New American Paintings #147 MFA Annual by newamericanpaintings

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147 April/May 2020 Volume 25, Issue 2 ISSN 1066-2235 $20

Recent Jurors: Nora Burnett Abrams

Toby Kamps

Museum of Contemporary Art Denver

The Menil Collection

Bill Arning

Miranda Lash

Contemporary Arts Museum Houston

New Orleans Museum of Art

Janet Bishop

Al Miner

San Francisco Museum of Modern Art

Museum of Fine Arts, Boston

Staci Boris

Dominic Molon

Elmhurst Art Museum

RISD Museum of Art

Nina Bozicnik

Sarah Montross

Henry Art Gallery

deCordova Sculpture Park and Museum

Dan Cameron

René Morales

Orange County Museum of Art

Pérez Art Museum Miami

Cassandra Coblentz

Barbara O’Brien

Independent curator

Kemper Museum of Contemporary Art

Eric Crosby

Raphaela Platow

Walker Art Center

Contemporary Arts Center, Cincinnati

Dina Deitsch

Monica Ramirez-Montagut

deCordova Sculpture Park and Museum

San Jose Museum of Art

Apsara Diquinzio

Lawrence Rinder

UC Berkeley Art Museum and Pacific

Film Archive

Lisa Dorin

Veronica Roberts

Williams College Museum of Art

Blanton Museum of Art

Anne Ellegood

Michael Rooks

Send address changes to:

Hammer Museum

High Museum of Art

The Open Studios Press

Lisa D. Freiman

Alma Ruiz

Institute for Contemporary Art,

The Museum of Contemporary Art,

Virginia Commonwealth University

Los Angeles

Evan Garza

Kelly Shindler

Blanton Museum of Art

Contemporary Art Museum St. Louis

Michelle Grabner

Anna Stothart

2014 Whitney Biennial, Whitney Museum

Institute of Contemporary Art/Boston

of American Art

Catherine Taft

Randi Hopkins

LAXART

Independent curator

Julie Rodriguez Widholm

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

Laura Hoptman

Museum of Contemporary Art Chicago

Editor/Publisher: Steven T. Zevitas Associate Publisher: Andrew Katz Operations Manager: Alexandra Simpson Design/Production 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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Wilde p146

Contents 10

Editor’s Comments: An Interview with Beth Rudin DeWoody, Art Patron, Collector, and Philanthropist Steven Zevitas

Noteworthy Juror’s and Editor’s Picks

MFA Annual Competition 2019

177

MFA Annual Competition 2019

204

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

147 April/May 2020

Noteworthy:

Susan M B Chen

Juror’s Pick p32

Our current juror, Beth Rudin DeWoody, spent a lot of time considering her Noteworthy selection. There were several artists under consideration, and they are indicated throughout the publication. Ultimately, she was struck by Chen’s strong imagery and compositional sense. The recent Columbia MFA recipient is one of many artists whose final year of school was negatively impacted by COVID-19. (Her thesis exhibition will now take place in 2021.) This has not stopped Chen from moving forward, and she is the subject of a much-discussed solo show at Meredith Rosen Gallery in New York that opened this summer. n

Kirk Henriques

Editor’s Pick p50

Henriques’s richly layered paintings explore connections between the figure and landscape and, ultimately, how the two affect each other. His figures simultaneously exist in their environment and are subsumed by it. On a formal level, Henriques’s aggressive layering and treatment of surface generate a space that is constantly in flux. On a psychological level, his paintings speak to the complexities of identity and ask the viewer to consider the visible that is obscure and the visible that is perceptible. n

Winners: MFA Annual Competition 2019 Juror: Beth Rudin Dewoody, art patron, collector, and philanthropist

Juror’s Selections: Katie

Barrie

Katie Croft Michelle

Bremehr

Jessica

Kevin

Brisco

Jr.

Susan

Chen

| Santiago Galeas | Spencer Harris | Kirk Henriques | L. Hensens

Lisa

Herman

Stephanie

Mei

Huang

Loc

Huynh

Jin

Jeong

Maria Christina Jimenez | Clare Kambhu | Jessica Frances Grégoire Lancaster | Ian Lotto Violet

Luczak

Luis

Maldonado

Julia

Medyńska

Ellie

Kayu

Ludovic Nkoth | Ricardo Partida | Na’ye Perez | Kate Pincus-Whitney | Michael Royce Josh

Storer

Warith

Taha

Michael Ward-Rosenbaum | Faye

Raelis

Vasquez

Zhaozhao

Wang

Wheeler | Ryan Wilde | MIkey Yates | Yuri Yuan

Editor’s Selections: Jacob Todd Broussard | Avner Chaim | Isabelle McCormick | Sumire Skye Taniai | Miko Veldkamp

Editor’s Comments: An Interview with

Beth Rudin DeWoody

Art patron, Collector, and Philanthropist

Since the inception of

Beth considered the work of hundreds of artists. Her final

New American Paintings,

selections are diverse and give a strong overview of many of

we have worked

the prevailing trends that make up the landscape of current

almost exclusively

painting. Given the amount of visual information that Beth

with museum curators

consumes, I was amused, but not surprised, to find that some of

to select the artists

the applicants were already on her radar.

featured in the publication. The two

Upon completion of the jurying process, Beth and I spent close

exceptions were art dealer Ivan Karp and art critic Jerry Saltz,

to two hours discussing her life in the arts. I wanted to get a

who served as juror for our previous issue. For this issue, our

sense as to how her journey began, how she maintains her

2020 MFA annual, we turned to philanthropist and art collector

enormous appetite for contemporary art, and how she manages

Beth Rudin DeWoody, who has been recognized as one of the

to seem like she is everywhere at once.

most important collectors of contemporary art for more than twenty years.

STEVEN ZEVITAS: Almost without exception, I have found that people with a passion for the arts had strong early exposure.

I have had the pleasure of knowing Beth for a number of those

Was that the case for you?

years and, in the art dealer sphere of my life, we have worked together on numerous occasions. I have met very few people

BETH RUDIN DEWOODY: My parents had art at home, but not

in my life who are as passionate and knowledgeable about

great art. I went to the Rudolph Steiner School, which placed a

contemporary art. Beth seems to have an insatiable appetite for

heavy emphasis on the arts, so you were always creating there.

looking, learning, and acquiring. This has placed her at the apex

In every subject, you had to make what they called a “Good

of international collectors and made her collection one of the

Book,” which would have drawings on one side and writing on

most significant repositories of contemporary art in the world.

the other. We learned other forms of making, such as sewing

If you are a gallerist, you want to work with Beth; if you are an

and knitting—we even learned how to make wax candles. And

artist, you want your work in her collection . . . It is that simple.

dance was very important. Around age thirteen, I started to take Saturday classes at the Art Student’s League.

In making decisions for this issue of New American Paintings,

“I have always had a collector’s mentality, even when I was young.” SZ: Were you drawing from life? How would you rate your artistic

an artist the other day. He is so under-recognized. What year

chops?

was that? Do you remember what you paid?

BRD: I’m not bad. I have always been able to copy, but I don’t

BRD: I acquired the work in 1969 for $100. I still have it. Later

have the “creative” gene you need to be able to look at a blank

on, I acquired two paintings of his.

canvas and take it somewhere. I have a strong visual sense and intuitively know how to place things. I am good at photography,

SZ: So you became a collector at seventeen.

and I suppose that skill set has been very useful for my curating projects.

BRD: I have always had a collector’s mentality, even when I was young. Before I got interested in art, it was Beatles memorabilia,

SZ: Were there teachers who made a particular impression on

magazines, and other ephemera that I found interesting. My life

you?

as a collector really began in 1975 when I moved to Tribeca with my first husband. We became friendly with a number of artists

BRD: In high school I attended the Riverdale Country School,

and art world people. . . . We immersed ourselves in that world.

where I had a very classical art teacher. Then a young Sohobased artist came to teach art history, and he sent us to see

SZ: What were your collecting interests at that point?

Henry Geldzahler’s exhibition New York Painting and Sculpture: 1940–1970 at the Metropolitan Museum. This was a seminal

BRD: Mostly prints.

moment for me, really opening up my eyes to what was happen-

We became close with

ing in the contemporary art scene. Also, I took a art class with

David Kiehl, who went

Benny Andrews at the New School when I was in the eleventh

on to become Curator

grade. Benny was amazing. The first work I ever acquired was a

of Prints at the Whitney.

drawing by him.

He took us around . . . educated us . . . and we

SZ: That’s funny . . . I was just talking about Benny’s work with

bought a lot of American

Croft p39

prints and some by

SZ: For someone who is passionate about supporting emerging

English artists like

artists, you certainly have plenty to consider at this point, and

Mary Ryan and Sylvan

plenty of ways to discover them.

Cole. Things develLancaster p86

oped organically. By

BRD: Yes, the art world has obviously grown substantially since

the early 1980s, my focus had shifted more to painting.

the 1980s. There is a lot to consider.

SZ: It must have been an exciting time to live there as the down-

SZ: I’ve never understand how you do it. Every time that I have

town scene burgeoned.

ever sent you a PDF of an exhibition, you invariably respond. And I have never been at an art fair that you have not attended.

BRD: It was. I became increasingly involved. There were more and more galleries opening . . . more and more artists . . . and I

BRD: I really love taking it all in, and I suppose that I see more

spent a lot of time running around and seeing as much as I could

than many curators, but it is never tiring. I inevitably receive

with friends. My formal involvement with museums started as

dozens of exhibition PDFs in a given month, I see a lot of

well, and then in 1985 I joined the board of the Whitney. By that

exhibitions, and then there are the art fairs.

time, I had really begun to voraciously collect. . . . I started going “crazy.”

SZ: You’ve said that when you enter an art fair a secret message goes out: Beth is in the house. Do you enjoy the fairs?

SZ: Was there a particular focus to your collecting habits then? BRD: I don’t mind the accelerated pace of looking that art fairs BRD: I am a sponge and I am always learning. . . . My interests

demand, but they can

have always been broad. There is one part of me that is ob-

be distracting. I would

sessed with emerging artists and with helping to support their

much rather be able

careers by buying their work. But I also love the historical side,

to walk around an

and I love discovering artists that were overlooked, for whatever

empty fair. I really love

reason. I think those impulses continue to this day. Over time, of

smaller fairs. . . .There

course, I started to see patterns in the works I was collecting. . .

is usually something

. Certain themes became evident. When those realizations hap-

to discover. Not too

pened, I started curating shows as well.

long ago I was at a fair Ward-Rosenbaum p155

with a lot of bad stuff, but Claire Oliver was there with works by

point between

Bisa Butler, who is amazing . . . so you never know.

$25,000 and $50,000 was considered “mid-

A number of years ago, I walked around an art fair with Bob and

career” territory, but

Meryl Metzler, and they kept stopping because everyone was

now it is not uncom-

saying hello. I said, “My God, you know everybody,” and Bob said,

mon to see “hot” emerging artists with a price point in that

“Yeah, that’s because we’re old and we’ve been doing this a long

range and above. Is that dangerous?

Perez p124

time.” Now I find myself in the same place. BRD: That’s hard to say. That is why I like to find artists early, SZ: I think we all end up in that place eventually, one way or

because at some point I definitely think “hmmmm.” There are

another. Do your acquisitions tend to happen more through

some artists I will pay a little more for. For example, I acquired

exhibitions or at art fairs?

an Arcmanoro Niles painting early on, but then I ended up paying substantially more for another one not long after that. There are

BRD: That is tough to say. A lot happens in both environments.

definitely times when the pricing gets really crazy. . . . I bought

I generally know when I am really excited about something. I

an Amy Sherald painting for $30,000, and now I think they are

respond to objects quickly, but I also like to think about things.

$350,000 . . . and there are many more examples of that type of

There can be a pressure at art fairs that does not allow that

thing. I think that dealers have to carefully advise their artists,

process to occur, so I have lost out on things over the years.

and they need to work together and keep things in a reasonable area. I think it’s more important to place work in the right collec-

SZ: Does anything immediately come to mind . . . the one that

tions, and that it be accessible. Then, of course, there is the sec-

got away?

ondary market, and dealers don’t have much control over that.

BRD: There are so many, but the first things that pop in my mind

SZ: I guess that heat is heat and it tends to focus on certain art-

are early drawings by Ed Ruscha and, later, Bridget Riley that I

ists in certain defined moments. You mentioned two much-

could have had for next to nothing when they were first on the

lauded African American artists, which is one part of the art

market, but were sold by the time I made up my mind.

market that is seeing a lot of attention, and then, of course, there is a lot of focus on female painters and a sort of quasi-sur-

SZ: Do you have any thoughts about how younger artists are

real imagery, à la Nicole Eisenman, right now. . . . I am thinking

priced these day? When I first entered the art world, a price

of Julie Curtiss, Robin F Williams, Emily Mae Smith, and others.

