New American Paintings Issue #148 South by newamericanpaintings

148

June/July

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148 June/July 2020 Volume 25, Issue 3 ISSN 1066-2235 $20

Recent Jurors: Nora Burnett Abrams

Miranda Lash

Museum of Contemporary Art Denver

New Orleans Museum of Art

Bill Arning

Nancy Lim

Contemporary Arts Museum Houston

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

Dan Cameron

Sarah Montross

Orange County Museum of Art

deCordova Sculpture Park and Museum

Cassandra Coblentz

René Morales

Independent curator

Pérez Art Museum Miami

Eric Crosby

Barbara O’Brien

Walker Art Center

Kemper Museum of Contemporary Art

Dina Deitsch

Raphaela Platow

deCordova Sculpture Park and Museum

Contemporary Arts Center, Cincinnati

Apsara Diquinzio

Monica Ramirez-Montagut

UC Berkeley Art Museum and Pacific

San Jose Museum of Art

Film Archive

Lawrence Rinder

Lisa Dorin

UC Berkeley Art Museum and Pacific

Williams College Museum of Art

Film Archive

Anne Ellegood

Veronica Roberts

Hammer Museum

Blanton Museum of Art

Send address changes to:

Ruth Erickson

Michael Rooks

The Open Studios Press

The Institute of Contemporary Art/Boston

High Museum of Art

Amber J. Esseiva

Alma Ruiz

Institute for Contemporary Art,

The Museum of Contemporary Art,

Virginia Commonwealth University

Los Angeles

Michelle Grabner

Kelly Shindler

2014 Whitney Biennial, Whitney Museum

Contemporary Art Museum St. Louis

of American Art

Catherine Taft

Randi Hopkins

LAXART

Independent curator

Julie Rodriguez Widholm

Laura Hoptman

Museum of Contemporary Art Chicago

may be reproduced in any way without written permission from the publisher.

The Museum of Modern Art, New York

Editor/Publisher: Steven T. Zevitas Associate Publisher: Andrew Katz Designer/Production Manager: Alexandra Simpson Operations Manager: Alexandra Simpson Marketing Manager: Liz Morlock Copy Editor: Lucy Flint Advertising Inquiries please contact Alexandra Simpson: 617.778.5265 x26 New American Paintings is published bimonthly by: The Open Studios Press, 450 Harrison Avenue #47, Boston, MA 02118 617.778.5265 / www.newamericanpaintings.com Subscriptions: $89 per year (Canada + $50/Non-North American + $100) Periodical Postage paid at Boston, MA and additional mailing offices

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PRINTED IN KOREA All rights in each work of art reproduced herein are retained by the artist. Front cover: Teamer, p148

Back cover: Burson, p38

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Deaton p54

Contents 8 10 12

Editor’s Note Steven Zevitas

Noteworthy Juror’s and Editor's Picks

Juror’s Comments Emily Stamey, Curator of Exhibitions, Weatherspoon Art Museum, UNC Greensboro, Greensboro, NC

Southern Competition 2020

157

Southern Competition 2020

178

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

148 June/July 2020

Editor’s Note

I am writing these words just after Election Day, as our next presi-

The juror for this issue of New American Paintings is Emily Stamey,

dent begins to prepare for his time in office and our outgoing one,

Curator of Exhibitions at the Weatherspoon Art Museum. We

not able to comprehend his defeat, continues to flail in the wind.

have had the pleasure of working with Emily is the past, and she

For many of us, this election has been the most important of our

once again did a superlative job making selections. The figure is

lifetime. Whatever your party affiliations are, there can be no doubt

still a subject that many emerging artists have chosen to engage

that our country and collective consciousness have been rattled by

with, yet Emily found a number of noteworthy artists working with

four years of virtually incoherent management. Due to COVID-19

abstraction as well. Since we first started publishing New American

and the lack of adequate leadership, we are now heading into a

Paintings, the issues focused on the South have always had a

winter that will likely be catastrophic in terms of the loss of life

quirky feeling to them that is hard to define. There is something

and economic instability that so many will face. All of us at New

embedded in the region’s history and narrative traditions that con-

American Paintings want to wish our readership a safe and healthy

sistently comes across in the work of artists who reside there, and

end of the year. There is light on the horizon.

over time the work is becoming ever more complex and its creators ever more diverse. n

I have been amazed at how the art world has banded together this year. Artists helping artists, galleries helping galleries, competitors

Enjoy the issue! Please stay safe and healthy.

lending a hand to one another—it has been extraordinary to watch. Suffice to say, the art world’s always fragile ecosystem is in tough

Cordially,

shape, but things could have been much worse. It is a testament to the fact that even in our darkest times, there is a very real need

Steven Zevitas

for aesthetic nourishment. To this end, artists, often cloistered in

Editor & Publisher

their studios, have continued to produce the work they “need” to produce, and those of us who exist to promote that work continue to do what we do. Painting has looked good in recent years and I am happy to say that artists rose to the challenge in 2020 to give us so many potent, memorable, and necessary works.

New Art Dealers Alliance (NADA) newartdealers.org

Noteworthy:

Hedieh Javanshir Ilchi Juror’s Pick p85

Hedieh Javanshir Ilchi’s paintings had me returning to them over and over. Their complex interplays—of abstract and figurative elements; geometric ornament and organic swirls; opacity and translucency—produce compelling compositions suggestive of multiple realms. Recalling painting traditions from disparate locations and periods, their message seems to be one of generative flux. This seems especially true of So the darkness shall be the light (p88), in which cliffs appear to become plant life, which becomes waves, which become clouds—all of which bear aloft an architectural frame suggesting a portal to some other dimension.

Ashley Teamer

Editor’s Pick p148

Teamer’s art is layered, both in terms of its making and meaning. Working with mixed media, she approaches painting, printmaking, and video through the lens of collage. The figures who dominate these buoyant and formally aggressive works are often Black females taken from family snapshots, basketball cards, and Black publications. Teamer creates complex situations where time collapses as she delves into our shared histories. These works simultaneously celebrate the autonomy and power of their subjects and critique the systems that elevate them and have the ability to tear them down.

Winners: Southern Competition 2020 Juror: Emily Stamey, Curator of Exhibitions, Weatherspoon Art Museum, UNC Greensboro, Greensboro, NC

Ikegwu | Hedieh Javanshir Ilchi | Sue

Johnson

| Evan Jones

Juror’s Comments

Emily Stamey Curator of Exhibitions, Weatherspoon Art Museum, UNC Greensboro, Greensboro, NC This is the second time I’ve had the privilege of jurying New

I will confess that over the past six months the incredible

American Paintings, so when I entered into the task, I felt at ease with

artworks in this issue were not at the forefront of my mind. In fact,

the process: I would cull through images, blind to information about

when I received the layout and reacquainted myself with them, I

their makers, and submit my selections to the editor. The task is both

realized I was at a loss in trying to remember any of the initial thoughts

exciting and overwhelming—there are so many great submissions

I had about them in February. That failure of recollection undoubtedly

(more than six hundred this time). Always

has to do with all that has transpired—I am seeing

I want to ask questions about each of

things differently these days, thinking things

them, but that’s not part of the process,

differently, and it is hard, if not impossible, to

so I settle into just looking and making

extract my vision and thoughts from the present

decisions driven by formal properties—

context. Embracing rather than dismissing that

but wondering about content and process,

fact, I’d like to share two pairs of images that

intentions and techniques.

stand out to me now.

Jurors are asked to place twenty

I am struck by the kinship between Julie

submissions into a “selected” folder and

Nellenback Henry’s Agnes Murray (p68) and Latoya

forty into a “strong maybe” folder. Then,

M. Hobbs’s How Johnetta Taught us to Pray (p74),

a few weeks later, we receive the issue’s

specifically their shared palette of black, ochre,

designed page spreads, discover the final

and white, and the way those hues generate a

selection of some forty artists, and are

tension between solemnity and vibrancy. Rich

asked to write this short essay about our choices. This time around,

black backgrounds anchor both compositions, while the centralized

however, the world imploded during the gap between selecting

white passages brighten and enliven them. So too their constituent

and writing, and the gap itself became one of months rather than

shapes are both solid and expressive, creating cruciform structures at

weeks. The disruption was the result of all our lives and livelihoods

once steady and active—Henry’s notched rectangular forms stretching

being turned upside down by the COVID-19 pandemic. It is now early

out toward the edges of the canvas, Hobbs’s figure lifting her hands up

August as I return to images that I selected back in February—before

and out from her body. The woman’s open hands contrast with her

spending months living in quarantine and learning to consistently

closed eyes and mouth; similarly, the notches in Henry’s patches

wear a face mask, but also before witnessing the deaths of George

turn both outward and inward. These dualities resonate with so much

Floyd and Breonna Taylor and this summer’s sustained protests on

that I hear and consider these days in terms of exterior and interior,

behalf of Black lives and social justice.

community and individual. As we watch the pandemic unfold and seek

Henry p68

Hobbs p74

Rosado p136

Hughes p78

Deaton p54

Teamer p148

"I am seeing things differently these days, thinking things differently, and it is hard, if not impossible, to extract my vision and thoughts from the present context. ." to help those around us, the most important thing many of us can do

appears in Hughes’s stacked relief painting, in which brightly colored

is turn inward—containing our breath with face coverings, confining

and irregularly cut sections of foam board are assembled vertically

ourselves to our homes to avoid spread—as an outward expression of

into a tower that seems likely to topple at any moment yet holds itself

care. Likewise, as we call out the systems that perpetuate injustice,

upright. Not just in its sunny yellows, but also in this demonstration

we also turn inward to examine our own assumptions and biases. In

of making ill-fitting pieces work together, there’s something

both cases, and in both of these artworks, balance is key.

emphatically optimistic about this painting.

Balance is also the quality that resonates for me in Samantha

I hope we can all lift up that optimism. I hope that all the artists

Rosado’s La Sala, No Sale (p136) and Kristy Hughes’s Self-Check

who submitted to this issue are doing well, as are all of you reading it

(p78). In contrast to the comparatively dark and limited palette of

and encountering their work. As I did, I hope each of you finds in these

Henry’s and Hobbs’s paintings, these compositions stand out for

selections your own points of connection and new perspectives. We

their riot of warm pinks and yellows, made all the warmer and more

always need the thoughtfulness, creativity, and new vantage points

inviting by the punctuating marks of cooler blues and purples. But, as

that artists provide us. Right now, we need them more than ever. n

with the prior pair, it is the structure of the two images that holds my attention—specifically their tenuous sense of equilibrium. Rosado’s painting, with its energetic mass of people and pets, makes me think of how the current crisis has intensified family life for so many of us—in ways both positive and negative, comforting and straining. In her vibrant image, children, adults, and pets cling to one another in a tangle of arms and legs, paws and feet. It makes me ache for all the family members from whom I’m kept apart right now. While the exact setting for the scene is not entirely clear, the lamp and end table in the foreground suggest a living room, allowing us to imagine that all these humans and canines are piled on a couch in an ever-shifting balance of weight and wiggles. That same complicated stability

Juror’s Selections

The following section is presented in alphabetical order. Biographical information has been edited. Prices for available work may be found on p178.

Eric Anthony Berdis Smiling left, right, and all over | dye on quilted cotton, appliqué photographs, safety pins, embroidery, sequins, holiday decorations, and Band-Aids, 42 x 72 inches

Eric Anthony Berdis Twins | dyed bedsheets, two parts, overall 54 x 96 inches

Eric Anthony Berdis Remembering a landscape (Erie, PA) and a performance | C-prints, Sharpie, oranges, Band-Aids, and rhinestones, 144 x 288 inches

Eric Anthony Berdis Richmond, VA @ericanthonyberdis

b. 1989 Erie, PA

Education

2020

MFA, Virginia Commonwealth University, Richmond, VA

2016

Post-Baccalaureate, Tyler School of Art, Temple University, Philadelphia, PA

2013

BFA, Slippery Rock University of Pennsylvania,

Slippery Rock, PA

Residency

2017

Bunker Projects, Pittsburgh, PA

Solo Exhibitions

2019

By embracing a maximalist aesthetic, my work incorporates archival research, personal secrets, and pubescent gay boy glamour. Through appliqué, embellishment, and dye processes I seek to create a stimulating yet jarring experience, while creating a world that is both familiar and inherently strange to the viewer. Thrift store cast-offs, hobbyist craft supplies, and saturated drawings are reassembled into a cast of characters and costumes that balance the line between ghost, creature, and friend. None of which are to cover the body or hide uncomfortable truths of failure, becoming; the AIDs epidemic; or navigating inclusive conversations and spaces.

