art in Redlight, Oude Kerk, Amsterdam, The Netherlands

Lochem, Artfair, The Netherlands

Gallery Arte sin Límites, The Hague, The Netherlands

Stichting de Grunerie, Oegstgeest, Netherland

2009 Gallery Maijke Hüsstege, Den Bosch, The Netherlands

PAN Amsterdam, Gallery Maijke Hüsstege

The New Brewery Arts, Cirencester, United Kingdom

Rotary Club Geleen, Sittard, The Netherlands

Kunsthuis KEK, Epe, The Netherlands

Tracarte 3, International Exhibition on Papermade Works, Foggia, Italy

Burnie Regional Art Gallery, Burnie, Tasmania, Australia

5ta. International Biennial of Textil Art, Buenos Aires, Argentina

2008 Museum 25th May, Belgrade, Serbia

Galerie Bibliotheek Zelhem, Zelhem, The Netherlands

Gallery Ulrike Hrobsky, Vienna, Austria

Art Book Fair, Leiden, The Netherlands

Kaye College, Art Gallery, Beersheba, Israel

Art Fair, Ahoy, Rotterdam, The Netherlands

6a.Triennale International du Papier, Charmey, Switzerland

Robert Phillips Gallery, Walton on Thames, London, England

Papiermacher Museum, Steyrermühl, Austria

Museum Papiernictwa, Duszniki, Poland

Wasser I Zeichen, Bremen, Germany

Paper Museum, Capellades, Spain

Beverly Art Gallery, Yorkshire, England

Piece Hall, Halifax, England

Collins Gallery, Glasgow, England

2007 Paper Road, Deggendorf, Germany

Gallery 1, Sittard, The Netherlands

Weverij Museum, Geldrop, The Netherlands

Castillo Santa Catalina, Cadiz, Spain

Kunsthuis Secretarie, Meppel, The Netherlands

Artzone, Edmon Green, London, England

Oavada Gallery, Oxford, England

Beldam Gallery, London, England

aid Business School, Oxford, England

Sherbone House, Dorset, England

2006 Buddenbrooks Gallery, The Hague, The Netherlands

Holland Paper Biennale, Museum Rijswijk and Coda Museum, The Netherlands

Paper Road, Steyrermühl, Austria

PapierWespe, Vienna, Austria

2004 City Hall, Rotterdam, The Netherlands

Espace Provisoire, Brussels, Belgium

Lat/Entes, National Gallery of Arts, Bucharest, Rumania

Paper Road, Sori Arts Center, Jeonju, Korea

Awards

2018 Innovation Award, International Paper Show, Sofia, Bulgaria

2008 Audience Award, Sixth Paper Triennial, Charmey, Switzerland

Second Prize, Sixth Paper Triennial, Charmey, Switzerland

Artwork © Miriam Londoño

Detail from Invasive Words #2

DESTINY PALMER

(American, b.1987)

Destiny Palmer is trained as a painter, and her work explores the intersections of painting, history, and color. Palmer’s paintings, fabric works, and works on paper investigate colonial American history as it relates to her identity as a Black woman. Her artwork has been included in exhibitions at Antenna Gallery (New Orleans, LA), The Colored Girls Museum (Philadelphia, PA), Automat Collective (Philadelphia, PA), Ely Center of Contemporary Art (New Haven, CT), VanDernoot Gallery (Cambridge, MA), and Landmark College (Putney, VT). Palmer has hosted workshops at the Isabella Stewart Gardner Museum (Boston, MA) and the Museum of Fine Arts (Boston, MA) and was invited to speak at the Peabody Essex Museum (Salem, MA).

While Palmer’s studio work is generated from personal histories, her public art is a reclamation of space. Palmer has worked with various communities to create public art projects, including traditional, community engaged/lead, and digitally created murals. She has worked with Massachusetts Institute of Technology, Lifewtr, Saxbys, and Mural Arts Philadelphia. As Palmer explains:

I love being able to work with a community to reclaim space. It is extremely important that communities consistently see themselves within their own neighborhood and have ownership of it. Many of these communities are undergoing immense change or are at the bottom of their cities’ priority lists.

Some of her murals can be found at the Gallivan Community Center (Mattapan, MA), Kendall Square (Cambridge, MA), and Navy Yard (Philadelphia, PA). As a finalist artist for a redesign competition, Palmer had the privilege to collaborate and envision a new Codman Square Park (Boston, MA).

Palmer earned a BFA (Painting) from the Massachusetts College of Art and Design (Boston, MA) and an MFA (Painting) from Tyler School of Art at Temple University (Philadelphia, PA). She currently teaches art at Thayer Academy (Braintree, MA) and previously was an Assistant Professor at Massachusetts College of Art and Design.

“In the past few years, hands have shown up in my work. They are literal and symbolic references to labor. Hands have been at the center of decision making, wealth, slavery, motherhood, etc. Hands nurture and hands harm.

When I started using hands, I wanted to talk about greed. When reading about America’s beginning, so much of it was around greed: claiming land, people, and goods—not for a purpose, but to have. That resonated with me because nothing has changed. All of the hands I use are genderless, ageless, and not grabbing any particular thing.”

