New American Paintings #146 Northeast by newamericanpaintings

146 INTRODUCING 60

EXCEPTIONAL ARTISTS

Selections by

JERRY SALTZ

February/March

146 >

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146 February/March 2020 Volume 25, Issue 1 ISSN 1066-2235 $20

Recent Jurors: Nora Burnett Abrams

Arnold Kemp

Museum of Contemporary Art Denver

School of the Art Institute of Chicago

Bill Arning

Miranda Lash

Contemporary Arts Museum Houston

New Orleans Museum of Art

Janet Bishop

Nancy Lim

San Francisco Museum of Modern Art

Staci Boris

Al Miner

Elmhurst Art Museum

Museum of Fine Arts, Boston

Nina Bozicnik

Dominic Molon

Henry Art Gallery

RISD Museum of Art

Steven L. Bridges

René Morales

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Alma Ruiz

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PRINTED IN KOREA All rights in each work of art reproduced herein are retained by the artist. Front cover: Weyant, p. 238

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Contents 10

Editor’s Note

Noteworthy

Steven Zevitas

Juror’s and Editor’s Picks

Juror’s Comments Jerry Saltz, art critic

Northeastern Competition 2019

246

Northeastern Competition 2019

299

Winners: Juror’s Selections Winners: Editor’s Selections Pricing Asking prices for works selected

146 February/March 2020

Editor’s Note

This is the first Editor’s Note that I have written since the world

was turned upside down by the COVID-19 crisis. Given that you will

in our printed legacy, we have made the best of it by offering those issues to the world for free.

be reading these words months after they were written, I cannot help but wonder where we will find ourselves at that point. None of

us could have imagined how radically every aspect of our lives would

return to the printed page, but because of the individual who serves

This current issue is special, not only because it marks our

be changed in such a short amount of time. Needless to say, the art

as juror: Jerry Saltz. It would be hard for me to overstate the influence

world, which is a fragile ecosystem even in the best of times, is being

that Jerry’s writing has had on me over the years, not only his art

devastated by the pandemic and its attendant economic carnage. In

criticism but also his candid and much-needed thinking about

the midst of this, it has been encouraging to see so many individuals

the art world and the institutions and systems on which it is built.

and organizations leverage their resources in an attempt to help

Achieving renown in the art world is no small trick, and the number of

artists and the myriad small businesses that support their efforts.

individuals who can lay claim to this status are few and far between.

What will the art world be like on the other side of COVID-19? It is

Through his intelligence, candor, wit, and persistence, Jerry has

impossible to tell just yet, but it will undoubtedly be a much quieter

somehow managed do it and then transcend it.

place, in which technology plays an increasingly important role and those of us invested in art’s well-being will have to summon all our

Courting Jerry was a delicate process. I first reached out to him a

creativity to chart viable paths forward.

few years ago, but his always hectic schedule prevented our working together. I was thrilled when he finally agreed to serve as juror for our

New American Paintings has not been immune to COVID-19.

annual Northeast review in mid-2019. I don’t think either of us quite

Because the publication has been around for more than twenty years,

knew what we were getting into. When the dust finally settled, close

there is a perception that we are a large organization with robust

to two thousand artists had submitted applications, making it by far

resources. Nothing could be further from the truth. The magazine is

the most competitive review we have ever undertaken. Jerry was

a labor of love that has always been run by a small and extremely

game. Over a three-week period he winnowed down the applications

dedicated team. We have survived many challenges over the years,

to the extraordinary group of artists you will find in these pages. Does

but COVID-19 has forced us to make some tough decisions. The

this issue feel a bit heavier than usual? If so, it should. In the midst of

biggest of these was the decision to release the three issues that

the selection process, Jerry called me with the idea of including sixty

precede this one (nos. 143, 144, and 145) in digital form only due to

artists instead of the forty that have always appeared in each issue.

scheduling and economic problems. While this move leaves a hole

My publishing brain froze as I started doing the math of adding extra

pages, but my editorâ&#x20AC;&#x2122;s brain could not refuse the request. So, for the first and likely only time ever, you have sixty artists to consider in these pages. The truth is that the selection process was so challenging we could have easily added more artists. This issue of New American Paintings serves as a carefully considered snapshot of where contemporary painting, practiced at the highest level, is positioned right now. I am pleased to say that painting looks stronger than ever.

We at New American Paintings will continue to do everything we

can to support emerging artists during these challenging times. To all our readers, please stay safe and healthy. And if the work of any of the artists featured herein speaks to you, please reach out to the artists . . . They need your support now more than ever. n Enjoy the issue! Steven Zevitas Publisher & Editor New American Paintings

Noteworthy:

Polina Barskaya

Juror’s Pick p20

Polina Barskaya’s intimate, small-scale paintings give us the artist home alone, brooding, sharing little divine truths of self-regarding, the solitude of self, a universe of being with another person–– the one you love and feel alone with sometimes. In small rooms, looking in mirrors: seeing herself naked in bed with her sleeping lover, Barskaya looks at us looking at her, her private world, her surroundings, her life lived in art. The still-life tradition of Morandi echoes forth; things that radiate intense, almost invisible, metaphysical action at a distance. You feel inner tides moving in this work, magnetisms of emotion mixed with very physical, dank color, opaque paint, alive surfaces, voluptuous sensuality, all for pure pleasure.

Anna Weyant

Editor’s Pick p237

My mother grew up in Amsterdam and some of my earliest memories are of wandering through the Rijksmuseum with her on our annual trip to visit family. This was many years before technology began to offer the now limitless options we have for consuming visual information. Back then, visiting a museum was genuine “entertainment” and I can still sense the quiet reverence I felt as I encountered one painting after another. Safe to say, seventeenthcentury Dutch art is in my blood, so it is not surprising that on encountering Weyant’s work for the first time she had me at hello. Given her art-historical reference points and her technical chops, which are more than up to the task, there is something almost shocking about her paintings. The often young female figures that Weyant gravitates toward have a quiet solemnity and appear to dwell in a quasi-narrative dream space. They seem innocent enough, but my sense is that they are full of youthful rebellion and a secret knowledge that they are ready to unleash on an unsuspecting world.

Winners: Northeastern Competition 2019 Juror: Jerry Saltz, art critic

Juror’s Selections: Barskaya

Polina

Berryhill

Michael

Bialke

Madeleine

Bornstein

Sam

Cogan Fyfe

Conley

Jaclyn

Sullivan

Giles

Amir

Hariri

Druick

Deborah |

Hazard

Barry

O’Brien

Liam

Bill Saylor | Gretchen

Orchard

Danielle

Nathlie

Georgia Hoar

Damien

Elrod Galvan

Larrimore | Michela Martello Muslimova | Sophia Narrett

Provosty

Kenny

Scherer | Jordan Seaberry | Alisa Sikelianos-Carter | Dawn

Rivero

Southworth

Editor’s Selections: Felipe Nash

Baeza Glynn

| |

Lindsay Chase

Burke

Hall

| Marco

Miles Paul

Debas

Lorenzetti

Conor |

Dowdle

Stuart

Lorimer

Alannah |

John

Farrell Rivas

Juror’s Comments

Jerry Saltz Art critic All the work in this edition of New American Paintings was

are all the same room, a place where the self changes continually.

made before the Angel of Death walked among us. Before time seemed to stop, divide, stall, draw out into whatever it is now. Is this

What is channeled in the work here is the quiet portal of artists

precognition of that transcendental spirit of cataclysm here in these

working alone, on manageably sized works, in a magpie and magus

sixty artists? Is this a heaping of desires for

way. The work here veers toward the figurative,

something just past? It is not. It does not look

the personal, and the eccentric rather than the

back. I see ghostly demarcations, charmed

efficient. There is an imaged or visionary side to

circles of thought, sorceries that seem to

almost everything here. Few things are diligent

divine a privateness, of art being made

pictures of witnessed reality. Each of these artists

under pressure, in smaller spaces, in close

conjures a world that contains multitudes, figures

surroundings. These are the very conditions

of common and uncommon speech, painting in

that billions of people are now living under.

tongues and in simple domestic thinking. There

They are also the exact conditions under

isn’t any posturing here; things are laid bare, they

which 99% of all the things ever created by

convey their materiality with love, but quietly––a

our species were made over the last 75,000

deliberateness that isn’t planned and probably

years.

surprises the artists. Or that embarrasses them––the way that all art surprises and can

Art was with us in the caves; art has

embarrass the artist. This is what gives so much

never not been with us. Creativity is in every

of this work a strange, radical vulnerability.

bone in our bodies, it’s in our DNA. One of the

Internalizations of feeling embedded lovingly

things that the Covid-19 crisis has forced is an adaptation in real time

in simple materials. That odd materiality again; these artists aren’t

to the very conditions mentioned above: those smaller, more intimate

covering their tracks with beautiful brushed blending or tricks of the

spaces, those rooms and psychic domains under pressure are where

trade. They are all artificers of worlds––worlds that give pleasure.

art has always been conceived and executed. Yet the work in this

Unashamed pleasure––albeit with reticence, mystery, exuberance,

issue already had these ancient genetic signatures, the traces of

confusion, and the elegiac considering of things that are next to

being made in a cleared-out room that is used for other things, or at

nothing but that seem to mean something nevertheless. Can you paint

a kitchen table. Maybe the art here was made with someone cooking

a light-year? Why think of such an aesthetic idea? I see extended time

nearby, with kids playing, with Nana taking the dog out for a walk. The

in some of this work—things that make me stop in my tracks. And

art in this edition of New American Paintings was made in situations

that last.

where the studio, kitchen, playroom, pharmacy, temple, and office

Cogan p62

Druick p72

Fyfe p84

Hazard p95

Scherer p177

Tinkler p226

“What is channeled in the work here is the quiet portal of artists working alone...” No one here has the sort of fear-of-color, call it chromophobia,

that came to be called Zombie Formalism. Much of this work sold

that marks so many big biennials and event culture. Black-and-white

for hundreds of thousands of dollars and was featured in blue-chip

is safe: it’s what the cool work of the 1960s and 1970s looked like in art

galleries and museum shows. A Bosnian artist might paint a canvas

books and Artforum. Color places artists at some risk of seeming silly.

red, take the canvas to the Adriatic Sea, smear earth on it, crumple

These artists cross that threshold regularly, willingly. Fine then, call

it up, let it dry in the sun, and then show it in a big white-box gallery

this work silly. I see these paintings at the base of some great volcano

with a lengthy wall label claiming it to be the Bosnian diaspora. But

of the love of painting and an overwhelming compulsion to paint. But

it wasn’t. It might have been that to the artist, but none of that was in

not the weird reverence that makes an artist seem creepy or cultist.

the work. It was all an idea or illustration of what someone could say

Painting is just what they’re called, indeed compelled, to do. No one is

about something. It was rhetorical art.

fighting the last war, painting manifestos, or chest-pounding. None of these paintings speak in that voice. None are nervous Is it by coincidence that none of the selected work is large-scale,

about exploring subjectivities, traditions of painting other than early

mass-produced, slick, seemingly worked on by a gaggle of paid

and mid-twentieth-century formalism, reintroducing the figure,

studio assistants under the supervision of a highly professionalized

gesture, color, the hand, facture, and narrative. How the deeper

artist? (I actually know artists who have almost never worked alone

content of this moment will appear in artists’ work in the years to come

in their studios since art school or early in their careers. This often

we do not know yet. With Pale Death now among us, New American

makes them into faux-artists, but not always––there are exceptions.)

Paintings places sixty artists on the cusp of an uncertain, unknowable

The lucid focus in all this work gives us a geography of thought, not

future. All have an ethos of lifting veils, exploring paradoxes of

product; of relationships between things rather than the analytic

biological witnessing that puts us in mind that yes, art has never not

zeroing-in on one shiny or show-stopping thing.

been with us. And it is here with us now in the shadows. n

It’s definitely not coincidence that there’s so little strictly formalist or nonrepresentational work. Not because I don’t like it. But over the past ten to fifteen years the art world saw an explosion of monochrome paintings, abstract process art, and other idioms

Jurorâ&#x20AC;&#x2122;s Selections

The following section is presented in alphabetical order. Biographical information has been edited. Prices for available work may be found on p299.

Polina Barskaya Vence | acrylic on panel, 18 x 24 inches

Polina Barskaya Early Morning | acrylic on panel, 18 x 24 inches

Polina Barskaya Family Portrait with Red Scarf | acrylic on panel, 30 x 40 inches

Polina Barskaya Brooklyn, NY info@monyarowegallery.com / www.monyarowegallery.com / @polinabarskaya

b. 1984 Cherkassy, Ukraine

Education

2010

MFA, Pratt Institute, Brooklyn, NY

2007

BA, Hunter College, New York, NY

Solo and Two-Person Exhibitions

2019

Paintings, GNYP Gallery, Berlin, Germany

Place, Monya Rowe Gallery, New York, NY

2018

Brightwater Avenue, Monya Rowe Gallery, New York, NY

Paintings, John Davis Gallery, Hudson, NY

I make paintings centering around my daily life. I paint what I know or think I know about the everyday experience of being alive. The quieter familiar and private moments at home or abroad. I paint self-portraits and portraits of my husband. Sometimes we are together, sometimes alone. They reflect part of the ritual or routine of life. This is the world of my home, wherever that may be. I work from photos but also from the memory of those moments. It is what is there and sometimes what I want to be there. Like any work from life, there are a lot of truths and untruths. I am editing life the way I choose to see and remember it.

Polina Barskaya & Anthony Cudahy: Interior, Monya Rowe Gallery, NY

2016

Family Affair, Honey Ramka (project space), Brooklyn, NY

Group Exhibitions

2018

Xenia: Crossroads in Portrait Painting, Marianne Boesky

Gallery, New York, NY

The Salon, The Wing Soho, New York, NY

2016

PULSE Art Fair | Miami Beach, w/ Honey Ramka,

Brooklyn, NY

Award

PAMM (Pérez Art Museum Miami) Pick, PULSE Art Fair

Publications

2019

Jerry Saltz, “15 Great Things to Do in New York,” New York

Magazine, October 2018

Valerie Hegarty, “The Artists’ Artists: Polina Barskaya at Monya Rowe Gallery,”Artforum, December

Sarah Cascone, “Editors’ Picks: 12 Things to See in New York This Week,” Artnet, May 7

Represented by

Monya Rowe Gallery, New York, NY

Barskaya

Michael Berryhill Stage Fright | oil on linen, 62 x 50 inches

Michael Berryhill Minor E | oil on linen, 84 x 64 inches

Michael Berryhill 6:40 | oil on linen, 58 x 46 inches

Michael Berryhill Ellenville, NY 212.352.9700 (Kate Werble Gallery)

b. 1972 El Paso, TX

Education

2007

Skowhegan School of Painting and Sculpture,

Skowhegan, ME

1994

BFA, University of Texas, Austin, TX

Residencies

2014

Robert Rauschenberg Foundation, Captiva Island, FL

2013

University of Tennessee, Knoxville, TN

Solo Exhibitions

2019

Romancing the Stoned, Night Gallery, Los Angeles, CA

A Life of Its Own, La Maison de Rendez-Vous, Brussels, Belgium

2017

a window, adore, Kate Werble Gallery, New York, NY

primitive.is.him, Galería Marta Cervera, Madrid, Spain

2016

Loony Tombs, Night Gallery, Los Angeles, CA

Something of a Feather, KANSAS, New York, NY

Group Exhibitions

2018

Line and Verse, Andréhn-Schiptjenko, Stockholm, Sweden

2017

Symbolisms, Cooper Cole, Toronto, Canada

American Genre: Contemporary Painting, Institute of

Contemporary Art, Maine College of Art, Portland, ME

2016

The Clear and the Obscure, Lulu, Mexico City, Mexico

2014

This One’s Optimistic: Pincushion, New Britain Museum of

American Art, New Britain, CT

Represented by

Kate Werble Gallery, New York, NY

Michael Berryhill believes in nonideological art. Art that does not take part in a built-in dialogue or response. Even when the work contains specific intentionality and/or ideologically charged forms and subjects, it communicates strangely, providing a viewer a singular engagement with a handmade thing. Using representation and abstraction, Berryhill plays with ideas of perception and understanding while creating an accessible object for anyone who stands in front of it. Berryhill’s work is finished when it separates itself from learned concepts, ideology, and cultural habit, and instead exists in sensation, basic human emotion, and feeling. The paintings are made to withstand an endless life of being looked at, from the time they’re completed on into the future for as long as they physically exist.

Berryhill

Michael Berryhill| Minor E (detail)

Madeleine Bialke Sky Scrapers | oil on canvas, 40 x 34 inches

Madeleine Bialke Moon Walkers | oil on canvas, 34 x 28 inches

Madeleine Bialke The Dreamer | oil on canvas, 18 x 22 inches

Madeleine Bialke Brooklyn, NY mbialke@gmail.com / www.mbialke.com

b. 1991 Elmira, NY

Education

2016

MFA, Boston University, Boston, MA

2013

BFA, Plattsburgh State University of New York,

Plattsburgh, NY

Residencies

2018

Northwestern Oklahoma State University, Alva, OK

2017

Julio Valdez Project Space Printmaking Residency,

New York, NY

Solo Exhibitions

2019

Murder in the Adirondacks, Deanna Evans Projects,

New York, NY

Vital Signs, Harper’s Books, Easthampton, NY

Fantasyland, Northwestern Oklahoma State University,

Alva, OK

Group Exhibitions

2019

Plastic Garden, Asya Geisberg Gallery, New York, NY

Nature’s Borrowed Voice, SPRING/BREAK Art Show,

w/ Olympia, New York, NY

Atopia, Greene House, Brooklyn, NY

American Earthquake, Vacation Gallery, New York, NY (curator and participating artist)

2016

Landscape: Inside and outside, Able Baker Contemporary, Portland, ME

Constructing Nature, Nolia’s Gallery, London, England

Awards

2016

John Walker MFA Painting and Sculpture Award, Boston University, Boston, MA

2016

My work grapples with the conventions, history, and legacy of American landscape painting, establishing an alternate vision of the natural world increasingly under threat of global ecological devastation. I stage coniferous trees and forests in an unsettlingly still and acidic set. Small figures wander through flattened planes of sky and an uncanny backdrop of trees and ground, haunted by saturated skies. Lozenge-like foliage becomes comic and noble, almost human. The animals, lifted from paintings by the likes of George Catlin and John James Audubon, are rendered as eerie facsimiles. I depict an all-pervasive and bodiless violence happening in a northern landscape. Yet this setting can still house survivors; humans, trees, and people find tenderness in the midst of invisible turmoil.

Publications Cate McQuaid, “Introducing This Year’s Class of Emerging Artists,” Boston Globe, April 16 31

Bialke

Sam Bornstein Horologist Club of Greater Coney Island | oil, acrylic, screenprint, and airbrush on canvas, 40 x 36 inches

Sam Bornstein Bright Corner | acrylic, screenprint and airbrush on panel, 24 x 20 inches

Sam Bornstein Flight | oil, acrylic, and airbrush on canvas, 68 x 60 inches

Sam Bornstein New York, NY www.sambornstein.com

b. 1983 New York, NY

Education

2018

MFA, Hunter College, New York, NY

2005

BA, Bard College, Annandale-on-Hudson, NY

Solo Exhibition

2018

Daydream Workshop, Charles Moffett, New York, NY

My most recent painting series, Daydream Workshop, is an invented world of figures at work and partaking in leisure activities. Evoking European history painting and genre painting, the atemporal scenes recall contemporary life, hazy memories of the past, and absurd fantasies.