Don’t let them clip your tiny little insect wings, University Galleries of Illinois State University, Normal, IL

2018

Trot, Tip-toe & Gallop, Project 1612, Peoria, IL

The ghost of you is what haunts me, Bunker Projects,

Pittsburgh, PA

2017

Neck Out, Practice Gallery, Philadelphia, PA

Object in between Us, Random Access Gallery,

Syracuse, NY

Group Exhibitions

2020

The Daily, Ely Center of Contemporary Art, New Haven, CT

2019

American Life, Oh!klahomo, Chicago, IL

2018

HISS Issue 3 Launch Party & Screening, Wexner Center for the Arts, Columbus, OH

Fabulous Fashion Family Fest, Philadelphia Museum of Art, Philadelphia, PA

Awards

2019

Illinois Arts Council Grant

2018

Graduate School Assistantship, Virginia Commonwealth University

2017

Fabric Workshop Apprentice Program

Represented by

Little Berlin, Philadelphia, PA 19

Berdis

Dustyn Bork Shaped no. 13 | acrylic on shaped panel, 22 x 24 inches

Dustyn Bork Shaped no. 9 | acrylic on shaped panel, 60 x 46 inches

Dustyn Bork Shaped no. 1 | acrylic on shaped panel, 42 x 28 inches

Dustyn Bork Batesville, AR studio@dustynbork.com / www.dustynbork.com / @dustyn_bork_art

b. 1977 Monroe, MI

Education

2002

MFA, Indiana University, Bloomington, IN

1999

BFA, University of Michigan, Ann Arbor, MI

Residencies

2019

Daugavpils Mark Rothko Art Centre, Daugavpils, Latvia

2018

Vermont Studio Center, Johnson, VT

Professional Experience

2010-

Associate Professor of Art, Lyon College, Batesville, AR

Solo Exhibitions

2019

Complex shapes and empty space, Arts & Science Center, Pine Bluff, AR

2016

Support, Fine Arts Center Gallery, Arkansas State

University, Jonesboro, AR

2014

Structures, Sinclair Gallery, Coe College, Cedar

Rapids, IA

Two-Person Exhibition

2018

Going Unnoticed (w/ Carly Dahl), Historic Arkansas

Museum, Little Rock, AR

Group Exhibitions

2019

Number Inc. Presents: Art of the South, Memphis College

It is a curious fate for the life of a building. A hierarchy exists between preserving some styles of architecture versus keeping historical or cultural continuity. Certainly, some architectural forms are favored over others. Some undergo many visual iterations (renovations) while others will not stand the test of time. I want viewers to make connections between the colors, lines, textures, and forms in my artwork and those found in the constructed environment. Certain architectural forms find their way into my work. My paintings focus on the built landscape from my observable surroundings. I experiment with abstracted forms and structures by lifting them from their original context. These works are akin to façades; they remove the compositions from the more traditional rectangle and instead are shaped to reflect built forms. I want the works to be object-centric. I use tools and materials consistent with construction, such as rollers and wood, to reference building materials. Each composition symbolizes the beauty implicit in surfaces and structures at various stages of decay and renewal.

of Art, Memphis, TN 2018

Me, You, and a Few of Our Friends, Anne Wright Fine Arts Gallery, Georgetown College, Georgetown, KY

2017

Painting National, The University of Southern Mississippi Museum of Art, Hattiesburg, MS

Arbitrary Color, Foundry Art Centre, St. Charles, MO

Award

2016

Individual Fellowship Award, Arkansas Arts Council

Collections

Daugavpils Mark Rothko Art Centre, Daugavpils, Latvia

Hunterdon Art Museum, Clinton, NJ

Bork

Amelia Briggs Vision | faux fur, fiber, and yarn on panel, 22 x 20 inches

Amelia Briggs Show | faux fur, yarn, and fiber on panel, 61 x 54 inches

Amelia Briggs Dearest | faux fur, yarn, and fiber on panel, 39 x 35 inches

Amelia Briggs Nashville, TN www.ameliaabriggs.com / @amelia.projects

b. 1985 Munster, IN

Education

2015

MFA, The University of Memphis, Memphis, TN

2009

BFA, Herron School of Art and Design, Indiana University,

I construct bloated forms that reference the visuals of youth. Comprised of panel, faux fur, found fabric, fiber, papier mâché, and handmade textiles, each piece takes on a creature-like presence that recalls the hypothetical version of a forgotten childhood object.

Indianapolis, IN

Solo Exhibitions

2020

Playlet, Leu Art Gallery, Belmont University,

Nashville, TN

2019

Moppet, Elephant Gallery, Nashville, TN

Group Exhibitions

2020

Space Case, LABspace, Hillsdale, NY

Mirror Eye, Ortega y Gasset Projects, Brooklyn, NY

The simplified visual cues surrounding children serve as lessons leading to identity development and the idea of self. While each generation shares many of the same visuals, what unique understanding do individuals bring to that history and nostalgia? Rather than spell out a specific narrative, Briggs reimagines a shared language—hopefully offering a springboard of recognition and possibility.

Color Schemes: The Value of Intensity, Crosstown Arts, Memphis, TN

Crocodile Tears, Morgan Fine Arts & Film Center,

Brooklyn, NY

2018

The Weight of Play, John C. Hutcheson Gallery, Lipscomb

University, Nashville, TN 2017

Settling the Ghost, Standard Projects, Hortonville, WI

Briggs

Amelia Briggs | Show (detail)

Madelyn Brodie Flower Market | oil on canvas, 24 x 30 inches

Madelyn Brodie Swatches | oil on canvas, 30 x 40 inches

Madelyn Brodie The Paradox of Nostalgia | oil on canvas, 48 x 60 inches

Madelyn Brodie Morgantown, WV madelynbr3@gmail.com / www.madelyn-brodie.squarespace.com

b. 1998 Harrisburg, PA

Education

2020

BFA, West Virginia University, Morgantown, WV

BA, West Virginia University, Morgantown, WV

Solo Exhibition

2017

Lion Potter, Gettysburg, PA

Group Exhibitions

2019

Artists and Charities Fine Art Show, Palm Beach County

Convention Center, West Palm Beach, FL

Indigo Visions, Cow & Clementine Gallery,

Morgantown, WV

Awards

2020

Fine Arts Scholarship, West Virginia University,

Morgantown, WV

2016

My artwork examines the impermanence and fragility of the natural world and the objects within it. Using my own imagery, I create landscape paintings that capture a universally held notion of what an idyllic landscape is or should be. While I am interested in portraying an ideal space, it is also important that viewers can see that the place I am depicting does not exist in our world. In order to heighten this sense of a manufactured construction of place, I intentionally deconstruct and fracture elements of the landscape. A focus on patterning, color, and brushstroke make these distinctions clear. Consideration of the environmental implications of landscapes and natural spaces in the twenty-first century is something that drives my work. I strive to document a universally held emotional experience in these personally significant yet fabricated places in order to provoke a desire to preserve them.

First Place, Youth Quick Draw, Plein Air Camp Hill Arts Festival, PA

Brodie

Ashlynn Browning The Illusion of Steadiness | oil on panel, 44 x 40 inches

Ashlynn Browning Darkness Looms | oil on panel, 44 x 40 inches

Ashlynn Browning Tremor | oil on panel, 38 x 34 inches

Ashlynn Browning Raleigh, NC 704.608.2016 (Hodges Taylor Gallery) browning19@hotmail.com / www.ashlynnbrowning.com / @browning19

b. 1977 Charlotte, NC

Education

2002

MFA, University of North Carolina at Greensboro,

Greensboro, NC

2000

BA, Meredith College, Raleigh, NC

Residencies

2009

Virginia Center for the Creative Arts, Amherst, VA

2005

Vermont Studio Center, Johnson, VT

Solo and Exhibitions

2018

Revisionist Geometry, Allenton Gallery, Durham Arts

Council, Durham, NC

2016

Walls and Windows, Flanders Gallery, Raleigh, NC

Two-Person Exhibition

2014

Surfaces + Structures (w/ Eric Mack), Whitespace,

Atlanta, GA

Group Exhibitions

2020

Front Burner: Highlights in Contemporary North Carolina

My work contains a hybrid of geometric and organic forms created through an intuitive painting process. I view the forms as stand-ins for figures, each one exhibiting its own personality and implied psychological narrative. A sense of anxiety and internal conflict is often at play within the work. I am compelled by the tension between opposing forces. Bold color is set against muted hues, geometric forms mix with organic, and pattern and texture play off of smooth color fields. These are variables that I add and subtract in multiple stages until the resulting image becomes its own living entity. Underlayers show through heavily worked and weathered surfaces. I think of this approach as being akin to introversion, in which deeper stories lay hidden beneath reserved and multilayered exteriors.

Painting, North Carolina Museum of Art, Raleigh, NC

Painting at Night, Fort Houston Gallery, Nashville, TN

2019

Small and Smaller, Site:Brooklyn Gallery, Brooklyn, NY

Varied State: Diverse Work from 6 North Carolina Artists, Whitespace, Atlanta, GA

2014

Real Beauty, Carroll Square Gallery, Washington, DC

Award

2002

Joan Mitchell Foundation MFA Grant

Publications

2015

New American Paintings, no. 118

2009

New American Paintings, no. 82

Represented by

Hodges Taylor Gallery, Charlotte, NC

Whitespace, Atlanta, GA

if ART Gallery, Columbia, SC

Browning

Angela Burson The Documentary | acrylic on panel, 60 x 48 inches

Angela Burson Car Wreck | acrylic on panel, 60 x 48 inches

Angela Burson Interior with Red Chair | acrylic on panel, 20 x 20 inches

Angela Burson Savannah, GA angela.burson@gmail.com / www.angelaburson.com / @angelaburson

b. 1969 North Kansas City, MO

Education

1991

BFA, Savannah College of Art and Design, Savannah, GA

Solo Exhibitions

2019

Peep Show, Location Gallery, Savannah, GA

2018

Material Conditions, The Rat on Bull, Savannah, GA

2013

Local 11ten, Savannah, GA

2010

Galerija Most, Podgorica, Montenegro

2007

Featured Alumni Artist, Alexander Hall, Savannah College

of Art and Design, Savannah, GA

Group Exhibitions

2020

Lush, Location Gallery, Savannah, GA

2019

Southern Discomfort, Location Gallery, Savannah, GA

2018

Seeds 2018, Westobou Gallery, Augusta, GA

2016

Modern Love, Gutstein Gallery, Savannah, GA

2013

Spring Showcase, Leedy-Voulkos Art Center,

Kansas City, MO

2009

Low Country Babylon, Pei Ling Chan Gallery, Savannah

College of Art and Design, Savannah, GA

Publications

2020

“A Bold Vintage,” Savannah Magazine, vol. 3, March–April

2018

Bevin Valentine Jalbert,“Domestic Mysteries,” Paprika

Throughout my career I have been influenced by anachronistic images of fashion and personal objects. My paintings and needlepoint works recontextualize outmoded styles and give them new meanings. I paint images of often headless people, their personal objects and interior spaces that indicate complex psychological and social relationships with one another. Without the head, the viewer sees the clothed body not as a portrait but as a collection of objects, and patterns. I am interested in the surreal connection between realistic subject matter and flat repetitive pattern. Often the objects, personages, or fragments of a body are culled from existing family photographs. Shirts as conjoined twins, empty suits, bandaged arms, headless torsos, a suitcase, a toy boat, an empty room—all are employed as signifiers, providing glimpses into the complexities of identity and the possibilities that exist in relationships between objects. The subtlety of the closely rendered detail is intended to provide the viewer insight into layers of meaning.

Southern, vol. 4, Fall

Burson

Angela Burson | Showww (detail)

Paul Collins Titan Stadium Holly Trees | ink on paper, 40 x 30 inches

Paul Collins Riverside Trunk | ink on paper, 32 x 40 inches

Paul Collins Road Cut Roots | ink on paper, 40 x 32 inches

Paul Collins Nashville, TN 615.236.6575 (Red Arrow Gallery) www.paulpaul.com / @impaulcollins

b. 1967 Summit, NJ

Education

1995

Fellow, Skowhegan School of Painting and Sculpture,

Madison, ME

MFA, Yale School of Art, New Haven, CT

Residencies

2019

The MacDowell Colony, Peterborough, NH

Hambidge Center, Rabun Gap, GA

Solo Exhibitions

2020

Magical Books and New Looks, Browsing Room Gallery,

After thirty years as a studio artist, I’ve pivoted to making art in public in an attempt to work in a way that is visible and meaningful, both politically and aesthetically. I make onsite drawing essays that meditate on place, history, ecology, and community dynamics. For each project I select a site that is hyperlocal but underexamined. A fine starting point is any site that embodies a personal locus of assumption and ignorance. I’ve painted at court, at polling locations during the last few elections, at my local gas station, a soup kitchen, a car wash, a nightclub . . . Last winter I set my sights on stepping off the curb, away from traffic and into the woods. I gave each piece a day, and all were completed in whatever that day’s changing weather happened to deliver. Rain, sleet, and mist proved fine collaborators.