“Starting a collection can be intimidating, and many people feel that they simply can’t afford to, but the truth is you can find good things for $100 if you put in the work. It is a rewarding activity...art is important...it connects the world.” Do you find that your collecting habits are affected by trends?

was a painting by Allen Ruppersberg. I had never heard of Allen at the time, but I ran over, and there was this amazing painting,

BRD: No, not particularly. I have always collected a wide range of

and I thought, “Oh, God, this would be great for the Whitney!” I

work—in terms of painting, both representational and abstract

had the work placed on hold and quickly found a Whitney curator

work. I have always collected work by African American artists

and contacted some board members

and women. It’s all about what I like. At some point, my step-

. . . and we collectively acquired it for the museum. A similar

mother decided that she was getting rid of all of her figurative

thing happened at another fair when Donna De Salvo introduced

works and was just doing abstract. She got rid of some really

me to Adrian Piper’s work, and I ended up buying it for the

good stuff. . . . I thought it was crazy.

Whitney.

SZ: You obviously trust your own gut, but I am curious if there is

SZ: Those are great stories. Let’s talk a bit about The Bunker

anyone who can influence you with regard to an acquisition—can

[a private art space in West Palm Beach, Florida, housing Beth

they talk you into or out of buying something?

Rudin DeWoody’s art collection]. How did that space come to be?

BRD: I have never had

BRD: My collection has become massive over the years, and

a consultant, but sure,

I have no interest in things just sitting in a warehouse. I don’t

I can be influenced

look at The Bunker as being a museum. . . . In the end, much

by the right people. A

of the collection will be donated to museums and my family. I

number of years ago

have always actively loaned work from my collection because

I ran into a private

I believe it should be out there and shared. The Bunker allows

dealer I trust at an art

the collection to be seen by many and, by working with amazing

fair and he told me that

curators, we can contextualize it in different ways.

the sleeper of the fair

Nkoth p113

SZ: It must be great to see exhibitions drawn from this wealth of material, collected over so many years, organized by other people. I would imagine you discover something about yourself and your collecting habits at the same time. BRD: Yes, it is incredible. There was a point in collecting when I began to see certain patterns and themes in my collection. That is when I began curating shows, which I continue to do. There have also been a number of exhibitions drawn from my collection over the years, which I love.

Wilde p163

SZ: Lastly, Beth, what would you say to individuals who are just beginning to collect? BRD: There are many different motivations to becoming a collector. Some people collect solely for investment and only look for trophy works. I am simply addicted to art. Take in as much information as you can. . . . Visit exhibitions and art fairs, and learn. Donâ&#x20AC;&#x2122;t be afraid to ask questions. Go to places like the Affordable Art Fair and smaller galleries. I know so may people who only go to the larger galleries. They are missing a lot. Starting a collection can be intimidating, and many people feel that they simply canâ&#x20AC;&#x2122;t afford to, but the truth is you can find good things for $100 if you put in the work. It is a rewarding activity. . . . Art is important. . . . It connects the world. n Enjoy the issue. Steven Zevitas Editor/Publisher

Jurorâ&#x20AC;&#x2122;s Selections

The following section is presented in alphabetical order. Biographical information has been edited. Prices for available work may be found on p204.

Katie Barrie Sink Back with the Relaxed Burble of Unrushed Conversation | High Load acrylic, pumice, and molding paste on canvas, 60 x 48 inches

Katie Barrie The Very Definition of a Beach Paradise | High Load acrylic on canvas, 30 x 24 inches

Katie Barrie Being Poolside Is an Experience That Shimmers with Sun-Soaked Fun | High Load acrylic and artificial sand on canvas, 24 x 36 inches

Katie Barrie Richmond, VA katie.barrie@gmail.com / www.katiebarrie.com / @girlchewinggum

b. 1987 Toledo, OH

Education

2019

MFA, Virginia Commonwealth University, Richmond, VA

2011

BFA, University of Michigan, Ann Arbor, MI

Residencies

2020

Villa Lena, Palaia, Italy

2019

The Mudhouse, Agios Ioannis, Crete, Greece

2018

Pocoapoco, Oaxaca, Mexico

2017

The Sam and Adele Golden Foundation for the Arts,

New Berlin, NY

2016

Vermont Studio Center, Johnson, VT

Solo Exhibitions

2020

On Vacation, Reynolds Gallery, Richmond, VA

2019

The Committee on Taste and Leisure, Anderson Gallery,

My work examines the aesthetics of leisure, the implications of good and bad taste, and what it means to live oneâ&#x20AC;&#x2122;s best life. The idea of the beach or poolside getaway is a relatively new concept, only practiced for a handful of generations. And yet most individuals seek out these experiences in particular locations because we are led to believe that we will be happier, more fulfilled people if we do so. My paintings unabashedly pay homage to cultural products that signify the optimism and illusion of vacation mentality. I am intrigued by the space vacations occupy in our collective imagination. They are not true necessities, but rather they are evocative and transportive. They encourage us to dream big. They are fantasies. What they represent is their purpose: they are symbols of the so-called good life. By being entirely serious about the unserious, my work aims to question the value we assign to play, and why tastefulness rarely aligns with fun.

Richmond, VA 2019

Group Exhibitions Phone Home, Elizabeth Foundation for the Arts Project Space, New York, NY

New Waves, Virginia Museum of Contemporary Art,

Virginia Beach, VA

2018

Convergence, Mattatuck Museum, Waterbury, CT

Cool and Collected, Kenise Barnes Fine Art,

Larchmont, NY

I Had a Flashback of Something That Never Existed,

candidacy exhibition, The John Marshall, Richmond, VA

Mid Atlantic New Painting, Ridderhof Martin Gallery,

University of Mary Washington Galleries,

Fredericksburg, VA

Represented by

Reynolds Gallery, Richmond, Virginia

Barrie | Virginia Commonwealth University

Jessica Bremehr Warped Identity | acrylic and gouache on wood panel, 12 x 9 inches

Jessica Bremehr In the Shadows | acrylic and gouache on wood panel, 12 x 9 inches

Jessica Bremehr I think Iâ&#x20AC;&#x2122;ll just stay home tonight | acrylic and gouache on wood panel, 14 x 14 inches

Jessica Bremehr St. Louis, MO jbremehr@wustl.edu / www.jbremehr.com / @JBremehr

b. 1991 Decatur, IL

Education

2021

MFA, Washington University, St. Louis, MO

2014

BFA, University of Missouri, Columbia, MO

Residency

2020

Fine Arts Work Center, Provincetown, MA

Solo Exhibition

2018

Headless, Reese Gallery, St. Louis, MO

Group Exhibitions

2019

Parabola, Des Lee Gallery, St. Louis, MO

2017

Queens Pleasure, UrbArts, St. Louis, MO

My work investigates the psychological binds within the female experience through surreal environments. I am looking to the social expectations of women and the resulting feeling of shame women experience when we do not live up to these social norms. The female bodies within my work are surrounded by patterning to evoke the overwhelming feelings of shame and the fragmentation of the self.

Bremehr | Washington University

Jessica Bremher | I think Iâ&#x20AC;&#x2122;ll just stay home tonight (detail)

Kevin Brisco Jr. It Was a Good Day on St Claude | oil and acrylic on canvas, 72 x 72 inches

Kevin Brisco Jr. No Diving | oil on canvas, 48 x 48 inches

Kevin Brisco Jr. Here, There, and Everywhere | oil and acrylic on canvas, 72 x 72 inches

Kevin Brisco Jr. New Haven, CT kibriscojr@gmail.com / www.kevinbrisco.com / @kbrisco

b. 1990 Memphis, TN

Education

2020

MFA, Yale School of Art, New Haven, CT

2013

BA, Wesleyan University, Middletown, CT

Solo Exhibitions

2017

(For) What Is(s) Worth, Good Children Gallery,

New Orleans, LA

2016

Y’all Don’t Wanna Hear Us, You Just Wanna Dance,

Good Children Gallery, New Orleans, LA

2013

Build, BA thesis exhibition, Zilkha Gallery, Wesleyan

University, Middletown, CT

Group Exhibitions

2020

ONLY WHEN YOU ARE CALLED: Painting/Printmaking MFA Thesis Show, Green Hall Gallery, Yale School of Art,

New Haven, CT

2018

Run What You Brung, Green Halle Gallery, Yale School of

My work is concerned with issues of place and representation, more specifically the dubious nature of home and belonging for African Americans in the Southern US. Figures are depicted with backs turned, in extremely low light, or backlit so the details of their appearance are cast in shadow. This approach was largely influenced by Édouard Glissant’s essay “Right to Opacity,” in which he argues marginalized bodies do not need to explicate themselves to validate their humanity, and that the context of Western globalism is not a space capable of fully understanding them in the first place. This work has been made in conjunction with a body of “landscape portraits” that depict “semi-indigenous” plants of Southern Louisiana. The plants are central to the area’s culture but are not actually native species. Their presence is meant to act as an allegory for colonization and the migration of bodies across the Atlantic, and how this history is still visible in the mundane viewing of nature.

Art, New Haven, CT 2017 2016

When We Were Boys, The Front Gallery, New Orleans, LA A Building with a View: Experiments in Anarchitecture, Contemporary Arts Center, New Orleans, LA

Awards

2019

Elizabeth Greenshields Foundation Grant

2018

Elizabeth Greenshields Foundation Grant

2017

Vermont Studio Center Fellowship

Brisco Jr. | Yale School of Art

Susan M B Chen Mama Dreams of Central Park | oil on linen, 30 x 24 inches

Susan M B Chen Tenzin & Her Cactus Garden | oil on linen, 40 x 30 inches

Susan M B Chen Claudia & Chris | oil on linen, 30 x 40 inches

Susan M B Chen New York, NY â&#x20AC;&#x201A; susanmbchen@gmail.com / www.susanmbchen.com / @susanmbchen

b. 1992 Hong Kong SAR

Education

2020

MFA, Columbia University, New York, NY

2015

BA, Brown University, Providence, RI

Group Exhibitions

2019

Art Toronto, Toronto, Canada

Fact and Fiction, SPRING/BREAK Art Show, New York, NY

Whams of Summer, Ki Smith Gallery, New York, NY

Award

2019

Finalist, AXA Art Prize, New York, NY

Publication

2019

New American Paintings, no. 141

Questioning the idea of visibility, my paintings respond to the lack of Asian representation in portraiture within our contemporary Western art institutions. My sitters are usually strangers whom I find on the internet. Because I have no preconceived notions of the individual, my interpretation of them comes directly from painting, which allows for much surprise in my creative process. In the studio, I informally survey my sitters on the psychology of race and their varying viewpoints regarding home, immigration, prejudice, family, longing, love, and loss.

Chen | Columbia University

First Last Title | medium, X x X inches

Susan M B Chen | Mama Dreams of Central Park (detail) 37

Katie Croft Sue Bonnet Sue | oil on paper, 22 x 30 inches

Katie Croft Value | oil and gold leaf on paper, 22 x 30 inches

Katie Croft At Heart | oil on linen, 36 x 36 inches

Katie Croft Brooklyn, NY â&#x20AC;&#x201A; kc_croft@yahoo.com / www.katiecroftart.com / @katiecroftart

H BETES LOV

b. 1979 Columbus, OH

Education

2020

MFA, Pratt Institute, Brooklyn, NY

Professional Experience

2010-14 Curator of Events and Exhibitions,

I focus on painting figures who are simultaneously revealed and veiled. Missing pieces, hidden images, and vacancies confront the ongoing behavior of dismissing female identity and perspective. As a mother, I am confronted by my own matrilineal misinformation, and my work engages myths of femininity, medicine, motherhood, and religion to expose the historical subjugation of women by imposing absurd ideals of beauty and behavior.

Cultural Arts of Waco, Waco, TX Curator of Events and Exhibitions, The Croft Art Gallery, Waco, TX

Curator of Events and Exhibitions, The Lions Nest Gallery, Austin, TX

Group Exhibitions

2019

Pratt in Venice 35th Anniversary Exhibition, Steuben

Gallery, Pratt Institute, Brooklyn, NY

Pratt MFA: Straight from the Studio, Brooklyn, NY (online)

Welcome Back, Steuben Gallery, Pratt Institute,

Brooklyn, NY

2016

BinFest PrintExpo, w/ PrintAustin, Canopy, Austin, TX

Awards

Finalist, AXA Art Prize, New York Academy of Art,

New York, NY; San Francisco Art Institute,

San Francisco, CA; Richard Gray Gallery, Chicago, IL

Croft | Pratt Institute

Santiago Galeas Alicia | oil on canvas, 34.5 x 34.5 inches

Santiago Galeas Como la Flor | oil on canvas, 40 x 36 inches

Santiago Galeas Cuyr Vision | oil on canvas, 24 x 30 inches

Santiago Galeas Queens, NY santiagogaleas@gmail.com / www.santiagogaleas.com / @santiagogaleas

b. 1991 Silver Spring, MD

Education

2021

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

2014

BFA, Pennsylvania Academy of the Fine Arts,

Philadelphia, PA

Residencies

2017

TrueQué Residencia Artística, Playas, Ecuador

2016

40th Street Artist-in-Residency Program, University of

I am a first-generation son of immigrants. My mother is from Peru, my father from El Salvador. I was born in Maryland. My work mixes traditional figure painting with abstract elements. I paint from the intersection of having undergone atelier training but also having grown up in and been formed by communities that don’t take up significant space in the world of figurative painting. Subject matter is the driving force for me; I now exclusively paint queer people of color. I feel a responsibility to use this medium to elevate and celebrate images of my communities.