Group Exhibitions

2019

Original Copy, Alta Art Space, Malmö, Sweden

The Joke Is on You, Embajada, San Juan, PR

Think in Pictures, Amelchenko, New York, NY

2018

Sommer Udstilling, Galerie Moderne Silkeborg,

Silkeborg, Denmark

Inaugural exhibition, Galerija Contra, Zagreb, Croatia

Untitled exhibition, Ærø Kunsthal, Ærø, Denmark

Bathers, Bass & Reiner, San Francisco, CA

Points of Light in a Nocturnal World, 7 Herkimer Place,

Brooklyn, NY

A World of People, Underdonk, Brooklyn, NY

Everywhere and There, Ground Floor Contemporary,

Birmingham, AL

Fugue, Honey Ramka, Brooklyn, NY

Represented by

Charles Moffett, New York, NY

Bornstein

Sam Bornstein | Horologist Club of Greater Coney Island (detail)

Strauss Bourque-LaFrance Worlding II | canvas, adhesive, acrylic, tempera, graphite, collage, cardboard, fabric, and foil paper, 54 x 42.5 inches

Strauss Bourque-LaFrance Worlding IV | canvas, adhesive, acrylic, tempera, graphite, collage, cardboard, fabric, and foil paper, 73 x 62 inches

Strauss Bourque-LaFrance Orion Tonight | canvas, adhesive, acrylic, tempera, graphite, oil stick, cardboard, burlap, digital print on canvas, gloss medium, fabric, and collage, 75 x 101 inches

Strauss Bourque-LaFrance Brooklyn, NY 212.274.0064 (Rachel Uffner Gallery) https://www.racheluffnergallery.com/artists/strauss-bourque-lafrance / @straussbourquelafrance

b. 1983 Poland Spring, ME

Education

2010

Skowhegan School of Painting and Sculpture,

Skowhegan, ME

MFA, Tyler School of Art, Temple University,

Philadelphia, PA

Residencies

2015

Dance and Process, The Kitchen, New York, NY

2013

Movement Research Artist-in-Residence, New York, NY

Solo Exhibitions

2019

Postcards from the Edge, Rachel Uffner Gallery,

New York, NY

2016

post paintings, Rachel Uffner Gallery, New York, NY

2015

USA Objects, T293, Rome, Italy

2014

No Aloha, Rachel Uffner Gallery, New York, NY

Group Exhibitions

2019

Something Wild, Real Pain Fine Arts, Los Angeles, CA

2018

Ten Years, Rachel Uffner Gallery, New York, NY

2015

Dance and Process, The Kitchen, New York, NY

2012

First Among Equals, “translated” by Alex Da Corte,

Institute of Contemporary Art, Philadelphia, PA

External Original, Clifford Art Gallery, Colgate University,

Strauss Bourque-LaFrance approaches painting through a physical, collage process. His works begin with swaths of canvas and parts of past paintings that have been cut up, layered, painted, and arranged together to create a new large-scale “painting object.” The optical and material potential of collage engages with painterly gestures, forming energetic and unique constructions that call to mind craft practices, cartoon forms, and analog graphic design. Bourque-LaFrance plays on stylistic tropes within the canon of abstraction, dismantling formal associations with histories, nostalgia, and memory. As a queer painter, Bourque-LaFrance evades a defining style and instead pushes disparate techniques and ideas together, creating an image that is familiar but difficult to define. Bourque-LaFrance often embeds or collages images from his archive into the paintings, becoming markers of research and a way to venture inside of the piece. Mushrooms, a broom, a Donald Judd chair, shells, occult imagery, David Bowie, food—the images provide a curious map of notes on healing, nature, identity, art, and myth.

Hamilton, NY

Publications

2019

Cody Delistraty, “On the Edge with Strauss

Bourque-LaFrance in New York,” Blouin Artinfo,

February 19

Catherine Damman, “Those Women Who Destroy the

Infinite: Catherine Damman on Moriah Evans’s Configure,” Artforum online, January 8

2018

Alex Greenberger, “Shaking the Foundations: In Moving New Dance Work, Moriah Evans Sets Bodies Free,”

ARTnews online, December 10 41

Represented by

Rachel Uffner Gallery, New York, NY

Bourque-LaFrance

Sofi Brazzeal Untitled (group with table, bottle and cap), 2018 | oil, acrylic, and gouache on canvas, 54 x 59 inches

Sofi Brazzeal Untitled (group with figure unhorsed) 2018 | oil and acrylic on canvas, 54 x 72 inches

Sofi Brazzeal Untitled (dancing group), 2018 | oil and acrylic on canvas, 54 x 60 inches

Sofi Brazzeal New York, NY 212.560.0670 (Martos Gallery) http://www.martosgallery.com/sofi-brazzeal-artist

b. 1984 Tacoma, WA

Education

2014

MFA, New York University | Steinhardt School of Culture, Education, and Human Development, New York, NY

2005

BFA, Concordia University, Montreal, Canada

Solo Exhibitions

2018

Foire Internationale d’Art Contemporain, Paris, France

2017

Hi cruel dame, adieu Mr. Lech, Martos Gallery,

New York, NY

2016

hi rude camel, Shoot the Lobster, Los Angeles, CA

2015

Uneven Reeds, Southfirst Gallery, Brooklyn, NY

2013

Drawings, 80WSE Gallery, New York, NY

Group Exhibitions

2019

Vanquishing Ocular, Rental Gallery, East Hampton, NY

2018

The Lucinda River, Carl Louie, London, Canada

Postcards from American, Celaya Brothers Gallery,

Mexico City, Mexico

2016

White Columns Benefit Auction, White Columns,

New York, NY

2015

Nightstand / Table de chevet, w/ ExposerPublier,

Galerie de la Rotonde Stanlingrad, Paris, France

2014

Joy Syringe, 321 Gallery, Brooklyn, NY

2011

The Postcard, Rosenberg Gallery, New York, NY

Brazzeal’s practice focuses on drawing and painting. She primarily renders the human body, often as asexual, ambiguous forms. Her groups of figures suggest personal narratives and exude a surreal, and sometimes sexual, energy, blurring the lines of social code. She often depicts the same subjects, such as doctors, in multiple works across various media. There is no given theme or motif except the insistent, incessant treatment of the figure, and groups of figures, and indeterminate manifestations of power between them. Often depicted in closed rooms or close quarters, the figures in Brazzeal’s work abandon any pretense to civility and decorum.

2006-7 Hidden Connections, Galleri Flingen, Mariestad, Sweden 2004

Show Off, Galerie Leonard & Bina Ellen, Montreal, Canada

Represented by

Martos Gallery, New York, NY

Brazzeal

Zach Bruder Who Is Minding the Shop?, 2017 | acrylic and Flashe on linen, 60 x 50 inches

Zach Bruder Good Neighbor I, 2018 | acrylic and Flashe on linen, 50 x 60 inches

Zach Bruder Faux Pas II, 2017 | acrylic and Flashe on linen, 60 x 72 inches

Zach Bruder Brooklyn, NY 917.388.2464 (Magenta Plains) www.zachbruder.com / @zachbruder

b. 1984 Cleveland, OH

Education

2006

BFA, University of Wisconsin–Madison, WI

Solo Exhibitions

2018

Edening On, Magenta Plains, New York, NY

2017

Hardscrabbled, Harlan Levey Projects, Brussels, Belgium

Tennis Elbow, The Journal Gallery, Brooklyn, NY

2016

Unwelcome Guest, La Galleria | La MaMa, New York, NY

Group Exhibitions

2018

People, Places, Things…, Philip Slein Gallery,

St. Louis, MO

Code Art Fair, w/ Monteverita, Copenhagen, Denmark

Landscape Modern Oil Painting, Galleri Benoni,

Copenhagen, Denmark

The Present Tense: Zach Bruder & Louise Bourgeois,

Ratio 3, San Francisco, CA

2016

Monument Around, Galerie l’inlassable, Paris, France

Plant in Repair, Gregory Lind Gallery, San Francisco, CA

Boundary Issues, Gregory Lind Gallery, San Francisco, CA

Record Lines This Summer, Magenta Plains, New York, NY

Tropicália, Galerie l’inlassable, Paris, France

2015

Object of Magic, MOIETY, Brooklyn, NY

Represented by

Magenta Plains, New York, NY

Zach Bruder’s metaphorical approach to painting results in inventive compositions in which both pictorial and illusionistic space play roles. Humorous and allegorical, his paintings involve flora, architecture, and anthropomorphism. Bruder’s canvases revive and repurpose familiar motifs from classical and vernacular mythology using source material from his extensive image archive amassed over the past decade. His paintings speak of today’s world, conflating divergent pictorial influences from advertisements, caricatures, cartoons, photos, and paintings from this century and the last, flaunting the artist’s ability to render different spatial dimensions and finding a humorous irony and cohesive unity in their discordance. Addressing mythologies both cultural and personal, Bruder’s paintings offer multiple interpretations of social and religious narratives and urgent responses to the societal and political moment in which they were produced. Far from cynical, however, his work is not about denouncing hypocrisies but rather centered on capturing everyday paradoxes. Faced with one of Bruder’s canvases, the viewer takes an active role, deciphering the intertextuality between the literary, historical, and folkloric references he often cites simultaneously.

Bruder

Elan Cadiz Dad | acrylic paint and mixed media, 48 x 36 inches

Elan Cadiz Maternal Grandma | acrylic paint and mixed media, 48 x 36 inches

Elan Cadiz Building Conflict | Âž plywood, paint, and collage, 49.5 x 42.5 inches

Elan Cadiz New York, NY iamelancadiz@gmail.com / @elancadiz

b. 1978 New York, NY

Education

MFA, School of Visual Arts, New York, NY

BA, City College of New York, New York, NY

Professional Experience

2019

Elan Cadiz is an interdisciplinary North American visual artist who uses her projects to deconstruct and balance her intersectionality. Her art and practice are grounded in domestic and historical imagery and personal narrative.

The Harlem Wanishi Sukkah, JCC Harlem with Art in FLUX, New York, NY

Residencies

2019

Sustainable Arts Foundation Parent Artist AIRspace

Residency, Abrons Arts Center, New York, NY

Solo Exhibitions

2017

Stair-Gazing: Élan Cadiz, Visual Arts Center of New Jersey, Summit, NJ

Group Exhibitions

2019

Who Do You Say You Are?, Mount Vernon Hotel Museum and

Garden, New York, NY

Harlem Perspectives II, FACTION Art Projects | Gallery 8, New York, NY

2018

NSK State Reserve: Crisis Currency, Burren College of Art, Ballyvaughan, Ireland

2017

uptown: nasty women/bad hombres, El Museo del Barrio, New York, NY

REFRESH, Art in FLUX | Rush Arts Galleries, New York, NY

Awards

2018

Paula Rhodes Memorial Award, School of Visual Arts,

New York, NY

2017

Martha Trevor Award, Worldstudio AIGA Scholarship

Program

Publications

2019

Marley Marius, “Family Furniture: Meet the Artist Turning

Her Parents and Grandparents into Chairs,” Vogue online,

January 18

Cadiz

Jessica Cannon Extension | acrylic on paper, mounted on panel, 16 x 20 inches

Jessica Cannon Fountain | acrylic on paper, mounted on panel, 24 x 30 inches

Jessica Cannon The Return | acrylic on paper, mounted on panel, 12 x 18 inches

Jessica Cannon Brooklyn, NY jescannon@gmail.com / www.jescannon.com / @jes_cannon

b. 1979 Brooklyn, NY

Education

2006

MFA, Parsons School of Design, New York, NY

2001

BA, Tufts University, Medford, MA

Residencies

2020

Vermont Studio Center, Johnson, VT

2012

Lower Manhattan Cultural Council Swing Space Residency, Governors Island, NY

Solo Exhibitions

2017

Rapid Cycle, Honey Ramka, Brooklyn, NY

2012

Psychic Excavation, The Art Lot, Brooklyn, NY

Group Exhibitions

2019

Master Class: Color, The Manes Art and Education Center,

Nassau County Museum of Art, Roslyn, NY

Bring Something Pink, Atelier Seruse, Marseille, France

Be. Long, Dutoit Gallery, Dayton, OH

2018

Untitled Projects, Crush Curatorial, Amagansett, NY

Hyper School, Big Medium, Austin, TX

Extra Terrestrial, One Mile Gallery, Kingston, NY

The Crystal Cracked 2, Honey Ramka, Brooklyn, NY

Publications

2017

I paint cosmic feminine landscapes that reflect individual and collective searching. This search happens along two orbits–– out in the vast universe, as described by physics, and inside an interior world shaped by lived and felt experience. My paintings feature waves in different formations––rising, leaning, merging into each other, crashing onto themselves. I like the universal and figurative quality of waves and the durational aspect of something that takes a form, changes, and dissolves into a field. I grew up in New York and accessed open space by visiting the beach or looking up at the sky. Recently, I began reading physics books and connected with their poetic descriptions of the universe. Two ideas resonated: first, the ocean and sky––the places I’ve returned to since childhood––are made from the same materials as my body; and second, waves exist in everything from the invisible to the immense. These ideas help form a visual language that describes where I overlap with the universe: through pleasure and destruction, feelings and questions, peace, doubt, and mystery.

Chris Cobb, “Embracing Feeling Over Logic in Two Artists’ Fragmented Worlds,” Hyperallergic online, November 30

2010

Diane Cardwell, “The Hotel as Art Gallery,” New York

Times, August 29

Cannon

Scott Cantrell Living History | oil on cabinet card, 6 x 4.5 inches

Scott Cantrell Veiled History | oil on cabinet card, 6 x 4.5 inches

Scott Cantrell Shaping History | oil on cabinet cards, 4.5 x 18 inches

Scott Cantrell Landisville, PA www.scottcantrellart.com / @cantrellart

b. 1978 Lancaster, PA

Education

2011

MFA, Vermont College of Fine Arts, Montpelier, VT

2008

MA, Millersville University, Millersville, PA

2001

BSE, Millersville University, Millersville, PA

Residdency

2016

Summer Residency, Skidmore College,

Saratoga Springs, NY

Group Exhibitions

2018

2nd Annual Juried Show: Printmakers, Bethlehem House

By means of common artistic tools, I attempt to provide a home for the concept of memory within a seemingly practical context. Yet I am always reminded that memory is fleeting and that it is completely individual. My work has been a constellation of visual to conceptual analogies: accepting death as part of life, recognizing our place as a subject in history, and understanding the past as a living and changing concept. Driven by the fundamental fear of forgetting, ultimately a fear of death, my work is part of a grieving process, personal and historical, that seeks some kind of resolution. Nevertheless, the overlying intent is to present an apparatus that can encourage acceptance of our mortality within our seemingly ceaseless reality.

Contemporary Art Gallery, Bethlehem, PA 2017

Annual Figurative Drawing and Painting Exhibition, Lore Degenstein Gallery, Susquehanna University,

Selinsgrove, PA

In-Habit: Practice and Place, Stone Quarry Hill Art Park,

Cazenovia, NY 2016

International Juried Show: Contemporary Trompe l’oeil and Still Life, John F. Peto Studio Museum, Island Heights, NJ

2014

Art of the State, The State Museum of Pennsylvania,

Harrisburg, PA

Less Is More: Small Works in a Great Space, Mitchell

Gallery, St. John’s College, Annapolis, MD

2011

Boston Young Contemporaries Exhibition, 808 Gallery,

Boston University, Boston, MA

North American Graduate Art Survey, Katherine E. Nash Gallery, University of Minnesota, Minneapolis, MN

Represented by

Red Raven Art Company, Lancaster, PA

Gallery Piquel, New Hope, PA, and Lambertville, NJ

Cantrell

Orly Cogan Afternoon Lovinâ&#x20AC;&#x2122;, 2019 | hand-stitched embroidery, appliquĂŠ and paint on vintage linen, 44 x 56 inches

Orly Cogan Mystery, 2018 | hand-stitched embroidery and paint on vintage linen, 50 x 44 inches

Orly Cogan Behind the Mask, 2019 | hand-stitched embroidery, appliquĂŠ and paint on vintage linen, 56 x 44 inches

Orly Cogan New York www.orlycogan.com / @orlycogan

b. 1971 Jaffa, Israel

Education

1994

Solo Exhibitions

2019

Don’t Call Me Princess, Brattleboro Museum and Art

Center, Brattleboro, VT

Children of Eden, Museum of Art, University of New

Hampshire, Durham, NH

2018

Summer Lovin, Hudson Valley MOCA, Peekskill, NY

Group Exhibitions

2019

Art and Activism: An Exhibition About Change, Schaefer

International Gallery, Maui Arts & Cultural Center,

Kahului, HI

Woven Stories, Museum of Art and History, Lancaster, PA

2018

Hand Made: Women Reshaping Contemporary Art,

Westport Arts Center, Westport, CT

Publications

2010

“Art Review: Orly Cogan @ Charlie James Gallery,” Los Angeles Times, June 10

2009

Evan Pricco, Juxtapoz Handmade (Gingko Press) Benjamin Genocchio, “Amazing Stories: Emotionally Charged Narrative in Pictures,” New York Times,

September 11

Allyson Mitchell, Jennifer Sorkin, and Sarah Quinton,

When Women Rule the World: Judy Chicago in Thread

(Textile Museum of Canada) 2008

David McFadden, Pricked: Extreme Embroidery, exh. cat. (Museum of Arts and Design)

2007

Bartholomew F. Bland, I WANT Candy: The Sweet Stuff in American Art (Hudson River Museum)

BFA, Maryland Institute College of Art and The Cooper Union for the Advancement of Science and Art

The tableaux I create are inspired by relationships. I work using vintage fabrics and embroideries made by women of previous and more modest eras as a base. I act as a collaborator, modernizing their traditional work and altering its original purpose by incorporating the unladylike reality and wit of contemporary women––their struggles and stereotypes. These issues are different from those of the earlier generation of women who originally embroidered the textiles to “feminize” their homes. I mix subversion with flirtation, humor with power, and intimacy with frivolity. My subject matter is frank and provocative, dealing with issues of fertility, sexuality, self-image, isolation, vulnerability, indulgence, and beauty in the mundane, which are designed to challenge social stereotypes embedded within childhood fairytales. My quest is to tell fantastical stories of cultural expression with today’s brand of American confessionalism. Many of my heroines linger between a public and private realm mixed with yesteryear’s kitschy conservatism. My work explores the many flavors of feminism.