Nashville, TN 2019

GEMINI, Elephant Gallery, Nashville, TN

2018

Fortnight Sessions, Zeitgeist Gallery, Nashville, TN

2017

Long Shadows, Whitespace (whitespec), Atlanta, GA

2016

Soft Bark, Zeitgeist Gallery, Nashville, TN

2015

Into the Yellow Wood, The Painting Center, New York, NY

Group Exhibitions

2016

Fields of Resonance, Napoleon Gallery, Philadelphia, PA

2015

After Bacharach, Satellite Art Show, Miami, FL

Vanishing Act, Heliopolis, Brooklyn, NY

Publications

1998

Billy Renkl, “A Clear Eye: The Fortnight Sessions,” Number

Magazine, no. 94

Long Shadows (Extended Play Press) “Just The Facts Ma’am,” NATIVE Magazine, no. 69

Represented by

Red Arrow Gallery, Nashville, TN

Collins

Eleanor Conover Shltr | oil, dye, bleach, and graphite on canvas, 46 x 32 inches

Eleanor Conover Two Dactyls | oil, acrylic, dye, and bleach on sewn canvas, 21.5 x 16 inches

Eleanor Conover Wait Till Next Year | oil, acrylic, dye, bleach, Tennessee marble, graphite, and cyanotype on sewn canvas, 96 x 60 inches

Eleanor Conover Knoxville, TN www.eleanorconover.com

b. 1988 Hartford, CT

Education

2018

MFA, Tyler School of Art, Temple University

2010

BA, Harvard College, Cambridge, MA

Residencies

2019

Joseph A. Fiore Art Center, Jefferson, ME

2015

Vermont Studio Center, Johnson, VT

2014

Cow House Studios, Enniscorthy, Ireland

Professional Experience

2018-20 Lecturer in Painting and Drawing, University of Tennessee,

Knoxville, TN

Solo Exhibitions

2019

The Course of Weather, C for Courtside, Knoxville, TN

2018

After, Against, Among, Temple Contemporary, Temple School of Art and Architecture, Philadelphia, PA

Group Exhibitions

2018

Strutture Aperte: Libri d’Artista, Gallery of Art, Temple

My work considers painting as a physical and material site for the mediation of environmental space and experience. The surfaces of the paintings often appear worn and weathered, implying a history of physical change. Stained, sewn, and often not straight, the canvases stretch and sometimes hang without supports, enacting an imperfect or slanted relationship to the modernist use of the Cartesian grid and the idealized horizon line of landscape painting’s history. My praxis dispels singularity and a fixed illusionistic image, embraces failure, and sometimes relinquishes control of the paint itself. The approach for each painting often demands a different set of materials or processes. Dyeing enters the weave of the canvas as rust lodges in a riverbed. Bleaching reverses the dye, but it does so imperfectly. Stains are a collaboration with gravity and osmosis. Some paintings are made outside on the ground. In the studio, the manipulation of that first-hand account is reworked, creating a dialectic between an awareness of the inner logic of painting and the other conditions that present themselves to me from the outside world.

University Rome, Rome, Italy 2017

Ocotillo, Stella Elkins Tyler Gallery, Tyler School of Art and Architecture, Philadelphia, PA

2012

Work by Four, Gallery at the Rhodes Art Center,

Mt. Hermon, MA

2010

Fresh and Salty, Ten High Street, Camden, ME

Conover

Keith Crowley Early Afternoon (Parrish) | watercolor on paper, 10.5 x 10.5 inches

Keith Crowley Late Morning (Bee-Ridge) | watercolor on paper, 10.5 x 10.5 inches

Keith Crowley Mid-Afternoon (Bee-Ridge) | watercolor on paper, 10.5 x 10.5 inches

Keith Crowley Sarasota, FL keithcrowleywork@gmail.com / www.keithcrowley.com

b. 1974 Media, PA

Education

2001

MFA, Savannah College of Art and Design, Savannah, GA

Solo Exhibitions

2019

Home, Gaze Modern, Sarasota, FL

2014

Unseen, Tiger Strikes Asteroid, Philadelphia, PA

2010

Basin, Bridgette Mayer Gallery, Philadelphia, PA

2008

Wilderness, Bridgette Mayer Gallery, Philadelphia, PA

2001

Distortions, Starland, Savannah, GA

Group Exhibitions

2018

New Perspectives on Landscape, Kristen Michelle Mason

Gallery, Beacon College, Leesburg, FL

Sunistra, Tempus Projects, Tampa, FL

2017

Skyway 2017: A Contemporary Collaboration, Tampa

Museum of Art, Tampa, FL

2016

Juried Works on Paper Exhibition, Alexander Hall Gallery,

Impromptu photographs are the most useful beginnings for my paintings; it is important that the photographic image be generated from a snapshot from my daily routine. The images that arrive on my doorstep (versus ones that may have been predetermined) are what I instinctively trust most. Emotional distance in imagery is something that I strongly identify with. Landscape painting provides a vehicle with which most viewers can assign their own memories and personal projections (similarly to abstract painting), but like photography, there is specificity with the symbol/subject when we can assign our own experience. It is here that I hope my work can forge connections with its audience. Landscapes offer a stage where a viewer can transmit their history and simultaneously create emotive connection with what drove the painting in the first place.

Savannah College of Art and Design, Savannah, GA 2013

Correspondence, Tiger Strikes Asteroid, Brooklyn, NY

2008

Strange Place, Alagon, Chicago, IL

Publications

2019

The Other Other (Push Crank Press)

2010

New American Paintings, no. 86

Crowley

Thomas Deaton Sinkholes | acrylic on canvas, 36 x 48 inches

Thomas Deaton High Dive | acrylic on canvas, 36 x 48 inches

Thomas Deaton Kent’s Arrest | acrylic on canvas, 40 x 40 inches

Thomas Deaton New Orleans, LA tdeaton09@gmail.com / www.thomasdeaton.com / @thomasdeaton

b. 1988 Lafayette, LA

Education

2015

MFA, University of Iowa, Iowa City, IA

2014

MA, University of Iowa, Iowa City, IA

2011

BFA, University of Louisiana at Lafayette, Lafayette, LA

Solo Exhibitions

2020

Good Dudes Good Times, Good Children Gallery,

New Orleans, LA

2015

One Off, Galerie Touchet, Lafayette, LA

SLAVE CASTLE, Porch Gallery, Iowa City, IA

2014

A Distant Thunder, Porch Gallery, Iowa City, IA

Group Exhibitions

2019

Louisiana Contemporary, Ogden Museum of Southern Art,

New Orleans, LA 2017

Louisiana Contemporary, Ogden Museum of Southern Art,

My recent paintings are narrative cityscapes, fixating on snapshots of blighted neighborhoods in a fictional coastal city based largely on New Orleans. These areas are within view of the bright and bustling downtown, yet they are literally sunken and forgotten, their streets quietly drowning beneath a stagnant and perpetual flood. Houses and backyards are swallowed whole by hungry sinkholes, while lone pedestrians get stoned under street lights darkened by an ever-expanding canopy of verdant leaves. I’ve built this fictional city from personal memories, history, and other fictions: books, movies. The compositions themselves are false constructs, made of existing structures that I mentally reassemble into a fractured whole. The broken perspectives and thematic emphasis on urban decline and nature’s renewal present my meditations on the character of the American South: criminal-minded, simultaneously charismatic and mean-spirited, beautiful, with an uncanny ability to persevere in the face of an uncertain and increasingly frightening future.

New Orleans, LA

Through the Looking Glass, Acadiana Center for the Arts, Lafayette, LA

2015

Apocalypse Now, Acadiana Center for the Arts,

Lafayette, LA

2013

Graduate Studio Arts Exhibition, Artsfest 2013, Drewelowe

Gallery, Iowa City, IA 2012

Lost and Found: Louisiana’s Landscape Revisited, Acadiana Center for the Arts, Lafayette, LA

Award

2012-14 Iowa Arts Fellowship, University of Iowa, Iowa City, IA

Deaton

Matthew J. Doszkocs One Line (Girl and Sarcophagi) | oil on canvas, 30 x 40 inches

Matthew J. Doszkocs Girl with Camellia Bush | oil on canvas, 42 x 54 inches

Matthew J. Doszkocs Lowcountry Allegory (Girl and Oak Tree with Vine) | oil on canvas, 36 x 27 inches

Matthew J. Doszkocs Charleston, SC 843.640.0022 mjdosz@gmail.com / @matthew_doszkocs

b. 1974 Bethesda, MD

Education

1996

BFA, Boston University, Boston, MA

Group Exhibition

2019

Redux Studio Artist Exhibition, Charleston, SC

Award

1992

Presidential Scholarship in the Arts

A teenager stands in front of a fallen tree, which although damaged has managed to bloom. The girl’s posture holds clues about her emotional state. The rough brushstrokes and scratched surface both contradict and complement the quiet emotional tone, striking a precarious balance. Somewhere between a social media snapshot, landscape painting, religious iconography, and film still, the subject matter becomes death, loss, grief, perseverance, courage, and hope.

Doszkocs

Matthew J. Doszkocs | Lowcountry Allegory (Girl and Oak Tree with Vine) (detail)

Dick Dougherty Arrested: I091L65/019 | oil, 12 x 9 inches

Dick Dougherty Arrested: S-111X79/819 | oil, 12 x 9 inches

Dick Dougherty Arrested: U-111Z07/419 | oil, 12 x 9 inches

Dick Dougherty Brea, KY 270.873.7658 dick.dougherty@gmail.com / www.dickdougherty.weebly.com/ / @dickdougherty130b

b. 1946 Quincy, MA

Education

1970

MFA, Maryland Institute College of Art, Baltimore, MD

1969

BFA, Maryland Institute College of Art, Baltimore, MD

Professional Experience

1992

Chairperson/Full Professor, Department of Art and

2013

Design, Murray State University, Murray, KY

1988-92 Director of Foundations for the College of Visual and

Performing Arts/Associate Professor of Painting,

University of Massachusetts–Dartmouth, Dartmouth, MA

The Arrested Series paintings focus on criminal justice reform, substance abuse, homelessness, mental illness, and criminal activity. The images of individuals are found online in public police blotter websites. The filter of the mugshot allows me to explore the individual’s experiences and emotions at the moment the image was captured. I consider these paintings to be journalistic portraiture and not classic fine art portraiture, which shed light on one of our most important issues of the day, incarceration in America. The moment-in-time, circumstance, and emotion captured in these images is real—not artistic re-creation.

1987–88 Acting President and Academic Dean, Swain School of

Design, New Bedford, MA 1985–87 Chairperson of the Foundation Department/Professor of

Painting, Swain School of Design, New Bedford, MA 1977–85 Professor of Painting, Swain School of Design, New

Bedford, MA

Solo Exhibitions

2017

Alison Wells Studio & Gallery, New Bedford, MA

2016

Gallery, Saint Joseph Berea, Berea, KY

2013

Tinnin Fine Arts Center, Poplar Bluff, MO

Intimate Paintings by Dick Dougherty, Clemens Fine Arts

I have also chosen not to give the viewer the charges on which the accused individuals were being held. By doing so, I allow the viewer room to create their own narrative of the circumstances surrounding the person’s arrest—which I hope will encourage a dialogue with the viewer on incarceration in America and criminal justice reform.

Center Gallery, Paducah, KY

Two-Person Exhibition

2011

Robin Tafler and Dick Dougherty, Berea College,

Berea, KY

Group Exhibitions

2019

# [Hashtag], Cindy Rucker Gallery, New York, NY

2018

ViewPoint 50, w/ Cincinnati Art Club, Greenwich House

Gallery, Cincinnati, OH

The 45th Annual Rocky Mountain National Watermedia

Exhibition, Center for the Arts Evergreen, Evergreen, CO 2017

2018 Bluegrass Biennial: A Kentucky Juried Exhibition, Golding-Yang Art Gallery, Morehead State University, Morehead, KY Demographically Speaking, The Lexington Art League, Lexington, KY

Dougherty

Stephen W. Evans Driving | acrylic on wood panel, 10 x 12 inches

Stephen W. Evans Fork in the Road | acrylic on wood panel, 9 x 12 inches

Stephen W. Evans Shame | acrylic on wood panel, 9 x 7.5 inches

Stephen W. Evans Brimingham, AL www.stephen-w-evans.com

b. 1988 Philadelphia, PA

Education

2017

MFA, University of Iowa, Iowa City, IA

2010

BFA, University of the Arts, Philadelphia, PA

Solo Exhibitions

2019

Witching Hour, HPL Gallery, Birmingham, AL

2018

On Feelings and Strangeness, Gallery 817,

Philadelphia, PA

2017

The Divine Comedy, Legion Arts, Cedar Rapids, IA

Two-Person Exhibition

2020

Themes that run throughout Evans’s work are fear, faith, doubt, and death. Most of the works come from his personal experiences as intertwined with bits and pieces of culture (film, literature, paintings), and take a somewhat subliminal approach in their picturing. Things Evans ask himself are, Who am I, where have I come from, what am I doing with this brush in my hand, what am I afraid of, what was that feeling, what was that place and is it more real to me now that I have painted it? These questions tend to permeate his work, and inform the ways he feels he has experienced life and death as a unified and encapsulated event.