Pennsylvania, Philadelphia, PA

Solo Exhibition

2015

Subsurface, Rodger LaPelle Galleries, Philadelphia, PA

Group Exhibitions

2019

Queer in Public, William Way LGBT Community Center,

Up until the 2016 elections I made subtle work. Just as Americans are radicalizing in either direction, I feel myself and my work following suit. I’ve found that there’s no room for subtlety. I feel emboldened to make my work as loud, as visible, as queer as possible.

Philadelphia, PA 2017

Summer of Love: Reflections on Pulse, Albin Polasek

Museum, Winter Park, FL

Sight Unseen, Abend Gallery, Denver, CO

2016

Chévere, Sirona Fine Art, Hallandale Beach, FL

Publications

2019

John Seed, Disrupted Realism (Schiffer Publishing)

2018

Create! Magazine, no. 11

2017

International Painting Annual 7 (Manifest Gallery)

2016

Review of Chévere, Poets and Artists, vol. 77

Galeas | New York Academy of Art

Spencer Harris Desktop Demons | acrylic, wax crayon, graphite, and collage on canvas, 50 x 45 inches

Spencer Harris Icons | acrylic, colored paper, and collage on panel, 50 x 45 inches

Spencer Harris Garfield Olympia | inkjet print, tape, and airbrush on canvas, 50 x 45 inches

Spencer Harris Brooklyn, NY 210.240.6266 harris.spencer@yahoo.com / www.harrisspencer.com / @spencerharris63

b. 1993 San Antonio, TX

Education

2020

MFA, Pratt Institute, Brooklyn, NY

2016

BFA, Texas State University, San Marcos, TX

Group Exhibitions

2019

I Know You Would Never Laugh at Me, Baby Blue Gallery,

Chicago, IL

My works are about symbolic language and engrained memories. Imagery is rooted in my experience growing up in the South, boyhood and coming of age, pop culture, and family influences. Through a process of associative memory recollection I recreate imagery that references both nostalgic and unsettling times on bare surfaces, using personal storytelling, found imagery, cultural icons, and corporate marketing tools from TV and internet culture. The works combine joy and grief in order to question my memory and what might have been fabricated with time.

Kunst Program, Carlsberg Byens Galleri, Copenhagen, Denmark

Half-Life, Dekalb Gallery, Pratt Institute, Brooklyn, NY

Queer Autonomy, 630 Flushing, Brooklyn, NY

2017

Homelife, Inman Gallery, Houston, TX

Short for Magazine, Corporate Studio/Blue Star,

San Antonio, TX

2016

Quaff, Dahlia Woods Gallery, San Marcos, TX

Lime Green Oranges, Texas State University Gallery,

San Marcos, TX

Harris | Pratt Institute

Kirk Henriques The world leaves a bitter taste in my mouth | oil and mixed media on wood, 22 x 22 inches

Kirk Henriques Portrait of Marlon | oil paint and mixed media on wood, 22 x 22 inches

Kirk Henriques Defending the curse | oil and paper on wood, 48 x 32 inches

Kirk Henriques Ithaca, NYâ&#x20AC;&#x201A; kirkhenriques@gmail.com / www.kirkhenriques.com / @kirkaworks

b. 1982 Brooklyn, NY

Education

2021

MFA candidate, Cornell University, Ithaca, NY

2004

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

Solo Exhibitions

2020

Negroland, Olive Tjaden Gallery, Cornell University,

Ithaca, NY

Group Exhibitions

2020

Cornell MFA, Jack Hanley Gallery, New York, NY

2019

Twelve, Random Access Gallery, Syracuse University,

Syracuse, NY

Pure Wobble, Olive Tjaden Gallery, Cornell University,

As a painter I explore the connections between figures and landscapes, and how they both impact each other. I paint figures that are at odds with their surroundings and simultaneously integral to them. These multilayered portrayals speak to the complexity of a person, exploring the visible that is obscure and the visible that is perceptible. My method of ripping, incising, painting, drawing, and incorporating mixed media creates a new figure that is meant to jolt the viewer out of their comforting perceptions, assumptions, and perspectives.

Ithaca, NY 2018

Bombay Sapphire Artisan Series, ZuCot Gallery,

Atlanta, GA

Destroy and Rebuild, Future Gallery, Atlanta, GA

2017

Bombay Sapphire Artisan Series, Mason Fine Art, Atlanta, GA

2015

Bombay Sapphire Artisan Series, Mason Fine Art,

Atlanta, GA

Henriques | Cornell University

First Last Title | medium, X x X inches

Kirk Henriques | Defending the Curse (detail) 55

L. Hensens A Soft Journey Through Rigid Terrain | oil on canvas, 60 x 48 inches

L. Hensens Ventral to the Verdant Void | oil on canvas, 72 x 72 inches

L. Hensens Howling | oil on canvas, 46 x 38 inches

L. Hensens Portland, OR lmhensens@gmail.com / www.lhensens.com / @lhensens

b. 1991 Denton, TX

Education

2018

MFA, Virginia Commonwealth University, Richmond, VA

2014

BFA, University of North Texas, Denton, TX

In 2018, I blissfully and briefly fled the constraints of societal bounds and hiked hundreds of miles through the landscape of the American West on the Pacific Crest Trail. Equipped with a full backpack and an isolated consciousness, my flimsy, temporal body traversed a vast, enduring ground propelling me forward, rising and falling with the horizon. My blistered and calloused feet repeatedly rooting and lifting; colliding against the trail’s surface. Our bodies moved in unison, the Earth’s rigid flesh churning beneath my soft soles, scarring and healing; eroding and rebuilding. As turbulent as the rushing falls of snow melt, a fluid feeling; I was uncaged.

Hensens | Virginia Commonwealth University

Michelle Lisa Herman Untitled (The Treachery of Images) 1 | acrylic on canvas, 40 x 30 inches

Michelle Lisa Herman Untitled (The Treachery of Images) 3 | acrylic on canvas, 40 x 30 inches

Michelle Lisa Herman Untitled (The Treachery of Images) 2 | acrylic on canvas, 40 x 30 inches

Michelle Lisa Herman Washington, DC 202.556.4244 michellehermanart@gmail.com / www.michellelisaherman.com / @michellelisaherman

b. 1985 Huntington, NY

Education

2020

MFA, Maryland Institute College of Art

2008

BFA, Maryland Institute College of Art

Residency

2020

As humans, we are limited. My work focuses on the limitations of human ability and the ways in which we construct devices— often using technology or other proxies—to extend our limits: particularly the limits of perception, attention, connection, and categorization. Through painting, installation, sculpture, and video I explore the ways in which we negotiate and push these boundaries every day.

Student Exchange Residency, Maryland Institute College of Art and University of the Arts/Bremen, Bremen, Germany

Solo Exhibitions

2020

MFA in Studio Art Thesis Exhibition, Maryland Institute

College of Art, Baltimore, MD

2016

I Just Want to Know You’re There, Hillyer Art Space,

Washington, DC

2011

Inter-Net, Washington Project for the Arts,

Washington, DC

Group Exhibitions

2018

Interact + Integrate, VisArts, Rockville, MD

2017

Click Here, Arlington Art Center, Arlington, VA

2015

Washington Produced Artists, Washington Project for the Arts, Washington, DC

2014

(inter)Related, a Sparkplug Exhibition, DC Arts Center, Washington, DC

2012

Experimental Media 2012: D.O.L.L: DIWO OPNSRC LMFAO

LHOOQ, Artisphere, Arlington, VA 2010

Revealing Culture, Smithsonian Institution,

Washington, DC

Awards

2019

Top Prize, Artist Fellowship Award, DC Commission on the Art and Humanities, Washington, DC

2018

Artist Fellowship Award, DC Commission on the Arts and Humanities, Washington, DC

Collection

2014

The District of Columbia, Washington, DC 63

Herman | Maryland Institute College of Art

Stephanie Mei Huang erasure v | video, sound, and bulk overhead grain feeder

Stephanie Mei Huang erasure iii | video, sound

Stephanie Mei Huang seven self-portraits as cowboy | oil on linen, sisal, and horseshoes, 36 x 48 inches

Stephanie Mei Huang Los Angeles, CA stephaniehuang@alum.calarts.edu / www.stephaniemei.com / @stephaniemeihuang

b. 1994 Wausau, WI

Education

2020

MFA, California Institute of the Arts, Valencia, CA

2016

BA, Scripps College, Claremont, CA

Residencies

2019

Millay Colony Artists Residency, Austerlitz, NY

ACRE Artist Residency Program, Steuben, WI

Professional Experience

2020

Graduate Teaching Assistant, California Institute of the

Arts, Valencia, CA 2016-18 Teaching Artist, Marfa Studio of Arts, Marfa, TX 2015

Teaching Mentor, Venice Arts, Venice, CA

Solo Exhibitions

2020

4th Ward Project Space, Chicago, IL

California Institute of the Arts, Valencia, CA

2019

self-armature, California Institute of the Arts,

Valencia, CA

2018

presence/absence V, Marfa Film Festival, Marfa, TX

Group Exhibitions

2020

Over the Structures 2020, Czong Institute for Contemporary

Within the first six years of my life, I moved from Wisconsin to Indiana, then to Yokohama, Japan, and to Shanghai, China. Through this diasporic upbringing, my work finds its roots in globalization and the role of cultural fragmentation and displacement in changing perceptions of nationhood, loss, and identity. Through research and practice, I aim to erode the mythologies that perpetuate exceptionalist narratives, in the hopes of excavating erased histories. I yearn to locate sites of emergence from which we can perhaps fabulate adjacent histories. As a Chinese American artist, I dialogue with and challenge the affective racialized, gendered constructions that codify my body and identity “harmless” within the hegemonic West. I am interested in how my presence has the capacity to disarrange systems of prediction based on otherness and threat. I see slippery, chameleonic identity as a form of infiltration: a soft reversal within hard architectures of power. I explore these subjects through a diverse range of media and strategies including film/video, installation, social interventions, sculpture, writing, and painting.

Art (CICA) Museum, Gimpo, Republic of Korea

Reflections on Exile, Root Division, San Francisco, CA

SoCal MFA ’19, Millard Sheets Art Center, Pomona, CA

Collection

New Genres Library, University of California

Los Angeles, CA

Huang | California Institute of the Arts

Loc Huynh Wish You Were Here (American Vacation) | acrylic on canvas over panel, 36 x 30 inches

Loc Huynh Late Night Console | acrylic on canvas, 48 x 36 inches

Loc Huynh The Embrace (Electric Blue) | acrylic on canvas, 48 x 48 inches

Loc Huynh Denton, TXâ&#x20AC;&#x201A; lochuynh32792@gmail.com / www.lochuynhart.com / @locxhuynh

b. 1992 Austin, TX

Education

2020

MFA, University of North Texas, Denton, TX

2016

BFA, Texas State University, San Marcos, TX

Residency

2017

Vermont Studio Center, Johnson, VT

Solo Exhibitions

2018

Americana Vulgaris, 500X Gallery, Dallas, TX

2017

Politically Incoherent, Clamp Light Gallery,

San Antonio, TX

Group Exhibitions

2019

Cold Sweat, Inpost Artspace, Albuquerque, NM

All My Love, Baby Blue Gallery, Chicago, IL

Innocent Pleasures, Tugboat Gallery, Lincoln, NE

Draft Motor, UNT on the Square, Denton, TX

Award

2018

The language of ubiquitous imagery, cartoons, and computer graphics informs my work. Flatness and space provide a dynamic visual element in an otherwise predicated genre painting. The juxtaposition of illusion, garish colors, and hard edges creates a visual tension, with the intention of calling attention to the underlying jarring anxiety of the circumstances portrayed in these paintings. The arbitrary nature of these formal elements also accentuates the irrationality of human perception and alludes to an alternate reality of sorts, which functions as a fractured mirror version of the tangible world. Humor plays a role in making the work disarming, while trivializing the exchanges taking place in the paintings. The interactions between characters are clumsy and ungraceful, but itâ&#x20AC;&#x2122;s through acknowledgment of shortcomings that moments of sincerity reveal themselves. Although established on particular occurrences, these vignettes are left open-ended and ambiguous, allowing the viewer to fill in the blanks for the situations being presented.