Collections

Museum of Arts and Design, New York, NY

KODE–Art Museums of Bergen and The National Museum of Art, Architecture and Design, Oslo, Norway

Cogan

Orly Cogan | Afternoon Lovinâ&#x20AC;&#x2122;,2019 (detail)

Jaclyn Conley Reagan and Pool Dumfries | oil and collage on panel, 48 x 48 inches

Jaclyn Conley Jackie and Lee Karachi | oil and collage on panel, 24 x 24 inches

Jaclyn Conley Office | oil and collage on panel, 18 x 24 inches

Jaclyn Conley New Haven, CT www.jaclynconley.com / @jaclynconley

b. 1979 Windsor, Canada

Education

2004

MFA, University of Guelph, Guelph, Canada

2001

BFA, Nova Scotia College of Art and Design,

Halifax, Canada

Solo Exhibitions

2020

Maruani Mercier, Brussels, Belgium

2019

Art Brussels, w/ Maruani Mercier, Brussels, Belgium

2012

The Social and the Domestic, Wynick/Tuck Gallery,

Toronto, Canada

Group Exhibitions

2019

NXTHVN: First Year Fellows, Tilton Gallery, New York, NY

2018

Idols and Icons, Geoffrey Young Gallery,

Great Barrington, MA

2013

The Figure Eight, Artspace, New Haven, CT

2009

35/25: Twenty-Five Painters Under Thirty-Five, The

Painting Center, New York, NY

Bushwick Biennial, NURTUREart, Brooklyn, NY

2008

In the series All the President’s Children, I reference photographs of first ladies and presidents I have collected from presidential library archives across the country in order to understand and reimagine, as a non-American, the first family’s symbolism as the “American ideal.” I repurpose my own paintings within the series as collage material, physically moving brushstrokes and readapting imagery, allowing for further abstraction and reimagining the stories that we tell and inhabit.

Full Circle: Ten Years of Radius, The Aldrich Contemporary Art Museum, Ridgefeld, CT

2007

Oil Spill: Recent Painting in Ontario, SAW Gallery,

Ottawa, Canada

2005

Showcase, Cambridge Galleries, Cambridge, Canada

Awards

2019

TOY Fellowship, NXTHVN, New Haven, CT

2018

Visual Arts Project Grant, Canada Council for the Arts

2016

Berkshire Taconic Community Foundation Artist Grant,

Artist’s Resource Trust

Represented by

Maruani Mercier Gallery, Brussels, Belgium

Conley

Deborah Druick Portal | vinyl paint on linen, 24 x 18 inches

Deborah Druick The Garden | vinyl paint on linen, 24 x 18 inches

Deborah Druick Uprooted | vinyl paint on canvas, 24 x 24 inches

Deborah Druick New York, NY deborah@deborahdruick.com / www.deborahdruick.com / @ddruick

b. 1963 Montreal, Canada

Group Exhibitions

2019

Pulse Miami, Vellum Projects, Miami Beach, FL

Saturated: An Eye for Color, Barrett Art Center,

Poughkeepsie, NY

Unseen, Collar Works Gallery, Troy, NY

Art Market Hamptons, w/ Vellum Projects, Bridgehampton Museum, Bridgehampton, NY

2018

Signal, Katonah Museum of Art, Katonah, NY

2017

28th International Juried Exhibition, Viridian Gallery,

New York, NY

The Figure: Interpreted Through Contemporary Mediums,

Site:Brooklyn, Brooklyn, NY

The Other Art Fair, Brooklyn, NY

2016

Fun House: Art of the Surreal, Fantastic and Bizarre,

Barrett Art Center, Poughkeepsie, NY

27th International Juried Exhibition, Viridian Gallery,

New York, NY

Color, Brooklyn Waterfront Artists Coalition, Brooklyn, NY

Award

2019

Second Prize, Saturated: An Eye for Color

Publication

2019

Vellum, no. 22

My paintings address issues of gender definition, selfidentification, and female objectification, using stylized figuration and saturated high-key color. I emphasize and exaggerate stereotypical concepts of precision, perfection, and beauty in femininity. My females are faceless archetypes, eliciting questions about identity, self-awareness, and sentiment. I explore codes of femininity while also addressing issues of willingness and consent. I often insert my subjects into situations where selfcontrol and self-awareness are requisites. My work can best be described as belonging to the “New Surrealist” movement, using a new visual language to express the objectification of women’s bodies. Key components of my painting style are the abundant use of pattern and texture, flattened, cropped imagery, and shallow perspectives. The Chicago Imagists and surrealism are both important influences on my work.

Druick

Deborah Druick | Uprooted (detail)

Georgia Elrod 8 Hours | oil, acrylic, and pastel on canvas , 26 x 32 inches

Georgia Elrod Sprung | oil, acrylic, and pastel on canvas, 20 x 20 inches

Georgia Elrod Novel | oil, acrylic, pastel and pencil and canvas, 54 x 62 inches

Georgia Elrod Brooklyn, NY www.georgiaelrod.com / @georgiaelrod

b. 1979 Memphis, TN

Education

2010

MFA, Hunter College, New York, NY

Professional Experience

2019

Stemming from observation and memory, the imagery in my work is initially cultivated through many gouache and mixed media works on paper. The forms are cumulative and often unpredictable; their meanings are open-ended. I am translating subconscious imagery into paintings that become most potent when they are least explainable.

Co-curator, Making(It)Work, w/ Karla Wozniak, California College of the Arts, Oakland, CA

2018

Curator, OOBS, Underdonk, Brooklyn, NY

Solo Exhibitions

2019

Heartbeats, Peninsula Art Space, Brooklyn, NY

2014

Around the Corner, Novella Gallery, New York, NY

2012

Here and Here, John Davis Gallery, Hudson, NY

Group Exhibitions

2019

The Unusuals, The Painting Center, New York, NY

Wildernesses, Peninsula Art Space, Brooklyn, NY

A Fairly Secret Army (Notes from New York), Wild Palms,

Düsseldorf, Germany

2018

Graces, 5-50 Gallery, New York, NY

2017

Show Me Yours, Underdonk, Brooklyn, NY

Truth, BRIC, Brooklyn, NY

2011

Rogue Element, RH+ Galeri, Istanbul, Turkey

Publications

2019

Art Viewer, July 2019

2018

Art Maze Magazine, no. 9

2015

Studio interview, Gorky’s Granddaughter, September

My recent work began with a desire to interpret bodily function and experience, to question and understand our ungraspable insides. Positing physical identity as a kind of living abstraction, the imagery can be both known and unidentifiable. The body is a temporary architecture that is composed of ideas. By letting go of anatomical rules, the works are like poetic spaces. I’m interested in suggestive imagery and the simultaneity of forms. Through painting, expectations of functionality and fragility literally become marks, colors, drawing.

Elrod

Joe Fyfe Paysage | acrylic, cotton, vinyl, canvas, burlap, and nylon on muslin, 80 x 68 inches

Joe Fyfe Tour Eiffel | acrylic and cotton on nylon, 80 x 68 inches

Joe Fyfe La Cravate | acrylic, cotton, canvas, and nylon, 80 x 68 inches

Joe Fyfe The Bronx, NY 212.563.7821 (Nathalie Karg Gallery)

b. 1952 New York, NY

Solo and Two-Person Exhibitions

2019

Lob des Lernens, Galerie Christian Lethert, Cologne,

Germany

But a flag has flown away, Nathalie Karg Gallery,

New York, NY

2018

The sky eats up the trees, Ceysson & Bénétière,

Windhof, Luxembourg

Parasols, w/ Claude Viallat, Ceysson & Bénétière,

Saint-Étienne, France

2017

No Puppet Performance, Lovaas, Munich, Germany

2016

Kiss the Sky, Nathalie Karg Gallery, New York, NY

Vagabond Paintings, Galerie Bernard Ceysson,

Geneva, Switzerland

2012

lecciones, Galerie Christian Lethert, Cologne, Germany

Joe Fyfe, White Columns, New York, NY

2010

Sunderbans, ACME., Los Angeles, CA

2006

Ryllega Gallery, Hanoi, Vietnam

2004

Mai’s Gallery, Ho Chi Minh City, Vietnam

Group Exhibitions

2016

C.Ar.D., Pianello, Italy

2014

Picture/Painting/Object, Galerie Albert Baronian,

Brussels, Belgium

2012

B. Wurtz & Co.: Curated by Matthew Higgs, Richard Telles

Early one morning in the restaurant of the Hotel Chelsea in Cologne, across the room were two local men. They had obviously been celebrating all night. I drank my coffee while one kept loudly reciting some phrase in English that he didn’t know. This was probably the precedent for the new paintings. When words are painted in other languages, they become material. A painting has a responsibility to address its limits, so I have attempted to reconcile painting culture with the contemporary world. Globalism is at present as much about the improvisational architecture and tools of marginal populations as what takes place online. What I make them with––cut-up banners from Asia and elsewhere––and the recent introduction of text from poetry are significant in this regard as they are arbitrary: they are things in my life that are conveniently at hand so there is no reason not to put them in. What this means is that the fact of the paintings as paintings is as much a concern to me as the subject matter.

Fine Art, Los Angeles

Everyday Abstract, Abstract Everyday, James Cohan,

New York, NY

Represented by

Nathalie Karg Gallery, New York, NY

Fyfe

Sullivan Giles Apprehension | graphite on paper mounted to panel, 24 inches in diameter

Sullivan GIles Trust/Truth | oil on canvas, 40 x 30 inches

Sullivan GIles The Yellow Wallpaper | oil on canvas, 48 x 48 inches

Sullivan Giles Brooklyn, NY sullivan.giles@gmail.com / www.sullivan-giles.com / @sullivangiles

b. 1986 Seattle, WA

Education

2019

MFA, New York Academy of Art, New York, NY

2017

Kang-O’Higgins Atelier, Gage Academy of Art,

Seattle, WA

Group Exhibitions

2019

Summer Session No. 26, Lyons Wier Gallery,

New York, NY

Drawn Together Again, The FLAG Art Foundation,

New York, NY

Natural Curiosities, Franklin Bowles Gallery,

New York, NY

Take Home a Nude, Sotheby’s, New York, NY

Thesis Exhibition, New York Academy of Art, New York, NY

2017

Layered Intersections, Plank Gallery, Seattle, WA

Our Daily Armor, Virago Gallery, Seattle, WA

Art of Tarot II, Ghost Gallery, Seattle, WA

Awards

2019

Mark-making is a constant in my life: on skin, on paper, on canvas. Marks on flesh (scars, tattoos, wrinkles) often reflect an individual’s psychology (confident, defiant, unsure, shielded) and mirror the language of visual art (delicate, violent, corrective, transparent). I am fascinated by the ways we represent and express bodily autonomy, and how our experiences can inform our visual and emotional identity. Through unapologetic self-portraiture, I show my body as an altar where I tally the events and passions of my life and pay homage to my experiences. These recurring themes of flesh and decorative pattern refer to psychic armor, self-ornamentation, and protective talismans. Painting is how I explore the ways life marks, mars, builds, and breaks us.

Post-Graduate Research Grant, New York Academy of Art, New York, NY

Mentorship Award (Hilary Harkess), New York Academy of Art, New York, NY

Buddy Taub Scholarship, New York Academy of Art,

New York, NY

2018

Mentorship Award (Alyssa Monks), New York, Academy of Art, New York, NY

Collections

21C Museum Hotels

The Seavest Collection

Giles

Amir R. Hariri Reminiscent of a Swale | oil and acrylic on board, 48 x 36 inches

Amir R. Hariri Standing Wind Twist | oil and acrylic on board, 24 x 36 inches

Amir R. Hariri Hyper Gentrific Vacator | oil and acrylic on board, 36 x 48 inches

Amir R. Hariri New York, NY amir@amirrhariri.com / www.amirrhariri.com / @amir_r_hariri / @hariri.amir

b. 1972 Tehran, Iran

Education

1996

MEng, Cornell University, Ithaca, NY

1995

BS, University of California San Diego, La Jolla, CA

Residencies

2018

Children’s Museum of Manhattan, New York, NY

2017

Museum of Art and Design, New York, NY

2016

Vermont Studio Center, Johnson, VT

Solo Exhibitions

2019

Fracturing Half Moon, Sunroom Project Space, Wave Hill, New York, NY

2017

Dimensional Interventions, Azarian McCullough Art

Gallery, St. Thomas Aquinas College, Sparkill, NY

Group Exhibitions

2019

Picturing Space, Pomerantz Center, Fashion Institute of

Technology, New York, NY 2018

Under Construction: Dimensional Interludes, Denise

Bibro Fine Art, New York, NY

2017

Spatial Complexities: Archiving Beauty from Chaos, The

How do certain visceral qualities of urban decay influence our experiences, memories, and, ultimately, our sense of history? To answer these questions, I use a multidisciplinary approach and study specific locations purely through the opacity of distant and fragmented recollections: an attempt to record the subconscious impressions seemingly ignored spaces leave on us. Formally, my studies delve into the relationship between physical decay and deconstructive abstraction. By studying synthetic systems under duress, I try to showcase the interplay between geometric rigidity and the organic authenticity of decomposition. Having been exposed to revolution and war in Iran, my encounters with death/destruction have allowed me to draw parallels between building deconstruction and the despair, yet resiliency, of their exiled inhabitants. These moments, which span fluidly from demolition to renovation, form the foundation of my imagined dwellings. By blurring the boundaries between progress and ruin, I make an observation regarding the misguided inevitability of evolution. This post-futurist viewpoint is a corollary to idealist mid-century thought and its embrace of utopian visions.

Center for Emerging Visual Artists, Philadelphia, PA

Awards

2017

NYSCA/NYFA Artist Fellowship, New York Foundation

for the Arts, New York, NY

Hot Picks 2017, Smack Mellon Studio Program,

Brooklyn, NY

Publications

2018

Michael Sullivan, “A Conversation with Amir Hariri,”

Pank Magazine

2016

Eileen G’Sell, “Distance Avails Not,” Arte Fuse

Collections

Centre Internacional d’Art i Gravat de Menorica-Alaior, Menorca, Spain

The Art Students League of New York, New York, NY

Hariri

Barry Hazard City Farm | acrylic and wood on panel, 21 x 25 x 37 inches

Barry Hazard Buying Greenland | acrylic and wood on panel, 17 x 21 x 33 inches

Barry Hazard Clearing | acrylic, wood, and plastic on panel, 17 x 16 x 35 inches

Barry Hazard Brooklyn, NY â&#x20AC;&#x201A; barryhazard@gmail.com / www.barryhazard.com / @barryhazard

b. 1966 Methuen, MA

Education

2008

MFA, School of Visual Arts, New York, NY

1989

BFA, Tufts University, Medford, MA

Solo Exhibitions

2007

About Face, SVA Gallery, School of Visual Arts,

New York, NY

2003

Gaze, HallSpace, Boston, MA

Group Exhibitions

2019

RomCom, Good Naked, Brooklyn, NY

2018

The Woods, The Yard, Brooklyn, NY

Shoot the Pump, Bullet Space, New York, NY

2009

Informal Observations, HallSpace, Boston, MA

2008

A Minus Suitcase, Jack the Pelican Presents,

Brooklyn, NY

Itâ&#x20AC;&#x2122;s Not Easy, Exit Art, New York, NY

Forming Lines: Translations Between Drawing and

I make sculpted landscape paintings that project from the wall, like open dioramas. The subjects are derived from landscape archetypes of beauty, such as mountains, forests, deserts, sunsets, rivers, and bodies of water. I recognize the common and collective love for these subjects as spaces for reflecting, contemplation, and surrendering to something larger and more timeless than us. I also see conflicts, and our ecological footprint in these landscapes, whether perceived or actual. The conflict can be specific, or unspecific, and imply environmental, political, cultural, or historical issues. Sometimes it is a blatant problem like a melting glacier, other times it is more of a subtle inference that affects my perception of the space. The process of creating my pictures is much about the mitigation of these conflicted subjects, real or contrived, while trying to reimagine beauty.

Sculpture, Like the Spice Gallery, Brooklyn, NY 2002

Traveling Scholars Exhibition, Museum of Fine Arts,

Boston, MA

Awards

2008

Paula Rhodes Memorial Award , New York, NY

2002

Blanche E. Coleman Foundation Award , Boston, MA

2001

SMFA Alumni Traveling Scholarship, School of the Museum of Fine Arts, Boston, MA

1993

Massachusetts Cultural Council Grant, Boston, MA

Hazard

Barry Hazard | Clearing (detail)

Damien Hoar de Galvan Skull | oil, acrylic, spray paint, wood glue, and wood, 11.5 x 9 inches

100

Damien Hoar de Galvan Ghost | oil, acrylic, spray paint, wood glue, and wood, 13.5 x 11 inches

101

Damien Hoar de Galvan Palette | oil, acrylic, spray paint, wood glue, and wood,12.5 x 8 inches

102

Damien Hoar de Galvan Milton, MA 206.762.3322 (Studio E Gallery) damienhoardegalvan@gmail.com / @damienhoardegalvan

b. 1979 Northampton, MA

Education

2001

BA, Green Mountain College, Poultney, VT

2008

Post-baccalaureate, School of the Museum of Fine Arts, Boston, MA

Solo Exhibitions

2018

Everything Bagel, Gitler &_____, New York, NY

VOLTA NY, w/ studio e, New York, NY

2017

Wot’s . . . uh the deal, Gitler &_____, New York, NY

2015

Ok, Needles & Pens, San Francisco, CA

Wake Up, Carroll and Sons, Boston, MA

2013

Something could happen at any moment, Carroll and Sons, Boston, MA

Group Exhibition

2019

The perfume counter, studio e, Seattle, WA

Summer show, Schoolhouse Gallery, Provincetown, MA

2017

Everybody Knows, studio e, Seattle, WA

75 Works on Paper, Beers London, London, England

Would you rather, BBQLA, Los Angeles, CA

First I was afraid, Dorsky Gallery, Long Island City, NY

2016

Sticks and Stones, Brilliant Champions, Brooklyn, NY

Publication

2019

Kurt Beers, 100 Sculptors of Tomorrow (Thames and

Hudson)

Represented by

Studio E Gallery, Seattle, WA

Schoolhouse Gallery, Provincetown, MA

For brevity’s sake, I’ll call these painted sculptural objects. They begin as amorphous ideas that then develop, grow, and change as they are built. Through trial, error, and intuitive play they become stand-alone objects representing my time and displaying the different marks and choices that were made along the way. I refer to the finished shapes as abstract and prefer their meaning to ultimately be that. That being said, they can resemble specific things such as heads, vessels, or architectural bits, and these references can help me determine how a piece will end up. There is a quote attributed to Søren Kierkegaard (and used in the movie Wayne’s World) that goes something like “Once you label me, you negate me,” and I often think about this when being asked what my work is about. I think it’s best to leave those types of questions vague so as not to restrict multiple interpretations about something that doesn’t actually have a direct, concise meaning.

103

Hoar de Galvan

Maryam Hoseini Secrets Between Her and Her Shadow 8 | acrylic, ink, and pencil on wood panel, 30 x 24 inches

104

Maryam Hoseini Secrets Between Her and Her Shadow 12 | acrylic, ink, and pencil on wood panel, 30 x 24 inches

105

Maryam Hoseini Secrets Between Her and Her Shadow 11 | acrylic, ink, and pencil on wood panel, 30 x 24 inches

106

Maryam Hoseini Brooklyn, NY 212.274.0064 (Rachel Uffner Gallery) www.racheluffnergallery.com/artists/maryam-hoseini / @maryhoseini

b. 1988 Tehran, Iran

Education

2016

MFA, Milton Avery School of the Arts, Bard College, Annandale-on-Hudson, NY

MFA, School of the Art Institute of Chicago, Chicago, IL

Residency

2018

Ox-Bow School of Art and Artist’s Residency,

Saugatuck, MI

Solo Exhibition

2020

Rachel Uffner Gallery, New York, NY

Group Exhibitions

2017

Of Strangers and Parrots, Rachel Uffner Gallery,

New York, NY

2019

Heartbreak, commissioned by RUYA MAPS, Ca’ del Duca,

Maryam Hoseini explores the subtle relationship between bodies, physical space, and the politics of narrative. Utilizing painting and site-specific installation to address the gap between subjective perception and public perception of identity, Hoseini’s work investigates the space between painting and drawing, figuration and abstraction, creating a sense of openness for multiple readings and interpretations. Through an exploration of the constructed tragedy of same-gendered intimacy, Hoseini develops sequential collective chapters of drama.