Destiny Palmer

If we all took one

2021

Collage, painted paper, scrapbook paper, screen mesh

Framed: 10.5 x 10.5 inches (27 x 27 cm)

It wouldn’t be missed

2021

Collage, painted paper, scrapbook paper, screen mesh

Framed: 10.5 x 10.5 inches (27 x 27 cm)

To be entitled

2021

Collage, painted paper, scrapbook paper, screen mesh

Framed: 10.5 x 10.5 inches (27 x 27 cm)

It is not catch and release

2021

Collage, painted paper, scrapbook paper, screen mesh

Framed: 10.5 x 10.5 inches (27 x 27 cm)

Taking is a waiting game

2021

Collage, painted paper, scrapbook paper, screen mesh

Framed: 10.5 x 10.5 inches (27 x 27 cm)

It could all be so simple

2021

Collage, painted paper, scrapbook paper, screen mesh

Framed: 10.5 x 10.5 inches (27 x 27 cm)

To know and still take

2021

Collage, painted paper, scrapbook paper, screen mesh

Framed: 10.5 x 10.5 inches (27 x 27 cm)

A collective shame

2021

Collage, painted paper, scrapbook paper, screen mesh

Framed: 10.5 x 10.5 inches (27 x 27 cm)

Taken at an alarming rate

2021

Collage, painted paper, scrapbook paper, screen mesh

Framed: 10.5 x 10.5 inches (27 x 27 cm)

DESTINY PALMER

Education

2017 MFA, Tyler School of Art, Temple University, Philadelphia, PA

2010 BFA, Massachusetts College of Art and Design, Boston, MA

Norfolk School of Art and Music, Yale University, Norfolk, CT

Professional Experience

2019-Present Art Teacher, Thayer Academy

DEI Coordinator, Thayer Academy Middle School

2017-19 Assistant Professor, Massachusetts College of Art and Design

2015-17 Graduate Assistant, Temple Contemporary

2014-16 Arts and Culture Transition, Member, City of Boston

2014 Studio Practice Teacher, Massachusetts College of Art

2012-15 Adjunct Faculty, Visual Arts Department, Boston Arts Academy

Courses Taught

Seminar 1: Contemporary Teaching Practices

Seminar 2: Contemporary Teaching Practices

Interdisciplinary Studio 1 (Undergraduate)

Interdisciplinary Studio 2 (Undergraduate)

Interdisciplinary Studio 3 (Undergraduate)

Studio Investigations (Graduate)

Drawing: Color (Studio Foundation)

Visual Language (Studio Foundation)

Workshops/Guest Lectures

2022 Labored Bodies, Arts and Education Festival, Bombyx, Northampton, MA

2021 Black and Blue, Simmons University

Women’s Studies Research Center at Brandeis University

Collecting and Connecting, Simmons University

Provocative Ten, Art New England and Design Museum, Boston, MA

2017 MassArt, Art Education Department, Boston, MA

2014 Wonder Women of Boston, Strength and Courage Series, Boston, MA

Polly Thayer Starr Artist Series, Isabella Stewart Gardner Museum, Boston, MA

2013 After Hours, Isabella Stewart Gardner Museum, Boston, MA

Artward Bound, Massachusetts College of Art and Design, Boston, MA

2012 Artward Bound, Massachusetts College of Art and Design, Boston, MA

Solo Exhibitions

2022 Love Letter to a Black Woman, Spoke Gallery, Boston, MA

2021 To Bare Witness, Simmons University, Boston, MA

By hand, Roxbury Arts Group, Roxbury, NY

2017 Clenched, Arnheim Gallery, Boston, MA

Gained and Gathered, Temple Contemporary, Philadelphia, PA

2015 Remembered Color, Mayor’s Gallery, City Hall, Boston, MA

2013 Continuous Pt.1, TLC Arts and Science Foundation, Quincy, MA

The Beginning: Continuous, Erick Jean Center for the Arts

2011 Solo, Bunker Hill Community College Chelsea Campus, Chelsea, MA

2010 Who invited red? Massachusetts College of Art, Boston, MA

2009 Welcome to..., Massachusetts College of Art, Boston, MA

Inverted Confession, Artist Foundation, Boston, MA

Invited Conversation, Massachusetts College of Art, Boston, MA

Selected Group Exhibitions

2021 Embodied Abstraction, Wexler Gallery, Philadelphia, PA

Painting, Musa Collective, Boston, MA

Call and Response, Newport Art Museum, Newport, RI

Driven to Abstraction, Long Sharp Gallery, Indianapolis, IN

2018 Stitch and Syntax, New Art Center, Newton, MA

2017 Urgent Care, The Colored Girls Museum, Philadelphia, PA

Broad Stripes and Bright Stars, New Haven, CT

Overstitch, Automat Collective, Philadelphia, PA

More is Contained Then What is Revealed, Art and Craft Holdings, Philadelphia, PA