Voertman-Ardoin Fellowship, University of North Texas, Denton, TX

Publications

2018

Faesthetic, no. 15

2017

New American Paintings, no. 132

Huynh | University of North Texas

Jin Jeong Stop Smoking | acrylic on canvas, 52 x 42 inches

Jin Jeong Breathing Out | acrylic on canvas, 40 x 30 inches

Jin Jeong Two random Asians on somewhere around British Museum | acrylic on canvas, 48 x 36 inches

Jin Jeong New York, NY jinjeong1120@gmail.com / www.jin-jeong.com / @jinjeong_art

b. 1993 Seoul, Republic of Korea

Education

2022

MFA candidate, Hunter College, New York, NY

2017

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

Two-Person Exhibition

2019

Jeong Jin Young & Choi Young Bin, Art Works Paris Seoul, Seoul, Republic of Korea

Group Exhibitions

2019

Art Jeju, Art Works Paris Seoul, Jeju, Republic of Korea

Daegu Art Fair, Art Works Paris Seoul, Daegu,

Republic of Korea

Art Busan, Art Works Paris Seoul, Busan,

Republic of Korea

Second Semester Show, Hunter MFA, 205 Hudson Gallery,

New York, NY 2018

The Chicago Show, pop-up exhibition, Brooklyn, NY

2017

Ten x Ten, Young Space, Hortonville, WI

Send Your Location, 33 Orchard, New York, NY

Wake Me Up, Hidden M Gallery, Seoul, Republic of Korea

Publications

2018

Would my subjects’ identities be exposed if I were to describe how they are grounded? I felt it safe to assume that the way my subject matter would sit or lay down would inevitably reveal their natural charm, which contributes to intimating the abstract sensation of calmness. Especially, those of the legs are likely to expose one’s true sentiments. Throughout the day, one would often resort to their most natural positions in the process of reaction. My works are a culmination of the recollection of oneself and their subconscious choice of posture pertaining to their legs. Strangers with whom I do not interact but with whom I share the same space. The layers of translucent paints corresponding to the unification of formal elements will merge as one in works to represent the complexity of oneself and existence altogether in life. I try to follow the belief that life can only coexist. Illustrating my shared time and space with people, I examine groundedness and individual subliminal properties by delineating body movement in exclusive color palettes.

Caroline Goldstein, “Plunge Into the Madcap Delirium of Chicago Imagists at a Brooklyn Brownstone,” Artnet News

(online), May 16

“Meet Jin Young Jeong of Jin Jeong,” Voyage Chicago

(online), May

Jeong | Hunter College

First Last Title | medium, X x X inches

Jin Jeong | Two random asians somewhere around British Museum (detail) 77

Maria Christina Jimenez The Gaze | oil on canvas, 22 x 15 inches

Maria Christina Jimenez Black Box | oil on canvas, 26 x 16 inches

Maria Christina Jimenez The Shawl | oil on canvas, 23 x 19 inches

Maria Christina Jimenez New York, NY www.mariajimenezartist.com / @mariacjimenez01 / @mariacjimenezartist

b. 1963 New York, NY

Education

2017

MFA, Pennsylvania Academy of the Fine Arts,

Philadelphia, PA

Solo Exhibition

2018

w/ Manhattan Neighborhood Network, Luisa Capetillo

Gallery, New York , NY

Group Exhibitions

2020

123nd Annual Open Juried Exhibition, Catherine Lorillard

My work is about young adults. I try to find that arresting moment when they display vulnerability or inner strength, and authenticity is revealed. I look for the nuances in body language and physiognomy. My work engages with young adults by illustrating specific gestures, introverted moments, and/or genre settings in a struggle to find their place in the world. I continue to investigate this subject and its validity through my compositions.

Wolfe Art Club, New York, NY 2019

2019 NTD 5th International Oil Painting Competition

Exhibition, Salmagundi Club, New York, NY

Richeson75 Figure/Portrait Exhibition, Richeson School of Art & Gallery, Kimberly, WI

“Resonance” Alumni Exhibition, Pennsylvania Academy of the Fine Arts Gallery, Philadelphia, PA

Spring Online Juried Show, American Women Artists

(online)

Awards

2020

Anna Hyatt Huntington Bronze Medal, 123nd Annual Open Juried Exhibition, Catherine Lorillard Wolfe Art Club,

New York, NY

2019

Finalist, Richeson75 Figure/Portrait Exhibition

Finalist, 14th International Art Renewal Center

Salon Competition

Finalist, Lethbridge 20000 Small Scale Art Awards

2nd Place, 6th Annual Shades of Gray Competition,

Artists Network

Publications

2019

“Art and About in New York,” Wall Street International

Magazine 2018

“Maria Jimenez—Art That Highlights Cell Phone Addiction, What’s Hamptoning (online) 81

Jimenez | Pennsylvania Academy of the Fine Arts

Clare Kambhu Ball in Drawer | oil on panel, 14 x 18 inches

Clare Kambhu Studio Art | oil on panel, 16 x 16 inches

Clare Kambhu Legs in the air | oil on panel, 36 x 24 inches

Clare Kambhu Queens, NY ckambhu@gmail.com / www.clarekambhu.com / @clarekambhu

b. 1988 New York, NY

Education

2018

MFA, Yale School of Art, New Haven, CT

2011

MA, New York University, New York, NY

2010

BFA, New York University, New York, NY

Residencies

2020

apexart International Travel Fellowship, Bratislava,

Slovakia

2019

Bronx Museum AIM Fellowship, Bronx, NY

2018

Art & Law Program Fellowship, New York, NY

Prattsville Art Center Residency, Prattsville, NY

Professional Experience

2018

Teaching Fellow, Yale Prison Education Initiative,

Cheshire, CT

2017-18 Teaching Fellow, Yale University, New Haven, CT

At a moment in which public education is highly contested, both threatened and threatening, we often see school furniture as a stand-in for student bodies. I make observational paintings in public schools, teachers unions, and other bureaucratic spaces. The corners of desks, floor tiles, papers, and chairs are the focus of my attention. The slippery, textural paint application that I use to depict hard surfaces alludes to the ways in which our idiosyncratic humanness can break through within the constraints of educational institutions. The brushstrokes evoke the smudges and wear that the constant movement of people through these spaces creates. I hope to engage a politics of attention through my concentration on the overlooked interior architecture and furniture. How can institutions, ostensibly designed to foster human development, become more fluid and responsive to those who inhabit them? What do we notice? What do we ignore? Where do we find margins, cuts, dents, or holes to operate within as humans?

2011-20 Art Teacher, New York City Department of Education,

New York, NY

Group Exhibitions

2019

Un-Museo de Raices Movedizas / A-Museum of Quickroots, House 6B, Nolan Park, Governors Island, New York, NY

Reading Painting, Treasure Town, Brooklyn, NY

2018

Tails, Next to Nothing Gallery, New York, NY

Signal, Katonah Museum of Art, Katonah, NY

Way Out Now, Diane Rosenstein, Los Angeles, CA

Award

2018

First Prize, Signal, Katonah Museum of Art

Kambhu | Yale School of Art

Jessica Frances GrĂŠgoire Lancaster Perpetuity | reverse oil painting on tempered glass, 14 x 14 inches

Jessica Frances GrĂŠgoire Lancaster Cerement | reverse oil painting on tempered glass, 14 x 11 inches

Jessica Frances GrĂŠgoire Lancaster Keep This | reverse oil painting on tempered glass, 20 x 20 inches

Jessica Frances Grégoire Lancaster New York, NY jfglancaster@gmail.com / www.jfglancaster.com / @_jfgl

H BETES LOV

b. 1991 Detroit, MI

Education

2018

MFA, New York University, New York, NY

2013

BFA, Corcoran College of Art + Design, Washington, DC

Residencies

2019

The Studios of Key West, Key West, FL

Summer Residency, School of Visual Arts, New York, NY

Professional Experience

2017-18 Adjunct Photography Faculty, New York University,

New York, NY

Solo Exhibition

2017

502 Sugarbush Road, 80WSE Gallery, New York, NY

Group Exhibitions

2020

Hoarders House, Field Projects Gallery, New York, NY 2019

2019

Art Olympia 2019, Tokyo Metropolitan Art Museum,

Tokyo, Japan

2018

Uprooted, International Arts & Artists at Hillyer,

Washington, DC

2013

NEXT at the Corcoran: Class of 2013, Corcoran Gallery of Art,

I cannot stand to watch sheets of paper run through printers, plotting ink. It is ink on paper. Call it a print but not a photograph. There is light in the decisive moment; however, there is no light in its final conception. It is incomplete. I do not want to participate in such a process, so I paint. I work with glass as it is remnant of my former photographic practice. Glass acts as a vehicle on which to make photographs, and it serves as their container, protecting the finished print. On occasion, I still make photographs. I travel between black rooms, knowing exactly where my pencil, my scissors, and the enlarger’s timer are, but in this darkness I have managed to find the light switch. The photographs come out of the processor, stained. Chalky white, like ghosts. It is a reminder of the blow I felt before I began painting. It will only worsen, so I continue to paint. To put it simply, to put it short, I just paint to mourn.

Washington, DC 2012

Idée fixe, Le Pavé d’Orsay, Paris, France

Award

2020

Grant, FST StudioProject Fund, New York, NY

Publication

2014

The Photographer’s Playbook (Aperture Foundation)

Lancaster | New York University

Ian Lotto The Cube Stackers | oil on canvas, 30 x 24 inches

Ian Lotto The Hole Diggers | oil on canvas, 30 x 24 inches

Ian Lotto The Baiting Crowd | oil on canvas, 48 x 60 inches

Ian Lotto New York, NY ianlotto@gmail.com / www.ianlotto.com / @ianlotto

b. 1984 White Plains, NY

Education

2020

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

2009

BFA, Parsons School of Design, New York, NY

Group Exhibitions

2020

Milieu, New York Academy of Art, New York, NY

2019

Beneath Notice, New York Academy of Art, New York, NY

Summer Exhibition 2019, New York Academy of Art,

New York, NY

Collection

The Waskowmium

These works deal with a variety of subject matterâ&#x20AC;&#x201D;groups of people interacting in specific ways, our desire and ability to alter the greater landscape, and how me might be perceived by an intelligence that was unaware of us as individuals with desires, hopes, and fears.

Lotto | New York Academy of Art

First Last Title | medium, X x X inches

Ian Lotto | The Hole Diggers (detail) 95

Violet Luczak Donâ&#x20AC;&#x2122;t Cry Over Spilled Milk | acrylic on wooden panel, 30 x 30 inches

Violet Luczak Drink Milk or Your Arms Will Fall Off | acrylic on wooden panel, 48 x 48 inches

Violet Luczak Milk It for All Itâ&#x20AC;&#x2122;s Worth | acrylic on wooden panel, 30 x 30 inches

Violet Luczak Chicago, IL luczak.violet@gmail.com / www.violetluczak.com / @violet_luczak_design

b. 1995 Chicago, IL

Education

2020

MFA, Cranbrook Academy of Art, Bloomfield Hills, MI

2017

BA, Elmhurst College, Elmhurst, IL

Group Exhibitions

2020

Detroit Artist Market Annual Scholarship Awards and

Exhibition, Detroit, MI 2019-20 Curiosity, Old Courthouse Arts Center, Woodstock, IL 2019

Experiencing Perspectives, Mercedes-Benz Financial

Services, Farmington Hills, MI

Second Year Students Exhibition, Cranbrook Academy of

Art, Bloomfield Hills, MI

15th Annual Alumni Art Exhibition, Elmhurst College,

Elmhurst, IL

Works in Progress, Ann Arbor Art Center, Ann Arbor, MI

2017

Thesis Show, Elmhurst College, Elmhurst, IL

Summer Art Series, Marriott W Hotel, Chicago, IL

2016

Connection, Fulton Street Collective, Chicago, IL

Publications

2019

My current series, Your Ass Sucks Buttermilk. I Herd It Through The Bovine. Feat. Big Dairy and Nestlé, explores issues concerning big dairy, capitalism, nutrition, and social awareness through a surrealist tradition. By integrating surrealist strategies, this work exposes contemporary social issues through dreamlike, strange, and satirical narratives. Reflecting on surrealism’s power to uncover the subconscious, my work investigates the subconscious mind of the contemporary consumer, as well as the influence of mass media on our behaviors, thoughts, and actions. As seen throughout this series, my work utilizes type and language as a tool to convey emotions and provocative messages. Through the use of humor, soft tones, whimsical characters, pastel tones, and often comical visuals, my paintings create a familiar and comfortable entry point into an otherwise disturbing topic of violence, pain, and injustice.