The Something (w/ Lauren Frances Evans), Gallery Vox, Birmingham, AL

Group Exhibitions

2019

Power of Ten, Steve Turner, Los Angeles, CA

2017

777, Theodore:Art, Brooklyn, New York

Evans

Julie Nellenback Henry Agnes Murray | deconstructed vintage Boy Scout backpack and acrylic on canvas, 40 x 40 inches

Julie Nellenback Henry Basalt Façade | linen and acrylic on canvas, 40 x 40 inches

Julie Nellenback Henry United We Stand, Divided We Fall | antique fabrics and acrylic on canvas, 30 x 40 inches

Julie Nellenback Henry Tucker, GA artistnell@gmail.com / www.juliehenrystudio.com / @juliehenrystudio

b. 1968 Seneca Falls, NY

Solo Exhibitions

2020

Joy and Gravity, The Project House Gallery @ Curve

Studios, Asheville, NC

2019

Joy and Gravity, EYP / Gallery 100, Atlanta, GA

Group Exhibitions

2019

59th Annual Juried Exhibition, LA Artcore, Los Angeles, CA

14th National, Axis Gallery, Sacramento, CA

Saturated, Barrett Art Center, Poughkeepsie, NY

Abstractly Speaking, Woman Made Gallery, Chicago, IL

Callanwolde Fine Arts Annual Juried Exhibition,

Callanwolde Fine Arts Center, Atlanta, GA

The Art of Nature, The Blue Heron Nature Preserve,

Atlanta, GA

2018

The New South, Kai Lin Gallery, Atlanta, GA

Georgia Artists, Abernathy Arts Center, Atlanta, GA

Decatur Fine Art Exhibit, Dalton Gallery, Agnes Scott

College, Atlanta, GA

Collections

Merrill Elam

The City of Decatur, GA

My current body of work seeks to answer the question, How do I create feeling with simple shape, texture, and color? Everything in my studio practice right now is growing directly out of that question. This work is unapologetically flawed, warm, and tactile. The collages are meant to be a study of the relationship between restraint and the compulsion to fill space. They are also meant to remind us of our humanity. Utilizing old, deconstructed textiles and leaving hints of underpainting, I invite the viewer to fall in love with imperfection. By exploring fabric collage painting in this way, I pay homage to the earliest artistic influences from my family as well as following in the footsteps of artists who created abstract simplicity using the process of assemblage. The paintings have an honest, bold formality. They are pensive rather than conceptual.

Henry

Latoya M. Hobbs Portrait of a Mother | oil, acrylic, and relief carving on wood panel, 72 x 48 inches

LaToya M. Hobbs How Johnetta Taught Us to Pray | acrylic, collage, and relief carving on wood panel, 60 x 48 inches

LaToya M. Hobbs Kafinwe | acrylic, collage, and relief carving on wood panel, 48 x 36 inches

LaToya M. Hobbs Baltimore, MD artistlatoya@yahoo.com / www.latoyamhobbs.com / @latoyahobbs

b. 1983 Little Rock, AR

Education

2013

MFA, Purdue University, West Lafayette, IN

Residencies

2020

Joan Mitchell Center, New Orleans, LA

2019

The Studios at MASS MoCA, Massachusetts Museum of Contemporary Art, North Adams, MA

2015

Tulipamwe International Artist Residency, Windhoek, Namibia

Solo Exhibitions

2019

Salt of the Earth II, Gallery, Baltimore City Hall,

Baltimore, MD

2018

Salt of the Earth, Community Folk Arts Center, Syracuse

University, Syracuse, NY

Sitting Pretty, Rosenberg Gallery, Goucher College,

Towson, MD

2015

Oshun: LaToya M. Hobbs, African American Museum,

Dallas, TX

Group Exhibitions

2020

WomenXWomen: Selections from the Petrucci Family

As a painter and printmaker, I use figurative imagery to facilitate an ongoing dialogue about the Black female body in the hope of showcasing a more balanced perception of our womanhood, one that dismantles prevailing stereotypes. My practice incorporates the production of mixed-media works that seamlessly marry traditional painting and relief printmaking techniques on a single surface. These hybrid works employ the use of pattern, color, and texture to provide a visceral experience that is both universal and specific. My most recent series, Salt of the Earth, explores women’s symbolism as salt as well as their function as preservers of family, culture, and community. Inspired by my ascent into motherhood, these works chronicle women who function as traditional and nontraditional matriarchs in their communities. As this series continues to expand, I want to highlight the importance of selfpreservation while in the service of others, examine how women engage in acts of self-care, or the lack thereof, and incite a critical discourse around motherhood, with a focus on women in the arts.

Foundation Collection of African-American Art, Ronald K. De Long Gallery, Penn State Lehigh Valley, Center Valley, PA

2019

Love in the Time of Hysteria, w/ PRIZM Art Fair,

Art Basel Week, Miami, FL

2017

Mirrored Migrations, Rush Corridor Gallery, Brooklyn, NY

Collections

Petrucci Family Foundation Collection of

African-American Art

National Art Gallery of Namibia

Centro Cultural Costarricense–Norteamericano,

San José, Costa Rica

Creativity Arkansas Art Collection, Mosaic Templars

Cultural Center 75

Hobbs

Kristy Hughes God is Change | acrylic, spray paint, collage, wire, caulk, wood, and foam board, 22.5 x 15 x 1.75 inches

Kristy Hughes Spoken Names | acrylic, spray paint, collage, caulk, wood, and foam board, 29.5 x 26 x 10 inches

Kristy Hughes Self-Check | acrylic, collage, and spray paint on foam board, 120 x 60 inches

Kristy Hughes Valdosta, GA 614.223.1655 (Brandt-Roberts Galleries) kristyjhughes@gmail.com / www.kristyhughes.com / @kristybluejeans

b. 1987 Waxahachie, TX

Education

2015

MFA, Indiana University, Bloomington, IN

2011

MA, Eastern Illinois University, Charleston, IL

Residencies

2017

Liquitex Cadmium-Free Research Residency and Residency

I make paintings and sculptures about the multifaceted messiness of communication and the negotiation of being seen, heard, and taken seriously. My work is a reclaiming of uncertainty and a celebration of honesty. The minimal shapes, bold colors, and piecemeal compositions represent moments of agency, sureness, and being unapologetic. It is a proxy for my own voice and by extension a nod to the unheard, misunderstood, and silenced voices of others.

Unlimited, Brooklyn, NY 2016

The Studios at MASS MoCA, Massachusetts Museum of Contemporary Art, North Adams, MA

2015-16 Stutz Artist Residency, Indianapolis, IN 2015

Vermont Studio Center, Johnson, VT

Solo Exhibitions

2019

Cactus Tongued, Turner Center for the Arts, Valdosta, GA

2018

Piece by Part, Plough Gallery, Tifton, GA

Two-Person Exhibition

2020

Holding In Between (w/ Sean Hurley), University of South Carolina Aiken, The Etherredge Center, Aiken, SC

Group Exhibitions

2020

Maybe Our Wasted Past, NOISE Project, Bloomington, IN

2019

Permutations, Brandt-Roberts Galleries, Columbus, OH

Award

2020

Public art commission, Turner Center for the Arts,

Valdosta, GA

Publications

2019

Friend of the Artist, vol. 10

Cut Me Up Magazine, no. 2

2018

Shelby Evans, “Visiting Collagist Kristy Hughes in

Valdosta,” Burnaway, April 4, 2018

Represented by

Brandt-Roberts Galleries, Columbus, OH 79

Hughes

Monica Ikegwu And She Saw Blue | oil paint, 30 x 24 inches

Monica Ikegwu Sage | oil paint, 48 x 36 inches

Monica Ikegwu We Gon’ See You Later | oil paint, 36 x 48 inches

Monica Ikegwu Baltimore, MD www.monicaikegwu.wixsite.com/monicaikegwu / @monica_ikegwu / @monica165

b. 1988 Baltimore, MD

Education

2020

BFA, Maryland Institute College of Art, Baltimore, MD

Solo Exhibition

2019

We’ve Always Been Here, Band of Vices, Los Angeles, CA

Two-Person Exhibition

2018

Sunflower Seeds (w/ Katelyn Brown), Ida B’s Table,

Baltimore, MD

Group Exhibitions

2020

Anatomy of Living Color, Goucher College, Baltimore, MD

2019

We Are One, Creative Alliance, Baltimore, MD

The main purpose of my work is to focus on the perception of individual people. Perception, meaning the way that we view others and the way we ourselves would like to appear. Having the influence of the people that I paint makes the painting more personal to them. The personalized clothing and pose combine to create an image that is definitive of that specific person. I want my work to highlight the different attitudes of African American people and point out timely trends that people follow in terms of their appearance. When people observe the work, I want them to try and figure out who the person is. Not only that, but for others to recognize that people can reveal themselves through their outward appearances and that their identity can sometimes exist there. I aim to produce work that is a culmination of people, not as subjects to paint but as people with their own sense of self.

Anima Mundi Festival 2019: Visions, w/ ITSLIQUID Group, Venice, Italy

2018

All the Feels, Open Space, Baltimore, MD XL Catlin Art Prize Traveling Exhibition, Linda Warren Projects Art Gallery, Chicago, IL; San Francisco, CA;

New York, NY

The Full Gamut, Ida B’s Table, Baltimore, MD

& Introducing, Band of Vices, Los Angeles, CA

Reflections of Baltimore: Painting, Reginald F. Lewis

Museum, Baltimore, MD

Award

2018

First place, AXA Art Prize

Represented by

Band of Vices, Los Angeles, CA

Galerie Myrtis, Baltimore, MD

Ikegwu

Hedieh Javanshir Ilchi Before the beginning and after the end | acrylic and watercolor on panel, 30 x 24 inches

Hedieh Javanshir Ilchi In the deepest | acrylic and watercolor on panel, 30 x 24 inches

Hedieh Javanshir Ilchi So the darkness shall be the light | acrylic and watercolor on Dibond panel, 60 x 84 inches

Hedieh Javanshir Ilchi Rockville, MD 202.234.5601 (HEMPHILL Artworks) hediehilchi@gmail.com / www.hediehilchi.com

b. 1981 Tehran, Iran

Education

2011

MFA, American University, Washington, DC

2006

BFA, Corcoran College of the Arts and Design,

Washington, DC

Residencies

2019

Kimmel Harding Nelson Center for the Arts,

Nebraska City, NB

2018

Vermont Studio Center, Johnson, VT

Ucross Foundation, Ucross, WY

2017

Virginia Center for the Creative Arts, Amherst, VA

PLAYA, Summer Lake, OR

2016

Jentel Artist Residency, Banner, WY

Solo Exhibitions

2019

Reflecting my bicultural identity, the notion of “duality” has been in the forefront of my artistic practice. My work explores contradictory painting processes and ways such diverging systems can meld into a hybrid visual language. In my paintings, conventions of western abstraction and Persian art, with its emphasis on ornamentation, partake in a pictorial and cultural clash where unpredictability and intention come together to distort the perception of “boundaries.” The resulting synthesis evokes allegories of intrusion and invasion, moving beyond the personal and referencing historical and contemporary sociopolitical conflicts.

I surrender to you, ashen lands and blue skies, Hemphill Fine Arts, Washington, DC

2016

Everything became nearness and all the nearness turned to stone, Hemphill Fine Arts, Washington, DC

2015

Ethereal Transgressions, Shirin Gallery, New York, NY

2013

A leaf from my rose garden, Southern Center for

Contemporary Art, Winston-Salem, NC

2012

I’m Coming Home, Contemporary Wing, Washington, DC

Group Exhibitions

2019

Sign Systems, Kohl Gallery, Washington College,

Chestertown, MD

2018

Drawing in /Drawing Out: Contemporary Drawing, Phillips

Museum of Art, Franklin & Marshall College,

Lancaster, PA

2017

Close at Hand, DC Commission on the Arts and Humanities

Gallery, Washington, DC

Represented by

HEMPHILL Artworks, Washington, DC 87

Ilchi

Hedieh Javanshir Ilchi | Before the beginning and after end (detail)

Sue Johnson Ready-Maid, from Hall of Portraits from The History of Machines | acrylic painting over print on canvas of original image by artist with imprinted patterns from Sparkle paper towels and Brew-Rite coffee filters, 109.25 x 72 inches

Sue Johnson Blue Bambi, from Hall of Portraits from The History of Machines | acrylic painting over print on canvas of original image by artist, 109.25 x 72 inches

Sue Johnson Visible Woman from Hall of Portraits from The History of Machines | acrylic painting over print on canvas of original image by artist with imprinted patterns from Bounty paper towels, 109.25 x 72 inches

Sue Johnson Richmond, VA suejohnsonone@gmail.com / www.suejohnson1.com

b. 1957 San Francisco, CA

Education

1981

MFA, Columbia University, New York, NY

1979

BFA, Syracuse University, Syracuse, NY

Residencies

2019

Sam & Adele Golden Foundation for the Arts,

New Berlin, NY

I-Park Foundation, East Haddam, CT

The Studios at MASS MoCA, Massachusetts Museum of Contemporary Art, North Adams, MA

2015

Visiting Artist and Scholars Program, American Academy in Rome, Rome, Italy

2001

Art Omi International Artists’ Colony, Omi, NY

1998

The MacDowell Colony, Peterborough, NH

Solo Exhibitions

2018

When making Hall of Portraits from The History of Machines, I often thought of Théodore Gericault’s The Raft of the Medusa, which was simultaneously contemporary, historical, and fictional. I had that in mind when I began to look back at mid-twentieth century images of the modern woman. This led me to portray my women as sharing the ideal attributes of two objects of desire— labor-saving domestic devices and the emergent female form. The resulting women seem familiar yet we know that they are actually a highly fictional, patriarchal fantasy. To emphasize this artificiality, I surrounded them with color fields that are squeegeed, akin to how one might clean a window, or inscribed with decorative patterns made using household devices. Each portrait measures 109.25 inches tall, which is the exact height of Marcel Duchamp’s The Bride Stripped Bare by Her Bachelors, Even (The Large Glass). In making this reference, I seek to invite a deeper look at the taxonomy of the representation of women.