2016 Black History Matters 365, Lesley University, Cambridge, MA

City Life, Oficia, Boston, MA

2015 Show What You Teach, Gordon Gallery, Boston, MA

2014 No Country for Old Men, Landmark College, Putney, VT

2013 Juneteenth Celebration, Museum of Fine Arts, Boston, MA

Can I kick it?, Paris Street Gallery, Everett, MA

Black by Popular Demand, Gallery 360 Northeastern University, Boston, MA

2012 New Media/Fresh Paint II, New Art Center, Newton, MA

Traditions Remixed, Strand Theatre, Dorchester, MA

Sound Influence, New Haven Arts Council, New Haven, CT

Visions, Cambridge City Hall, Cambridge, MA

Identity, Boston City Hall, Boston, MA

New Media/Fresh Paint, SpringStep, Medford, MA

2011 One Man’s Trash, Gallery at the Piano Factory, Boston, MA

Off the Pages, Hourglass Tattoo Shop, Somerville, MA

Ethnic Ties, Boston Convention and Exhibition Center, Boston, MA

Ladies First, Hancock 309 Gallery, Dorchester, MA

Traditions Remixed, Resnikoff Gallery, Boston, MA

Iwa I’ Ewa, Dot to Dot Cafe, Boston, MA

Collaboration, Piano Factory, Boston, MA

Unmentioned, Mission Bar & Grill, Boston, MA

2010 Emerging Artists, Transportation Building, Boston, MA

Introducing Traditions Remixed, Dorchester, MA

The Gene Pool, The Piano Factory Gallery, Boston, MA

Store Show Series, Carry Out, MEME Gallery, Cambridge, MA

Co-Lab Show, Doran Gallery, Boston, MA

2009 Beg, Borrow, Steal, LaMontagne Gallery, Boston, MA

Paint Black on Canvas, Bunker Hill Community College, Boston, MA

Co-Lab Show, Doran Gallery, Boston, MA

2008 Atmosphere, Instillation Station, Massachusetts College of Art, Boston, MA

Black Artists’ Union, Dot to Dot Cafe, Boston, MA

Calvin Burnett Tribute, Presidents’ Gallery, Massachusetts College of Art Roxbury Open Studios, Boston, MA

Influence, Piano Factory, Boston, MA

777 Toy Battle, Underground Hip Hop, Boston, MA

The Greatest Day on Earth, Earth Day, Artist for Humanity, Boston, MA

Amalgam II, Gallery at the Piano Factory, Boston, MA

The Purple Show, Si El Gallery, Boston, MA

Curatorial Projects

2021 Women in Abstraction, New Art Center Newton, MA

2015 Passion with Balance, Fort Point Artist Community Gallery, Boston, MA

2014 A Story We Share, Commonwealth Museum, Boston, MA

2013 My Streets, Adam Bullock, Erick Jean Center for the Arts

2012 Identity, Boston City Hall, Boston, MA

2011 The Art Show, (Articulation) St. Mary Church, Dorchester, MA

Ladies First, Hancock 309 Gallery, Dorchester, MA

If...Then., Mission Bar and Grill, Boston, MA

2008 The Influence Show, Lee Adam Beard, Piano Factory, Boston, MA

Hide, Sarah Laws, Utrecht Art Supplies, Boston, MA

Flight, Sarah Ressler, Utrecht Art Supplies, Boston, MA

2007 Amalgam, Utrecht Art Supplies, Boston, MA

Streets, Amber Pate, Utrecht Art Supplies, Boston, MA

Everything Personal, Eddie Sweet, Utrecht Art Supplies, Boston, MA

The Big Show, Godine Gallery, Massachusetts College of Art, Boston, MA

Awards

2018 St. Botolph Award

Nellie Taft Award for Painting

2009 Departmental Award for Excellence, 2D Fine Arts Department

Unsung Hero Award Leadership Award

2008 Ellen Battell Stoeckel Fellowship

Massachusetts College of Art Painting Auction Award

2007 Artist and Craftsman Award

Permanent Collections/ Installations

MIT School of Technology

Simmons University, Boston, MA

Whittier Health Center, Boston, MA

Lincoln Property Company, Lincoln, MA

Aloft Hotel, Boston, MA

Affiliated with deCordova Museum, Art Loan Program, Lincoln, MA

Public Artworks

South Main, Worcester, MA

28 Austin, Newton, MA

Windy Films, East Boston, MA

Gallivan Community Center/Lifewtr, Dorcherster, MA

Union for Contemporary Art (Mural), Omaha, NE

Gertrude Howes Park (Co-Artist/Finalist)

Codman Square Park Redesign (Finalist)

Artist in Residence for Community Arts Cambridge and MIT collaboration

Artwork © Destiny Palmer

Detail from It is not catch and release

NICOLE PIETRANTONI

(American, b. 1981)

Nicole Pietrantoni’s installations, artists’ books, and works on paper explore the complex relationship between human beings and nature. She is the recipient of numerous awards including a Fulbright Grant to Iceland, an Artist Trust Fellowship, a Larry Sommers Printmaking Fellowship, a Leifur Eiríksson Foundation Grant, the Manifest Prize, and a Graves Award for Excellence in Humanities Research and Teaching.

Pietrantoni has been awarded artist residencies at Meta Open Arts, the Nova Scotia College of Art and Design, Anderson Ranch Arts Center, and the Venice Printmaking Studio, among others. She has given over thirty lectures about her work around the United States. Her artwork has been in over 100 national and international exhibitions, including solo exhibitions at the Coos Museum of Art, Kimball Art Center, the Lamar Dodd School of Art, and the San Juan Islands Museum of Art. Works by Pietrantoni are in over twenty collections including Yale University, the Library of Congress, Zayed University (United Arab Emirates), University of Iowa Museum of Art, and the Zuckerman Museum of Art.