Alif Ibrahim, “Your Ass Sucks Buttermilk! Violet Luczak mixes graphic design and painting to take on the dairy

industry!,” It’s Nice That, December 3 2018

The MiddleWestern Voice (Elmhurst, IL)

Luczak | Cranbrook Academy of Art

Luis Maldonado Easy Goer | acrylic and charcoal on canvas, 38 x 34 inches

100

Luis Maldonado Sylvesterâ&#x20AC;&#x2122;s Eyes | acrylic and charcoal on canvas, 48 x 60 inches

101

Luis Maldonado Palm from Boca de Camarioca | ink on unprimed canvas, 100 x 88 inches

102

Luis Maldonado New York, NY 347.480.0074 luismaldonado.studio@gmail.com / www.luis-maldonado.com / @copayy

b. 1991 Glen Cove, NY

Education

2019

MFA, Mason Gross School of the Arts, Rutgers, The State University of New Jersey, New Brunswick, NJ

2015

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

Residency

2015

TAAK Summer Residency, Marfa, TX

Professional Experience

2017-19 Photography Instructor, Rutgers, The State University of

New Jersey, New Brunswick, NJ 2019-

Artist Instructor, Studio in a School, New York, NY

Solo Exhibitions

2019

Like a Day, 21 Ludlow St., New York, NY

2018

Se Vende: Gran Colombia, Mason Gross Galleries, Rutgers,

My paintings are positioned between an image and its double. In the same way that an illuminated object casts a shadow, a re-rendered image casts a semiotic shadow. My decision to work in monochrome speaks to the desire to depict the energy of these moving shadows. The drip, the blot, the smear, and the quotational nature of my images gesture toward abstract expressionism and the graphic novel. They acknowledge the hybrid nature of printed and digital imagery (specifically, television screens, advertising, and logos). In the same way that signage in commercial spaces choreographs gazes through strategic placement, the frontality of the paintings is a nod to the signs I encounter while walking in the street. The architect Rem Koolhaas characterizes the structure of cities as a roulette of symbols/signs. My works share a similar architecture. At once subliminal and frontal, these images (in the form of cartoons, landscapes, and Yankee fitted caps, among others) play interference with the facsimiles of these subjects, and others like them, that exist prior to their creation.

The State University of New Jersey, New Brunswick, NJ 2017

MFA First-Year Exhibition, New Brunswick, NJ

Group Exhibitions

2016

Spring Show, Ken Allen Studios, Brooklyn, NY

2015

Checkpoint to the Stars, El Paisano Hotel, Marfa, TX

Awards

Teaching Fellowship, Rutgers, The State University of

New Jersey

Cooper Union Alumni Association Award

Giza Daniels-Endesha Award

103

Maldonado | Mason Gross School of the Arts, Rutgers

Julia MedyĹ&#x201E;ska The Morning (after Rubens)) | oil on linen, 16 x 16 inches

104

Julia MedyĹ&#x201E;ska The Witch | oil on linen, 54 x 54 inches

105

Julia MedyĹ&#x201E;ska Chin Strap | oil on linen, 16 x 20 inches

106

Julia Medyńska New York, NY juliamedynskastudio@gmail.com / www.juliamedynska.com / @julia_medynska

b. 1981 Gdańsk, Poland

Education

2017

MFA, Columbia University, New York, NY

2013

BA, Columbia University, New York, NY

Group Exhibitions

2018

The Visible Light, Menier Gallery, London, England

2016

Finished Goods Warehouse, 630 Flushing Avenue,

Brooklyn, NY

2015

Floating Point, Judith Charles Gallery, New York, NY

People Who Need People, 7 Dunham, Brooklyn, NY

Award

2020

Elizabeth Greenshields Foundation Grant

Medyńska | Columbia University

My painting explores the psychology of the individual. The characters engage in violent acts, while apathetic bystanders witness the macabre scene. Since childhood, I have faced the struggle between the private drama versus the public persona. My family escaped Poland when I was five years old. We all lived in a single room in Berlin. To blend in at a very prestigious private school, I learned to “put on a mask” and hide the embarrassing reality of my home life. Similar to a film director, I compose narratives to develop an uncanny dramatic scene. I search for my “actors” and my “settings” in vintage photography, in nineteenthcentury landscape paintings, and in film stills. Then I invent their story. What attracts me to an image is lurid color temperatures and contrasting lighting scenarios. I intentionally keep facial features and expressions minimal to resist describing an identity. Instead, the actors become archetypes and their physical activity an allegory for a psychopathological world. Each painting is a horrid secret where I can choose to lift the curtain.

107

Ellie Kayu Ng Lost in Flowers | oil on canvas, 40 x 32 inches

108

Ellie Kayu Ng Lost in Flowers II | oil on canvas, 40 x 32 inches

109

Ellie Kayu Ng Behind the Door | oil on canvas, 56 x 32 inches

110

Ellie Kayu Ng Brooklyn, NY ellie.kayu@gmail.com / www.elliekayu.com / @ellie_

b. 1998 Hong Kong SAR

Education

2021

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

2019

BFA, School of Visual Arts, New York, NY

Group Exhibitions

2019

Deck the Walls, New York Academy of Art,

New York, NY

Tales from the Crit #3, SVA Gramercy Gallery,

New York, NY

2018

The Haves and Have Nots, SVA Chelsea Gallery,

New York, NY

Constellations, SVA Chelsea Gallery, New York, NY

Awards

2019

Winner, Fine Art: Professional, Creative Quarterly 58

New York Academy of Art Scholar Award

Rhodes Family Award for Outstanding Achievement in

Illustration, School of Visual Arts

Merit, Professional Show, 3x3, International Illustration

My paintings are currently about possession and my obsession with beautiful outfits. I’m interested in fashion and obsessed with detailed-pattern dresses. But sometimes social norms could stop me from buying and wearing fancy dresses on an everyday basis. For example, I’m not going to wear a wedding dress and go grocery shopping, because of my lack of confidence; but what if I could paint myself in the dress and place myself in a beautiful setting? So I can wear and own it permanently on a canvas. That’s when I started borrowing bits and pieces of jewelry that I wished I could own, styling and painting myself so that I can possess it in some way. Painting my glamorous fantasy satisfies me. I usually construct my painting compositions based on the dress I want to paint, instead of sketching a scenario and then putting the dress in it, because I want the dress to be the main subject of my painting.

Annual, no. 16

Honorable Mention, Student Show, 3x3, International

Illustration Annual, no.16

Publications

2019

Friend of the Artist 11

3x3, no. 16

Visual Opinion 25

111

Ng | New York Academy of Art

Ludovic Nkoth Paul Biya (The Fall of a Republic) | acrylic on canvas, 60 x 48 inches

112

Ludovic Nkoth Identity of the Moment | acrylic on canvas, 84 x 62 inches

113

Ludovic Nkoth A Black Manâ&#x20AC;&#x2122;s Portrait | acrylic on canvas, 72 x 48 inches

114

Ludovic Nkoth

H BETES LOV

New York, NY studio@lnkoth.com / www.lnkoth.com / @lnkoth

b. 1994 Yaoundé, Cameroon

Education

2021

MFA, Hunter College, New York, NY

2018

BA, University of South Carolina, Columbia, SC

Solo Exhibitions

2020

Vicinity and Surroundings, East Project Gallery Upper

I was fourteen when it happened. Awoken one morning by the smell of my biological mother’s cooking in Cameroon (to this day, still the best breakfast of my life), then falling asleep that evening in a foreign land as an “African American.” Suddenly, everything was unfamiliar. The classification of bodies based on skin was not discussed in Cameroon—we were just humans in spaces. It was the first time the color of my skin affected the color of my suit.

East Side, New York, NY

2019

Inheritance, UUU Gallery, Rochester, NY

2018

Roots, Spartanburg Artist Co-op, Spartanburg, SC

Unfailingly and unceasingly, every time I lay my brush in paint I remember those first disorienting days. Severed from my homeland, my identity is shaken.

Group Exhibitions

“Where am I from?”

2020

Labor of Love, Superposition Gallery, Los Angeles, CA

2019

Knock on Wood, Hunter College, New York, NY

Mostly Fine Adults, Pratt MFA Pfizer Building,

Brooklyn, NY

MEWE, Ozaneaux ArtSpace, New York, NY

Family Portrait, Hunter College, New York, NY

Parallels and Peripheries, Visart Center, Rockville, MD

“Where do I belong?” My work explores the displacement of Black bodies within alienating spaces, with a focus on pre- and postcolonial Africa. Painting in the land that took my people’s power, I reclaim it. Existing in a culture that seeks to erase mine, I struggle to hold onto it. As I continue my journey, the unknown shows me new truths about myself and my roots.

115

Nkoth | Hunter College

First Last Title | medium, X x X inches

Ludovic Nkoth | Identity of the Moment (detail) 117

Ricardo Partida Midnight Sabbath | oil on canvas, 72 x 60 inches

118

Ricardo Partida Dusty Rogue | oil on canvas, 72 x 60 inches

119

Ricardo Partida Babyâ&#x20AC;&#x2122;s Breath | oil on canvas, 38 x 27 inches

120

Ricardo Partida Chicago, IL ric.partida@gmail.com / www.ricardopartida.com / @babyboypaintings

b. 1991 Mexico City, Mexico

Education

2020

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

2018

BFA, The University of Texas Rio Grande Valley,

Edinburg, TX

Solo Exhibition

2017

Brave New World, Hinovations Art Gallery, McAllen, TX

Group Exhibitions

2020

The Future of Our Plans, The Green Gallery,

Milwaukee, WI

Evil and Shivering, Baby Blue Gallery, Chicago, IL

2019

Halo-Halo, Pintô International, New York, NY

With a Capital P: Selections by Six Painters, Elmhurst Art

Growing up queer and brown in the borderlands of South Texas, I have always felt a desire to represent unconventional ideas of sexuality and gender performance through visual art. Living in Chicago as a queer man navigating heteronormative spaces, I have learned to utilize my queerness as both an arming and disarming mechanism. Whether it means ensuring my safety on a walk home or evading police harassment as a brown man, I use my gaze as a tool for informing myself of danger and safety in my surroundings. My work deals with the push and pull of the gaze through means of desire and menace. Bodies painted in oil on canvas present themselves to the viewer as enticing and seductive but are often armed or in a ravaging stance. My objective is to further deconstruct tools of desire and seduction through decoding body language and the viewer’s relationship to circulated images, antiquity, and canonized painting tropes in history.

Museum, Elmhurst, IL

GIFC Worldwide, Western Exhibitions, Chicago, IL

2018

MariconX: San Antonio, Galeria E. V. A., San Antonio, TX

Oso Bay Biennial XX—Realism Redux: Refining

Representational Painting, Weil Gallery and Islander

Gallery, Texas A&M University Corpus Christi,

Corpus Christi, TX

Collection

Dr. Michael Jacobs

Represented by

Julius Caesar Gallery

121

Partida | School of the Art Institute of Chicago

Naâ&#x20AC;&#x2122;ye Perez Sunny Duet / 2AM in Brownsville | acrylic, spray paint, Backwoods leaf wrappers, Swisher Sweets cigarellos, newsprint, stone lithography, BFK Rives, MTA cards, and gel transfers on canvas, 48 x 52 inches

122

Naâ&#x20AC;&#x2122;ye Perez (Tired / Reflections) Bronx Blues | acrylic, spray paint, ink, Backwoods tobacco leaves, Swisher Sweets cigarillos, gel transfers, and newsprint on canvas, 36 x 36 inches

123

Naâ&#x20AC;&#x2122;ye Perez South Side Dreamer | acrylic, spray paint, Swishers Sweets, newsprint, COTA bus passes, and gel transfers on canvas, 48 x 50 inches

124

Na’ye Perez Brooklyn, NY nayedavinci1914@gmail.com / @naye_davinci / @nayedavinci1914

H BETES LOV

b.1992 Columbus, OH

Education

2020

MFA, Pratt Institute, Brooklyn, NY

2015

BFA, The University of Toledo, Toledo, OH

Residencies

2019

Project Third Residency, Pratt Institute, Brooklyn, NY

My artistic practice is influenced by hip-hop music and personal experiences growing up in Columbus, Ohio, LA, and Camden, New Jersey. I consider my process as a type of remixing, similar to how a sound engineer or producer would sample hooks, beats, or choruses to create new music. I collage materials such as Backwoods, Swishers Sweets, magazines, historical archives, and personal memorabilia in conjunction with symbols, colors, and patterns to framework my art.

2018-19 DIS OBEY, The Shed, New York, NY 2019

Solo Exhibition Still I Rise, Community Folks Arts Center Gallery, Syracuse University, Syracuse, NY

Group Exhibitions

2018

Call of Wilds, Van Der Plas Gallery, New York, NY

The Renegades of Renaissance X, Vanderelli Room,

Columbus, OH

Book of Life, 219 Gallery, Columbus, OH

2017

Play Like Hell, Garden Theater, Detroit, MI

Awards

By navigating through personal experience and memory, the importance of intimacy within my community and my Blackness helps establish my narrative and modes of accessibility. My work uses everyday interactions such playing cards in gallery spaces, riding bikes through the hood, and embracing friends I ain’t seen in a minute. These moments are juxtaposed between hidden symbolism of music, fashion, and Black history. By shifting the narratives to one of embrace and empowerment, without a reliance on trauma. Noting these importances, they become intertwined with resistance and the Black presence.