Venice, Italy

We Contain Multitudes, Galerie Isa, Mumbai, India

Let Me Tell You a Story, The Arts Club, London, England

She Models for Her, The Shed, New York, NY

2018

Body Armor, MoMA PS1, New York, NY

Ten Years, Rachel Uffner Gallery, New York, NY

Publications

2019

Veena Rao and Nich Ravich, “Maryam Hoseini’s Every Day Abstractions,” Art21, October 30

Ted Loos, “Young and Unknown Artists Take the Lead at The Shed with Open Call,” Cultured Magazine, April 3

Collection

KADIST, Paris, France, and San Francisco, CA

Represented by

Rachel Uffner Gallery, New York, NY

107

Hoseini

Colin Hunt Untitled (The Cove) no. 3 | egg tempera on panel, 42 x 42 inches

108

Colin Hunt Untitled (The Polissoir Stone) | egg tempera on panel , 42 x 42 inches

109

Colin Hunt Untitled (The Barber Stone) | egg tempera on panel, 42 x 42 inches

110

Colin Hunt Brooklyn, NY 212.535.8810 (Hirschl & Adler Modern) colinhunt03@gmail.com / www.colin-hunt.com / @colinhunt03

b. 1973 New York, NY

Education

1998

MFA, Columbia University, New York, NY

1995

BFA, The Cooper Union for the Advancement of Science

and Art, New York, NY

Residency

2011

Galveston Artist Residency, Galveston, TX

Solo and Two-Person Exhibitions

2019

Keeping Things Whole, GAR Gallery, Galveston, TX

2014

Louise Lawler and Colin Hunt: Two Site-Specific

Installations, Artisanal House, New York, NY

Group Exhibitions

2019

In the Garden of Forking Paths, Mother Gallery,

Beacon, NY

2018

Liminal, Elizabeth Houston Gallery, New York, NY

2016

Island Time, Contemporary Arts Museum Houston,

Houston, TX

2015

Prime Matter, Teckingsmuseet, Laholm, Sweden

2014

Vox X, Vox Populi, Philadelphia, PA

2004

Open House, Brooklyn Museum of Art, Brooklyn, NY

2002

My egg tempera paintings explore the afterlife. Each is expressed as a portal or threshold between one version of a place to another of itself. In looking for a language to explain that which sits beyond knowing, I’ve constructed an aperture in the landscape to many points triangulated in space and time. The closer these places come to holding together visually, the more obvious and explicit their emptiness or relativity. Drawing inspiration from Avebury, a neolithic henge in Southern England, these pictures are puzzles of literally what’s not there in a document, reflected over and over for the viewer at the moment of looking. In this way I’m attempting to upend conventions of landscape painting and the sublime to focus on everyday mysteries about death––how we live with it and how the enormity of someone’s life can coexist with the hole of their nonbeing.

17th Annual: An Invitational Exhibition, National Academy of Design, New York, NY

Publications

2018

Harper’s, April

2017

New American Paintings, no. 128

2009

The Brooklyn Review, no. 26

Represented by

Hirschl & Adler Modern, New York, NY

Mother Gallery, Beacon, NY

111

Hunt

Alex Jackson Practical (A)Effects | oil on panel, 54 x 48 inches

112

Alex Jackson Between Two Windows | oil on panel, 48 x 60 inches

113

Alex Jackson C V R O Y B BL Y BL BG G YG M | oil on canvas, 84 x 84 inches

114

Alex Jackson New Haven, CT alexjacks716@gmail.com / www.alexjacksonartist.com / @alexjacksonartist

b. 1993, Milwaukee, WI

Education

2017

MFA, Yale University, New Haven, CT

2015

Skowhegan School of Painting and Sculpture,

Skowhegan, ME

BFA, University of Wisconsinâ&#x20AC;&#x201C;Madison, Madison, WI

2014

Yale Norfolk Summer School of Art, Norfolk, CT

Solo Exhibitions

2018

Wild Topiary, Zevitas Marcus, Los Angeles, CA

2017

Phantom Flesh, Steven Zevitas Gallery, Boston, MA

Group Exhibitions

2019

Kith + Kin: Friends and Mentors of Lesley MFA in Visual

Centered around a group of tiled beings known as the Seers and the gaseous beings known as the Lookers, Jacksonâ&#x20AC;&#x2122;s work shows a world where the membrane between body and wall is permeable; where trees know secrets; where soil holds grudges; where shadow is food; when yesterday is water; and where light is heavy.

Arts, Lesley University, Cambridge, MA

Manifold, Bronx Art Space, The Bronx, NY

2018

Coded, Mills Gallery at Boston Center for the Arts,

Boston, MA

Cosmic Traffic Jam, Zevitas Marcus, Los Angeles, CA

Block Party, Jenkins Johnson Projects, Brooklyn, NY

2017

Close Quarters: 8 Representational Painters, 1969 Gallery, New York, NY

2016

New American Paintings: Midwest Edition, Elmhurst Art Museum, Elmhurst, IL

2015

Out of Madison, Museum of Wisconsin Art, West Bend, WI

Represented by

Zevitas Marcus, Los Angeles, CA

115

Jackson

Alex Jackson | C V R O Y B BL Y BL BG G YG M (detail)

Jeremiah Johnson Hard Work (Psychedelic Version) | acrylic, screenprinting, lithographic printing, glow-in-the-dark pigment, and graphite on Mylar, 36 x 48 inches

118

Jeremiah Johnson Human Alienation | acrylic, lithography, glow-in-the-dark pigment, spray paint, graphite, and colored pencil on Mylar, 54 x 72 inches

119

Jeremiah Johnson Riding the Tiger | acrylic, screenprinting, relief printing, ink, glow-in-the-dark pigment, graphite, and vinyl on Mylar, 48 x 60 inches

120

Jeremiah Johnson Williamsport, PA 323.209.5557 (No Gallery) jj@jeremiahjohnsonart.com / www.jeremiahjohnsonart.com / @jeremiahjohnsonart

b. 1974 Jersey Shore, PA

Education

2001

MFA, Syracuse University, Syracuse, NY

1997

BFA, Tyler School of Art, Temple University,

Philadelphia, PA

Solo Exhibitions

2015

The Story of Job, AHA Fine Art, New York, NY

2013

Never Enough, Converge Gallery, pop-up exhibition,

New York, NY

Group Exhibitions

2019

Selected Works from the Permanent Collection, Lore

Degenstein Gallery, Susquehanna University,

Selinsgrove, PA

2018

PULSE Art Fair, w/ AHA Fine Arts, Miami Beach, FL

Art on Paper NYC, AHA Fine Arts, New York, NY

2017

Art of the State, The State Museum of Pennsylvania,

Harrisburg, PA

2016

The City, Susquehanna Art Museum, Harrisburg, PA

2015

Jeremiah Johnson’s work combines an expressive hand and the use of mechanical means of reproduction or rendering. His work explores the dislocation between the contemporary drama of “dream and reality”—the notion that the world offers you both in different guises but gives you neither. He is also interested in the influence that commercial representations have on his own visual ideas about folklore, culture, and survival. These visual ideas are developed interchangeably in drawing and digital design and finished through painting, print, sculpture, and found material assemblage. Johnson was raised on a fruit and flower farm in the mountains of North Central Pennsylvania. He makes art in the studio he shares with his wife and fashion designer Duyen Nguyen in North Central Pennsylvania, as well as in South Vietnam.

Poppositions, w/ Collection Famille Servais, Brussels, Belgium

2014

Country Living, Samek Art Museum, Bucknell University, Lewisburg, PA

2013

Alter Egos and the Magical Other, Taubman Museum of Art, Roanoke, VA

Collections

Collection Famille Servais, Brussels, Belgium

Taubman Museum of Art, Roanoke, VA

The State Museum of Pennsylvania, Harrisburg, PA

Dru Arstark Fine Arts, New York, NY

Represented by

No Gallery, Los Angeles, CA

121

Johnson

Sophie Larrimore Double Duck | acrylic on linen, 72 x 54 inches

122

Sophie Larrimore Doubles | acrylic on unstretched linen, 75 x 55 inches

123

Sophie Larrimore Golden Hour | acrylic on linen, 77 x 54 inches

124

Sophie Larrimore Brooklyn, NY sophieclarrimore@gmail.com / www.sophielarrimore.com / @sophielarrimore

b. 1980 Annapolis, MD

Education

2004

BFA, The Cooper Union for the Advancement of Science

and Art, New York, NY

Residency

2008-09 Keyholder Residency, Lower East Side Printshop,

New York, NY

Solo Exhibitions

2019

Some New Paintings, o-o LA, Los Angeles, CA

2017

Sunday Painting, Nationale, Portland, OR

Group Exhibitions

2019

Footnote, Summertime Gallery, Brooklyn, NY

We Go Fast, Left Field Gallery, Los Osos, CA

Surf & Turf, Teen Party, Brooklyn, NY

2018

Between the Acts, Mother Gallery, Beacon, NY

Chromalicious, Geoffrey Young Gallery,

Great Barrington, MA

Interrupting Lines, Pt. 2 Gallery, Oakland, CA

Actually Weird, Underdonk, Brooklyn, NY

Painting for me is primarily concerned with composition and form. The subject, though important and with its own history, is a way of beginning. Much of my interest is in the shapes created, the color relationships, the surface, the edges, the tension between flat and illusionistic space. I begin with a concept of a finished work but the painting becomes itself in the process of making. Though not preconceived, every part of a painting is considered in relation to the whole and all of the elements need to fit for the finished work to feel resolved and successful.

2017 Home, Monya Rowe Gallery, Saint Augustine, FL

Deep Ssips, Honey Ramka, Brooklyn, NY

Publications

2019

Peach Doble, “Steamy Scenes of Fun and Fur,”

It’s Nice That

2018

Layla Leiman, “Fuzzy Forms and Surface Detail,”

ArtMaze Magazine

“Drinking, Walking, Washing,” Ambit, no. 231

125

Larrimore

Michela Martello Tokcha Talismana | Indian red pigment, acrylic, gold leaf, China marker, and vintage textile, 84 x 77 inches

126

Michela Martello Moons Over the Blue Lotus Pond | gesso, acrylic, embroidery, fabric collage, and Japanese vintage textile, 70 x 62 inches

127

Michela Martello Embers | Sumi ink, acrylic, and embroidery on linen, 90 x 104 inches

128

Michela Martello Brooklyn, NY 212.475.3669 (Pen + Brush NYC) mikimartello@aol.com / www.michelamartello.com / @michelamartello

b. 1965 Grosseto, Italy

Education

1987

MFA, Istituto Europeo di Design, Milan, Italy

1984

Diploma, Liceo artistico statale di Brera, Brera, Italy

Residencies

2018

Soulangh Cultural Park and Children’s Museum of the Arts, Tainan City, Taiwan

2017

Wooden Walls Mural Project and Parlor Gallery,

Asbury Park, NJ

Solo and Two-Person Exhibitions

2019

Everything Has a Vortex, Cultural Affairs Bureau, Soulangh

Cultural Park, Tainan City, Taiwan

Consequential Stranger, Artspace, Raleigh, NC

2018

Michela Martello/Tricia Wright, Pen + Brush,

New York, NY

2017

Future Is Goddess, Pen + Brush, New York, NY

2015

Most of my work is connected with the idea of intimacy. For these images I had strong visions, some in my dreams and some while awake, sometimes inspired by an Eastern philosophical symbology that I re-elaborate and by an imagery from the Mediterranean basin that belongs to my culture of origin, often with a spiritual and decorative dimension. They are visions that come from within me, persist, push and push, until I find the appropriate support mostly made of vintage materials, ranging from Japanese textiles to US military canvases, linen, embroideries, papers, all sewn together, until the background plot is ready to act as a negative space for my subjects. I believe I need to talk about my profound intimacies without actually revealing them, or rather, what I would like to reveal with my paintings is the mystery of intimacy, in this case “exploiting” the universal energetic feminine channel that is part of each one of us regardless our gender.

Time Zone, Museo dell’Altro e dell’Altrove di Metropoliz, Rome, Italy

Group Exhibitions

2020

Art Point, Tainan Museum of Fine Arts, Tainan City,

Taiwan

2019

Ingombri / L’altro Altrove, Museo d’Arte Contemporanea di

Roma, Rome, Italy 2018

Overlap: Life Tapestries, Robeson Art Gallery, Penn State, University Park, PA

Super S.H.E., Galleria Giovanni Bonelli, Milan, Italy

Publications

2019

Julia Hirsch, “Artist Michela Martello and Her Feminist Renaissance,” Tricycle Magazine

2017

Sarbani Gosh, review, Artnet News

Charles A. Riley, review, Hamptons Art Hub

Represented by

Pen + Brush NYC

Parlor Gallery, Asbury Park, NJ

129

Martello

Tracy Miller Double Bubble | oil on canvas, 60 x 60 inches

130

Tracy Miller Fish Hook | oil on canvas, 72 x 60 inches

131

Tracy Miller Banana Stand | oil on canvas, 54 x 48 inches

132

Tracy Miller Brooklyn, NY 347.841.6149 (Mrs.) tracy@tracymillerpaintings.com / www.tracymillerpaintings.com / @tracymillernyc

b. 1966 Storm Lake, IA

Education

1993

MFA, University of California, Berkeley

1992

Skowhegan School of Painting and Sculpture,

Skowhegan, ME

1989

BFA, The University of Iowa, Iowa City, IA

Solo and Two-Person Exhibitions

2016

Sarah Bedford & Tracy Miller: More, Mrs., New York, NY

2013

Big Paintings, American University Art Museum,

Washington, DC

2011

Feature Inc., New York, NY

2006

Feature Inc., New York, NY

2002

Feature Inc., New York, NY

2000

Mamie Holst & Tracy Miller, Feature Inc., New York, NY

Group Exhibition

2015

Ellen Berkenblit, Lee Mada and Tracy Miller, Derek Eller

My early large food paintings were landscapes with black lace doiliesâ&#x20AC;&#x201D;and gradually, the paintings are getting brighter and filled with ever more air and light. Over time, the under-painting of chaos and over-painting of representational images has grown to focus more on the abstract painting and neon glow underneath. I move paint around and attempt to make the work heave and glow and pop. Linking food, ecstatic longing, and paint has been the main theme in my work for thirty years.

Gallery, New York, NY

Awards

2018

NYFA/ NYSCA Artist Fellowship

2014

Guggenheim Fellowship

Pollock-Krasner Foundation Grant

2009

Alexander Rutsch Award

Represented by

Mrs., New York, NY

133

Miller

Nicholas Moenich Untitled (Come Meet the Monster Whose Numbers Are Infinite, 2019) | vinyl paint on sized canvas, 68 x 58 inches

134

Nicholas Moenich Untitled (From Ancient Times) | vinyl paint on sized canvas, 68 x 56 inches

135

Nicholas Moenich Untitled (Death, 2019) | vinyl paint on sized canvas, 26 x 22 inches

136

Nicholas Moenich Brooklyn, NY

b. 1985 Cleveland, OH

Education

2011

MFA, Hunter College, New York, NY

2008

BFA, Cleveland Institute of Art, Cleveland, OH

Residencies

2014

Visiting Artist, Anderson Ranch Art Center, Snowmass

Village, CO

Vermont Studio Center, Johnson, VT

Professional Experience

2016

Curator, Shroom Show, helper, Brooklyn, NY

Solo and Two-Person Exhibitions

2019

Taking inspiration from art history, mythology, punk rock, and science fiction, my paintings create eerie psychological spaces through a complex and personal formal language that is situated between figuration and abstraction. Incremental and anxious marks create optical confusion through figure/ground shifts and interlocking forms. Cats, mushrooms, Batmans, snakes, and jewels emerge out of undulating forms within the density of the picture plane. In the paintings these characters intertwine with text and dates to explore the anxiety surrounding the creative act and the passing of time. The tense and fragmented compositions of the paintings are direct metaphors of our twenty-first century’s hyperstimulated daily life of interconnecting media. My goal is to create paintings that simultaneously have material presence and believable pictorial space full of a certain sinister humor, exuberance, and simplification of form.

Wild Blue Yonder: Kari Cholnoky and Nicholas Moenich, Disturb the Neighbors, New York, NY

2018

NADA New York, w/ Disturb the Neighbors, New York, NY

2016

Haptic Morphologies: Nicholas Moenich and Matt Nichols,

Mountain, Brooklyn, NY 2014

If thats the name wewl do the same: Kristen Jensen + Nicholas Moenich, Harbor Gallery, Brooklyn, NY

Group Exhibitions

2019

There’s no basement at the Alamo, Reinberger Gallery,

Cleveland Institute of Art, Cleveland, OH

The Garden of Earthly Delights, Washington Art

Association, Washington Depot, CT

2018

Actually Weird, Underdonk, Brooklyn, NY

2015

Hyperactif: Alexander Calder, Larry Bell, Nicholas

Moenich, D’Agostino & Fiore, New York, NY

TIDEPOOL, Greenpoint Terminal Gallery, Brooklyn, NY

Awards

2019

Sharpe-Walentas Studio Program Award

2014

Grant, Vermont Studio Center

2011

Tony Smith Award 137

Moenich

Shiri Mordechay Tempest in a Teacupâ&#x20AC;&#x201C;Chapter I | ink paintings on paper, wire, and beads, 200 x 170 x 115 inches

138

Shiri Mordechay Tempest in a Teacupâ&#x20AC;&#x201C;Chapter IX (parts a & b) | ink paintings on paper, wire, and beads, 107 x 17 x 108 inches

139

Shiri Mordechay Untitled | ink paintings on paper, 65 x 75 x 2 inches

140

Shiri Mordechay Brooklyn, NY shirimordechay@hotmail.com / www.shirimordechay.com / @shiri_mordechay

b. 1974 Tel Aviv, Israel

Education

2007

MFA, School of Visual Arts, New York, NY

Solo Exhibitions

2017

Diane Rosenstein Gallery, Los Angeles, CA

2016

Diane Rosenstein Gallery, Los Angeles, CA

2015

Alter Space, San Francisco, CA

2014

Alter Space, San Francisco, CA

2010

Honor Fraser, Los Angeles, CA

2008

Mole Vanvitelliana, Ancona, Italy

2005

Plane Space, New York, NY

Group Exhibitions

2019

Dreamhouse vs. Punk House (plus Cat House), Serious

My work is primarily ink paintings on paper, often with wire and beads media. It is vividly detailed and labor-intensive. I create individual elements consisting of fantastical characters, interiors, and landscapes, then assemble them into three-dimensional worlds that are immersive and sprawling. I purposely maintain an approach of ambiguity toward my own psychological layers and those of my subject matter. I create my work piece by piece, one thing leading to the next. Like a trail of instinct. I want to preserve the enigma of my unconscious and not be inhibited by the ego. My work has cinematic elements as it passes through time and space, like scenes in a film—or a dream. It acts as a vacuum that sucks in information while spitting out bodily fluids, humor, horror, fear, and pleasure.