Ridderhof-Martin Galleries, University of Mary Washington, Fredericksburg, VA

2016

Martha & Robert Fogelman Galleries of Contemporary Art, University of Memphis, Memphis, TN

2013

Eleanor D. Wilson Museum, Hollins University,

Roanoke, VA

2012

Pitt-Rivers Museum, University of Oxford, Oxford, England

Awards

2020

Virginia Museum of Fine Arts Visual Arts Fellowship

2009

Individual Artist Fellowship, Maryland State Arts Council

1998

Fellowship, Pollock-Krasner Foundation

1995

NEA/Mid-Atlantic Arts Foundation Fellowship

Johnson

Evan Jones American History T-REX | acrylic on canvas, 66.5 x 34.5 inches

Evan Jones El Ranchero Sunset | acrylic on canvas, 40 x 40 inches

Evan Jones Olympia | acrylic on canvas, 49.5 x 37 inches

Evan Jones Atlanta, GA 404.814.1811 (Thomas Deans Fine Art) ejonesart7@gmail.com / www.evanjonesartist.com / @townhouseonmars

b. 1992 Cashiers, NC

Education

2016

BFA, Savannah College of Art and Design, Atlanta, GA

Solo Exhibitions

2018

Family Pictures, Matre Gallery, Atlanta, GA

2017

Sparkle Crackle, Matre Gallery, Atlanta, GA

2016

Short Shorts 2016, Whitespace, Atlanta, GA

2014

The Epic of Flight, Albany Museum of Art, Albany, GA

Group Exhibitions

2019

BLVD, 54 Boulevard SE, Atlanta, GA

2016

Short Shorts 2016, Whitespace, Atlanta, GA

2015

Governors Island Art Fair, Governors Island,

New York, NY

Publications

2020

Under the Bridge: Painting, Winter

2018

“Editor’s pick,” Booooooom.com, August 3

2017

New American Paintings, no. 130

“Evan Jones: A Painted History,” Friend of the Artist,

Winter

Represented by

Thomas Deans Fine Art, Atlanta, GA

Evan Jones was born and raised in the mountains of Cashiers, North Carolina, and he draws heavily on the visual language of the American South combined with the visual language of America at large. Jones’s paintings can be likened to an antique market, which serves as a de facto visual archive where objects are considered not for their original meaning or context but for their aesthetic qualities. By bringing together varying and disparate references, ignoring their original meaning, and offering them on the equal plane of the canvas, Jones too offers a kind of visual archive—one where aesthetics take precedence over meaning, and subjects can be consumed in a new way having been distilled by paint.

Jones

Jeremy Jones mmm Yes | oil on canvas, 16 x 22 inches

Jeremy Jones Landlords Aren’t Real | oil on canvas, 28 x 20 inches

Jeremy Jones Best Friends 4 Ever | oil on canvas, 24 x 20 inches

Jeremy Jones New Orleans, LA jerejone@gmail.com / www.jeremyjonespaint.com / @jeremyjonespaint

b. 1991 Nappanee, IN

Education

2016

MFA, Tulane University, New Orleans, LA

2014

BFA, Indiana University, South Bend, IN

Solo Exhibitions

2019

Put It in Your Memoir, The Front, New Orleans, LA

2018

Im/perfect Vehicles, Barrister’s Gallery, New Orleans, LA

2016

Presence of Absence, Carroll Gallery, Tulane University,

New Orleans, LA

Two-Person Exhibition

2019

We Buy Houses (w/ Patch Somerville), The Front,

New Orleans, LA

How should we question that which recurs daily? It is ordinary to aggrandize the everyday, daydream of what could be, and give significance to the otherwise insignificant. We carry about as though the everyday holds no questions nor answers, as if it doesn’t bear any information. My work explores these unasked questions and seeks to respond to them, though the answers are often evasive. Through oil painting I use the familiarity of ordinary objects and refuse to ask the viewer to decelerate, take time to engage with the subject matter, and appreciate its worth through deliberate consideration.

Group Exhibitions

2019

Muscle Memories, Red Truck Gallery, New Orleans, LA

Megalomania, Boyd Satellite, New Orleans, LA

2018

Figure + Ground, Delgado University, New Orleans, LA

Flat File, Antenna, New Orleans, LA

2017

In Pieces, Staple Goods, New Orleans, LA

Interiors, Inheritance, and Icons, Antenna,

New Orleans, LA

The Lonely Crowd, Helikon Gallery, Denver, CO

Tapped, Manifest Gallery, Cincinnati, OH

Jones

Daniel Kornrumpf Transformations | oil on canvas, 36 x 24 inches

100

Daniel Kornrumpf The individual is the only reality | oil on canvas, 36 x 24 inches

101

Daniel Kornrumpf Free will | oil on canvas, 30 x 30 inches

102

Daniel Kornrumpf Dahlonega, GA www.danielkornrumpf.com / @danielkornrumpf

b. 1983 Yardley, PA

Education

2007

MFA, Pennsylvania Academy of the Fine Arts,

Philadelphia, PA

2005

BFA, Kutztown University, Kutztown, PA

Residencies

My paintings are autobiographical, and inherently biased, configurations of the people and objects that are a part of my personal story. Learning through the process of painting, I focus on elements that sharpen the idea of solitude, need, and desire, with the individuals and objects in my paintings acting as vehicles for connection to shared values, to the places we inhabit, and as a way to understand my own sense of existence.

2014-15 Pennsylvania Academy of the Fine Arts 2011-13 The Center for Emerging Visual Artists, Philadelphia, PA

Professional Experience

2018-

Lecturer in Painting and Drawing, University of North

Georgia, Dahlonega, GA

2010-18 Adjunct Professor, Mount Ida College, Newton, MA 2015-18 Adjunct Professor, Emmanuel College, Boston, MA

Solo Exhibitions

2017

Personal Space, Groundwork Gallery, New Bedford, MA

2015

Observing Energies, Gallery 5, Emmanuel College,

Boston, MA

Two-Person Exhibition

2016

Extrapolation (w/ Kathy Soles), Trustman Art Gallery,

Simmons College, Boston, MA

Group Exhibitions

2020

Semblance, MINT ATL, Atlanta, GA

2019

Painting Invitational, The University of Southern Mississippi Museum of Art, Hattiesburg, MS

2017

Intimate Lines: Drawing with Threads, Hunterdon Art

Museum, Clinton, NJ

2013

The Philadelphia Story, Asheville Art Museum,

Asheville, NC

2011

Portrait, BLANK SPACE, New York, NY

103

Kornrumpf

Andrew Leventis Desk | oil on linen, 24 x 36 inches

104

Andrew Leventis Vanity | oil on linen, 24 x 36 inches

105

Andrew Leventis Convex Mirror | oil on linen, 36 x 24 inches

106

Andrew Leventis Charlotte, NC leventisandrew@gmail.com / www.andrewleventispainting.com / @andrewleventisstudio

b. 1980 Charlotte, NC

Education

2012

MFA, Goldsmiths College, University of London, England

2006

BFA, American Academy of Art, Chicago, IL

Residency

2015

360 Xochi Quetzal Residency, Chapala, Mexico

Solo Exhibitions

2019

Curfman Gallery, Colorado State University,

Fort Collins, CO

2018

Reconstructed Images and Nature Morte, Milliken Art

Gallery, Converse College, Spartanburg, SC

Group Exhibitions

2019

The World Without Us, APT Gallery, London, England

Artrooms Art Fair, Melia White House, London, England

2018

My work draws on a tradition of realist painting techniques and collecting practices that have formed culture since the Renaissance. I use a meticulous technique to render objects and things that populate our world and through which we actualize our identities and relationships with other people, cultures, and times. I present figurative painting as a vital, contemporary art form. Rather than being an outmoded practice, my belief is that painting can demonstrate a dedication to detail as well as conceptual richness. One aspect of my painting traces the history of humans exhibiting possession, ownership, and intimacy with one another through things, including necklaces, photos souvenirs, and other stilllife memorabilia. The works present a dialectical relationship between painting and the contemporary photographic image. At times, the paintings are made from pictures that I have snapped of contemporary and historical collections, and at other times they are appropriated from film stills.

Malamegi LAB 10, 28 Piazza di Pietra–Fine Art Gallery, Rome, Italy

Color: National Juried Art Show, Brooklyn Waterfront

Artists Coalition, Brooklyn, NY

LA Artcore 4th Annual Juried Exhibition, Dab Art,

Los Angeles, CA

The Representational Art Conference 2018 International Juried Exhibition, WestCord WTC Hotel, Leeuwarden,

Netherlands

2017

Young International Contest of Contemporary Art

Exhibition, Museo Fondazione Crocetti, Rome, Italy

Art Gemini Prize 2017 Finalists Exhibition, Asia House

Gallery, London, England

New York City Invitational Exhibition, George Billis Gallery,

New York, NY

Publications

2019

Sara Markari-Aghdam, “The World Without Us,” This Is

Tomorrow, November 18 2018

INPA 8: Manifest International Painting Annual 107

Leventis

Andrew Leventis| Desk (detail)

Glory Day Loflin Shelf Life: Cerberus and the Olive Branch | acrylic and oil paint on birch panel, 36 x 36 inches

108

Glory Day Loflin Shelf Life: Two Feet & Love Handles | acrylic and oil paint on birch panel, 48 x 36 inches

109

Glory Day Loflin Human Vessel: Holy Grail | acrylic and oil paint on canvas, 12 x 9 inches

110

Glory Day Loflin Greenville, SC 704.334.7744 (Shain Gallery) glorydayloflin@gmail.com / www.glorydayloflin.com / @glorydayart

b. 1991 Greenville, SC

Education

2014

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

Residencies

2020

Winter Residency, Penland School of Craft, Penland, NC

My current work explores my life experiences as contained in objects collected, moments remembered in form, and shapes organized onto the painting surface. Currently, my practice looks like anthropological dig meets cabinet of curiosities. I draw from objects in my home—pots made by friends, a handful of sand I collected while visiting my sister in Kuwait, a cast of my dad’s teeth, my grandmother’s seashell collection from years spent in the Philippines.

2015-16 Brandon Fellowship, Greenville Center for Creative Arts,

Greenville, SC

Solo Exhibitions

2019

Rhymes with Orange, Art and Light Gallery, Greenville, SC

2018

Wet Paint, Centre Stage, Greenville, SC

2016

Far and Wide, Art and Light Gallery, Greenville, SC

2015

Next in Show, Joseph Bradley Studio, Greenville, SC

Two-Person Exhibitions

2019

Big & Tall (w/ Kymberly Day), Southern Bleachery,

Taylors, SC

2018

Painter / Potter (collaborative works w/ Darin R. Gehrke),

In addition to referencing my reading of Greek and Norse mythology, my paintings periodically depict, among other characters, anthropomorphized pots that stand in for the human vessel. The faux depth created with a flawed use of perspectival space allows the read of the painting I intend; all of the objects in my paintings are connected through associated thought rather than any illusory shelving or depth. Moreover, the paintings remain open to the viewer, generating narrative and meaning through looking and experiencing.

Darin R. Gehrke Ceramics, Greenville, SC 2014

INFJ / ENTP (w/ Emilie Louise Gossiaux), The Cooper Union for the Advancement of Science and Art, New York, NY

2013

Hook, Line, and Sinker (w/ Daniel Schroeder), The Cooper Union for the Advancement of Science and Art,

New York, NY

Represented by

Shain Gallery, Charlotte, NC

Hillary Whitaker Gallery, Ponte Vedra Beach, FL

111

Loflin

Cary Loving Peak | acrylic on wood panel with photograph, 11 x 14 inches

112

Cary Loving Quiver | acrylic on wood panel with photograph, 9 x 11 inches

113

Cary Loving Stream | acrylic on wood panel with photograph, 12 x 9 inches

114

Cary Loving Richmond, VA www.caryloving.com

b. 1974 Richmond, VA

Education

1998

MFA, California College of Crafts, Oakland, CA

Professional Experience

2012-13 Workshop instructor, John Tyler Community 2004–8 College, Midlothian, VA 2002-3 Instructor, University of Denver, CO 2000–2 Instructor, South Plains College, Levelland, TX

Solo Exhibition

2018

Residue: Saggar-Fired Clay, Artspace, Richmond, VA

Group Exhibitions

2020

Homeward Bound: Juried Triennial, Taubman Museum of

Art, Roanoke, VA 2019

Virginia Artists 2019, Charles H. Taylor Arts Center,

Hampton, VA

The Abandoned Landscape, SE Center for Photography,

My work involves overlapping combinations of media. Photo transfer and paint are combined with clay, and photographs are transferred, screenprinted, or collaged into paintings. I welcome the expressive possibilities of not limiting myself to a single medium. As well, I work loosely to encourage unplanned, intuitive outcomes. Nature for me is a frequent source of imagery, lessons, and metaphors. A recurrent theme in my work is the memento mori. Evident in all of nature are alerts to the transitory: the constancy of the struggle to survive, the attempts at renewal, and the inevitable endings. Sometimes the landscape images I make are places of poignancy and poetry, with muted colors and lyricism. In this current series, Calling, the opposite happens when a sense of urgency requires intensity of colors and boldness of shapes. The starkness of bare trees is contrasted with a fulsome botanical on a stalk that observes, points, or emits a siren call across the vista, with a sense of warning. My work says: We need to pay attention.