2019-20 Gelman Endowed Scholarship, Brooklyn, NY 2014

Finalist, Photographer’s Forum College and High School Photography Contest

125

Perez | Pratt Institute

First Last Title | medium, X x X inches

Naâ&#x20AC;&#x2122;Ye Perez | South Side Dreamer (detail) 127

Kate Pincus-Whitney Persephoneâ&#x20AC;&#x2122;s Garden: Picnic in the Thistles | acrylic and Polycolor on canvas, and steel, 80 x 125 x 24 inches overall

128

Kate Pincus-Whitney Slice of Life Stacked | acrylic and Polycolor on wooden doors, 90 x 78 inches overall

129

Kate Pincus-Whitney La Colombe dâ&#x20AC;&#x2122;Or | acrylic and Polycolor on wooden door with carving, 28 x 78 inches

130

Kate Pincus-Whitney Providence, RI 805.453.8282 kpincusw@risd.edu / www.katepincuswhitney.com / @katepw

b. 1993 Santa Monica, CA

Education

2020

MFA, Rhode Island School of Design, Providence, RI

2016

BA, Sarah Lawrence College, Bronxville, NY

2015

Yale Norfolk Summer School of Art, Norfolk, CT

Residency

2017

Vermont Studio Center, Johnson, VT

Professional Experience

2017

Artist talk, Hunter Museum of American Art,

Chattanooga, TN

Solo Exhibitions

2019

Feast in the Neon Jungle, Mural Project, Los Angeles, CA

2018

Juego de Mesa / Table Play, Oficina Proyectista,

Buenos Aires, Argentina

2016

Hunting Season, Sarah Lawrence College, Bronxville, NY

Group Exhibitions

2019

Black, Gelman Gallery, Rhode Island School of Design

Through the female lens, my works revolve around the theater of the dinner table, synthesizing mythology and contemporary life. Exploring and expanding identity in response to Jane Bennett’s ideology of “vibrant matter,” and tapping into Donna Harraway’s concept of “open-circuit identity,” these works focus on the relationship between body, object, gender, narrative, and affect. We all must eat. How do the objects we consume and surround ourselves with become a part of our cultural and psychological understanding of self? For me, nothing is more intimate than sharing a meal. Feminist, maximalist, and unapologetically colorful, I navigate the collective unconscious, the human spirit, and personal memoir of self. Shape-shifting between satirical images of advertising, intimate table memento moris, resilience, narrative portraiture, and food, I am interested in unpacking the roles we play and the masks we wear. Created by an artistanthropologist armed with a visual vocabulary, the works span materials, from large-scale mixed media installations to handpoured metal busts and shamanic sculptures—expanding on my deep dedication to the medium of paint.

Museum, Providence, RI

Three-Year Group Show, U.S. Embassy, Kabul, Afghanistan

2018

Interwoven, Kravet Wehby Gallery, New York, NY

2016-17 (Re) Invention: Art + Innovation + Disability + Design,

John F. Kennedy Center for the Performing Arts (sponsor),

traveled to Rochester Institute of Technology, Rochester,

NY; Hunter Museum of American Art, Chattanooga, TN

Award

2018-20 Rhode Island School of Design Fellow 2016-18 Artist Ambassador for the Kennedy Center,

Washington, DC

2012-16 Presidential Scholarship, Sarah Lawrence College

131

Pincus-Whitney | Rhode Island School of Design

Michael Royce He Commandeth | acrylic on canvas over panel, 60 x 48 inches

132

Michael Royce Oh, But | acrylic on canvas over panel, 49 x 38 inches

133

Michael Royce Annunciation (Backwards) | acrylic on canvas over panel, 60 x 85 inches

134

Michael Royce Richmond, VA 703.608.9790 mchlroyce@gmail.com / www.michaelseanroyce.com / @emroyse

b. 1988 Alexandria, VA

Education

2018

MFA, Virginia Commonwealth University, Richmond, VA

2011

BFA, Carnegie Mellon University, Pittsburgh, PA

2010

Yale Summer School of Music and Art, Norfolk, CT

Residencies

2019

Sam & Adele Golden Foundation for the Arts,

New Berlin, NY

2017

David Wurtzel Memorial Residency, Montespertoli, Italy

2013

Skowhegan School of Painting and Sculpture,

Skowhegan, ME

Group Exhibitions

2020

Sponge Exchange: Hope Ginsburg, University of South

“Tell us what you mean! Tell us what you mean!” I imagine they chant. My work deals with the notion of queerness broadly and my personal experience of being gay in a white male body specifically; it deals with wanting to be loved; it deals with the shame I felt for a long time for wanting to be loved by a person whose body resembled mine. It has something to do with feeling like a pervert. It has to do with thinking through what consciousness is to a moth and to a dog; it has to do with the confusion of being wrapped in a body that can do things that I will never be able to fathom. It has to do with the tantalizing idea that we exist forever, in different forms. It has to do with the idea that I might live again as a rooster or a hen; it has to do with the idea that my cat could have been my mother in another life.

Florida Contemporary Art Museum, Tampa, FL

Made in Paint, Sam & Adele Golden Foundation for

the Arts, New Berlin, NY

2019

Eight Emerging Artists, Steven Zevitas Gallery, Boston, MA

Phone Home, The Elizabeth Foundation for the Arts,

New York, NY

2016

Solar Vortex, Geoffrey Young Gallery,

Great Barrington, MA

Publication

2019

New American Paintings, no. 141

Awards

2017

David Wurtzel Travel Fellowship, Virginia Commonwealth University, Richmond, VA

Graduate Thesis Grant, Virginia Commonwealth University, Richmond, VA

2012

Investing in Professional Artists: Creative Development Grant, The Pittsburgh Foundation and Heinz Endowments,

Pittsburgh, PA 2010

Ellen Batell Stoeckel Fellowship, Yale University,

New Haven, CT 135

Royce | Virignia Commonwealth University

Josh Storer Bo knows | acrylic, gouache, skateboard decks, painterâ&#x20AC;&#x2122;s tape, and cardboard on panel, 56.5 x 45.5 inches

136

Josh Storer American Psycho | acrylic, spray paint, colored pencil, packaging tape, McDonaldâ&#x20AC;&#x2122;s packaging and receipt, paper, and cardboard on panel, 41 x 36.5 inches

137

Josh Storer Caregiving in the Past, Present and Post-Apocalyptic Future | Amazon packaging, thread, and deconstructed metal cigar box, 53 x 70 inches

138

Josh Storer Commerce, MI joshstorer@gmail.com / www.joshstorer.art / @the_age_of_rage

b. 1984 Houston, TX

Education

2020

MFA, Cranbrook Academy of Art, Bloomfield Hills, MI

2012

BFA, Utah Valley University, Orem, UT

Group Exhibitions

2019

Experiencing Perspectives, Mercedes-Benz Financial

Services, Farmington Hills, MI

2017

94th Annual Utah Spring Salon, Springville Museum of Art, Springville, UT

Consumer culture and visual culture are two parts of the same runaway train that’s moving faster than ever before. Branding, advertising, and fashion are constantly changing course in an effort to keep up with what’s new, innovative, and hot. Because of my background in graphic design, I’ve witnessed firsthand the inner workings of this corporate-driven gold rush for what’s trending, and my artwork is, in large part, a byproduct of it. My intent is to rethink and repurpose the discarded visuals and tangible remains of our society as a way of recognizing, documenting, and understanding their impact on personal and family identities. Familiar imagery, typography, patterns, and iconography are present in the work to communicate my associations with them while simultaneously referencing their socially established meanings. I also employ a varied range of mediums and found materials in each piece to address our physical interactions with consumer/visual culture as well.

139

Storer | Cranbrook Academy of Art

Warith Taha Jamal, Jimar, Jovan and 13 Other â&#x20AC;&#x2DC;Jâ&#x20AC;&#x2122; Names Microsoft Word Does Not Recognize | enamel on canvas with found photographs, 72 x 72 inches

140

Warith Taha Chair with Black Legs Sitting on a Black and White Floor Sitting on Chairs | acrylic and graphite on canvas, 72 x 68 inches

141

Warith Taha Form/Formlessness | enamel on nylon with found glove, 60 x 73 inches

142

Warith Taha Oakland, CA 415.323.9302 warithtaha@gmail.com / @warithtaha

b. 1987 Oakland, CA

Education

2020

MFA, Tyler School of Art and Architecture,

Philadelphia, PA

2009

BS, Boston College, Chestnut Hill, MA

Professional Experience

2017-19 Teaching Artist, Crissy Field Center, San Francisco, CA 2016-19 Teaching Artist, Imagine Bus Project, San Francisco, CA

Solo Exhibition

2020

Two Bottoms Make a Top, Temple Contemporary,

Philadelphia, PA

Group Exhibition

2020

Young Painters Competition, Hiestand Galleries, Miami

Paintings are records of touch across a surface. To touch is to be touched. To make is to allow yourself to be unmade. This is how I have come to understand the tethered relationship between painting and intimacy in my practice. Through their interaction my body and material make each other visible. Are you looking? A toe dipped into a still pool of water causes a ripple of concentric circles across its surface. Are you looking? A Las Vegas hotel drained their pool when the Black singer Dorothy Dandridge stuck her toe in its water. Does that mean what I touch is made Black? Is made queer? Is made me? Everything I make is a selfportrait. Are you looking?

University, Oxford, OH

143

Taha | Tyler School of Art and Architecture

Raelis Vasquez Si Dios Quiere | oil, acrylic, transfer, and graphite on canvas, 36 x 48 inches

144

Raelis Vasquez The One That Will Lose Her Accent and the One Who Never Will | oil on canvas, 36 x 36 inches

145

Raelis Vasquez YĂŠndonos | oil on canvas, 30 x 48 inches

146

Raelis Vasquez New York, NY â&#x20AC;&#x201A; vasquezraelis@gmail.com / www.raelisvasquez.com /@raelis

b. 1995 Mao, Dominican Republic

Education

2021

MFA, Columbia University, New York, NY

2018

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

Residency

2019

Mare Residency, SunSpot Studios with MICA,

Baltimore, MD

Group Exhibitions

2020

The Living Room Kitchen, The Andrew Freedman Home,

New York, NY 2019

Contemporary Arts, Grand Rapids, MI

Both at Once, LatchKey Gallery, New York, NY

Stateless, Baby Blue Gallery, Chicago, IL

Donâ&#x20AC;&#x2122;t Be Scurred: Pathways to Liberation,

Hairpin Arts Center, Chicago, IL

XL Catlin Art Prize, New York Academy of Art,

New York, NY

Interiors, Happy Gallery, Chicago, IL

SAIC BFA Show, Sullivan Galleries, School of the Art

Institute of Chicago, Chicago, IL

Contemporary Native American Art & Journey to America,

I paint using oils in a naturalistic manner as a means to give clarity to the subjects I present. While painting, I am always cognizant of the history of the Western style of representation that I am involved in. To be represented is to say that the subject is worthy of representation and that the subject exists as an essential element of societal life. My devotion is to the accurate representation of the convoluted histories of the Dominican Republic. I am aiming to highlight an allegorical narrative that presents the psychological states of the figures in my work while presenting a window to the viewer of their daily lives.

The Art Center, Highland Park, IL 2018

Awards Odyssey Travel Grant, School of the Art Institute of Chicago, Chicago, IL

2017

Breaching the Margins, Urban Institute for

Drawing on historical, political, and personal narratives, my paintings are figurative compositions that conjure the complexity of the Afro-Latinx experience. The figures in my work inhabit a state of vulnerability that often encourages the viewer to question their positions on class, race, and geography. I immigrated to the United States in 2002 from the Dominican Republic.

John W. Kurtich Foundation Scholarship, School of the Art Institute of Chicago, Chicago, IL

147

Vasquez | Columbia University

First Last Title | medium, X x X inches

Raelis Vasquez | YĂŠndonos (detail) 149

Zhaozhao Wang “ . . . “ | oil on canvas mounted on wood panel,16 x 12 inches

150

Zhaozhao Wang Gemini | oil and balsa wood sheets on canvas, 36 x 36 inches

151

Zhaozhao Wang You donâ&#x20AC;&#x2122;t like it? | oil on canvas, 40 x 50 inches

152

Zhaozhao Wang Pontiac, MI zhaozhao.wang.art@gmail.com / www.zhaozhaowangart.com / @zhaozhaowangart

b. 1993 Shanghai, China

Education

2020

MFA, Cranbrook Academy of Art, Bloomfield Hills, MI

2018

BA, University of Michigan, Ann Arbor, MI

Group Exhibitions

2019

Fruit Punch, Forum Gallery, Bloomfield Hills, MI

2018

Plenum, Forum Gallery, Bloomfield Hills, MI

My work focuses on psychedelic dreamscapes generated from the disorientation between physiological space and physical space, specifically through childrenâ&#x20AC;&#x2122;s eyes and bodies. I inject my paintings with autobiographical narratives through the use of anthropomorphic animals, fractured bodies, and other signifiers in undefined spaces. These juxtapositions represent the discordance caused by isolation and disconnection. As mental cognition separates itself from physical cognition (social reality), it creates a system of logic in an alternate reality that the brain would rather accept and receive as the truth. This disconnection is depicted as the consequence of escapism from the real world caused by mental illness, existential crisis, personality disorders, and trauma, thus inducing confrontation and antagonism between outer and inner space, which also resulted in the dehumanization of ego. The surreal quality of the imagery raises the question of what is real, what is unreal, and into which side do we choose to immerse ourselves. My paintings explore how microcosms of accumulated causes aggregate into unpredictable and dramatic consequences within macrocosms.