Topics, Los Angeles, CA 2018

SPRING/BREAK Art Show, w/ BravinLee Programs,

New York, NY

2011

Volta, New York, NY

2009

I Stepped into the Room, Tina Kim Gallery, New York, NY

2007

Many elements in my work are painted in what I refer to as a “classical” style. I think the classical can be associated with beauty. It is seductive, like the forbidden fruit promising to lure you into heaven and hell.

Phantasmania, Kemper Museum of Contemporary Art, Kansas City, MO

Publications

2017

Juxtapoz, June

2015

Artillery Magazine, November

2005

Art in America, June/July

141

Mordechay

Ebecho Muslimova Fatebe Lightning in the Mezzanine, 2019 | oil and acrylic on canvas, 66 x 60 inches

142

Ebecho Muslimova Fatebe Deep Frog Organza, 2019 | oil and acrylic on canvas, 60 x 66 inches

143

Ebecho Muslimova Fatebe Wet Attic, 2019 | oil and acrylic on canvas, 42 x 54 inches

144

Ebecho Muslimova Brooklyn, NY 917.388.2464 (Magenta Plains) http://www.magentaplains.com/exhibitions/ebecho-muslimova / @ebecho

b. 1984 Makhachkala, Dagestan, Russia

Education

2010

BFA, The Cooper Union for the Advancement of Science

and Art, New York, NY

Solo Exhibitions

2019

TRAPS!, Magenta Plains, New York, NY

2018

Ebecho Muslimova: 2017, Magenta Plains, New York, NY

2016

White Flag Projects, St. Louis, MO

2015

Room East, New York, NY

Group Exhibitions

2019

Life and Limbs, Swiss Institute, New York, NY

Throwback Jack, Fredericks & Freiser, New York, NY

Wars: 20th and 21st Centuries, David Nolan Gallery,

New York, NY

A Detached Hand, Magenta Plains, New York, NY

2018

No Fear of Fainting in a Gym, Kunst Halle Sankt Gallen,

St. Gallen, Switzerland

2017

Birth as Criterion, 32nd Biennale of Graphic Arts,

Ljubljana, Slovenia

Publications

2018

Ebecho Muslimova, Fatebe: Volume 2 (Three Star Books)

2015

Ebecho Muslimova, Fatebe: Volume 1 (Onestar Press)

Collections

Hirshhorn Museum and Sculpture Garden,

Washington, DC

Whitney Museum of American Art, New York, NY

Represented by

Magenta Plains, New York, NY

Galerie Maria Bernheim, Zurich, Switzerland

Ebecho Muslimova, known for her raucous and sexually uninhibited character Fatebe, creates paintings and works on paper that beguile the eye as much as they humor the mind. Fatebe’s physical contortions and unpredictable quandaries play themselves out like performances on the canvas: each work depicts a single event that uncannily combines selfconsciousness, comedy, and vulnerability. Muslimova’s technical prowess as a painter helps to underscore the sheer delight of Fatebe’s misadventures. “As her life continues, Fatebe is faced with newly articulated objects, stretched over landscapes that are populated with new temptations and ghosts. With adoring precision, Muslimova codifies the echoes of domesticity, luxury, nature, education, psychology, fetish, and art itself—images that have the capacity to haunt her. Nothing can deter Fatebe, though. From her gleeful smile, we can assume that her convictions only gain momentum with every new opportunity to test them.” –Natasha Stagg, CURA.

145

Muslimova

Ebecho Muslimova | Fatebe Deep Frog Organza, 2019 (detail)

Sophia Narrett Wishes | embroidery thread, fabric, aluminum, and acrylic, 72 x 39 inches

148

Sophia Narrett Wishes (detail) |

149

Sophia Narrett Grin | embroidery thread and fabric, 8 x 5.5 inches

150

Sophia Narrett Brooklyn, NY 323.461.3311 (Kohn Gallery) sophia.narrett@gmail.com / www.sophianarrett.com

b. 1987 Concord, MA

Education

2014

Skowhegan School of Painting and Sculpture,

Skowhegan, ME

2010

BA, Brown University, Providence, RI

Solo and Two-Person Exhibitions

2019

A Heart-Shaped Face, w/ Paul Rouphail, Jack Barrett,

New York, NY

2018

Certain Magic, BRIC, Brooklyn, NY

Group Exhibitions

2019

Do You Love Me?, P•P•O•W, New York, NY

Burke Prize, Museum of Arts and Design, New York, NY

2018

Seed, Kasmin, New York, NY

Awards

2019

Galerie Emerging Artist Award

2018

Pollock-Krasner Foundation Grant

Publications

2019

Darren Jones, “Do You Love Me?,” Artforum 58 (October)

2018

Love is transcendent, it disrupts the alienation that so often characterizes life. Desire can bring meaning and purpose, but experiencing it is not without risk. In these interactions, imagination can blur reality. I’m interested in the ways that adults play, the cathartic potential of romance and power exchange, and the emotional results of escapism. Initially a painter, I began working in embroidery in 2009. Although I came to embroidery for material reasons, I think of embroidery (and its implicit history) as helping to specify the tone that my stories are told in, one characterized by obsession, desire, and both the freedoms and restraints of femininity. The pace that embroidery dictates has become a way for me to commit to images and to speak about intense content in a sincere way.

Leslie Camhi, “Some of the Most Provocative Political Art Is

Made with Fibers,” T: New York Times Style Magazine,

March 14

Collections

CAPP Collection of Contemporary Art, University of

Maryland, College Park, MD

Museum of Arts and Design, New York, NY

RISD Museum, Providence, RI

Represented by

Kohn Gallery, Los Angeles, CA

151

Narrett

Justin Liam Oâ&#x20AC;&#x2122;Brien Will You Take Me as I Am? | oil on canvas, 48 x 36 inches

152

Justin Liam Oâ&#x20AC;&#x2122;Brien Locked in Perpetual Motion | oil on canvas, 40 x 36 inches

153

Justin Liam Oâ&#x20AC;&#x2122;Brien A Long Way Back from Here | oil on canvas, 24 x 18 inches

154

Justin Liam O’Brien Brooklyn, NY info@monyarowegallery.com / www.monyarowegallery.com / @justinliamobrien

b. 1991 Queens, NY

Education

2016

BFA, Pratt Institute, Brooklyn, NY

2013

AS, Suffolk County Community College, SUNY, Selden, NY

Solo and Two-Person Exhibitions

2019

Losing in the Form of Darkness, Monya Rowe Gallery,

New York, NY

2018

Rose-tinted: Justin Liam O’Brien and Celeste Rapone,

Monya Rowe Gallery, New York, NY

Group Exhibitions

2019

A Private Matter, LM Gallery, Latina, Italy

Melt, Chart, New York, NY

Vignettes, Richard Heller Gallery, Santa Monica, CA

Rust and Bones, Galerie Tanja Wagner, Berlin, Germany

Publications

2019

I make paintings of figures that outline my experience of queer affection, longing, tenderness, and loneliness. They evoke a sense of momentary wordlessness, a pregnant silence, and suspense. While the work is based on my own feelings and experiences, the figures are anonymous and archetypal. This invites the viewer to relate and empathize with the characters. The abstract space they are composed in reinforces the mood of the moment. My interest in the sensation of “just not having the words” is personal. It is related to a core question that I sublimate in my work: “Why do I still feel lonely?” Many queer people relate to this question. Even as we thrive, queer people constantly revisit the trauma of early closeted life after coming out. I strive to initiate a dialogue with the audience about this. The conversation is vital. It further elucidates our feelings, confirms shared experiences, and strengthens our community. I consider this to be the most important function of my work, and a metric for its success.

Sasha Bogojev “Losing in the Form of Darkness: Justin Liam O’Brien’s Solo at Monya Rowe Gallery,” Juxtapoz,

December 11

Kristian Vistrup Madsen, “Rust & Bones,” Artforum,

October

Zahra Nasser, “Melt at CHART,” Artforum online

Sasha Bogojev “Intimate Bedroom Scenes: An Interview with Justin Liam O’Brien,” Juxtapoz, March 25

Represented by

Monya Rowe Gallery, New York, NY

155

O’Brien

Danielle Orchard Bra Strap (After Kirchner), 2019 | oil on canvas, 55 x 42 inches

156

Danielle Orchard The Pool in Palm Springs, 2019 | oil on canvas, 80 x 68 inches

157

Danielle Orchard Parade Float, 2019 | oil on canvas, 83 x 98 inches

158

Danielle Orchard Brooklyn, NY 646.918.6824 (Jack Hanley Gallery) daniorchardstudio@gmail.com / www.danielleorchard.com / @daniorchard

b. 1985 Michigan City, IN

Education

2013

MFA, Hunter College, New York, NY

2009

BFA, Indiana University, Bloomington, IN

Residency

2015

Artist in Residence, Yaddo, Saratoga Springs, NY

Solo Exhibitions

2020

Jack Hanley Gallery, New York, NY

2019

V1 Gallery, Copenhagen, Denmark

Andrew Rafacz, Chicago, IL

2018

Jack Hanley Gallery, New York, NY

2017

Journal Gallery, Brooklyn, NY

Group Exhibitions

2017

DC Moore Gallery, New York, NY

Thierry Goldberg Gallery, New York, NY

Award

2013

The women I paint are amalgams of personal memories, arthistorical references, and an evolving fantasy version of ordinary life in which the motivations and interior worlds of these characters are shown to influence their physical surroundings. Tableaux of ordinary female leisure—set on beaches, in parks, and in baths—depart from familiar depictions and move toward a barely concealed anxiety. Every woman is distracted and influenced by a sense of being watched. I’m interested in the inexorable role that drama and performance play in our everyday emotional lives, particularly in those of women. I’m influenced by the impossible spatial and temporal planes and fragmentation that defined analytical cubism, and these paintings aim to join that art-historical precedent to the real, lived experiences of feminine physicality.

Master of Fine Art Fellowship in Painting and Sculpture, Dedalus Foundation

Represented by

Jack Hanley Gallery, New York, NY

159

Orchard

Danielle Orchard | Parada Float, 2019 (detail)

Nathlie Provosty Gaze | oil on linen, 19 x 15 inches

162

Nathlie Provosty Lode | oil on linen, 19 x 15 inches

163

Nathlie Provosty Water Thief | oil on linen, 96 x 107 inches

164

Nathlie Provosty New York, NY 212.563.7821 (Nathalie Karg Gallery) www.nathlieprovosty.com

b. 1981 Cincinnati, OH

Solo Exhibitions

2019

Water Thief, Nathalie Karg Gallery, New York, NY

2018

Nathlie Provosty, Museo Nazionale del Risorgimento,

Turin, Italy

My Pupil Is an Anvil, Nathalie Karg Gallery, New York, NY

2017

Life of Forms, A Palazzo Gallery, Brescia, Italy

Group Exhibitions

2019

Transmissions, Vin Vin, Vienna, Austria

I use the tactile qualities of oil paint to combine highly sensual surfaces with subtle, multi-referential imagery. The shapes allude to letters, bodies, and gravity, and resist singular interpretation. Parts of the paintings appear and disappear as you walk around them, due to their shifting relationship to light. My driving concern is the achievement of accuracy to the sensorial experience within the flicker of oneâ&#x20AC;&#x2122;s own intellectual, emotional, and material perception.

Open Ended: Painting and Sculpture, 1900 to Now, San Francisco Museum of Modern Art, San Francisco, CA

Downtown Painting, presented by Alex Katz, Peter

Freeman, New York, NY

Doing What Comes Naturally: Seven Painters in Their

Prime, The Milton Resnick and Pat Passlof Foundation,

New York, NY 2018

Untitled exhibition, Kunstall Stavanger, Stavanger,

Norway

The Joy of Color, Mnuchin Gallery, New York, NY

Collections

Albright-Knox Art Gallery

Baltimore Museum of Art

Collezione Giancarlo e Danna Olgiati

The Museum of Modern Art, New York

San Francisco Museum of Modern Art

Represented by

Nathalie Karg Gallery, New York, NY

165

Provosty

Kenny Rivero Portrait as a Self, 2018 | oil on canvas, 14 x 10.5 inches

166

Kenny Rivero Conjure Meeting, 2018 | oil on canvas, 10 x 10 inches

167

Kenny Rivero New Hat, 2019 | acrylic and Flashe on canvas, 72.5 x 54 inches

168

Kenny Rivero The Bronx, NY 212.226.2646 (Charles Moffett) www.kennyrivero.com

b. 1981 New York, NY

Education

2017

Skowhegan School of Painting and Sculpture,

Skowhegan, ME

2012

MFA, Yale University School of Art, New Haven, CT

2006

BFA, School of Visual Arts, New York, NY

Solo and Two-Person Exhibitions

2020

Two Truths: Layla Ali and Kenny Rivero, Esther Massry

Gallery, The College of Saint Rose, Albany, NY 2019

The Disappearing Man, Primary., Miami, FL

2018

i can see you with my eyes closed, Charles Moffett,

New York, NY

Don’t Look for Me, The Delaware Contemporary,

Wilmington, DE

2016

And I Will Be the Same, Roswell Museum and Art Center,

Roswell, NM 2015

Supermane and the Hidden G, AC Institute, New York, NY

2014

I Can Love You Better, Shin Gallery, New York, NY

Group Exhibitions

2019

Painting Is Its Own Country, Harvey B. Gantt Center for

Kenny Rivero has taught at the School of Visual Arts, Virginia Commonwealth University, Massachusetts College of Art and Design, and Yale University. He is the recipient of a Doonesbury Award, the Robert Schoelkopf Memorial Travel Grant, the Rema Hort Mann Foundation Emerging Artist Grant, a Visiting Scholar position at New York University, and the Joan Mitchell Painting and Sculptor Grant. He has exhibited his work in the US and abroad in venues such as the Pera Museum, the Stedelijk Museum Amsterdam, the Contemporary Art Museum in St. Louis, Pérez Art Museum Miami, the Sugar Hill Children’s Museum of Art and Storytelling, El Museo del Barrio, and the Delaware Contemporary. Residencies include Lower Manhattan Cultural Council Workspace Program, Roswell Artist-in-Residence Foundation, The Fountainhead Residency, The Skowhegan School of Painting and Sculpture, and The Macedonia Institute. Rivero is currently a professor at the Cooper Union for the Advancement of Science and Art and the Yale School of Art.

African American Arts + Culture, Charlotte, NC 2018

The Lure of the Dark: Contemporary Artists Conjure the

Night, MASS MoCA, North Adams, MA

Black Pulp!, The African American Museum in

Philadelphia, Philadelphia, PA

2017

Spots, Dots, Pips, Tiles: An Exhibition About Dominoes,

Pérez Art Museum Miami, Miami, FL 2013

La Bienal 2013: Here Is Where We Jump, El Museo del

Barrio, New York, NY

Collection

2019

Pérez Art Museum Miami

Represented by

Charles Moffett, New York, NY 169

Rivero

Bill Saylor Disintegrating Cobra, 2019 | oil, chalk, and spray paint on raw canvas, 84 x 64 inches

170

Bill Saylor Double Overhead, 2018 | oil, charcoal, Flashe, and spray paint on canvas, 84 x 64 inches

171

Bill Saylor Drifters | oil, spray paint, and charcoal on canvas, 120 x 96 inches

172

Bill Saylor Brooklyn, NY 917.388.2464 (Magenta Plains) www.billsaylor.com / @saylor.bill

b. 1960 Willow Grove, PA

Education

1985

BFA, California State University, Long Beach, CA

Residency

2010

Chinati Foundation, Marfa, TX

Solo and Two-Person Exhibitions

2019

Neptune’s Machine, Magenta Plains, New York, NY

2017

Shadow Ballers, Magenta Plains, New York, NY

2015

Makebish, New York, NY

2012

Bill Saylor–Aidas Bareikis, Shoot the Lobster,

New York, NY

2011

Audio Tuna Sunshine, Leo Koenig Inc., New York, NY

2010

Ghost Light Junkie, The Journal Gallery, Brooklyn, NY

2009

If fantasies came by the gallon, this baby could run forever, Leo Koenig Inc., New York, NY

2007

No Confusion, Big Mistakes, Galleri Loyal,

Stockholm, Sweden

2003

Softail Project, Leo Koenig Inc., New York, NY

Group Exhibition

2017

Animal Farm, The Brant Foundation Art Study Center,

Bill Saylor’s work is distinguished by his merging of explosive, gestural abstraction with a comprehensive personal iconography, revealing an anthropogenic concern and interest in natural history, weather patterns, and marine biology. Using spray paint, charcoal, and oil paint on canvas, Saylor splatters and scrawls a cast of recurring motifs exploring the significance of underground subcultures and the environment. Drawing and assemblage serve as crucial and enduring facets of Saylor’s practice, taking the form of graphite and charcoal on paper and panel, and sculptures made from salvaged materials and automotive parts. Saylor’s work recycles and reframes elements from graffiti, cave painting, and industrial production while mining the legacy of both American and European expressionism. The resulting effect amounts to an eco-scavenger sensibility, where images and surfaces are built up from the excess waste and detritus of our culture. Saylor’s postapocalyptic beachcomber aesthetic reminds one of a world where humanity exists amid a fragile tension of creation and destruction and that our human-built culture is but one element of a much larger and complex ecosystem.

Greenwich, CT

Publications

2010

“Ho Bags, Harmony Korine, and Bill Saylor,” Journal

Magazine 2003

Bill Saylor and Josh Smith, self-published zine

Represented by

Magenta Plains, New York, NY

173

Saylor

Bill Saylor | Drifters (detail)

Gretchen Scherer Stainlawâ&#x20AC;&#x2122;s Dream at Dulwich | oil on panel, 18 x 24 inches

176

Gretchen Scherer The Hidden Cabinets of Sir John Soane | oil on panel, 18 x 24 inches

177

Gretchen Scherer A Day at the Met | oil on panel, 24 x 18 inches

178

Gretchen Scherer Brooklyn, NY info@monyarowegallery.com / www.monyarowegallery.com / @gretchen_scherer

b. 1979 Indianapolis, IN

Education

2006

MFA, Hunter College, New York, NY

2003

BFA, The University of Illinois at Chicago, Chicago, IL

1998

The School of the Art Institute of Chicago, Chicago, IL

Residency

2015

Vermont Studio Center Residency, Johnson, VT

Solo and Two-Person Exhibitions

2020

Monya Rowe Gallery, New York, NY

2017

Painting Everyday III, Spoonbill Studio, New York, NY

2015

Armin Volckers | Gretchen Scherer, Galerie Lake,

Oldenburg, Germany

Group Exhibitions

2019

Not All Doors Are the Same, Booth Gallery, New York, NY

2018

Between the Walls, Tillou Fine Art, Brooklyn, NY

2016

Back in a Moment, C. Grimaldis Projects, Baltimore, MD

Awards

2018

NYSCA/NYFA Artist Fellowship

2015

Nominee, Rema Hort Mann Emerging Artist Grant

My paintings are small, reimagined depictions of art museums and their collections. They depart from the original sources of inspiration to become imaginary spaces of possibility. The compositions I create are a blend of how the museum might have looked in the past and the way I imagine the space as it could be. Many of the places I depict I have never been to but experience virtually. Before the advent of the white cube, the first public museums were arranged with paintings hanging from floor to ceiling on colorful walls. It must have been an overwhelming but also wondrous experience. While those days are long past, I think we are experiencing a similar visual phenomenon now with the advent of digitalization; we constantly see an endless barrage of images. In my work, I look to the past to shed light on our current visual culture and revisit the paintings and places that inspire me.