Pietrantoni received her MFA and MA in Printmaking from the University of Iowa and her BS in Human and Organizational Development and Art History from Vanderbilt University. From 2016 to 2018, she served as the President of SGC International, the largest professional organization dedicated to scholarship in printmaking, book arts, and papermaking in North America.

The artist’s studio is based in Prague, where she lives with her husband and daughter.

Aurora III

2021

Inkjet on Kozo paper, acrylic paint

Handbound into 9 accordion books

26 x 40 x 2.5 inches (66 x 102 x 6.4 cm)

“Aurora III explores deeper, richer color gradients that are overlaid onto photographs of local plants. My recent work has turned to photography of the everyday – using snapshots on my iPhone of the simple weeds and flowers that I observe on my walks. The thin strips of images collage together a larger composition. I like to think of each column as a glimpse – and that our brains often work in this way, taking in slivers and bits of information that weave together a bigger picture – though there is always something missing. The gaps between each accordion book function this way for me – they represent the impossibility of taking it all in.”

Nicole Pietrantoni

Detail from Aurora IV

Aurora IV

2021

Inkjet on Kozo paper, acrylic paint

Handbound into 9 accordion books

26 x 40 x 2.5 inches (66 x 102 x 6.4 cm)

“Aurora IV is a vibrant composition that bathes each photograph on the accordion books in warm color gradients that are digitally printed on Japanese paper. In all of my works in the Aurora series, I paint the back of each piece with a fluorescent neon red that reflects and glows against stark white walls. For me, this color calls to mind both the natural – the pinkish-orange light of dawn – as well as the highly artificial – the neon orange of traffic cones and hazard tape.” Nicole

Pietrantoni

NICOLE PIETRANTONI

Education

2010-11 Fulbright Grant, U.S. Student Fellow in Printmaking, Iceland

2009-10 MFA with Honors, University of Iowa, Iowa City, IA

Major: Printmaking; Minor: Intermedia

2007-09 MA University of Iowa, Iowa City, IA

Major: Printmaking; Minor: Drawing and Painting

1999-03 BS magna cum laude, Vanderbilt University, Nashville, TN

Double Major: Human and Organizational Development and Art History Lorenzo de Medici Art Institute, Semester Abroad, Florence, Italy

Fellowships, Grants, & Awards

2020 Ashurst Emerging Artist Prize, Shortlist, London, UK

2015 Artist Trust Fellowship, $7,500 fellowship

The Manifest One Prize, Manifest Gallery & Drawing Center

The Print Center ’s 89th Annual International Competition, Semi-finalist

2014 Larry Sommers Art Fellowship, $2,000, Seattle Print Arts

2010 Leifur Eiríksson Foundation Scholarship, $22,000 research grant

2009 Public Art Commission, University of Iowa Hospitals & Clinics

2009 Research Fellowship, University of Iowa

2007-09 Dean’s Graduate Fellowship, University of Iowa

2008-09 Elizabeth Catlett Fellowship, University of Iowa

2007-08 Leola Bergmann and Iowa Print Group Graduate Fellowship, University of Iowa

2007-08 Paula Patton Grahame Fellowship, University of Iowa

2004 Margaret Stonewall Wooldridge Hamblet Fellowship, $18,500, Vanderbilt University

Academic Appointments

2021 Chair, Studio Art Department, Whitman College, Walla Walla, WA

2017-21 Associate Professor of Art, Printmaking & Book Arts, Whitman College, Walla Walla, WA

2012-17 Assistant Professor of Art, Printmaking & Book Arts, Whitman College, Walla Walla, WA

2011-12 Visiting Assistant Professor of Art, Printmaking & Drawing, University of Montana, Missoula, MT

2009-10 Instructor of Art, Printmaking & Intermedia, University of Iowa, Iowa City, IA

Artist Residencies

2021 Facebook Open Arts, Bellevue, WA, USA

2020 Cork Printmakers, Cork, Ireland

2015 Nova Scotia College of Art & Design, Halifax, Nova Scotia Anderson Ranch Arts Center, Snowmass Village, CO, USA Purple Word Center for Book & Paper Arts, Jackson, MI, USA

2013 Venice Printmaking Studio, Venice, Italy

2011 Akureyri Artists Studio, Akureyri, Iceland

2010 SÍM RES, Association of Icelandic Visual Artists, Reykjavík, Iceland

2008 Ora Lerman Charitable Trust, Laceyville, PA, USA

Solo Exhibitions

2022 Folded and Gathered, Turchin Center for the Arts, Appalachian State University, NC The Slow Current, Pendleton Arts Center, Pendleton, OR

2019 A lapse, a fold, a field, Sarah Spurgeon Gallery, Central Washington University, Ellensburg, WA

2018 The Tumbling Oracle, Coos Art Museum, Perkins Gallery, Coos Bay, OR

Alas, Alack, The Kimball Arts Center, Park City, UT

2017 The Falls, Dodd Gallery, The University of Georgia, Athens, GA

2016 Hydrographs, San Juan Island Museum of Art, San Juan Island, WA Natural Complexities, Nicole Longnecker Gallery, Houston, TX

2015 This, Our Warmest Year, Anna Leonowens Gallery, Nova Scotia College of Art & Design, Halifax, Nova Scotia, Canada

The Manifest ONE Prize, Manifest Creative Research Gallery & Drawing Center, Cincinnati, OH