Greenville, SC

The Naked Print, Rhode Island Center for Photographic Arts, Providence, RI

The Garden, Still Point Art Gallery, Brunswick, ME

2017

Biggs Picture: Landscapes by Regional Artists, Biggs

Museum of American Art, Dover, DE

Honoring Trees, PhotoPlace Gallery, Middlebury, VT

37th Annual National Print Exhibition, Artlink

Contemporary Gallery, Ft. Wayne, IN

Still Life: The Ordinary Made Extraordinary, PhotoPlace

Gallery, Middlebury, VT

Awards

2019

First Place, The Naked Print, Rhode Island Center for

Photographic Arts, Providence, RI

Best in Show, The Garden, Still Point Art Gallery,

Brunswick, ME

Publication

2015

Christopher James, The Book of Alternative Photographic

Processes, 3rd ed. (Delmar Cengage)

115

Loving

Ashley Sauder Miller Curry Chair | acrylic, marker, reclaimed upholstery, and vintage quilt on canvas, 24 x 18 inches

116

Ashley Sauder Miller Studio Club Chairs | acrylic, marker, oil pastel, fabric, paper, and leather on canvas, 144 x 60 inches

117

Ashley Sauder Miller So Close (Pom Pom Club Chairs) | acrylic, marker, vintage quilt, fabric, wallpaper, and pom pom garland on canvas, 60 x 48 inches

118

Ashley Sauder Miller Harrisonburg, VA ashley_sauder_miller@yahoo.com / www.ashleysaudermiller.com / @ashleysaudermiller

b. 1980 Harrisonburg, VA

Education

2007

MFA, James Madison University, Harrisonburg, VA

Solo Exhibitions

2018

New Work, Larkin Arts, Harrisonburg, VA

There’s Always a Lull, Virginia Museum of Contemporary Art Satellite Gallery, Virginia Beach, VA

Gently force, if necessary, Darrin-McHone Gallery, Arts Council of the Valley, Harrisonburg, VA

Group Exhibitions

2019

Hung Juried, Glave Kocen Gallery, Richmond, VA

2018

Dimensions: A Collage Exhibition, Latela Art Gallery,

Washington, DC

2017

6th Annual Miniature Show, Gallery Flux, Ashland, VA

Woven: The Traditional to the Contemporary, The Gray

Gallery, Winchester, VA

2017 Young Painters Competition Finalists Exhibition,

Hiestand North Gallery, Miami University, Oxford, OH

Award

2019

Best in Division, VMRC National Juried Art Show,

Harrisonburg, VA

An heirloom rocking chair in need of restoration was my inspiration to learn to cane, which evolved into an ongoing series of paintings and mixed media works investigating the forms and textures of chairs and interior spaces. Drawers and boxes in my studio overflow with scraps collected for the past twenty years— treasured family photos, heirloom embroidery, pieces of chair upholstery, vintage drawer liners, richly colored and textured textiles, stacks of children’s drawings—bits and pieces of stories and nostalgia, a collection of a lifetime. This body of work combines found and discarded materials with traditional art media. Thrift-store quilt squares, parts of chairs found by the side of the road, balsa wood, and bits of cut paper left behind by my children are layered with paint, marker, and oil pastel to create contemporary narratives from past stories. The chair pieces have evolved into a complex narrative—one both deeply personal and widely shared—stories of loss, renewal, remembrance, expectancy, surprise, and change.

Juror’s Choice Award, Virginia Museum of Contemporary Art Boardwalk Art Show

2018

Juror’s Choice Award, Virginia Museum of Contemporary Art Boardwalk Art Show

2016

Best in Show, Virginia Museum of Contemporary Art

Boardwalk Art Show

119

Miller

Marc Mitchell Lost in the Light | acrylic and silkscreen on shaped panels, 40 x 44 inches

120

Marc Mitchell The Changer | acrylic and silkscreen on shaped panels, 40 x 44 inches

121

Marc Mitchell The Long Road | acrylic and silkscreen on shaped panels, 54 x 68 inches

122

Marc Mitchell Fayetteville, AR mmitch@uark.edu / www.mmitchellpainting.net / @methan18

b. 1978 Clearwater, FL

Education

2003

MFA, Boston University, Boston, MA

Residencies

2020

American Academy in Rome, Rome, Italy

2019

StudioWorks Artist-in-Residence / Tides Institute,

Eastport, ME

2018

Banff Centre for Arts and Creativity, Banff, Canada

Vermont Studio Center, Johnson, VT

Professional Experience

2014-

Associate Professor of Art, University of Arkansas,

Fayetteville, AR

Solo Exhibitions

2019

Marginal Utility, Stonehill College, Easton, MA

I use to was, The New Gallery, Little Rock, AR

Disagreeable Giver, Unrequited Leisure, Nashville, TN

2018

Co-Workers, Georgia Regents University, Augusta, GA

2017

Add to Bag, Middle Tennessee State University,

Murfreesboro, TN

Image of a Rind or a Curtain Behind, Bloomsburg

University, Bloomsburg, PA

2016

Nothing Ritually, GRIN, Providence, RI

2015

Mon-i-tor, The University of Alabama, Tuscaloosa, AL

2014

Just Gaming, Laconia Gallery, Boston, MA

Two-Person Exhibition

2018

Linda Lopez & Marc Mitchell: Space Between Teeth,

Historic Arkansas Museum, Little Rock, AR

I am influenced by many things—vintage punk rock, VHS tapes, World War I battleships, beat-up amps, and custom guitars all play a role in the development of my paintings and digital prints. For the past three years, dazzle camouflage has played an increasing role within my studio practice. By adhering to a limited palette of color (primarily black and white), as well simple patterns, I’m able to develop a visual language that seamlessly flows between the historical and contemporary.

123

Mitchell

Sean P. Morrissey Haufen #4 | oil on paper, 11 x 14 inches

124

Sean P. Morrissey Haufen #6 | oil on paper, 11 x 14 inches

125

Sean P. Morrissey Haufen #5 | oil on paper, 11 x 14 inches

126

Sean P. Morrissey Fayetteville, AR seanpmorrissey@gmail.com / www.seanpmorrissey.com / @seanpmorrissey

b. 1986 Salem, OH

Education

2011

MFA, University of Nebraska–Lincoln, NE

2008

BFA, Bowling Green State University, Bowling Green, OH

Residency

2019

Edition/Basel, Basel, Switzerland

Solo Exhibition

2018

Expanse, Gallery, West Las Vegas Library, Las Vegas, NV

Group Exhibitions

2019

Biennale internationale d’estampe contemporaine de

The North American landscape and respective lifestyle is the foundation for my investigation of domestic space, land use, identity, and consumerism. I question the cultural obsession with the “dream home” and the underlying normativity present in these everyday spaces, asking if individualism exists in prefabricated choices. The suburban terrain spreads ad infinitum, and I examine the landscape for forms that have become signifiers of lived space. The architectural and decorative elements of this sprawl serves as my visual language, and I reconstruct and rearrange these typologies to question what has been prioritized for us and what we are told to value. Our notions of who we are becomes limited to the options in the store.

Trois-Rivières, Trois-Rivières, Canada

Forms of Enclosure, International Print Center New York, New York, NY

2018

Ink, Press, Repeat, William Patterson University,

Wayne, NJ

Pushing the Pull, IS Projects, Fort Lauderdale, FL

2017

Wheaton Biennial, Wheaton College, Norton, MA

Louisiana Biennial, School of Design, Louisiana Tech

University, Ruston, LA

2016

Art of the South, Art Museum, The University of Memphis,

The endless rhythm of this landscape, the repetition of the generic, and this overwhelming space is ever present in my practice. By translating these elements into layered, flattened versions of themselves, I draw attention to the ideas of landscape, consumption, and architecture as vehicles for identity.

Memphis, TN

Now What, COOP Gallery, Nashville, TN

Collections

New York Public Library, New York, NY

Sheldon Museum of Art, Lincoln, NE

Weisman Art Museum, Minneapolis, MN

127

Morrissey

Joe Morzuch Blue Tin | oil on canvas on panel, 17 x 17 inches

128

Joe Morzuch Egg Carton | oil on canvas on panel, 17 x 17 inches

129

Joe Morzuch Paper Basket | oil on canvas on panel, 17 x 17 inches

130

Joe Morzuch Starkville, MS joemorzuch@yahoo.com / www.joemorzuch.com / @joemorzuch

b. 1980 Waukegan, IL

Education

2006

MFA, Southern Illinois University Carbondale,

Carbondale, IL

Residency

2018

Vermont Studio Center, Johnson, VT

Professional Experience

2018-

Assistant Professor, Mississippi State University,

Mississippi State, MS

Solo Exhibitions

2019

Stay and Remain, Manifest Gallery, Cincinnati, OH

New Paintings, Ameen Art Gallery, Nicholls State

University, Thibodaux, LA

Group Exhibitions

2020

The Blues, The Painting Center, New York, NY

I am interested in the visual and communicative potential of objects that are cast off, discarded, and overlooked. Inherent to still life is an engagement with the mundane and domestic, as well as the notion of an arrested visual experience. These subjects, their intrinsic intimacy, and the process of working from life are rich with pictorial and conceptual possibilities. I work in a responsive manner directly from the motif, depicting objects at or near life-size and within reach of the viewer. I am drawn to certain objects for their utility, the familiarity and simplicity of their form, and their ability to connect with a viewer through a shared experience of their use. At the core of my practice is a curiosity to uncover and reconstruct a visual order. During the painting process, adjustments of tone, color, and proportion lead to an articulation of form and space built on extended observation. The paintings retain traces of these adjustments, speaking as both image and object.

Thinking Through Things: A Still Life Painting Invitational, Ameen Art Gallery, Nicholls State University,

Thibodaux, LA

46th Annual Bi-State Art Competition, Meridian Art

Museum, Meridian, MS

2019

34th Annual International Exhibition, Meadows Gallery, The

University of Texas at Tyler, Tyler, TX

53rd Annual National Drawing and Small Sculpture Show, Joseph A. Cain Memorial Gallery, Del Mar College,

Corpus Christi, TX

My Studio, Zeuxis traveling exhibition, First Street Gallery,

New York, NY

Drawn, Manifest Gallery, Cincinnati, OH

28th Annual Juried Exhibition, Bowery Gallery,

New York, NY

Collections

Le Bonheur Children’s Hospital, Memphis, TN

Historic Arkansas Museum, Little Rock, AR

131

Morzuch

Judy Riola Surrogate Nose | paper, Yupo, gouache, and pencil on panel, 12 x 16 inches

132

Judy Riola Surrogate Smoker | paper, Yupo, gouache, and pencil on paper, 11 x 14 inches

133

Judy Riola Serpent Protection | paper, Yupo, gouache, and pencil on panel, 11 x 14 inches

134

Judy Riola Venice, FL jriola@icloud.com / www.judyriola.com / @judyriola

b. 1948 Yonkers, NY

Solo Exhibitions

2015

New Painting, Michele Mercaldo, Boston, MA

2014

Impolite, Bromfield, Gallery, Boston, MA

2012

Noisy Constellations, Bromfield Gallery, Boston, MA

Group Exhibitions

2019

Goodbye Hello, room83spring, Watertown, MA

The Odyssey Project, Museum of Art, University of

New Hampshire, Durham, NH

2018

Tangerine Trees and Marmalade Skies, room83spring,

Watertown, MA

Juxtapositions, The Painting Center, New York, NY

2017

Guilty Pleasures, Jen Tough Gallery, Vallejo, CA

2016

Patterns, Attleboro Arts Museum, Attleboro, MA

2013

12th National Prize Show, Cambridge Art Association, Cambridge, MA

2011

My recent body of work attempts to answer a question I’ve been asking myself for a long time: How specific a story do I want to tell? I’ve begun to feel an impulse toward the narrative, and my mixedmedia pieces have facilitated that impulse. By using pieces of drawn and painted paper or Yupo, I can introduce an unexpected element to the painting. This forces me to take a direction I wouldn’t have taken, to respond to that often jarring presence. I build layers by alternating gouache, pencil, markers, paper, and Yupo, over and over, until a clearer story emerges. Ambiguity remains important to me. I want to suggest a reading, but I also insist the viewer be invited to provide their own. This narrative is inevitably concerned with environmental threats, particularly to the oceans. Often my imagery conjures imaginary escape routes or solutions born of desperation. The cartoonish shapes and bright colors are a form of whistling in the dark, a way of warding off a deep pessimism about our earth’s fate.