Represented by

Monya Rowe Gallery, New York, NY

179

Scherer

Gretchen Scherer | A Day at the Met (detail)

Jordan Seaberry The Birth Partners | acrylic and mixed media on canvas, 67 x 48 inches

182

Jordan Seaberry Blueberry (The Right to Self) | acrylic and mixed media on canvas, 50 x 82 inches

183

Jordan Seaberry Punish/Control (To End Solitary Confinement) | oil, acrylic, graphite, mixed media, and collage on canvas, 22 x 30 inches

184

Jordan Seaberry Providence, RI 773.344.5295 jordanseaberry@gmail.com / www.jordanseaberry.com / @jordanseaberry

b. 1989 Chicago, IL

Education

2020

MSL candidate, Roger Williams University School of Law, Bristol, RI

2015

Skowhegan School of Painting and Sculpture,

Skowhegan, ME

2014

BFA, Rhode Island School of Design, Providence, RI

Professional Experience

2016-20 Director of Public Policy and Advocacy, The Nonviolence

Institute, Providence, RI

Solo Exhibitions

2019

We Speak Upon the Ashes, Steven Zevitas Gallery,

Boston, MA

A Blacker Landscape, The University of Rhode Island, Providence, RI

Group Exhibitions

2019

New England Biennial, deCordova Sculpture Park and

Most days I’m surrounded by people who have been scarred by violence, lost loved ones to homicide, sacrificed years to prison. As both an artist and Director of Public Policy at a criminal justice reform organization, I make paintings and policies, in equal measure. I have been lucky to help fight for some meaningful systems change, including the “Unshackling Pregnant Prisoners” bill in Rhode Island, Probation Reform bills, “Ban the Box” legislation, and the far-reaching Community–Police Relationship Act, among others. These are extensions of the paintings, and the paintings are generative spaces for the organizing. I think artists should feel embedded, indebted, and integral to the efforts to end cash bail, to outlaw housing discrimination, to protect abortion rights, and on and on. If we believe, as I do, that our historical positioning influences the present operation of our society, then the same must be true of a life. Policy change requires the imagining of something new. The artist isn’t just the picture-maker, but the historian, the griot, the architect, the organizer.

Museum, Lincoln, MA

SOM, Penn State Abington Art Gallery, Pennsylvania State University, Abington, PA

2018

The Phantom of Liberty: Contemporary Works in the RISD Museum Collection, RISD Museum, Providence, RI

Cosmic Traffic Jam, Zevitas Marcus Gallery,

Los Angeles, CA

Coded., Mills Gallery, Boston Center for the Arts,

Boston, MA

NAVA, Napoleon Gallery, Philadelphia, PA

Publications

2019

“For This Artist and Community Organizer, It’s All Coming

Together,” Boston Globe, April

“This Providence Artist Uses His Paintings as a Weapon

Against Injustice,” Boston Magazine, August

“A Way to Right a Drug War Wrong,” Boston Globe,

November

185

Seaberry

Jordan Seaberry | The Birth Partners (detail)

Alisa Sikelianos-Carter We Are the Ones We Have Been Waiting For | mixed media on archival paper, 96 x 42 inches

188

Alisa Sikelianos-Carter Return 2 Earth | mixed media on archival paper, 120 x 84 inches

189

Alisa Sikelianos-Carter Afronauts and Ancestors | mixed media on archival paper, 93 x 84 inches

190

Alisa Sikelianos-Carter Albany, NY alisa.sikelianos.carter@gmail.com / www.alisasikelianoscarter.com / @alisasikelianoscarter

b. 1983 Boynton Beach, FL

Education

2017

MA, University at Albany, State University of New York, Albany, NY

2015

BA, University at Albany, State University of New York, Albany, NY

Residencies

2020

NXTHVN Studio Fellowship, New Haven, CT

2019

Millay Colony for the Arts, Austerlitz, NY

The Wassaic Project, Wassaic, NY

Yaddo, Saratoga Springs, NY

2018

Vermont Studio Center Residency Fellowship,

Johnson, VT

Professional Experience

2019

My work asserts that Black features are a manifestation of a sacred and divine technology that have served as a means of survival, both physically and metaphysically. I envision a cosmically bountiful world that celebrates and pays homage to ancestral majesty, power, and aesthetics. Inspired by traditionally Black hairstyles, I use Web- and catalogueâ&#x20AC;&#x201C;sourced images to construct new archetypes existing in a luminous, otherworldly reality. Through opulent, large-scale paintings, their mixed media ranging from interference pigment to coarse mica, I create a mythology that is centered on Black resistance and utilizes the body as a site of alchemy and divinity.

Visiting Instructor of Painting, School of Humanities, Arts and Social Sciences, Rensselaer Polytechnic Institute,

Troy, NY

Solo Exhibition

2020

Mandeville Gallery, Union College, Schenectady, NY

Group Exhibitions

2019

Mohawk Hudson Regional, The Hyde Collection,

Glens Falls, NY

Serious Sparkle, Tang Teaching Museum at Skidmore

College, Saratoga Springs, NY

In Place of Now, Opalka Gallery, Albany, NY

Black Futures, White Gallery, Portland State University, Portland, OR

191

Sikelianos-Carter

Dawn Southworth Moroccan Mint | vintage ephemera, ironing board covers, antique cottons, thread, stain, paint, pencil, and pyrography on paper, 42 x 30 inches

192

Dawn Southworth Good Fortune | vintage ephemera, ironing board covers, antique cottons, thread, stain, paint, ink, pencil, and pyrography on paper, 42 x 30 inches

193

Dawn Southworth Treasury | vintage ephemera, ironing board covers, antique cottons, thread, stain, paint, ink, charcoal, pencil, and pyrography on paper, 60 x 40 inches

194

Dawn Southworth Gloucester, MA 978.290.2107 dawn_southworth@hotmail.com / www.dawnsouthworth.com / @dawn_southworth

b. Arlington, MA

Solo Exhibitions

2017

Premonition: Paintings and Sculpture, Clark Gallery,

Lincoln, MA

2016

Reynolds Fine Art, New Haven, CT

2015

Arden Gallery, Boston, MA

2014

A Secret World, Rice Polak Gallery, Provincetown, MA

2008

Links, Jane Deering Gallery, Santa Barbara, CA

2005

Talebearer / The Art of Dawn Southworth, Fuller Craft

Museum, Brockton, MA 2004

Local Motive: Public Art of the Beaten Path, Revolving Museum, Lowell, MA

Recent Works, Marguerite Oestreicher Gallery,

New Orleans, LA

2000

James Gallery, Houston, TX

1997

Tableaus and Assemblages, Addison Gallery of American

Working with a multitude of materials affords me room to experiment with techniques and processes. I draw, paint, sew, collage, hammer, burn, and wrap. My work begins with the act of collecting. My studio houses well-loved fabrics, burnt ironingboard covers, found and rusted metals, vintage handwritten journals, photographs, and reclaimed canvases. When fused together they evoke a sense of testimony and nostalgia that I try to retain as I construct my own personal narrative. My intent is to pair my personal stories and memories with tales naturally embedded in the artifacts. It is with these worn objects that I simultaneously create and destroy, adorn and strip down. There is a world of whimsy in hand-drawn shapes that I am constantly exploring. I am entranced by simple figures, such as vessels, cakes, and chairs, and also by simpler abstract and organic forms. I often repeat, replicate, and reinvent a shape or symbol throughout a piece; it becomes the motif. The motif becomes a visual mantra, which mirrors the cyclical nature of my process.

Art, Andover, MA

Awards

2004

Massachusetts Cultural Council Artists Fellowship

2002

Artistâ&#x20AC;&#x2122;s Resource Trust Fellowship, Berkshire Taconic

Community Foundation

Collections

US Embassy, Morocco, Casablanca

Fogg Art Museum, Harvard University, Cambridge, MA

Addison Gallery of American Art, Andover, MA

DeCordova Museum and Sculpture Park, Lincoln, MA

195

Southworth

Laurel Sparks Quad I | water-based paint, and paper pulp on woven canvas strips, 48 x 48 inches

196

Laurel Sparks Quad III | water-based paint on woven canvas strips, 48 x 48 inches

197

Laurel Sparks Quad IV | water-based paint on woven canvas strips, 48 x 48 inches

198

Laurel Sparks Brooklyn, NY 212.352.9700 (Kate Werble Gallery) www.laurelsparks.com

b. 1972 Phoenix, AZ

Education

2004

MFA, Milton Avery Graduate School of Art, Bard College, Annandale-on-Hudson, NY

1995

BFA, School of the Museum of Fine Arts, Boston, MA,

Tufts University, Medford, MA

Residencies

2019

MacDowell Colony, Peterborough, NH

2014

Robert Blackburn Printmaking Workshop, The Elizabeth Foundation for the Arts, New York, NY

2013

Fire Island Artist Residency, Fire Island, NY

Solo Exhibitions

2018

Geomantria, Kate Werble Gallery, New York, NY

2016

Although I call myself a painter, my process is closer to mad science. Poured gesso shapes and woven patterns are determined by magical calculations rather than formal design. Directional lines and points are assigned specific colors, numbers, and elements. As I follow occult systems of correspondences, the paintings generate themselves. Kabbalistic diagrams, string figures, and mathematical poetry provide options for painterly scaffolding with an interdependence of modular parts. In the process of translating these systems into geometric tableaux, I actively seek tension, irregularities, and contradiction. Fluid lines, stains, and frayed edges disrupt the stable elegance of interlocking shapes; they assert feral energy that is irreverent toward precision.

Magic Squares, Barbara Walters Gallery, Sarah Lawrence College, Bronxville, NY

2015

Rubedo, Kate Werble Gallery, New York, NY

Group Exhibitions

2018

All Over the Moon: Laurel Sparks, Lily Stockman, Richard Tinkler, Cheim & Read, New York, NY

My Vicious Throbbing Heart: Animating Desire in Abstract

Painting, Franklin Street Works, Stamford, CT

Haptic Tactics, Leslie–Lohman Museum of Art,

New York, NY

2017

Tie Up, Draw Down, Center for Craft, Creativity and Design,

Asheville, NC 2018

Publications Jerry Saltz, “See: ‘All Over the Moon,’” New York Magazine, August

Johanna Fateman, “‘All Over the Moon’ at Cheim & Read,” New Yorker, July

Alfred MacAdam, “Laurel Sparks, Geomantria,” Brooklyn

Rail, March

Represented by

Kate Werble Gallery, New York, NY

199

Sparks

Kathia L. St. Hilaire 100% Kanekalon | oil-based relief with hair collage, 48 x 36 inches

200

Kathia L. St. Hilaire CANTER | oil-based relief on box-braided hair, 36 x 48 inches

201

Kathia L. St. Hilaire Acassan | oil-based relief collage, 36 x 48 inches

202

Kathia L. St. Hilaire New Haven, CT kathia.st.hilaire@yale.edu / @kathiast.hilaire

b. 1995 West Palm Beach, FL

Education

2020

MFA candidate, Yale School of Art, New Haven, CT

Group Exhibitions

2019

Group Show, Zidoun-Bossuyt Gallery, Luxembourg

Group Show, Derek Eller Gallery, New York, NY

NADA Miami, w/ Derek Eller Gallery, Miami, FL

Award

2019

Jorge PĂŠrez Award

Collections

The Bunker Artspace: The Collection of Beth Rudin

DeWoody, West Palm Beach, FL

Special Collections, Fleet Library, Rhode Island School

of Design

All my life I have lived in a predominantly Caribbean and African American area in South Florida. My experiences in growing up with tension between African American and Caribbean subcultures have influenced me to see how my history exists within their diaspora. My work is driven by both my reality and my connection to Haitian diaspora. I recognize both my ties and disconnection from my familyâ&#x20AC;&#x2122;s ancestral past by considering the possibilities of urban space, cultural identification, innate and intuitive beliefs, as well as a conscious seeking of links that reveal continuities hidden by the mainstream. My work affirms and memorializes controversial, historical, and political issues that deal with both marginalized and privileged communities of neo-diaspora.

203

St. Hilaire

Kathia St. Hilaire | Acassan (detail)

Willie Stewart Songs to Learn and Sing but (This Is Not a Love Song) | colored pencil on cotton board, inkjet on polystyrene board, acrylic on canvas over panel, 60.5 x 40 inches

206

Willie Stewart Everything Counts | colored pencil and ink on cotton board, inkjet and acrylic on polystyrene board, acrylic on canvas over panel, 60.5 x 40 inches

207

Willie Stewart Sunset in the Flat Field | colored pencil on cotton board, acrylic and u.m. vinyl on polystyrene board, and acrylic on canvas over panel, 72.5 x 48 inches

208

Willie Stewart New Haven, CT 310.652.1711 (Morán Morán) www.willie-stewart.com / @williestewart

b. 1982 Gallatin, TN

Education

2018

MFA, Yale University, New Haven, CT

2016

BFA, The Cooper Union for the Advancement of Science

and Art, New York, NY

2014

Skowhegan School of Painting and Sculpture,

Skowhegan, ME

Residency

2016

Pioneer Works, Brooklyn, NY

Solo and Two-Person Exhibitions

2019

In Between Days, Morán Morán, Los Angeles, CA

2017

Willie Stewart’s work images his understanding of how we regard and arrange time, where we place longing, and what reminiscence looks like. Overall, his imagery tends to evoke rather than describe an experience. Through his usage of hallucinatory tropes, he invites us to a symbolists’ trance of metaphorical and subliminal transcendence. An investigation of memories, both personal and cultural, arise through these different perceptions of time, while he also offers a nostalgic capsule and embracement of sentimentality, fixing instants between two points—a beginning and an end.

Grand Ole Opera: Stewart & Stewart, w/ Brent Stewart, Pioneer Works, Brooklyn, NY

2016

House on Fascination Street, Motel, Brooklyn, NY

Runners, w/ Brent Stewart, Seed Space, Nashville, TN

2015

Six Flags Part 2, 41 Cooper Gallery, New York, NY

2014

The Love You Withhold Is the Pain that You Carry, Kijidome, Boston, MA

Group Exhibition

2018

Objects to Identify, Morán Morán, Los Angeles, CA

Awards

2016

Elliot Lash Memorial Prize

2015

Yip Harburg Foundation Award

2014

Alex Katz Fellowship

2013

Independent Spirit Award, Nashville Film Festival

Represented by

Morán Morán, Los Angeles, CA

209

Stewart

Cynthia Talmadge Frank E. Campbell (Golden Hour) | oil on linen with painted wood frame, 41 x 29 inches

210

Cynthia Talmadge Frank E. Campbell (Dusk) | oil on linen with painted wood frame, 66 x 47 inches

211

Cynthia Talmadge Still Life with Trellis | sand on panel, 58 x 94 inches

212

Cynthia Talmadge New York, NY 248.672.6791 (56 HENRY) talmadge.cynthia@gmail.com / @cynthia_talmadge

b. 1989 New York, NY

Education

2011

BA, Rhode Island School of Design

Solo Exhibitions

2019

Four Courtroom Outfts of Anna Delvey, Soft Opening,

London, England

Of Purism, Nina Johnson, Miami, FL

2018

1076 Madison, 56 HENRY, New York, NY

As the World Turns, Halsey McKay Gallery, New York, NY

2017

Leaves of Absence, 56 HENRY, New York, NY

NADA Miami, w/ 56 Henry, Miami, FL

Group Exhibitions

2019

The Views, Fisher Parrish Gallery, Brooklyn, NY

For Mario, Tina Kim Gallery, New York, NY

Publications

2019

I make work about the space between a person’s public façade and private experience: the space between what you want people to know and what you can’t help people knowing. Diane Arbus called this the gap between intention and effect, and my work engages the fraudulence one feels when life approaches cliché. I work across different mediums, including oil paint, sand on panel, and photography. Previous subject matter has ranged from mental hospitals with prestigious alumni to soap opera title cards, and the famous New York funeral home Frank E. Campbell.

Roberta Smith, “White Cube? These 3 Art Shows Buck Convention,” New York Times, January

“Cynthia Talmadge’s Viewing Party,” New Yorker, March

Wallace Ludel, “Cynthia Talmadge,” Artforum, November

“25 Things to Do Over the Next 2 Weeks: Watch

Marvelous Mrs. Maisel, Read Insomnia, Listen to Warm,” New York Times, November

Represented by

56 HENRY, New York, NY

213

Talmadge

Anastasiya Tarasenko You Canâ&#x20AC;&#x2122;t Teach Old Dogs New Tricks | oil paint on copper panel, 48 x 36 inches

214

Anastasiya Tarasenko Grin and Bare It | oil paint and resin clay on copper panel, 48 x 36 inches

215

Anastasiya Tarasenko I Hold These Truths to Be Self-Evident | oil paint on copper panel, 18 x 24 inches

216

Anastasiya Tarasenko Brooklyn, NY anastasiya.tarasenko@yahoo.com / www.atarasenko.com / @atarasenko

b. 1989 Kiev, Ukraine

Residencies

2019

PLOP Artist Residency, London, England

2018

Desierto 14 Residency, Las Margaritas, Mexico

2017

Prix Henry Clews and Residency, La Napoule Art

Foundation, Mandelieu–La Napoule, France

2016

Leipzig International Art Programme Residency,

Leipzig, Germany

Group Exhibitions

2019

Pool Party, Field Projects w/ C24 Gallery, New York, NY

2018

Hot Farce, Field Projects, New York, NY

2017

New York Academy of Art Eleventh Annual Summer

I like to think of what I do as social critique; it’s sharp, it’s biting, and it’s aimed at everyone. The images themselves, however, are often pastoral, convivial, and humorous in the way I compose them. This reflects the true dichotomy of existence, that we are all things at once, existing simultaneously with joy and pain, innocence and perversion. It is my self-appointed task as an artist to observe and report these inescapable truths, much in the same way a court jester is given special dispensation to mock his powerful patrons. But far from being an aloof observer, I’m probably hardest on myself. With the same harsh bite, I make self-portraits with words and images that sting me personally every day. In a sense, I want to show you, the viewers, that I am complicit too.