2014 Build Your Own Landscape, Sarratt Gallery, Vanderbilt University, Nashville, TN

Implications, Quigley Gallery, Clarke University, Dubuque, IA

2013 Implications, Gallery 2, Washington State University, Pullman, WA

2012 Stories-so-far: Constructions of Landscape, State College of Florida Gallery, Brandenton, FL

2011 Know Your Place, Grafíksafn Íslands/Icelandic Printmakers’ Gallery, Reykjavík, Iceland

Souvenirs/Signs, Galleribox, Akureyri, Iceland

2010 This Places You, Sculpture Gallery, University of Iowa MFA Thesis Exhibition, Iowa City, IA

2009 Kiss the Ground You Walk On, Porch Gallery, University of Iowa MA Thesis Exhibition, Iowa City, IA

2004 Gestation, Vanderbilt University Fine Arts Gallery, Hamblet Award Exhibition, Nashville, TN

Two-Person Exhibitions

2018 What you saw was not the sea, Eastern Washington University, with Devon Wootten, Cheney, WA

2014 Implications, Foundry Vineyards, with Maya Lin, Walla Walla, WA

A Record of Loss & Abundance, Phoenix Gallery, with Devon Wootten, Butte, MT

2013 Middle West, University Center Gallery, University of Montana, with Amy Sacksteder, Missoula, MT Allison Hyde and Nicole Pietrantoni, 1078 Gallery, Chico, CA

2012 Points of Interest, Tinney Contemporary, with John Folsom, Nashville, TN

2008 Your Silver Lining, Drewelowe Gallery, with Nicole Donnelly, University of Iowa, Iowa City, IA

2006 New Works by Nicole Pietrantoni and Jonathan Prichard, TAG Art Gallery, Nashville, TN

Selected *Juried & Group Exhibitions (2016-Present)

2022 *IMPACT International Printmaking Conference, Catching the Light and The Anxiety of Interdisciplinarity, Bristol, UK (upcoming)

2021

If Not Now, Portsmouth Art & Cultural Center, Portsmouth, VA (Curator: Gayle Paul)

*Reclamation: Artists’ Books on the Environment, San Francisco Center for the Book and the San Francisco Public Library, San Francisco, CA (Jurors: Betty Bright, Mark Dimunation, Ruth Rogers)

Vistas, Chase Gallery, Spokane, WA, (Curator: Mika Maloney) (upcoming)

2020 *The Ashurst Emerging Artist Prize, shortlisted artists exhibition, London, UK, (Jurors: Melanie Lenz, Dr. David Anfam, Averil Curci, Howard Lewis, Dr. David Bellingham, Josh McNorton)

The Implication of a Simple Landscape, North Seattle College Art Gallery Seattle, WA, (Curator: Amanda Knowles)

2019 Printmaking Legacy Project: Forward Press, American University Museum, Katzen Center for the Arts, Washington, DC, Curator: Susan Goldman)

Elemental Iceland, Florida State University Museum of Fine Arts, (Curators: Preston McLane and Meredith Lynn)

Horizons: As Above So Below, Portsmouth Arts & Culture Center, (Curator: Gayle Paul)

Worth of Water, Davis Gallery, Hobart & William Smith Colleges, Geneva, NY, (Curator: Nick Ruth)

Freed Formats: The Book Reconsidered, traveling exhibition, (Curators: Alice Walsh & Chris Perry)

Mark Twain Library, Redding, CT

Ridgefield Guild of Artists Guild, Ridgefield, CT

Ridgefield Library, CT

Putnam Arts Council, Mahopac, NY

Mahopac Public Library, NY

Five Points Gallery, Torrington, CT

University of Hartford Art School, CT

2018

Encountering Our Indelible Mark: IMPACT International Printmaking Conference

Santander, Spain, (Curators: Hannah and Blake Sanders)

*Jundt Museum of Art: 1st Inland Northwest Juried Landscape Exhibition, Gonzaga University, Spokane, WA, (Juror: Paul Manoguerra)

Study of Site and Space, 950 Gallery, Tacoma, WA, (Curator: Allison Hyde)

The Print: Tried & True, Techno & New, Constellation Studios, Lincoln, NE,(Curator: Karen Kunc)

Vitrine, E. Michigan University School of Art (Curators: Amy Sacksteder & Brendan Fey)

Off the Wall: Contemporary Prints, Southwestern University, Georgetown, TX, (Curator: StarVarner)

Landscape Now, Robert F. Agrella Art Gallery, Santa Rosa, CA, (Curator: Hannah Skoonberg)

Whitman College Art Faculty Exhibition, Sheehan Gallery, Walla Walla, WA, (Curator: Kynde Kiefel)

2017 *11th Turner Museum National Print Exhibition, Janet Turner Print Museum, Chico, CA, (Juror: Erin Sullivan Maynes)

*Gallery 110’s 7th Annual Juried Exhibition, Gallery 110, Seattle, WA, (Juror: Maiza Hixson)

Desire Lines, Saturate Spokane, (Curator: Rachel Smith)

Seeing It Again: Nature Reconsidered, Holter Museum of Art, Helena, MT, (Curator: Kevin Bell)

2016 *8th International Printmaking Biennial of Douro, Alijo, Portugal, (Juror: Nuno Canelas)