153

Wang | Cranbrook Academy of Art

Michael Ward-Rosenbaum Untitled | select pine and Masonite, 26.5 x 19 x 3.5 inches

154

Michael Ward-Rosenbaum Untitled | select pine and Masonite, 31 x 31 x 3.5 inches

155

Michael Ward-Rosenbaum Untitled installation | select pine and Masonite, dimensions variable

156

Michael Ward-Rosenbaum Philadelphia, PA 215.939.5845 mwardrosenbaum@mica.edu / www.mwardrosenbaum.com / @m.wardrosenbaum

H BETES LOV

b. 1994 Philadelphia, PA

Education

2019

MFA, Pennsylvania Academy of the Fine Arts,

Philadelphia, PA

2017

BFA, Maryland Institute College of Art, Baltimore, MD

Group Exhibitions

2019

Poetics of Re-presentation, Woodmere Art Museum,

Philadelphia, PA

Proximity, Anna Zorina Gallery, New York City, NY

The Inliquid Beneft, Inliquid Gallery, Philadelphia, PA

2018

Without Roots We Are Nothing, Esther Klein Gallery,

Philadelphia, PA

Two Cents, Some Change, PAFA Annenberg Gallery,

Philadelphia, PA

Michael Ward-Rosenbaumâ&#x20AC;&#x2122;s sculptural wall pieces deal with the absence of image, the deconstruction of the painting surface, and the psychology of art-viewing spaces. His art-making process is intuitive and influenced by repetition, chance, and a longing for resolution. The works are often shown in multiples and attempt to create immersive experiences.

157

Ward-Rosenbaum | Pennsylvania Academy of the Fine Arts

Faye Wheeler Blood | graphite and colored pencil, 19 x 24 inches

158

Faye Wheeler Double Vision | graphite and colored pencil, 20 x 17 inches

159

Faye Wheeler Window | printed muslin, 36 x 24 inches

160

Faye Wheeler Iowa City, IA efwheeler93@gmail.com / www.fayewheelerart.com / @fayewheel

b. 1993 Oakland, CA

Education

2020

MFA, University of Iowa, Iowa City, IA

2016

BFA, Sonoma State University, Rohnert Park, CA

Professional Experience

2017-20 Instructor of Record, University of Iowa, Iowa City, IA 2019

Solo Exhibition Where the Shadow Falls, MA exhibition, University of Iowa, Iowa City, IA

Group Exhibitions

2018

Ornament and Camouflage, Levitt Gallery, Iowa City, IA

2017

Made in America, Levitt Gallery, Iowa City, IA

Award

Shadows emote, checkered grids undulate, and space collapses. The table sits awkwardly, unaware of its significance. An ambiguous memory shapes their meaning. Images of grid, shadow, table, and space are made to replicate moments in memory and of consciousness. There is familiarity with ambiguity. These objects are created by thought and memory of my family and my home. Memory that took place in a gridded space: spilling orange juice on my grandmotherâ&#x20AC;&#x2122;s formica tile floor, baths in the pink-tile bathroom, ghosts in the kitchen, becoming friends with my shadow. These are memories of spaces, these are physical spaces, and these are abstractions of spaces. These are headspaces, flat spaces, deep spaces, twisting, gridded, warped, unstable, dark and light spaces. This is a world inside our world, a place for emotions and memories to linger and manifest. Sadness, anxiety, and pain live here and have created their own consciousness. This world has room for growth and room for change. There is hope in the shadows.

2017-20 Mildred Pelzer Lynch Fellowship, University of Iowa

Publication

2019

Studio Visit Magazine 45

161

Wheeler | University of Iowa

Ryan Wilde Class Act | oil on linen, 20 x 16 inches

162

Ryan Wilde Kinkster | oil on linen, 48 x 36 inches

163

Ryan Wilde Venus Su Misura | oil on canvas, 36 x 72 inches

164

Ryan Wilde Maspeth, NY info@ryanwilde.com / www.ryanwilde.com / @ryanwildenyc

H BETES LOV

b. 1980 New York, NY

Education

2020

MFA, Queens College, Queens, NY

2022

BFA, Syracuse University, Syracuse NY

Solo Exhibitions

2020

Pretty as a Picture: Womanliness as Masquerade,

Public Swim, New York, NY

2019

Soft, Pink and Warm, w/ Sarah Slappey, Deanna Evans

Projects, Brooklyn, NY

Group Exhibitions

2020

Queen’s College Thesis Exhibition, Field Projects Gallery,

New York, NY 2019

You haven’t started wondering about yet . . ., Halsey McKay Gallery, East Hampton, NY

Body of Work, Jane Lombard Gallery, New York, NY

Surreality, Crush Curatorial, New York, NY

2018

Go Give Get, Marinaro Gallery, New York, NY

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

Room after Room, SPRING/BREAK Art Show,

New York, NY

2017

Nasty Women Exhibition, Knockdown Center, Queens, NY

Publications

2017

Claire Landsbaum, “The Cut—Hundreds of ‘Nasty Women’ Artists Sold Their Work to Support Planned Parenthood,”

New York Magazine 2014

Ryan Wilde is a painter and sculptor who explores the strategies used by women to navigate patriarchal systems. Building on her previous career as a hat designer, Wilde repurposes her technical skills to invite public dialogues on the theatricality of gender. Constructed with materials and color associated with female ideals, her work manifests the uncanny extreme that is identified with the sexuality, fetishization, or objectification of women in our culture. By highlighting the semiotic mechanism of the cultural expression, Wilde’s work creates a platform to reconsider the purpose of the conventional system of signification.

Alicia Adamczyk, “The Mod Hatter: Milliner Ryan Wilde On Her Over-the-Top Creations,” Forbes

165

Wilde | Queens College

Mikey Yates Tekken Teg | oil on canvas, 60 x 56 inches

166

Mikey Yates Hoop Dreams | oil on canvas, 72 x 60 inches

167

Mikey Yates Cortez Cleaner | oil on canvas, 36 x 22 inches

168

Mikey Yates Boulder, COâ&#x20AC;&#x201A; miya8143@colorado.edu / www.mikeyyates.net / @mikey_yates

b. 1992 Sulzbach-Rosenberg, Germany

Education

2021

MFA candidate, University of Colorado, Boulder, CO

2016

BFA, Missouri State University, Springfield, MO

Group Exhibitions

2020

As Inside, So Outside, yngspc (online)

I paint my personal and familial mythology. Working from memory, family photos, and observation, my pictures are diaristic and deal with the construction of identity, the Filipino American experience, and contemporary life in the USA. I populate the environments with traces of my disparate experiences, allowing them to conflict and converse to express a specific hybridity, building a mosaic with the remnants of cultural collisions.

un(welcome), Maybe Blue, Boulder, CO

When Does the Individual Stop and the Collective Begin?, Charles Adams Studio Project, Lubbock, TX

My Country, Sala de Exposiciones, Universidad Nacional de Colombia, Leticia, Colombia

2019

The Denver Collage Club, Alto Gallery, Denver, CO

ArtMix, Boulder Museum of Contemporary Art,

Boulder, CO

Awards

2019

Art & Art History Graduate Fellowship, University of

Colorado, Boulder, CO

2016

Nancy Lumpee Pate Scholarship, Missouri State University, Springfield, MO

Publications

2020

Featured artist, interview, YoungSpace (yngspc)

2019

Filipino/American Artist Directory

169

Yates | University of Colorado

Mikey Yates | Tekken Teg (detail)

Yuri Yuan Moth | oil on canvas, 22 x 28 inches

172

Yuri Yuan Mercury Retrograde | oil on canvas, 22 x 28 inches

173

Yuri Yuan Time and Again | oil on canvas, 48 x 36 inches

174

Yuri Yuan New York, NY 312.874.4209 yuriyuanart@gmail.com / www.yuriyuan.com / @yuri_hatake

b. 1996 Harbin, China

Education

2021

MFA candidate, Columbia University, New York, NY

2019

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

Residency

2017

International Center for the Arts, Monte Castello di

Vibio, Italy

Professional Experience

2019-

My paintings provide a space for both myself and the viewer to process the experience of alienation in a strange world. I explore existentialist themes of loneliness, life, and death through painting from memory. Instead of a faithful representation, images are filtered, distorted, and exaggerated, highlighting the psychological and emotional space they occupy. The absurd narratives explore the helplessness and fragility one feels when confronting fate and death. The different senses of self and time in the paintings teleport the viewer into memories of alienation and grief.

Board Member, Interdisciplinary Arts Council, Columbia University, New York, NY

2018-19 Chair, Residence Hall Exhibitions Committee, Siragusa

Gallery, Chicago, IL

Group Exhibitions

2019

Senior Expo, School of the Art Institute of Chicago,

Chicago, IL

BFA Thesis Exhibition, Sullivan Galleries, School of the

Art Institute of Chicago, Chicago, IL

2017

Arte Contemporanea, International Center for the Arts,

Monte Castello di Vibio, Italy

Awards

2020

Teaching Assistant Fellowship, Columbia University

2019

Elizabeth Greenshields Foundation Grant

Fellowship, Interdisciplinary Arts Council, Columbia

University

Excellence in Leadership Award, School of the Art

Institute of Chicago

Merit Scholarship, Columbia University School of the Arts

2017

Merit Scholarship, Columbia University School of the Arts

SAIC Travel Scholarship, School of the Art Institute of Chicago

175

Yuan | Columbia University

Editorâ&#x20AC;&#x2122;s Selections

The following section is presented in alphabetical order. Biographical information has been edited. Prices for available work may be found on p204.

Jacob Todd Broussard Witnesses of the Feu Follet | acrylic, oil, pastel, sand, molding paste, clay, and pumice on canvas, 72 x 60 inches

178

Jacob Todd Broussard Islander, Colinda | acrylic, oil, pastel, pumice, clay, sand, charcoal, and ink on muslin, 72 x 48 inches

179

Jacob Todd Broussard Vagabond | acrylic, oil, watercolor, ink, pastel, molding paste, sand, glass beads, and pumice on muslin, 24 x 18 inches

180

Jacob Todd Broussard New Haven, CT jacobbroussardartist@gmail.com / www.jacobtoddbroussard.com / @jacobtoddbroussard

b. 1992 Lafayette, LA

Education

2019

MFA, Yale School of Art, New Haven, CT

2014

BFA, University of Louisiana at Lafayette, Lafayette, LA

2013

Santa Reparata International School of Art, Florence, Italy

Residences

2016

Atlantic Center for the Arts (master artist Sanford Biggers), New Smyrna Beach, FL

Chalk Hill Artist Residency, Healdsburg, CA

2015

League Residency at Vyt, The Art Students League of

New York, Sparkill, NY

Summer Studio Program, Virginia Commonwealth

University, Richmond, VA

Solo Exhibitions

2019

Feu Follet, Steven Zevitas Gallery, Boston, MA

2017

Sideways Hot Tub, Basin Arts, Lafayette, LA

Group Exhibitions

2019

Yale MFA Painting & Printmaking 2019, New Release,

New York, NY

Again, Always: MFA Painting Thesis Exhibition, Green

Gallery, Yale School of Art, New Haven, CT

2018

Afterwardsness, Cornell University, Ithaca, NY

Awards

2019

Elizabeth Greenshields Foundation Grant

2018

I make paintings and objects that represent figures as geological and psychological extensions of landscape. My paintings depict hermits, wanderers, ramblersâ&#x20AC;&#x201D;a visual trope of a performative body susceptible to the elements. Through narrative frameworks, I mine vernacular narratives, fantasy, folkloric geographies, and a discourse on representation. Folklore is a register for renegotiating the nature of perception, sacrificing realism in order to gain a new truth. Denaturalizing a subject through the carnivalesque exposes the underbelly of sensation and perception. I use specific painting devices to challenge a fixed perception of self, queerness, landscape, and desire. How does the impulsive private self, in a space rendered abundant and strange, reshape our understanding of public persona? There is a constant interstitial dance between myth and reality, an experimentation with romanticism, all fleshed-out against a backdrop of a dangerously alluring landscape on its last leg.

Nominee, Schickleâ&#x20AC;&#x201C;Collingwood Prize, Yale School of Art, New Haven, CT

Alfred McDougal Scholarship, Yale School of Art,

New Haven, CT

181

Broussard | Yale School of Art

First Last Title | medium, X x X inches

Jacob Todd Broussard | Vagabond (detail) 183

Avner Chaim A DEEPER HORIZONTAL DEEP, 2018 | acrylic on canvas, 100 x 140 inches

184

Avner Chaim THE HYPOCRITE, 2019 | acrylic on canvas, 100 x 140 inches

185

Avner Chaim THE MIRACLE (A REVELATION AT PAPADUM BAY), 2019 | acrylic on canvas, 100 x 140 inches

186

Avner Chaim Brooklyn, NY â&#x20AC;&#x201A; www.avnerchaim.com / @avnerchaim

b. 1992 Haifa, Israel

Education

2017

MFA, School of Visual Arts, New York, NY

2015

BFA, Shenkar College of Engineering, Design and Art,

Tel Aviv, Israel

Group Exhibitions

2019

DOWNSTAIRS, BEYOND, AsofNow Gallery, Brooklyn, NY

2018

Portable Modernism, Life Lessons Garage, Queens, NY

An Opera of Canaries, Garrison Art Center, Garrison, NY

2017

Elephant and Castle, 2025 Art and Culture,

Hamburg, Germany

Cognitive Dissidence, Ray Smith Studio, Brooklyn, NY

Landing, The Convent at the Church of St. Michael,

New York, NY

2016

Artificial Frills, The Cloying Parlor, New York, NY

2015

Finals, RawArt Gallery, Tel Aviv, Israel

2014

Derive, Museum of Bat Yam, Bat Yam, Israel

Award

2015

Hurvitz Grant for Emerging Artist, America-Israel

Cultural Foundation

Collection

2015

Ein Harod Museum of Art, Ein Harod, Israel

In the past few years, Iâ&#x20AC;&#x2122;ve focused on painting and drawing conflicts and battles between two or three formations. These formations are hybrids that are made out of many different sources. Some of these sources are rooted in the natural world, like invertebrates, reptiles, fossils, and carnivorous plants. Others might be more culturally related, like the composition on an Egyptian hieroglyph or like a megabattle between monsters in a sci-f movie. These fighting formations are always depicted before they touch each other; they are in position, just like wrestlers, waiting for the cue. It is the moment before aggression and rage turn into a cloud of dust.