Exhibition, Flowers Gallery, New York, NY

Eye to Eye, New York Academy of Art, New York, NY

2016

Take Home a Nude, Sotheby’s, New York, NY

Transmission: New York>>Leipzig, Spinnerei,

Leipzig, Germany

New York Academy of Art Tenth Annual Summer Exhibition,

Flowers Gallery, New York, NY

217

Tarasenko

Anastasiya Tarasenko | I Hold These Truths to be Self Evident(detail)

Tracy Thomason Boney Theater | oil and marble dust on linen, 20 x 16 inches

220

Tracy Thomason A Book or a Bellow | oil and marble dust on linen, 20 x 16 inches

221

Tracy Thomason Lady Slippers | oil and marble dust on linen, 20 x 16 inches

222

Tracy Thomason Brooklyn, NY 212.989.7700 (Marinaro) www.marinaro.biz/tracy-thomason / @tracyhelenathomason

b. 1984 Gaithersburg, MD

Education

2008

MFA, Cranbrook Academy of Art, Bloomfield Hills, MI

2006

BFA, Maryland Institute College of Art, Baltimore, MD

Residencies

2019

Sharpe-Walentas Studio Program, Brooklyn, NY

2014

Atlantic Center for the Arts Residency,

New Smyrna Beach, FL

Solo Exhibitions

2020

Marinaro, New York, NY

2017

Symbols, Signs and Signals, Marinaro, New York, NY

2016

Peter Halley and Tracy Thomason, Teen Party,

Brooklyn, NY

Group Exhibitions

2019

I make textural paintings built from classical materials, digging into the ancient, earthly, and tangible. I hand-mix marble dust and paint into a claylike material that I carefully apply to rough linen surfaces. Layered in sequence with surgical precision, over time a mottled rocky ground forms, revealing itself to have more in common with something etched into a cave or washed up like rubble on a beach. Marks fluctuate between quick stabs of stone carving tools, knife slices, and the gentle insistence of a powdery drawn line. I apply sculpted abstract glyphs as if in meditation, snapping the works into graphic clarity. Something slim may be a bullhorn, a book, a brain. Denser shapes often reference the female body, or summon nocturnal landscapes—form, color, and process as language. Gesture and materiality that travels backward and inward in an effort to move forward. These painting are meant to be read in addition to being seen and felt.

You Haven’t Started Wondering About Yet . . . , Halsey McKay, East Hampton, NY

Notebook, 56 HENRY, New York, NY

2018

Carry the Bend, Brennan & Griffin, New York, NY

Line and Verse, Andréhn-Schiptjenko, Stockholm, Sweden

2017

SPRING/BREAK Art Show, w/ Cuevas Tilleard Projects, New York, NY

2016

Monochromes, Asya Geisberg Gallery, New York, NY

Publications

2017

Clayton Press, “Symbols, Signs and Signals: Tracy

Thomason at Marinaro,” Forbes, November

“Tracy Thomason,” New Yorker, December

2016

Scott Indrisek, “Tracy Thomason’s Emotive Abstraction,” Blouin Artinfo, November

Represented by

Marinaro, New York, NY

223

Thomason

Richard Tinkler Book 5 Volume 1 Page 32.2 | pen on paper, 14 x 11 inches

224

Richard Tinkler Book 6 Volume 1 Page 2 | pen on paper, 14 x 11 inches

225

Richard Tinkler Book 5A Volume 1 Page 25.1 | colored pencil on paper, 24 x 18 inches

226

Richard Tinkler New York, NY 248.672.6791 (56 HENRY) richarddtinklerjr@gmail.com / @richardtinkler

b. 1975 Westminster, MD

Education

2003

MFA, Hunter College, New York, NY

1999

BA, University of North Texas, Denton, TX

Solo Exhibitions

2019

Widening Circles, Halsey McKay Gallery,

East Hampton, NY

The Door to the Cosmos, the Echo of Memory which

Projects into the Future, and the Tally of the Soul,

Team Gallery, New York, NY

2018

25 Small Paintings and Four Larger Paintings, LaMontagne

Gallery, Boston, MA

Drawings, 56 HENRY, New York, NY

New Paintings, Albert Merola Gallery, Provincetown, MA

2017

Paintings and Drawings, 56 HENRY, New York, NY

Group Exhibitions

2019

Notebook, 56 HENRY, New York, NY

2018

Strange Attractions, Kerry Schuss, New York, NY

All Over the Moon, Cheim & Read, New York, NY

2017

Summer Show, Hal Bromm Gallery, New York, NY

Mentors, CFHILL Art Space, Stockholm, Sweden

Represented by

56 HENRY, New York, NY

I make drawings and paintings and I consider both to be of equal importance. Sometimes ideas for paintings will come from drawings, but also sometimes ideas for drawings will come from paintings. The main difference between them is that the paintings are wet and the drawings are dry. Much of what happens in the paintings comes out of the paint’s wetness. The paintings almost always start off in a very similar way, almost as a repetition of something I’ve done before, but as the work progresses invariably something goes wrong or I’m somehow unsatisfied. This leads to a process of trying to correct the work, and from desperation and a sense of failure comes something I’ve never done before, which will be the solution. When I start to see something I’ve never seen before in one of my paintings, I know I’m on the tight track, and I just keep pushing the work until I can’t think of anything else to do and then I stop.

227

Tinkler

Richard Tinkler | Book 6 Volume 1 Page 2 (detail)

Reba Kittredge Tyson Corinna, June 2016, Costa Rica | oil on canvas, 20 x 16 inches

230

Reba Kittredge Tyson Kellie, March 2019, Bed-Stuy | oil on canvas, 36 x 24 inches

231

Reba Kittredge Tyson Maxim, August 2019, London | oil on canvas, 32 x 44 inches

232

Reba Kittredge Tyson Brooklyn, NY rebakittredgetyson@gmail.com / www.rebakittredgetyson.com / @rebakitteredgetyson

b. 1994 Livingston, NJ

Education

2016

BFA, New York University, New York, NY

Professional Experience

2012-20 Archivist, Pamela Hanson Inc. 2016-19 Studio Assistant to Robby Rose

Group Exhibitions

2019

Flesh + Bone III, IA&A at Hillyer, Washington, DC

Capturing Time, The Java Project, Brooklyn, NY

Heirloom, Ground Floor Gallery, Brooklyn, NY

I am interested in the separate lives our bodies and minds lead. Our consciousness exists in the abstract, but it is contained by the physical: flesh, blood, and nerves. Each injury we survive realigns our connection between body and mind. Pain keeps us alive, reminds us to take care of the flesh we were given. Our bodies cling to that feeling through bruises, scabs, scars to illustrate that we are not invincible. Any physical action that our brain orders can have visceral repercussions. Even if we know it will cause pain, we often decide something is worth doing anyway. Scars define who you are, not what you deserve or what lies in your future, but what you have proven yourself capable of surviving.

I am concerned with the best way to respond to trauma. Whether the damage be from a forgettable moment or a monumental experience, I intend to honor and remember it.

233

Tyson

Chuck Webster Pantheon (Mr. Snuffleupagus), 2019 | oil on panel, 72 x 108 inches

234

Chuck Webster Pantheon (Heath), 2019 | oil on panel, 70 x 100 inches

235

Chuck Webster Liberty or Death, 2017 | oil on panel, 84 x 120 inches

236

Chuck Webster Brooklyn, NY 617.778.6265 (Steven Zevitas Gallery) chuckwagon70@gmail.com / www.chuck-webster.com / @chuckwebster

b. 1970 Binghamton, NY

Education

1996

MFA, American University, Washington, DC

Residencies

2018

National Academy Affiliated Fellow, American Academy in Rome, Rome, Italy

2010

Yaddo, Saratoga Springs, New York, NY

2007

Marie Walsh Sharpe Art Foundation Space Program,

New York, NY

Professional Experience

2019

Adjunct Professor, Rhode Island School of Design,

Providence, RI

2018

Subject of the documentary film “Chuck Makes a

Woodcut”

Solo Exhibitions

2020

Signals, Calls, and Marches, Planthouse, New York, NY

2018

Pilgrims, Steven Zevitas Gallery, Boston, MA

2017

Look Around, Betty Cunningham Gallery, New York, NY

2012

Paintings, ZieherSmith, New York, NY

2010

It All Adds Up, ACME., Los Angeles, CA

Awards

2016

Rosenthal Family Foundation Award, American Academy

of Arts and Letters

Collections

The Museum of Modern Art, New York, NY

The Metropolitan Museum of Art, New York, NY

My work concerns scale in relationship to the size of the body and mind. I approach a picture as something both internal and external, handheld and deep as thought, static yet moving. I want the paintings to contain the time of their making and refuse to give it up. I am very connected to the materials I use. Each process demands its own kind of touch and actions. Tools, surfaces, and paint combine to release energy. The raw material transforms from powder and medium to a moving, living thing instilled with emotion, form, and narrative. My process involves addition and negation, putting on paint and scraping it off again and again until a fragile tension is achieved. Painting is like finding a way to exist in the world, seeking a sense of harmony with the present and the past. Linear time compresses, memories emerge and recede. I want a viewer’s quick glance to feel like hours, as though they went into the picture unreservedly and felt something new.

The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, NY

Whitney Museum of American Art, New York, NY

Represented by

Steven Zevitas Gallery, Boston, MA 237

Webster

Anna Weyant Maggie | oil on panel, 48 x 36 inches

238

Anna Weyant Uh-Huh Honey | oil on panel, 48 x 36 inches

239

Anna Weyant Dirty Little Secrets | oil on panel, 48 x 84 inches

240

Anna Weyant New York, NY 518.966.2622 (56 HENRY) www.annaweyant.com / @annaweyant

b. 1995 Calgary, AB

Education

2017

BFA, Rhode Island School of Design

Residency

2019

Prix Henry Clews and Residency, La Napoule Art

Foundation, Mandelieuâ&#x20AC;&#x201C;La Napoule, France

Solo Exhibitions

2019

Welcome to the Dollhouse, 56 HENRY, New York, NY

Group Exhibitions

2019

NADA Miami, w/ 56 HENRY, Miami, FL

For Mario, Tina Kim Gallery, New York, NY

Upstairs Art Fair, 56 HENRY, Amagansett, NY

Historicity, Ochi Projects, Los Angeles, CA

Figurative Approaches, East End Culture Club,

Southampton, NY

Notebook, 56 HENRY, New York, NY

The Views, Fisher Parrish Gallery, Brooklyn, NY

2018

Of Purism, Nina Johnson Gallery, Miami FL

Represented by

56 HENRY, New York, NY

Weyant

241

Heui Tae Yoon The Ark | oil on linen, 68 x 60.5 inches

242

Heui Tae Yoon A Man with Open Bible, an Illuminator Working on a Bible at San Francisco | oil on linen, 68 x 60.5 inches

243

Heui Tae Yoon Last Supper | watercolor on paper, 52 x 93 inches

244

Heui Tae Yoon New York, NY yht8110@hotmail.com / www.yoonheuitae.com / @yoonht

b. 1980 Seoul, Republic of Korea

Education

2014

MFA, Pratt Institute, Brooklyn, NY

Solo Exhibitions

2019

Modern Portrait, Gagosipo Gallery, Seoul,

Republic of Korea

The Space Zero Enter Lowercase OLO, Gallery Chosun,

Seoul, Republic of Korea

Group Exhibitions

2018

Tiny Elephant Giant Mouse, bG Gallery, Santa Monica, CA

2017

Spring Gala Exhibition & Fundraiser, Main Line Art Center, Haverford, PA

2016 2015

Sculpture Maze, bG Gallery, Santa Monica, CA (Re)envisioning Art’s Aura in the Age of Turbocapitalism, Galleria Ca’ d’Oro, New York, NY

For example, when using the Internet, YouTube, or SNS, our search lists and consumption patterns can be analyzed through big data, prioritizing things that individuals like and prioritizing people themselves. This eventually leads you to a situation where you see, hear, and read only what people like you like, and this phenomenon narrows and isolates everyone’s vision and thinking. The development of a technological civilization seems to be creating a situation where human beings begin to lose their humanity.

Contemporary Nomadic Artists, Crude Creatures

Contemporary Art Gallery, Chicago, IL

Life vs Civilization, Artside Gallery, Seoul,

Republic of Korea

65th Annual Art of the Northeast Exhibition, Silvermine

This body of work is about the machine, civilization, and religion. It starts from the premise that “humans don’t speak falsely in front of the search engine.” Nowadays we search, write, and ask questions of Google without the slightest knowledge of everyday life, of personal deviations or criminal acts. This is very similar to the practice of confession or prayer that mankind has created in religion. I think it is possible because of the blind trust in the machine.

Most of my works are influenced by Byzantine religious works and are based on the Catholic Bible.

Arts Center, New Canaan, CT

Clio Art Fair, New York, NY

Publications

2018

Art Maze Magazine, no. 6

2013

Studio Visit 33

245

Yoon

Editorâ&#x20AC;&#x2122;s Selections

The following section is presented in alphabetical order. Biographical information has been edited. Prices for available work may be found on p299.

Felipe Baeza My vision is small fixed to what can be heard between the ears to the spot between the eyes a well-spring to el mundo grande | ink, graphite, twine, cut paper, glitter, and egg tempera on paper, 87.5 x 90 inches

248

Felipe Baeza Tengo un crecimiento que atender | Flashe, cut paper, egg tempera, glitter, graphite, and varnish on panel, 10 x 8 inches

249

Felipe Baeza I have eyes where they can best protect me | ink, acrylic, embroidery, twine, cut paper, and egg tempera on canvas, 36 x 26 inches

250

Felipe Baeza Brooklyn, NY studio@felipebaeza.com / www.felipebaeza.com / @felipebaeza

b. 1987 Guanajuato, Mexico

Education

2018

MFA, Yale School of Art, New Haven, CT

2009

BFA, The Cooper Union for the Advancement of Science and Art, New York, NY

Residencies

2020

Robert Rauschenberg Foundation Residency, Captiva, FL

2019

NXTHVN Studio Fellowship Program, New Haven, CT

Solo Exhbitions

2020

Moving Through the Flesh to Elsewhere, The Mistake Room, Los Angeles, CA

2019

La Emergencia de Hacer Memoria, Fortnight Institute,

New York, NY

2018

Felipe Baeza, Maureen Paley, London, England

Group Exhibitions

2019

Nobody Promised You Tomorrow: Art 50 Years After

Stonewall Era, Brooklyn Museum, New York, NY

Right Behind Your Eyes, Capsule, Shanghai, China

FOUR, Yossi Milo, New York, NY

2018

Four Artists, Fredericks & Freiser, New York, NY

Demolition WoManhood, Commonwealth and Council,

Los Angeles, CA

No Longer Yours, The Mistake Room / Anonymous Gallery,

Through a convergence of my interests in science fiction, migration, queerness, and anthropology as well as a syncretic use of both collage and printmaking, my work explores ideas about the fugitive body. Always on the run, the fugitive lives in concealment but also without status; as Fred Moten would describe it, this is â&#x20AC;&#x153;to live without credit.â&#x20AC;? My work is concerned with making subjects that contain their own complexities and agency. I reconstruct new imaginaries of neither here nor there, allowing the fugitive body to make use of imagination as a tool for liberation and the transcendence of circumstances. To create new meaning, I work with different creative languages that produce alternative modes of inhabiting time and space. This strategy allows me to imagine structures and possibilities for the self-emancipation of the hybrid fugitive body that lives in/is persistently susceptible to hostile conditions. The possibility of self-emancipation is forged by the necessity to survive and thrive, wherein one is forced to create new forms and structures that produce liminal spaces of belonging.

Mexico City, Mexico

The New Contemporaries Vol. 1, Residency Art Gallery,

Los Angeles, CA

Award

2018

Joan Mitchell Foundation Painters & Sculptors Grant

Collection

Los Angeles County Museum of Art

Represented by

Maureen Paley, London, England

251

Baeza

Felipe Baeza | My Vision Is Small... (detail)

Lindsay Burke Youâ&#x20AC;&#x2122;ve Got My Temperature Rising and It Wonâ&#x20AC;&#x2122;t Stop | acrylic and pastel on paper, 22 x 21 inches

254

Lindsay Burke The Beginning and the End | acrylic and pastel on canvas, 22 x 21 inches

255

Lindsay Burke Chest of Man | acrylic, graphite, and pastel on paper, mounted on panel, 22 x 21 inches

256

Lindsay Burke Brooklyn, NY www.lindsaymburke.com / @lindsay.m.burke

b. 1991 Ames, IA

Education

2017

MFA, Hunter College, New York, NY

2014

BFA, The University of Iowa, Iowa City, IA

Residencies

2019

The Macedonia Institute, Chatham, NY

2017-18 Shandaken: Paint School, New York, NY 2016

Skowhegan School of Painting and Sculpture,

Skowhegan, ME

Solo Exhibition

2018

Weird Ways, Marinaro Gallery, New York, NY

Group Exhibitions

2019

Install/De-install, 601 Artspace, New York, NY

Buddy System II, Deanna Evans Projects with Chashama,

New York, NY

A Fairly Secret Army, wildpalms, Düsseldorf, Germany

Eight Ball, Martos Gallery, New York, NY

Paths of the Mirror, George Gallery, Brooklyn, NY

Shandaken: Paint School, The FLAG Art Foundation,

New York, NY

2018

A World of People, Underdonk Gallery, Brooklyn, NY

Elevator to the Gallows, Helena Anrather, New York, NY

Another History, Thierry Goldberg Gallery, New York, NY

Award

2017

Kossak Painting Travel Grant, Hunter College,

New York, NY

My work questions the value of an image in the hastily evolving contemporary visual culture. Traditional figurative images, similar to those preserved in classical frescoes and relief sculptures, are layered and repeated, evoking digital screen culture and the accumulation of content. I examine the antithetical relationships between these enduring frescoes and today’s overexposed and physically impermanent imagery. My process makes use of contrasting ideas. I have utilized a mineral fiber paste that allows the surface to build up and create a slight relief; the resulting texture is similar to a wall or slab, much like a fresco’s plaster surface. And like plaster, the fiber paste offers absorbent qualities for wet and dry media. I deviate from this traditional base in the use of airbrushed compositions and opaque acrylic elements. As with previous bodies of work, my recent exploration focuses on gender-based power dynamics and sexuality but also examines the human potential for emotion, creation, destruction, violence, pain, and desire.

257

Burke

Miles Debas I Look Up To U | ink, acrylic, and collage on muslin, 32 x 24 inches

258

Miles Debas Simple Men Reflects | ink and collage on muslin, 16 x 20 inches

259

Miles Debas Matchstick Monarch | ink, acrylic, and collage on muslin, 40 x 30 inches

260

Miles Debas Brooklyn, NY milesdebas@gmail.com / milesdebas.me / @me_miles

b. 1985 Paris, France

Education

2020

MFA, Hunter College, New York, NY

2007

BS, Skidmore College, Saratoga Springs, NY

Solo Exhibitions

2019

Blind Spot, Arts+Leisure, New York, NY

2017

Jolly Rancher, 86 Dobbin, Brooklyn, NY

Group Exhibitions

2020

Staring at the Sun, Left Field Gallery, Los Osos, CA

2019

GIFC, The Hole, New York, NY

2018

35 Works on Paper, Beers Gallery, London, England

Flat Earthers, Over Under Room, Brooklyn, NY

Velvet Ropes, David Risley Gallery, Copenhagen, Denmark

2015

Wayfarers, The Philip and Muriel Berman Museum of Art, Ursinus College, Collegeville, PA

Publications

2020

ArtMaze Magazine, Winter

2019

Miles Debas, Blind Spot (Arts + Leisure)

2016

Ann Vinal Road, self-published zine

The sculpture and painting that I produce is developed out of my drawing practice. I make sketches to record ideas as they arrive, and to tease out and develop that imagery. My drawings are fast and schematic—outlining an idea’s first form. I find that when a drawing is made in pursuit of a very specific vision, it can have a thrilling, charismatic urgency. The lucid immediacy of the drawings is essential to my work, and I strive to preserve it. When an idea is fresh and unwrought, it can come out sideways or “not right.” That apparent wrongness indicates other directions the idea might want to move. The speed and directness of this method does not allow for an image to develop as it is drawn—instead it is caught as it passes. The state of flux within the drawings proposes the possibility of alternative forms. The sculptural and painting work I derive from the drawings maintains that position by embracing the possibility of being more than one thing at a time.