Statements on Nature: A Survey of Printmaking Today, Schaefer International Gallery, The Maui Arts & Cultural Center, Kahului, HI, (Curator: Neida Bangerter)

Seeing It Again: Nature Reconsidered, Patton-Malott Gallery, Anderson Ranch Arts Center, Snowmass Village, CO, (Curator: Kevin Bell)

A Place in Space, Elizabeth Holden Art Gallery, Warren Wilson College, Asheville, NC, (Curator: Erin Castellan)

Woven, Terminal 136, University of Texas, San Antonio, TX, (Curator: Emily Verkamp)

Spokane Print Media Exhibition, Spokane Art School, Spokane, WA, (Curator: Scott Kolbo)

Re-Riding History: From the Southern Plains to the Matanzas Bay, traveling exhibition, (Curators: Emily Arthur, John Hitchcock, and Marwin Begaye)

All My Relations Gallery, Minneapolis, MN

University of Buffalo Art Gallery, Buffalo, NY

Museum of the Great Plains, Lawton, OK

Kenosha Museum System, Kenosha, WI

Trout Gallery, Art Museum of Dickinson College, Carlisle, PA

Doghead Stew: The Second Course, traveling exhibition, (Curator: Melanie Yazzie)

Crow’s Shadow Institute of the Arts, Pendleton, OR

Visual Arts Center at Boise State University, Boise, ID

Exhibitions & Awards Juried

2022 Margaret Stonewall Wooldridge Hamblet Award, Vanderbilt University, Nashville, TN

2021 Allied Arts, Richland, WA

2019 International Photography Annual 6, Manifest Gallery, Cincinatti, OH

SGC International, Annual Student Fellowships

2018 Tamastslikt Cultural Institute, Artworkz Student Exhibition, Pendleton, OR

Coos Art Museum, Ink & Print: West Coast Juried Printmaking Exhibit, Coos Bay, OR

2017 Manifest Gallery, International Photography Annual 5, Cincinatti, OH

Pendleton Arts Center, Regional Art Awards, Pendleton, OR

2016 Mid-America Print Council, Travel Awards

Nebraska National, University of Nebraska-Lincoln, NE

2015 Lewis Art Gallery, juried exhibition, Millsaps College, Jackson, MS

Visual Art Exchange Main Gallery, Navigating the Natural, Raleigh, NC

2012 Northwest Art Center, Americas 2013: Paperworks, Minot State University, Minot, ND

2007 Cheekwood Museum of Art, Scholastic Art Awards, Nashville, TN

2006 University School of Nashville, Artclectic, Nashville, TN

Belle Meade Plantation Arts Fair, Nashville, TN

City of Knoxville’s Dogwood Arts Festival, Knoxville, TN

Memphis International Film Festival, Memphis, TN

2005 League for the Deaf and Hard of Hearing, 2nd National De’VIA Exhibition, Nashville, TN

16th Annual White Oak Craft Fair, Woodbury, TN

Collections

Collection of the Icelandic Printmakers’ Association, Reykjavík, Iceland

Cork Printmakers, Cork, Ireland

Hawaii State Foundation on Culture and the Arts, Hilo, HI

Lawrence University, Appleton, WI

Leifur Eiríksson Foundation, Richmond, VA

Library of Congress, Washington, DC

Proyecto Ace Print Collection, Buenos Aires, Argentina

St. Lawrence University, Permanent Collection of the Richard F. Brush Art Gallery, Canton, NY

Texas Tech University Museum, Artist Printmaker Research Collection, Lubbock, TX

University of California, Special Collections, Santa Barbara, CA

University of Colorado, Special Collection, Boulder, CO

University of Iowa, Iowa City, IA

University of Iowa Hospitals and Clinics, Iowa City, IA

University of Iowa Museum of Art, Iowa City, IA

University of Nevada, Reno, NV

University of North Dakota, Grand Forks, ND

Vanderbilt University Medical Center, Nashville, TN

Vanderbilt University, Nashville, TN

Washington State Arts Commission, Seattle, WA

Whitman College, Walla Walla, WA

Yale University, Robert Haas Family Art Library, New Haven, CT

Zayed University, Abu Dhabi, United Arab Emirates

Zuckerman Museum of Art, Kennesaw, GA

Please contact Long-Sharp Gallery for a complete CV

Artwork © Nicole Pietrantoni

Detail from Aurora III

LOIS MAIN TEMPLETON

(American, 1928-2018)

Twice exhibited at the National Museum of Women in the Arts in Washington, DC, Lois Main Templeton’s artwork features vibrant combinations of contemporary art and poetry. Her expressive abstract paintings—typically in oil on paper, but also featuring acrylics, charcoal, and other mediums—combine vigorous mark-making with excerpts from her writings.

Born in Madison, Wisconsin, Templeton lived in San Francisco in the 1970s, where she studied art at Cañada College and was inspired by the Bay Area jazz and art scenes. When she and her family relocated to Indiana, Templeton enrolled at Herron School of Art in Indianapolis. She graduated magna cum laude in 1981 and later taught at the school. She located her studio in a downtown warehouse building; as other artists followed suit, her decision became a driving force behind the revitalization of the Indianapolis arts scene. She was a founding member of ArtMix (formerly Very Special Arts of Indiana), a nonprofit organization that creates learning opportunities through the arts for individuals with disabilities.