Art and Alchemy, Gold Gallery, Boston, MA South End Artists, Massachusetts Convention Center, Boston, MA

2008

MCCA Artists Invitational, Massachusetts Convention

Center, Boston, MA

New England, New Talent, Fitchburg Art Museum,

Fitchburg, MA

Publications

2018

Cate McQuaid, review, Boston Globe, November 20

2015

Cate McQuaid, review, Boston Globe, November 3

135

Riola

Samantha Rosado La Sala, No Sale | oil paint on canvas, 48 x 36 inches

136

Samantha Rosado [Julian]a | oil on canvas, 48 x 36 inches

137

Samantha Rosado Viva Puerto Rico | oil paint, charcoal, oil pastel, and pencil on canvas, 40 x 36 inches

138

Samantha Rosado Baton Rouge, LA 203.317.9434 sa5mantha.rosado@gmail.com / @sa5mantha.rosado

b. 1993 Meriden, CT

Education

2020

MFA, Louisiana State University, Baton Rouge, LA

2018

Hilla Rebay Postbaccalaureate Fellowship, Trinity College, Hartford, CT

2015

BA, Mount Holyoke College, South Hadley, MA

2013

Semester Abroad, La Universidad de Sevilla,

Seville, Spain

Professional Experience

2018

Gallery Assistant, Teaching Assistant, and Curatorial

Assistant, Trinity College, Hartford, CT

Solo Exhibitions

2018

My current work deals with the materiality of paint through varied applications, surface development, and color to contribute to both the pictorial and expressive qualities of an image. I do this through a combination of figure and landscape studies, and recontextualizations of paintings from art history. I am refining my palette, surface, and space by focusing on color interactions, brushwork, and their relationship to the picture plane. In my paintings I tell stories of identity, heritage, and family. My work has been described as pages from a journal, giving honest descriptions of family dynamics surrounding the intersections of sexuality and religion, children and parents, siblings and in-laws, and the culture of Puerto Ricans living on the mainland and on the island. In these family portraits each component carries personal meaning for me, which I attempt to convey with a sense of humor through placement and characterization.

Unkempt, Crescent Center for the Arts and Neuroscience, Hartford, CT

2017

dear saint anthony, Broad Street Gallery, Hartford, CT

Group Exhibitions

2020

The Print Show, Graduate Painting Gallery, Louisiana State

University, Baton Rouge, LA

Body Forth, Graduate Painting Gallery, Louisiana State University, Baton Rouge, LA

2019

Swamp Thang, Foster Gallery, Baton Rouge, LA

2018

Disclosure, Foster Gallery, Baton Rouge, LA

Trinity College Recent Alumni Group Exhibition,

Crescent Center for Arts and Neuroscience, Hartford, CT

Publication

2016

dear saint anthony, the collected poems of Samantha

Rosado (self-published)

139

Rosado

Samantha Rosado | Viva Puerto Rico (detail)

Joey Slaughter I listened to Otis and I’m trying a little tenderness. | acrylic paint skins collaged on paper, 40 x 30 inches

140

Joey Slaughter Back seat realizations listening to Waylon and Willie | acrylic paint skin on collaged paper, 40 x 30 inches

141

Joey Slaughter Mean Meme | poured acrylic paint skins collaged on paper, 44 x 30 inches

142

Joey Slaughter Ruston, LA 504.891.6789 (Cole Pratt Gallery) joey_slaughter@mac.com / www.joeyslaughter.com / @joey_slaughter

b. 1972 El Dorado, AR

Education

2000

Cranbrook Academy of Art, Bloomfield Hills, MI

1997

Memphis College of Art, Memphis, TN

Residencies

2019

Joan Mitchell Center, New Orleans, LA

Crosstown Arts, Memphis, TN

2018

Hambidge Creative Residency, Rabun Gap, GA

2017

Sam & Adele Golden Foundation for the Arts,

New Berlin, NY

Solo Exhibitions

2020

I am interested in the sending and receiving of information. I wonder how a simple conversation is absorbed between people, how they’re connected, and what the conversational wavelengths would look like. The main idea is to create abstractions from conversations if you could see sound waves from analogue and digital devices passing through and around people. I imagine it to be very chaotic, yet beautiful. My work is purposefully busy in reference to the busy-ness in our lives. Our thoughts are busy, and I’ve long been interested in what a thought process looks like in the brain, imagining rings of color and structure. I see my works as explosions of thoughts, snippets of conversations, weavings of words and lyrics—a visualization of communication.

Don’t Yuck My Yum, Hammond Hall Gallery, Jacksonville State University, Jacksonville, AL

2018

I see the secrets that you keep, Cole Pratt Gallery,

New Orleans, LA

2017

Everybody's the Busiest Person in the World, Brad Arender

Gallery, Monroe, LA

Group Exhibitions

2020

From the Pages 2, Paradigm Gallery, Philadelphia, PA

2019

Negative Space, Crosstown Concourse, Memphis, TN

2018

Art Fields, Jones Carter Gallery, Lake City, SC

Made in Paint, Golden Artist Colors, New Berlin, NY

2016

Abstract Expressions, Patrajdas Contemporary,

Salt Lake City, UT

Represented by

Cole Pratt Gallery

143

Slaughter

Jason Stout American Reflector | oil on canvas, 24 x 24 inches

144

Jason Stout Fenced | oil on canvas, 20 x 20 inches

145

Jason Stout Hats for Bats | oil on canvas, 40 x 30 inches

146

Jason Stout Martin, TN 731.514.2637 jstout@utm.edu / www.thejasonstout.com / @jason.stout.92

b. 1977 Martin, TN

Education

2004

MFA, The University of Texas at San Antonio,

San Antonio, TX

2001

BFA, The University of Tennessee at Martin, Martin, TN

Solo Exhibitions

2019

Black Star Unscripted, Rem Gallery, San Antonio, TX

2017

Into a Birdless Sky, REM Gallery, San Antonio, TX

2016

My current cloud compositions deal with the idea of conflict and turbulence, both domestically and abroad. These clouds also double as nebulas, contracting and expanding energy around the idea of conflict. These works deal with notions of political strife coexisting with environmental concerns, and create compositions of smaller troubled environments coexisting in larger yet equally troubled ones. There are fragmented figurative elements existing within and outside of these clouds, as well as tools, weapons, and vices. These fragments serve as visual metaphors that address specific narratives from our modern time.

Thrown from the Storm, Ground Floor Gallery and Studios, Nashville, TN

Group Exhibitions

2020

The Figurative Impulse, Bagwell Gallery, Pellissippi State

Community College, Knoxville, TN

Voluntarily Indirect, Fine Arts Gallery, University of Tennessee at Martin, TN; Florescent Gallery, Knoxville, TN; Marshall Arts, Memphis, TN

2019

The Art of Hope, Cullis Wade Depot Art Gallery, Mississippi State University, Starkville, MS

Art of the South, Memphis College of Art, Memphis, TN

2018

34th Annual International Exhibition, Meadows Gallery,

The University of Texas at Tyler, TX

59th Mid-States Art Exhibition, Evansville Museum,

Evansville, IN

Waging Peace!, Museum of Fine Arts, Florida State

University, Tallahassee, FL

Awards

2019

University of Tennessee Alumni Association Outstanding Teaching Award, The University of Tennessee at

Martin, TN

2017-18 Ray and Wilma Smith Award, The University of 2016

Tennessee at Martin, Martin, TN Best in Show, Art of the South, Memphis College of Art, Memphis, TN 147

Stout

Ashley Teamer Karen Gibson | acrylic, Flashe, and latex paint over inkjet print on shaped plywood, 26 x 20 inches

148

Ashley Teamer Stung | acrylic, Flashe, and latex paint over inkjet print on shaped plywood, 31 x 23 inches

149

Ashley Teamer Who Am I | Women’s National Basketball Association trading cards collaged on plywood, 25 x 19 inches

150

Ashley Teamer New Orleans, LA www.ashleyteamer.com / @ateamer

b. 1991 New Orleans, LA

Education

2014

Skowhegan School of Painting and Sculpture,

Madison, ME

2013

BFA, Boston University, Boston, MA

Residencies

2018

Joan Mitchell Center, New Orleans, LA

2017

Diaspora Vibe Cultural Arts Incubator, Miami, FL

I approach painting, printmaking, and video through the lens of collage. By layering abstract painting techniques on top of media, I build compositions that are portals from life on earth into worlds where the depths of the ocean and the far reaches of outer space coexist. I use archival materials to inspire a reimagining of our shared histories: family snapshots, basketball cards, and images from Black publications. My work becomes a liberatory space where the past communes with the present and Black female power is the guiding form of salvation.

Professional Experience

2018-

Youth Empowerment Project Design Works Manager,

New Orleans, LA

Solo Exhibitions

2019

Talk of the Town, Larrie, New York, NY

To Ebony, Siena Heights University, Adrian, MI

2018

Rated Rookie, Fort Gansevoort, New York, NY

Sneaker Boy Dreams, 4th Ward Project Space, Chicago, IL

Group Exhibitions

2020

The Twenty-Ninth Bather, ltd los angeles,

Los Angeles, CA

2019

Welcome to the Afrofuture: Ground Zero, New Orleans

African American Museum, New Orleans, LA

ACE: Art on Sports, Promise, and Selfhood, University at Albany, Albany, NY

Alternative Mappings, Residency Art, Los Angeles, CA

Awards

2019

Project Grant recipient, We Women

Monroe Fellowship, New Orleans Center for the Gulf South, Tulane University

Emerging Voices mentee, New Orleans Film Festival

151

Teamer

Ashley Teamer | Who am I (detail)

Samantha Van Heest Meet the Queen | oil on canvas, 18 x 24 inches

152

Samantha Van Heest Imported Goods | oil on canvas, 36 x 42 inches

153

Samantha Van Heest Pull Shapes (Duet) | oil on canvas, two parts, each 16 x 12 inches

154

Samantha Van Heest Vienna, VA samanthavanheest@gmail.com / www.samanthavanheest.com / @samanthavanheest

b. 1998 Montclair, NJ

Education

2020

BA, University of Mary Washington, Fredericksburg, VA

2018

The Marchutz School of Fine Arts, The Institute for

American Universities, Aix-en-Provence, France

Professional Experience

2019

Intern and painting assistant, Amy Sherald Studio,

Jersey City, NJ

Group Exhibitions

2020

UMW Studio Art Senior Exhibition, duPont Gallery,

University Mary Washington, Fredericksburg, VA

By Yourself with Everyone, Good Mother Gallery,

Oakland, CA

Annual Student Art Exhibition, duPont Gallery, University

Mary Washington, Fredericksburg, VA

Ekphrasis, Gallery VC, University Mary Washington,

Fredericksburg, VA

2019

Invisible Self, Gallery VC, University Mary Washington,

My work explores memory via still life, found objects, and portraiture in minimalist representational painting and drawing. It reflects my desire to remember both the significant events and the small and intimate moments in life. Furthermore, it acts as a visual catalogue for my memories, a secure physical representation of how I recalled a moment. I romanticize the minutiae of everyday life, and I want to communicate the impact of ephemera as I remember it by visually referencing objects that symbolize the whole scene. What may initially appear as non-sequitur represents my exploration on the limitations of long-term memory and how our mind retains specific details that serve as a reminder for the whole instance. Through this examination of memory, I’m also exploring myself as a multiracial woman, my femininity, and my experience processing intense emotions such as grief and trauma. I want to discuss memory, how it defines the self, and how something so crucial to the makeup of our lives walks the line between reality and fiction.

Fredericksburg, VA

2019–2020 Studio Art Scholarship Recipients, Gallery VC, University Mary Washington, Fredericksburg, VA

Annual Student Art Exhibition, duPont Gallery,

University Mary Washington, Fredericksburg, VA

Nature, Gallery VC, University Mary Washington,

Fredericksburg, VA

Awards

2019

Alfred Levitt Memorial Scholarship in Art

Emil R. Schnellock Award for Excellence in Painting

2018

Rosalie Chauncey Memorial Scholarship

Publications

2020

Beyond Words, no. 4, June

Beyond Words, no. 3, May

155

Van Heest

Editor’s Selections

The following section is presented in alphabetical order. Biographical information has been edited. Prices for available work may be found on p178.

Caleb Kortokrax Passage 10 (Monson) | oil on linen, 18 x 16 inches

158

Caleb Kortokrax Now, and | oil on linen, 18 x 16 inches

159

Caleb Kortokrax Katie, Morning Sickness, First Trimester | oil on linen, 18 x 16 inches

160

Caleb Kortokrax Baltimore, MD calebkortokrax@gmail.com / www.calebkortokrax.com / @calebkortokrax

b. 1987 Orlando, FL

Education

2014

MFA, Maryland Institute College of Art, Baltimore, MD

2011

BSFA, Valparaiso University, Valparaiso, IN

Residencies

2019

Monson Arts, Maine College of Art, Monson, ME

2018

Borgeson Artist in Residence Program, Hope College,

Holland, MI

Solo Exhibitions

2019

Hand Eye, St. Charles, Baltimore, MD

Mirth and Mountain, Kristin Michelle Mason Gallery,

Beacon College, Leesburg, FL

2018

GANG CHANT, De Pree Art Gallery, Hope College,

Holland, MI

Quiet Process, Babylon Great Hall, Carroll Community

College, Westminster, MD

2017

Ghost of the Host, Greenspring Gallery, Stevenson

University, Stevenson, MD

2013

New Paintings, Canterbury Salon, Baltimore, MD

Group Exhibitions

2018

Bethesda Painting Awards, Gallery B, Bethesda, MD

New Dimensions, Mitchell Gallery, St. John’s College,

Annapolis, MD

Beyond the Medium, Manning Academic Center Gallery,

My newest body of work oscillates between the literal and the figurative. The paintings are a stage in which belief and doubt coexist and feign my memories, experiences, and proclivities within a trompe l’oeil scenic space. I consistently make references and allusions to the things I love: my family via personal iPhone photos employed in maquettes, the patrimony of my religion, an eclectic band of artists and art movements throughout history, vivified color spaces, and transcendent atmospheric conditions. For me, paint is the life-giving agent that records and perpetuates my vulnerability, intimacy, and struggle for discernment. Through the act of looking and painting, I question the mystery behind the human desire to create art. Why does this creative act matter? To find pleasure, express humanity, seek beauty, enlarge my sense of reality? In the process, I am hopefully coming to a deeper understanding.