261

Debas

Conor Dowdle Dylan on the Mall | oil on canvas, 22 x 18 inches

262

Conor Dowdle Cathedral | oil on canvas, 17 x 15 inches

263

Conor Dowdle Minneapolis Institute of Art Bust | oil on panel, 18 x 24 inches

264

Conor Dowdle Brooklyn, NY conordowdle@gmail.com / www.conordowdle.com / @conordowdle

b. 1993 St. Paul, MN

Education

2019

Advanced Painting Intensive, Columbia University,

New York, NY

2015

BFA, University of Denver, Denver, CO

Residencies

2018

Alumni Residency, Burren College of Art,

Ballyvaughan, Ireland

Professional Experience

2016-19 Co-director, Yeah Maybe Gallery, Minneapolis, MN

Group Exhibitions

2019

Untitled 15, Soo Visual Arts Center, Minneapolis, MN

2018

Yummy Yummy, Yes Maâ&#x20AC;&#x2122;am Projects, Denver, CO

2017

dear dear dear dear, CACtTUS, Long Beach, CA

National Weather Center Biennale, Norman, OK

Award

2017

Visual Arts Fund by Midway Contemporary Art

Publication

2019

Funny Looking Dog Quarterly (Chicago, IL)

My subject matter is institutional icons and monuments observed in major American cities. I see these paintings as investigations of the heroic, the anointed, and their inverse. I choose to cast a second look at these charged objects, omnipresent in the background of my life, as they speak to values held in the past and present, for better or worse. My paintings begin as observational sketches made outside of the studio. I then translate, refine, exaggerate, or distill these drawings into oil paintings. I employ a variety of color palettes, gestures, and rendering techniques in my work. I am interested in the way this variety of approaches and techniques encourages multiple interpretations of artworks with similar subject matter.

265

Dowdle

Alannah Farrell Sanctuary (Magdalena) | oil on canvas, 24 x 30 inches

266

Alannah Farrell J&B | oil on canvas, 25 x 36 inches

267

Alannah Farrell L.E.S. (Candice and Duke) | oil on canvas, 30 x 24 inches

268

Alannah Farrell New York, NY alannahfar@gmail.com / www.alannahfarrell.com / @alannahhhxx

b. 1988 Kingston, NY

Solo Exhibitions

2019

Worlds Without Rooms: Works by Alannah Farrell,

The Painting Center, New York, NY

2018

After All . . . Do You Remember?, Ghost Gallery,

Brooklyn, NY

Group Exhibitions

2019

Paraíso Perdido, Thierry Goldberg Gallery, New York, NY

Every Woman Biennial, La Galleria | La MaMa,

New York, NY

25th Anniversary Exhibition, The Painting Center,

New York, NY

2018

Mutual Aid, William J. and Pearl F. Lemmon Gallery,

Kent State University, Kent, OH

Sum of All Parts, Brilliant Champions Gallery, Brooklyn, NY

Publications

2019

New York Magazine, Fall Fashion, August 19–September 1

“Nota Bene with Paul D’Agostino,” Art Spiel, April

“Worlds Without Rooms,” Office Magazine, April

Art & Object, March

Creative Boom, March

Elephant, March

“Interview with Alannah Farrell,” Flaunt Magazine, March

Daniel Maidman, “Beloved as Meal,” Medium, March

“Alannah Farrell: Curious Strangeness,”

Metal Magazine, March

I make paintings to celebrate the individuals in my community by exposing the personal and collective struggles, fears, and uncertainties we face. Each painting features narrative clues in the form of objects with relevance and historical ties to myself and my sitters. I use humor, honesty, and vulnerability to communicate catharsis and strength. Since I have a personal connection with my sitters, my paintings are an overview of the ups and downs of their lives. The color is an indicator of emotionality. The objects, sometimes symbolic, are trophies of their accomplishments that may have once been a marker of their struggles. Continuing in the tradition of artists like Nan Goldin and Alice Neel, who used their community as subject matter, I re-represent the artist community by focusing on young individuals dealing with current issues. Our generation faces anxieties, identities, and ideas that are different from creatives of decades past; everrising rents, job insecurity, the Internet, social media, and an expanding language around race, gender, and identity. My work underlines the perseverance of the community and individual spirit.

269

Farrell

Nash Glynn In the Studio (Self-Portrait) | acrylic on canvas, 30 x 24 inches

270

Nash Glynn Day (Self-Portrait) | acrylic on canvas, 36 x 24 inches

271

Nash Glynn Standing (Self-Portrait) | acrylic on canvas, 30 x 40 inches

272

Nash Glynn Brooklyn, NY 646.780.9265 (Spinello Projects) nashcglynn@gmail.com / www.nashglynn.com / @nashcohenglynn

b. 1992 Miami, FL

Education

2017

MFA, Columbia University, New York

2015

BFA, School of the Museum of Fine Arts, Boston, MA

Residency

Vermont Studio Center, Johnson, VT

Solo Exhibitions

2019

The Future Is Fiction, PARTICIPANT INC, New York, NY

Group Exhibitions

2019

Night & Day, Thierry Goldberg Gallery, New York, NY

Grounded, Spinello Projects, Miami, FL

You must not stand in one place, Distillery Gallery,

Boston, MA

2018

Alternate Routes, Leslie–Lohman Museum of Art,

New York, NY

Cheeky: Summer Butts, Marinara Gallery, New York, NY

2017

The Roger Ailes Memorial Show: Fair and Balanced,

yours mine & ours, New York, NY

Queer Healing, Raumerweiterungshalle, Berlin, Germany

Columbia MFA Summer Show, False Flag, New York, NY

MFA Thesis Exhibition, Columbia University, New York, NY

IN PRESENCE, The Distillery Gallery, Boston, MA

Publication

2019

In this series I insert my body into the art-historical canon of female nudes. When you grow up without a reflection in society, sometimes you just have to make your own. These paintings are about what it means for me to see my body in public without fear, or shame, or humiliation. Yet I am also interested in using paint as I use my body. I think about the effects of trauma on the body like paint on a canvas. The paint becomes the canvas and vice versa. At the same time I think about using paint as I use my body, and as such the possibilities for manipulation and self-determination become inexhaustible. Painting becomes a process of mastering trauma. In this process mistakes are crucial. With every painting come new ones. You mess it up and you fix it over and over. In the end, that is what makes something beautiful. Not the stroke of genius or master plan, but the mistakes and the continued commitment to make something better.

Chris Stewart, “She doesn’t think nature was ever natural,” interview, Gayletter, no. 11

Represented by

Spinello Projects, Miami, FL

273

Glynn

Chase Hall Sundayâ&#x20AC;&#x2122;s Horse and Hound | acrylic and coffee on canvas, 72 x 60 inches

274

Chase Hall Florida Man, 2019 | acrylic on canvas, 58 x 46 inches

275

Chase Hall Jocko Where Grandpa Would Sit, 2018 | acrylic and oil stick on canvas, 56 x 38 inches

276

Chase Hall New York, NY chasehallstudio@gmail.com / www.chasehallstudio.com / @hallchase

b. 1993 St. Paul, MN

Education

2019

Skowhegan School of Painting and Sculpture,

Skowhegan, ME

2018

The Mountain School of Arts, Los Angeles, CA

Residencies

2019

Atlantic Center for the Arts Residency, no. 172,

New Smyrna Beach, FL

2018

The Macedonia Institute, Hudson, NY

Solo and Two-Person Exhibitions

2019

Then & Now, w/ Cameron Welch, Jenkins Johnson

Projects, Brooklyn, NY

2017

Saturday Mornings, Depart Foundation, Los Angeles, CA

Group Exhibitions

2019

A map is not the territory, LTD, Los Angeles, CA

There is no wrong, The Mass, Tokyo, Japan

2018

No Name, Museo Nacional de San Carlos,

Mexico City, Mexico

INCOGNITO, Institute of Contemporary Art,

Los Angeles, CA

Nail Care, “translated” by Yves Scherer, Kunsthalle Basel,

My practice focuses on the resilient fortitude of people who have endured under racist structures, and I convey this through loose and audacious strokes. My palette permits a color sensibility focusing on the histories of landscape and labor. I work to dignify my subjects through stoicism and spirit but magnify the complexity of generational trauma and the confusion of being biracial. By intentionally leaving parts of the raw cotton canvas exposed, I recognize brown bodies and their relationship to American originhood. I allow the canvas to embody a white paint and utilize it in stereotypical areas of the body, questioning society’s relationship to racial fetishism. I excavate material and visual embodiments of bigotry and critique its generational relationship to the white imagination. By challenging these fictions, I harness a malleability to reinform the often one-sided narrative of America’s history. I create moments of recognition and empathy in hope of a racial literacy and emotional spectrum to better understand the painful inheritance of the past and its resonance in the present day.

Basel, Switzerland

Inaugural exhibition, Drawing a Blank, New York, NY

2017

The Belly and the Members, The Cob Gallery,

London, England

No Name, Museo Tamayo, Mexico City, Mexico

Orange Julius, Irish Museum of Modern Art,

Dublin, Ireland

Winter in America, Moms Favorite, Santa Monica, CA

277

Hall

Chase Hall | Sundayâ&#x20AC;&#x2122;s Horse and Hound (detail)

Marco Paul Lorenzetti Memory of Two Hounds | graphite, oil, and aerosol on canvas, 68 x 62 inches

280

Marco Paul Lorenzetti Company for the Sea | graphite, oil, and aerosol on canvas, 70 x 68 inches

281

Marco Paul Lorenzetti Uncertain Route (child with lion) | graphite, oil, and aerosol on canvas, 64 x 60 inches

282

Marco Paul Lorenzetti Brooklyn, NY 248.977.7006 / 212.228.7569 (Thierry Goldberg Gallery) marcopl@umich.edu / @_marcopaull

b. 1992 Chicago, IL

Education

2018

MFA, Pratt Institute, New York, NY

2016

BFA, University of Michigan, Ann Arbor, MI

Group Exhibitions

2019

Night & Day, Thierry Goldberg, New York, NY

GIFC, The Hole Gallery, New York, NY

2017

Vestiges of universal right or wrong, my figures deal with love, the family, and hope among all things.

The Brask Collection Meets Willumsen, J.F. Willumsens Museum, Frederikssund, Denmark

Publication

2018

Brask Studio Visits III (Brask Publications)

Collection

The Brask Collection

Represented by

Thierry Goldberg Gallery, New York, NY

283

Lorenzetti

Marco Paul Lorenzetti | Company for the Sea (detail)

Stuart Lorimer Oban | oil on canvas, 57 x 47 inches

286

Stuart Lorimer Drama | oil and charcoal on canvas, 36 x 30 inches

287

Stuart Lorimer The Jesus of Cool | oil and charcoal on canvas, 60 x 68 inches

288

Stuart Lorimer Brooklyn, NY stuartlorimerpaintings@gmail.com / www.stuartlorimer.com / @stuartlorimer

b. 1985 Glasgow, Scotland

Education

2011

MFA, Tyler School of Art, Temple University,

Philadelphia, PA

2008

BA, Duncan of Jordanstone College of Art and Design, University of Dundee, Dundee, Scotland

Solo and Two-Person Exhibitions

2019

New Paintings, w/ Jessie Makinson, Lyles & King,

New York, NY

2018

Drama, Lyles & King, New York, NY

2017

15th Show, w/ Max Heiges, Eddy’s Room, Brooklyn, NY

Driveway Dance-off, w/ Emily Davidson, CANADA,

New York, NY

2015

New Paintings, Lyles & King, New York, NY

Group Exhibitions

2019

The Joke Is on You, Embajada, San Juan, PR

2018

Drawings, CANADA, New York, NY

Wish Fulfillment, Sine Projects, Brooklyn, NY

2017

Feed the Meter Vol.2, Ceysson & Bénétière,

Wandhac, Luxembourg

NADA New York, w/ CANADA, New York, NY

Award

2009

The Stevenston Award, The Royal Scottish Academy

Publications

2017

New American Paintings, no. 128

2011

New American Paintings, no. 87

My paintings begin with the figure: I think of my characters taking position like actors preparing for their first scene, the curtain about to lift on a stage. I paint these people in paved landscapes or improbable architectural spaces, so that they catch (or meet) the viewer’s gaze through a mirror or wall of windows. I find myself conjuring familiar apparitions from art history, modernizing the ghosts of Goya, Manet, or Munch. My compositions and their narrative tones can range from funny to sad, perverse to grave. In one painting, a pregnant yogi lies on her side in front of an idling hearse; in another, a dog pile of long-faced brothers and sisters pose with uncertainty. My paintings aren’t political per se, but I notice how they become wrapped up in allegory or in a kind of existential worry. I tend to paint in swaths of bold, primary color that are built up around layers of charcoal underdrawing. I work organically so that the pictures and their meanings both develop and reveal themselves over time.

289

Lorimer

John Rivas Te ExtraĂąo | mixed media on canvas, 60 x 35 inches

290

John Rivas Que Hago Sin Ti | mixed media on canvas, 72 x 49 inches

291

John Rivas Los Abnormales | mixed media on canvas , 48 x 40 inches

292

John Rivas Newark, NJ 646.320.5797 (LatchKey Gallery) info@latchkeygallery.com

b. 1996 Newark, NJ

Education

2021

MFA candidate, Columbia University, New York, NY

2019

BFA, School of Visual Arts, New York, NY

Group Exhibitions

2019

Double Trouble, ross+kramer gallery, New York, NY

Both at Once, LatchKey Gallery, New York, NY

2018

Sunrise Kingdom: The Nu Vanguards of the Revolution, Queens Museum, Queens, NY

Re: Art Show 2 Years, Pfizer Building, Brooklyn, NY

Constellations, Chelsea Gallery, School of Visual Arts,

New York, NY

Represented by

LatchKey Gallery, New York, NY

John Rivas is a figurative painter whose narrative is guided by stories of his ancestors. As a first-generation American, Rivas makes artwork enriched with tales of family members, several of whom he’s met remotely or through photographs. Rivas’s paintings occupy space like sculpture, juxtaposing found objects, many of which are sourced from his childhood. His brushstrokes, thick with impasto, are expressive marks that add to the visual collage. The complexity of his work is made up of the true color spectrum of Latinx faces. Loaded with personal symbolism and themes that celebrate family and community, his work examines the socioeconomic, racial, and cultural boundaries of immigrant lives. The artist attributes the frenetic energy of his work to the long history of his hardworking family members. The raw “roughness and edges (of my work) come from my family of farmers, family of construction workers—I know what it is to be under the sun, working, sweating. I know how it feels; I am a dirty kid but I can make beauty out of anything.”

293

Rivas

John Rivas | Que Hago Sin Ti (detail)

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Pricing

Prices published here, for the most part, represent the current price for a work established by the artist or his/her gallery. If a work has been sold prior to publication and a price is shown here, it represents the price the work would command if it were available at the time this book is produced.

Polina Barskaya p18 NFS p19 NFS p20 NFS

Joe Fyfe p82 POR p83 POR p84 POR

Ebecho Muslimova p142 NFS p143 NFS p144 NFS

Michael Berryhill p22 POR p23 POR p24 POR

Sullivan Giles p86 NFS p87 NFS p88 NFS

Sophia Narrett p148 NFS p149 NFS p150 NFS

Madeleine Bialke p28 $4,400 p29 $3,800 p30 $2,200

Amir R. Hariri p90 $5,000 p91 $3,500 p92 $4,000

Justin Liam Oâ&#x20AC;&#x2122;Brien p152 POR p153 POR p154 POR

Sam Bornstein p32 POR p33 POR p34 POR

Barry Hazard p94 $4,400 p95 $3,300 p96 $2,800

Danielle Orchard p156 POR p157 POR p158 POR

Strauss Bourque-LaFrance p38 NFS p39 NFS p40 NFS

Damien Hoar de Galvan p100 $1,500 p101 $1,500 p102 $1,500

Nathlie Provosty p162 POR p163 POR p164 $4,400

Sofi Brazzeal p42 $10,000 p43 $10,000 p44 $10,000

Maryam Hoseini p104 NFS p105 NFS p106 NFS

Kenny Rivero p166 NFS p167 NFS p168 NFS

Zach Bruder p46 NFS p47 NFS p48 NFS

Colin Hunt p108 POR p109 POR p110 POR

Bill Saylor p170 $20,000 p171 NFS p172 $30,000

Elan Cadiz p50 $5,000 p51 $5,000 p52 $9,500

Alex Jackson p112 NFS p113 NFS p114 NFS

Gretchen Scherer p176 POR p177 POR p178 POR

Jessica Cannon p54 POR p55 POR p56 POR

Jeremiah Johnson p118 NFS p119 NFS p120 NFS

Jordan Seaberry p182 $12,000 p183 $12,000 p184 $3,500

Scott Cantrell p58 NFS p59 NFS p60 NFS

Sophie Larrimore p122 POR p123 POR p124 POR

Alisa Sikelianos-Carter p188 NFS p189 NFS p190 NFS

Orly Cogan p62 POR p63 POR p64 POR

Michela Martello p126 NFS p127 $8,000 p128 $11,000

Dawn Southworth p192 $5,000 p193 NFS p194 $8,000

Jaclyn Conley p68 NFS p69 NFS p70 NFS

Tracy Miller p130 $15,000 p131 16,000 p132 $12,000

Laurel Sparks p196 POR p197 POR p198 POR

Deborah Druick p72 POR p73 POR p74 POR

Nicholas Moenich p134 POR p135 POR p136 POR

Kathia L. St. Hilaire p200 NFS p201 NFS p202 NFS

Shiri Mordechay p138 $74,000 p139 $15,000 p140 $21,000

Willie Stewart p206 NFS p207 NFS p208 NFS

available through joyce@joycevarvatos.com

Georgia Elrod p78 $3,250 p79 $2,300 p80 $6,500

299

Pricing

Cynthia Talmadge p210 NFS p211 NFS p212 NFS

Nash Glynn p270 $3,000 p271 $3,500 p272 $5,200

Anastasiya Tarasenko p214 NFS p215 NFS p216 NFS

Chase Hall p274 NFS p275 NFS p276 NFS

Tracy Thomason p220 NFS p221 NFS p222 NFS

Marco Paul Lorenzetti p280 POR p281 POR p282 POR

Richard Tinkler p224 NFS p225 NFS p226 NFS

Stuart Lorimer p286 NFS p287 NFS p288 $9,000

Reba Kittredge Tyson p230 $2,000 p231 $5,000 p232 $8,000

John Rivas p290 NFS p292 NFS p293 NFS

Chuck Webster p234 POR p235 POR p236 POR Anna Weyant p238 NFS p239 NFS p240 NFS Heui Tae Yoon p242 NFS p243 NFS p244 NFS

Felipe Baeza p248 NFS p249 NFS p250 NFS Lindsay Burke p254 POR p255 POR p256 POR Miles Debas p258 $2,500 p259 $1,800 p260 $3,000 Conor Dowdle p262 $1,600 p263 $1,100 p264 NFS Alannah Farrell p266 POR p267 POR p268 POR

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$20