Among her many honors, Templeton received the Herron School of Art and Design Distinguished Alumni of the Year in 2013, the NUVO Cultural Vision Lifetime Achievement Award in 2011, a 2001 Creative Renewal Arts Fellowship from the Arts Council of Indianapolis, and an Artists Project Award from the Indiana Arts Commission in 2000. She was selected to create the 1997 Indiana Governor’s Arts Award. The Indiana State Museum featured a retrospective exhibit of her work in 2018.

A prolific artist, Templeton worked from her studios in Indianapolis and Maine until her death at age 90. Her work is in the permanent collections of the Indiana State Museum, Midwest Museum of American Art, and Richmond Art Museum.

Wind in the Cattails

Circa 2000

Oil and ink on paper collage

Size: 4.75 x 5.25 inches (12.1 x 13.3 cm)

Framed: 13.75 x 14.25 inches (35 x 36.2 cm)

Proceeds from sale of this work will fund the Lois Main Templeton Outstanding Artist Scholarship Fund at the Indiana University Herron School of Art and Design.

That Day at Old Orchard Beach

2013

Oil and ink on paper

Size: 10.25 x 14 inches (26 x 36 cm)

Framed: 17.5 x 21 inches (45 x 54 cm)

The Surf’s Low Roar 2001

Watercolor and ink on paper

Size: 7 x 10 inches (17.8 x 25.4 cm)

Framed: 12 x 15 inches (30.5 x 38.1 cm)

LOIS MAIN TEMPLETON

Education

1981 Graduated magna cum laude, Herron School of Art & Design, Indianapolis, IN

Corporate and Public Collections

Aegon Corporation, Louisville

Kroger Gardis Regas, Indianapolis

Arthur Anderson and Company, Chicago

Malabar Hotel of the Four Seasons, Las Vegas

Arthur M. Glick Jewish Community Center, Indianapolis

MCPL Library Services Foundation, Indianapolis

Buckingham Companies, Indianapolis

Midwest Museum of American Art

Casa Verde Energy, Indianapolis

The Pacers, Indianapolis

Cassis Design, Indianapolis

Planned Benefits Services, Richmond

Citizens Gas & Electric Company, Indianapolis

Providian Corporation, Louisville

Finding Garau Germans & Pennington, Indianapolis

Richmond Art Museum, Richmond

Indianapolis Business Journal

Roche Diagnostics Corporation

Indiana State Museum

SAFECO

Kite International Vincennes University

Whetstone & Associates

Conrad Indianapolis Hotel

Solo Exhibitions

2018 Lois Main Templeton: A Reinvented Life, Retrospective Exhibit, NiSource Gallery, Indiana State Museum, Indianapolis, IN

2016 Lois at Large, Indianapolis

Lois Main Templeton, Conversations at the JCC, Indianapolis

2015 Lois Main Templeton: It’s the Way They Mingle, Arts Council of Indianapolis

2013 The Maine Event, Long-Sharp Gallery, Indianapolis

2011 Give the Lady What She Wants, Editions Limited Gallery, Indianapolis

2009 Arthur M. Glick Jewish Community Center of Indianapolis

2008 Who Makes The Sun Rise?, Cassis Design, Indianapolis

2007 Lois Main Templeton, Cassis Design, Indianapolis

2005 Painting with Words, Writing with Paint, B.D. Mallon Gallery Geneva, Illinois

2005 Never a Dull Moment, Editions Limited Gallery, Indianapolis

2003 Mary Anderson Center, Mount Saint Francis, Indiana

Sullivan Munce Art Center, Zionsville, Indiana

Columbus Art Center, Columbus, Indiana

2002 Inaugural Exhibit, Cassis Design, Indianapolis

2001 Gestural Abstractions, The Art Foundry Gallery, Sacramento

2000 Lois Main Templeton, Richmond Art Museum

1999 Women on Paper, Adrian College, Adrian, Michigan

1998 Taking the Long View, Editions Limited Gallery, Indianapolis

Lois Main Templeton, Gallerie Hertz, Louisville

1996 Joy Horwich Gallery Chicago

Indianapolis Art Center, Indianapolis

1992 Galerie Hertz, Louisville

Indiana University, Southeast New Albany

1988 North Idaho State College, Coeur d’Alene, Idaho

1987 Indiana University, East Richmond

Anderson University, Anderson, Indiana

1986 University of Dayton, Dayton, Ohio

Bromfield Gallery, Boston

Selected Invitationals

2011 Hoosier Masters, Sullivan Munce Cultural Center, Zionsville, Indiana

2010 Keeping Company, Ashland Gallery, Indianapolis

2005 Whispers to Shouts, Indiana State Museum (catalogue)

2002 Indianapolis Museum of Art, Columbus Gallery

1998-99 Book as Art X, National Museum of Women in the Arts in Washington, DC (catalogue)