Stevenson University, Owings Mills, MD 2016

Biennial Faculty Exhibition, Towson University,

Towson, MD

Collections

Brauer Museum of Art, Valparaiso, IN

Stevenson University, Owings Mills, MD

161

Kortokrax

Caleb Kortokrax | Katie, Morning Sickness, First Trimester (detail)

Giulia Piera Livi Spare Room | mixed media, felt, and light, 300 x 720 x 192 inches

162

Giulia Piera Livi Something to be looked at, Something to be used | mixed media, light, and Spandex, 216 x 240 x 240 inches

163

Giulia Piera Livi Sometimes I confuse three and seven | mixed media, felt, and light, 72 x 60 x 24 inches

164

Giulia Piera Livi Baltimore, MD 610.613.8216 giuliapieralivi.art@gmail.com / www.giuliapieralivi.com / @giuliapiera

b. 1992 Philadelphia, PA

Education

2017

MFA, Maryland Institute College of Art, Baltimore, MD

2015

BFA, Penn State University, University Park, PA

Professional Experience

2019-

Associate Director, C. Grimaldis Gallery, Baltimore, MD

Adjunct Professor, Maryland Institute College of Art,

Baltimore, MD

Solo Exhibitions

2020

Bend/Breathe, The Delaware Contemporary,

Wilmington, DE

Push/Plush, Abington Art Center, Abington, PA

2019

Come Sit, Frable Gallery, Artspace, Richmond, VA

2018

Spare Room, VAE Gallery, Raleigh, NC

Play Date, Arlington Arts Center, Arlington, VA

Group Exhibitions

2019

Expanded Dialogue, MONO Practice, w/ Guest Spot @ The

My studio practice deals with issues of desire, consumption, and the absurdity of convenience. Taking form in immersive installations, my paintings combine imagination and points of memory to dissect the history of modernism and minimalism in the home. This question of domesticity comes from a curiosity about the curated home space, how the imperfections of home life can be contrasted with the polish of interior design. By paring abstraction with accessibility, I aim to critique both the home and retail space. I utilize materiality and hyper-cohesive color to investigate the artist’s role in a society with an aspiration to be modern.

Reinstitute, Baltimore, MD

Precursor to Expanded Dialogue, Tiger Strikes Asteroid, Brooklyn, NY

Compact Assembly, Walter Otero Contemporary Art,

San Juan, Puerto Rico

IRL: Investigating Realities, The Untitled Space,

New York, NY

Awards

2019

Individual Artist Grant, Maryland State Arts Council,

Baltimore, MD

2018

Residency Fellowship, Vermont Studio Center,

Johnson, VT

2017

I interpose objects of the everyday to distort our sense of space, explore our ability to inhabit rooms, and merge the dreamlike with the rigid. I think of paintings as they exist in the home, decorating our lives, using us to give them purpose. And inversely, objects become weirdly functional paintings to question abstraction and reality. My work focuses on the acute and the polite, the domestic and the utilitarian.

The Trawick Prize, Bethesda Contemporary Art Awards, Bethesda, MD

165

Livi

Sangram Majumdar expulsion | oil on linen, 44 x 38 inches

166

Sangram Majumdar false alarm | oil on canvas, 40 x 33 inches

167

Sangram Majumdar Cassandra’s siren | oil on linen, 96 x 78 inches

168

Sangram Majumdar Baltimore, MD www.sangrammajumdar.com / @sangram_majumdar

b. 1977 Calcutta, India

Education

2001

MFA, Indiana University, Bloomington, IN

1999

BFA, Rhode Island School of Design, Providence, RI

Residencies

2012

The MacDowell Colony, Peterborough, NH

Yaddo, Saratoga Springs, NY

Professional Experience

2003-

Full-time Faculty in Painting, Maryland Institute College of Art, Baltimore, MD

Solo Exhibitions

2019

once, and twice, Geary Contemporary, New York, NY

2018

offspring, Steven Harvey Fine Art Projects, New York, NY

2017

Asia Society Texas Center, Houston, TX

Group Exhibitions

2019

Recently I have been painting bodies and hands. And these questions keep coming up: How does a painting function as a surrogate for a body? Can a painting reach a level of intimacy and touch, as bodies can? And can imagery that toggles between states of visibility speak to those who are themselves caught between two worlds? Resonating with recurring forms and gestures, each of my paintings develops along its own trajectory. In some, tracings and hints of a figure move through space, its gestures repeating from one painting to another. In other paintings, recurring variations of an open palm become surrogates for the body. Paint is brushed on, scraped off, scumbled, and stained, forming an image that leaves evidence of recorded time, lost moments, and new discoveries. Along the way, I am interested in the double-edged nature of repetition and its simultaneous ability to strengthen and diffuse meaning.

New Faces: Mid-Career Artists LA/NY, Shoshana Wayne Gallery, Santa Monica, CA

2018

Limoncello, St. Charles, Baltimore, MD

Materializations, The Landing, Los Angeles, CA

Award

2018

Grant, New York Foundation for the Arts, New York, NY

Publications

2019

Barry Schwabsky, “Sangram Majumdar,” Artforum,

Summer

Karen Wilkin, “At the Galleries,” Hudson Review

2018

John Yau, “Relearning to Draw with Strips of Colored Tape,” Hyperallergic.com

Collection

Louis-Dreyfus Family Collection, Mount Kisco, NY 169

Majumdar

Curtis Newkirk Jr. New Sounds of Joy | oil and acrylic on wood panel, 24 x 24 inches

170

Curtis Newkirk Jr. Black and Free | oil and acrylic on wood panel, 24 x 24 inches

171

Curtis Newkirk Jr. WHO IS THE GREATEST? | oil and acrylic on wood panel, 69 x 45 inches

172

Curtis Newkirk Jr. Richmond, VA curtis.newkirk.jr@gmail.com / www.curtisnewkirkjr.com / @curtisnewkirkjrstudio

b. 1989 Woodbridge, VA

Education

2019

BFA, Virginia Commonwealth University, Richmond, VA

Solo Exhibitions

2014

Life Beyond the Mist, Massey Cancer Center, Virginia

Commonwealth University, Richmond, VA

Life Beyond the Mist, Barcode, Richmond, VA

Group Exhibitions

2019

National Juried Exhibition, The Maria V. Howard Arts

Center, Rocky Mount, NC

2012

Re-Form, Shockoe Artspace, Richmond, VA

2009

I seek to create work that is continuously looking forward. I use abstract forms and brushwork, juxtaposed with refined figures and structures that emerge through the encased space as if they were jumping out at you. These techniques are utilized to create the feel of anticipation for the viewer. I want them to feel as if they are sitting on the brink of something big and something new. I also use African American males as the main subject for each work. This comes from a desire to see Black men represented better in society and the arts, in a more positive light. I want to empower them in a way that breaks the chains society has placed on them, disrupts the toxic narrative, and produces helpful and life-giving dialogue between all people. My ultimate goal is to point to a greater joy and hope that is coming, and for the viewer, no matter their background, to dwell in that.

14th Annual Juried Exhibition, League of Reston Artists, Reston, VA

173

Newkirk Jr.

Curtis Newkirk Jr. | Black and Free (detail)

Loring Taoka (untitled - blurry biarc no. 1) | acrylic on panel, 24 x 24 inches

174

Loring Taoka (untitled - blurry rectangle no. 1) | acrylic on panel, 24 x 24 inches

175

Loring Taoka (untitled - blurry rectangle no. 2) | acrylic on panel, 24 x 24 inches

176

Loring Taoka Fayetteville, AR 325.226.8015 (Galleri Urbane) loringtaoka@gmail.com / www.loringtaoka.com / @loringtaoka

b. 1986 Middlebury, VT

Education

2011

MFA, University of North Texas, Denton, TX

2008

BA, University of Toledo, Toledo, OH

Solo Exhibitions

2020

Oh well, Galleri Urbane, Dallas, TX

2019

You’re a Liar, Rebecca Randall Bryan Gallery, Coastal

Carolina University, Conway, SC

2018

I’m Going Hunting, Galleri Urbane, Dallas, TX

Counteract, Galleri Urbane, Dallas, TX

2016

Soft Edge, Galleri Urbane, Dallas, TX

Group Exhibitions

2019

Love Triangle, Deep Space Gallery, Jersey City, NJ

XOU | Shuffle Playlist, Divisible Gallery / The Neon Heater

I think a lot about how I move through space and how I carry myself. I think constantly about who I am and how my existence inhabits an ambiguous state. Being a queer Japanese American has required me to be constantly engaged with perception and negotiation. Using basic geometry allows me to work with ubiquitous forms while questioning how they are defined; a circle is a circle, and its definition is strict, but does our perception of an implied circle make it a circle? Shapes are distorted to that threshold to occupy a transitional moment, they are simultaneously seen as what they were and are. These visual cues require us to question what we are seeing as well as the potential of the image. I am interested in the fundamental question of looking and seeing. What are we looking at? How do I understand what I am seeing? And how are images read and understood?

Art Gallery, Dayton, OH 2018

Bread & Butter, Galleri Urbane, Dallas, TX

2017

A Sag, Harbored, Western Exhibitions, Chicago, IL

2016

News and Weather, Vox Populi, Philadelphia, PA

Deep Superficial Perceptions, River Gallery,

Los Angeles, CA

Award

2019

Grant, Artists 360, Mid-America Arts Alliance

Publications

2020

“Top Five,” Glasstire, February 20

2019

Friend of the Artist, vol. 10

Represented by

Galleri Urbane, Dallas, TX

177

Taoka

Pricing

Prices published here, for the most part, represent the current price for a work established by the artist or their 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.

Eric Anthony Berdis p16 NFS p17 NFS p18 NFS

LaToya M. Hobbs p72 NFS p73 NFS p74 NFS

Joe Morzuch p128 $1,500 p129 $1,500 p130 $1,500

Dustyn Bork p20 $1,400 p21 $2,000 p22 $2,000

Kristy Hughes p76 NFS p77 NFS p78 NFS

Jody Riola p132 $1,100 p133 $1,100 p134 $1,100

Amelia Briggs p24 NFS p25 NFS p26 NFS

Monica Ikegwu p80 NFS p81 NFS p82 NFS

Samantha Rosado p136 $2,500 p137 $2,500 p138 $2,100

Madelyn Brodie p28 $1,000 p29 $1,200 p30 $2,800

Hedieh Javanshir Ilchi p84 NFS p85 NFS p86 NFS

Joe Slaughter p140 $3,000 p141 $3,500 p142 $3,500

Ashlynn Browning p32 $3,750 p33 $3,750 p34 $3,000

Sue Johnson p88 NFS p89 NFS p90 NFS

Jason Stout p144 $2,000 p145 $1,500 p146 $2,500

Angela Burson p36 NFS p37 $9,200 p38 $1,800

Evan Jones p92 $2,200 p93 $1,700 p94 $2,600

Ashley Teamer p148 POR p149 POR p150 POR

Paul Collins p40 $1,850 p41 $1,850 p42 $1,850

Jeremy Jones p96 $800 p97 $1,100 p98 $1,000

Samantha Van Heest p152 $600 p153 $1,200 p154 NFS

Eleanor Conover p44 POR p45 POR p46 POR

Daniel Kornrumpf p100 NFS p101 NFS p102 $600

Keith Crowley p48 $1,600 p49 $1,600 p50 $1,600

Andrew Leventis p104 $2,500 p105 $2,000 p106 $2,000

Thomas Deaton p52 NFS p53 NFS p54 NFS

Glory Day Loflin p108 $1,200 p109 $1,600 p110 $300

Matthew J. Doszkocs p56 POR p57 POR p58 POR

Cary Loving p112 $500 p113 $500 p114 $500

Dick Dougherty p60 $3,200 p61 $3,200 p62 $3,200

Ashley Sauder Miller p116 NFS p117 NFS p118 $42,000

Stephen W. Evans p64 NFS p65 NFS p66 NFS

Marc Mitchell p120 $8,000 p121 $8,000 p122 $12,000

Julie Nellenback Henry p68 $4,200 p69 $4,200 p70 NFS

Sean P. Morrissey p124 $750 p125 $750 p126 $750

178

Caleb Kortokrax p158 $2,300 p159 $2,300 p160 $2,300 Giulia Piera Livi p162 $5,600 p163 NFS p164 $5,600 Sangram Majumdar p166 NFS p167 $8,000 p168 $22,000 Curtis Newkirk Jr. p170 $2,000 p171 NFS p172 $6,500 Loring Taoka p174 $2,400 p175 $2,400 p176 $2,400

$20