187

Chaim | School of Visual Arts

Isabelle McCormick #selfie III, Rome | oil on linen, 23.5 x 20 inches

188

Isabelle McCormick Picture in a picture in a picture in a picture | oil on canvas, 38 x 30 inches

189

Isabelle McCormick Farnesina Filter | oil on canvas, 47 x 39.5 inches

190

Isabelle McCormick St. Paul, MN isabelle.claire.mccormick@gmail.com / www.isabellemccormick.com / @izzabot3000

b. 1992 St. Paul, MN

Education

2021

MFA candidate, Cranbrook Academy of Art,

Bloomfield Hills, MI

2015

BA / BFA, Brown University / Rhode Island School of Design Dual Degree Program, Providence, RI

Residency

2016

ArtHub Residency, Kingman, AZ

Professional Experience

2016-17 Public Programs, The San Diego Museum of Art,

San Diego, CA

2015

Museum Education, Peggy Guggenheim Collection,

Venice, Italy

Group Exhibitions

2020

Detroit Artists Market Annual Scholarship Awards and

Born just after the launch of the World Wide Web, I paint as a way to digest digital zeitgeist through the handmade. Still, I question whether modern technologies have ushered in an era of empowered self-expression for women or reinforce patriarchal motifs. I am struck by the centrality of the Venus figure throughout the complicated history of Western art. The influence of the Venus pudica tradition endures even today across the landscape of social media, where selfhood operates as currency. In the age of the nude #selfie, I revisit the bathing goddess’s gestures and the implicit presence of the voyeuristic gaze. A hollow, standalone avatar emerges across my work. Plastic and malleable, seductively painted. She is glued to the screen, her iPhone a phantom limb. There is a reverence for “techne” in my formal approach, which seesaws between digital and painterly. I paint to slow down, filter the good of online spectacle, and consider what it means to be a woman and artist in our hyperbolic world of retouching apps and reality TV.

Exhibition, Detroit, MI 2019

Now and Forward: Emerging Artists in Rome, Gallery of Art at Temple University, Rome, Italy

2018

Medley, Palazzetto Cenci | RISD European Honors

Program, Rome, Italy

2017

Yeah Maybe #18, Yeah Maybe Gallery, Minneapolis, MN

2015

New Contemporaries: Selected works from the class of

2015, Gellman Student Exhibitions Gallery, Providence, RI

Hello Future! Talent’s Archive, Onassis Cultural Centre, Athens, Greece

191

McCormick | Cranbook Academy of Art

Sumire Skye Taniai Baby with Bicycle | acrylic gouache, graphite, and colored pencil on Yupo paper, 16 x 12 inches

192

Sumire Skye Taniai Postcard to the Future | acrylic, colored pencil, contĂŠ crayon, graphite, oil, and found materials on Yupo paper, 60 x 45 inches

193

Sumire Skye Taniai Fountain of Youth | acrylic and plastic on canvas, 36 x 36 inches

194

Sumire Skye Taniai Chicago, IL taniaisumi@gmail.com / www.sumiretaniai.com / @skyeatspaint

b. 1991 Yamaguchi, Japan

Education

2019

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

2016

BFA, University of Missouri, Columbia, MO

Professional Experience

2019-

Contributing writer, Aoyama Design Forum, Tokyo, Japan

2018

Graduate Noontime Lecturer, School of the Art Institute of Chicago, Chicago, IL

2015

Summer intern, Kemper Museum of Contemporary Art,

My practice challenges the linearity of time. Taking care of a family member with Alzheimer’s, I would often wonder about the impermanence of life. At the same time, she taught me that time is not linear but fluid. Memories bring back time, and different states of mind can make things skip and stop. In my paintings, there is never a single thing happening at the moment but rather many things at the same time. Fleeting moments are portrayed by adding and subtracting paint and lines made by graphite. Mundane activities and things seen on the internet show up in my paintings, and multiple events and different perspectives are merged into one. All seemingly familiar yet strange.

Kansas City, MO

Solo Exhibition

2015

Imaginative Play, Craft Studio Gallery, Columbia, MO

Group Exhibitions

2020

Time Stamp, Parlour and Ramp, Chicago, IL

2019

Homesick Remedy, JAW Gallery, Yamaguchi, Japan

(participating artist and guest curator)

The Turf, The Research House for Asian Art, Chicago, IL

With a Capital P: Selections by Six Painters, Elmhurst Art Museum, Elmhurst, IL

2018

Restraint and Limitation, Elder Gallery, Lincoln, NE

2015

Evoke, Imago Gallery, Columbia, MO

Publications

2017

Friend of the Artist, Spring

2019

Yuji Kumon, “Homesick Remedy–JAW in Japan,” ADF

Webmagazine, October 23

195

Taniai | School of the Art Institute of Chicago

Miko Veldkamp Awkward pool reflection after Beckmann | oil on cotton, 48 x 30 inches

196

Miko Veldkamp Two Fishermen | oil on canvas, 36 x 24 inches

197

Miko Veldkamp Spring Runner | oil on cardboard, 10.75 x 12 inches

198

Miko Veldkamp New York, NY mikoveldkamp@gmail.com / www.mikoveldkamp.com / @mikoveldkamp

b. 1982 Paramaribo, Surinam

Education

2021

MFA candidate, Hunter College, New York NY

Residencies

2014-15 The Hodder Fellowship, Lewis Center for the Arts,

Princeton University, Princeton, NJ

2014

CCA Andratx, Mallorca, Spain

2013

Rijksakademie van Beeldende Kunsten, Amsterdam,

Netherlands

2012

Rijksakademie van Beeldende Kunsten, Amsterdam,

Netherlands

Solo Exhibitions

2016 2015

Passing Through the Garden State, Lucas Gallery, Lewis

Painting largely wet on wet, and with light dry brushwork, I create a fogginess, a blur, in which things can recede and come forward into specificity and loss, while maintaining the visibility of the mark and the directness of painting. I combine literary narrative figuration with abstract gesture to question modernist value systems by means of highly staged scenes that complicate space, horizons, and perspective, and emphasize the artificiality and interdependence of our psyches and identities with our environment.

Center for the Arts, Princeton, NJ

Group Exhibitions

2019

Floor to Ceiling: Off-White Columns Anniversary Show,

pop-up exhibition, Off-White Columns, New York, NY 2017

Arte Concordia, Avenue Concordia, Rotterdam,

Netherlands

Poppositions, w/ Galerie Rianne Groen, ING Art Center,

Brussels, Belgium

van Bommel van Dam Prize Exhibition, Museum van

Bommel van Dam, Venlo, Netherlands

2014

Photography: Before & After, Lucas Gallery, Lewis Center

for the Arts, Princeton, NJ

How to Win Friends and Influence People, Galerie Rianne Groen, Rotterdam, Netherlands

Through Jungian metaphors like shadows, reflections, projections, and windows into other worlds I dive into my own psychology and traumas, and visit personal narratives and family histories from Surinam, the Netherlands, and the US, as if in one magic realist place. The work raises questions about representation, belonging, and aspiration, as I look for where the edges of my identity are, as supposed to a fixed center which is absent, or at least ambiguous.

Awards Nomination, van Bommel van Dam Prize, Museum van Bommel van Dam, Venlo, Netherlands

199

Veldkamp | Hunter College

First Last Title | medium, X x X inches

Miko Veldkamp | Awkward pool reflection after Beckmann (detail) 201

Sarah Lee Orange sculpture | acrylic on canvas, 30 x 32 inches

202

Sarah Lee New York, NY 312.859.6520 sarahsrlee@gmail.com / www.sulhwalee.com / @sarahsrlee

Erratum Due to a production error in issue #141, Sarah Lee’s headshot was incorrectly printed. Her headshot and bio information are corrected here.

b. 1988 Seoul, Republic of Korea

Education

2017

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

2014

Seoul National University, Seoul, Republic of Korea

2011

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

Solo and Two-Person Exhibitions

2017

Unoriginal sublime, THE MISSION, IN THE OFFICE,

Chicago, IL

Control & Contrast, w/ Nosh Singer, The Mission Project,

I am interested in the fine line between surreal and real, the representation of a plausible world, the exploration of the familiar, and the emotional subject of nature, such as wintry scenes, dark water, fireworks, the night sky, auroras, and sunset/sunrise. By using this subject matter, I depict a psychological space that activates both personal and collective nostalgia.

Chicago, IL 2014

Playing the Field, Won Gallery, Seoul, Republic of Korea

Group Exhibition

2019

Critical Point, Artnutri Gallery, Sanyi, Taiwan

Falling Through ’n’ Going After, One Eyed Studios,

Brooklyn, NY

Silent Night, Artnutri Gallery, Sanyi, Taiwan

2018

Art Taipei, Taipei, Taiwan

2017

EXPO Chicago, Chicago, IL

Presence Interrupted, Julius Caesar, Chicago, IL

Publications

2019

New American Paintings, no. 141

Featured artist, KNACK Magazine, no. 52 (online)

203

Lee | School of the Art Institute of Chicago

Pricing

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

Katie Barrie p18 $6,000 p19 $2,000 p20 NFS

Clare Kambhu p82 $1,920 p83 $1,920 p84 3,600

Raelis Vasquez p144 NFS p145 NFS p146 NFS

Jessica Bremehr p22 NFS p23 NFS p24 NFS

Jessica Frances Grégoire Lancaster p86 POR p87 POR p88 POR

Zhaozhao Wang p150 NFS p151 NFS p152 NFS

Kevin Brisco Jr. p28 NFS p29 NFS p30 NFS

Ian Lotto p90 POR p91 POR p92 POR

Michael Ward-Rosenbaum p154 $2,000 p155 $2,000 p156 NFS

Susan M B Chen p32 NFS p33 NFS p34 POR

Violet Luczak p96 NFS p97 NFS p98 NFS

Faye Wheeler p158 POR p159 POR p160 POR

Katie Croft p38 $1,800 p39 $600 p40 $1,200

Luis Maldonado p100 $2,000 p101 POR p102 POR

Ryan Wilde p162 $950 p163 NFS p164 $7,500

Santiago Galeas p42 $2,400 p43 NFS p44 $1,500

Julia Medyńska p104 $1,500 p105 $4,500 p106 $1,500

Mikey Yates p166 POR p167 POR p168 POR

Spencer Harris p46 $5,000 p47 $5,000 p48 $5,000

Ellie Kayu Ng p108 $1,200 p109 $1,200 p110 $1,500

Yuri Yuan p172 NFS p173 NFS p174 NFS

Kirk Henriques p50 NFS p51 NFS p52 NFS

Ludovic Nkoth p112 NFS p113 NFS p114 NFS

L. Hensens p56 $6,500 p57 $6,500 p58 $5,000

Ricardo Partida p118 NFS p119 NFS p120 $1,200

Michelle Lisa Herman p60 $2,000 p61 $2,000 p62 $2,000

Na’ye Perez p122 $6,000 p123 $4,500 p124 NFS

Stephanie Mei Huang p64 POR p65 POR p66 POR

Kate Pincus-Whitney p128 NFS p129 NFS p130 $7,800

Loc Huynh p68 NFS p69 NFS p70 NFS

Michael Royce p132 $4,000 p133 $1,500 p134 $6,000

Jin Jeong p72 $3,500 p73 $2,000 p74 $3,000

Josh Storer p136 NFS p137 NFS p138 NFS

Maria Christina Jimenez p78 $1,650 p79 $2,000 p80 $2,000

Warith Taha p140 $2,500 p141 $3,000 p142 $3,000

204

Jacob Todd Broussard p178 NFS p179 $6,500 p180 $3,000 Avner Chaim p184 POR p185 POR p186 POR Isabelle McCormick p188 NFS p189 NFS p190 NFS Sumire Skye Taniai p192 $120 p193 $890 p194 $650 Miko Veldkamp p196 NFS p197 NFS p198 NFS

Sarah Lee p202 $5,000