1998 New Art of the West 6: Biennial Exhibition Eitlejorg Museum, Indianapolis

Hoosier Landscapes Past and Present, The Midwest Museum of American Art

1997 The National Museum of Women in the Arts (Chosen to represent the State of Indiana)

1993 Ten Women, Earlham College, Richmond, Indiana

1991 Extremes: Three Regional Views, Midwest Museum of American Art (catalogue)

Four Point Perspectives, Louisville Visual Art Association

Abstract Dichotomies, Anderson University, Curated by Garth Closter

1986 Duets, Buckham Fine Arts Project Flint, Michigan, Curated by Alain Joyaux

1985 Showcase ’85, Water Tower Art Association, Louisville (catalogue)

Two-Person Exhibitions

2017 Phil O’Malley & Lois Templeton, Gallery Exhibit, Indianapolis

2008 Ewing Fahey & Lois Templeton, Loftus and Blackburn Galleries, Mary Anderson Center, Mount St. Francis, Indiana

2007 In a Quiet Place, Quade & Templeton, Murphy Art Center, Indianapolis

2003 Rose Hulman, Institute of Technology, Terre Haute, Indiana

2002 Editions Limited Gallery, Indianapolis

1986 Montalvo Center, Saratoga, California

Honors and Fellowships

2013 Most Distinguished Alumna Award, Herron School of Art and Design

2011 NUVO Cultural Vision Award

2001-03 Residences and Fellowship, Mary Anderson Center for the Arts

2002 Vermont Studio Center Residency

2001-02 Creative Renewal Arts Fellowship, Arts Council of Indianapolis

2000 Individual Artists Project, Indiana Arts Commission

1997 The National Museum of Women in the Arts

Chosen to represent the State of Indiana

Commissioned to create The 1997 Governor’s Arts Awards

1991 Purchase Award, Indiana State Museum Media

Articles and Reviews

2018 Schmank, Susie. “Lois Main Templeton let me scratch the canvas of one of her paintings at her exhibit.” Indianapolis Star, May 8, 2018

2005 Berry, S.L. “Whispers to Shouts . . . Indiana State Museum.” Indianapolis Star, February 4, 2005.

2002 Goldsmith, Julie. “Artist’s Words Enhance Expressions on Canvas.” Indianapolis Star North, May 20, 2002.

Finnell, Shari. “In the Spotlight.” Indianapolis Woman, January 2002.

Mauer, Bonnie. “Artist Finds Her Way.” Prime Time, January 2002.

2001 Hoppe, D. “The Studio Book: Finding Your Way.” Arts Indiana, Winter 2001.

2000 Berry, S.L. “Verbalizing the Visual.” The Indianapolis Star, October 26, 2000.

Hoppe, D. “Let’s Get Lost.” Nuvo, August 31-September 7, 2000. Berry, S.L. “Lois Main Templeton on Creative Renewal.” Arts Indiana, Spring 2000.

1998 McQuiston, Julie Pratt. “Western Ways.” Nuvo, April 16-23, 1998.

Mannheimer, Steve. “New Art of the West Six.” Indianapolis Star, March 22, 1998.

Berry, S.L. “Artists offer diverse look at the West.” Indianapolis Star, March 6, 1998.

1997 Robertson, Jean. “Lois Main Templeton, You Know How Dreams Are…” Arts Indiana, January 1997.

1996 Young, Dick. “How Dreams Are, Lois Main Templeton Work on Display.” Nuvo, October 10, 1996.

1995 Hulett, Molly. “Top Indiana Women Artists.” Indianapolis Woman, September 1995.

1993 “Fishing the Spirit, Surfing the Canvas.” Arts Indiana, May 1993.

1992 Heilenman, “Galerie Hertz & Indiana University Southeast.” The Courier-Journal, Louisville, June 28, 1992.

1991 “Four Point Perspectives.” Visual Art Review. Louisville Visual Art Association, 1991.

1990 Mannheimer, Steve. “The Eyes Keep On Moving.” The Indianapolis Star, March 18, 1990.

1983 Basquin, Kit. “Indiana Show No Dead End.” New Art Examiner, November 1983.

Video and Audio

2018 “Lois Main Templeton: A Reinvented Life.” PBS/WFYI: 2008. Documentary.

2010 Templeton, Lois. Who Makes the Sun Rise? Read by the author. 2010. Compact Disc.

2003 Michna, Mary Ann. “Templeton and Kramer at RHI.” May, 2003. Video.

2002 Boilini, Edward. “Interview with Lois Main Templeton.” March, 2002. Video.

2001 “Interview with Lois Main Templeton.” KXTV-10 (ABC): Sacramento, July 2001. Video.

1998 “Interview with Lois Main Templeton.” The Eiteljorg Museum, May 1998. Video.

1997 Templeton, Lois Main. “Variations on a Theme by Glover.” January 1997. Video.

Publications

2011 Templeton, Lois Main and Phil O’Malley. The Rooster’s Companion. 2011.

2008 Templeton, Lois Main and Phil O’Malley. Who Makes the Sun Rise? Carmel, IN: Hawthorne Pub, 2008. Templeton, Lois Main and Phil O’Malley. Beyond the Barnyard. 2008.

2002 Templeton, Lois Main. Thoughts for a Tiny Book. 2002.

2001 Templeton, Lois Main. Minnows. 2001.

2000 Templeton, Lois. Finding Your Way: The Studio Book, Carmel, IN: Guild Press of Indiana, 2000.

1996 Templeton, Lois Main. “Did You Hear?” New Thought Journal, Fall 1996.

1996 Templeton, Lois Main. “Wind in the Cattails” New Thought Journal, Summer 1996.

Artwork © Lois Main Templeton