New American Paintings Issue #158 Northeast by newamericanpaintings

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158 February/March 2022 Volume 27, Issue 1 ISSN 1066-2235 $20

Recent Jurors: Nora Burnett Abrams

Arnold Kemp

Museum of Contemporary Art Denver

School of the Art Institute of Chicago

Bill Arning

Miranda Lash

Contemporary Arts Museum Houston

New Orleans Museum of Art

Janet Bishop

Nancy Lim

San Francisco Museum of Modern Art

San Francisco Musuem of Modern Art

Staci Boris

Al Miner

Elmhurst Art Museum

Museum of Fine Arts, Boston

Nina Bozicnik

Dominic Molon

Henry Art Gallery

RISD Museum of Art

Steven L. Bridges

René Morales

Eli and Edythe Broad Art Museum

Pérez Art Museum Miami

Dan Cameron

Barbara O’Brien

Orange County Museum of Art

Kemper Museum of Contemporary Art

Cassandra Coblentz

Valerie Cassel Oliver

Independent curator

Virginia Museum of Fine Arts

Eric Crosby

Katie Pfohl

Walker Art Center

New Orleans Museum of Art

Susan Cross

Raphaela Platow

MASS MoCA

Contemporary Arts Center, Cincinnati

Dina Deitsch

Monica Ramirez-Montagut

deCordova Sculpture Park and Museum

San Jose Museum of Art

Lisa Dorin

Veronica Roberts

Williams College Museum of Art

Blanton Museum of Art

Anne Ellegood

Michael Rooks

The Open Studios Press

Hammer Museum

High Museum of Art

450 Harrison Avenue #47

Lisa D. Freiman

Alma Ruiz

Institute for Contemporary Art,

Museum of Contemporary Art, Los Angeles

Virginia Commonwealth University

Kelly Shindler

Evan Garza

Contemporary Art Museum St. Louis

New American Paintings is distributed as a periodical by CMG

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Editor/Publisher: Steven Zevitas Designer/Production Manager: Alexandra Simpson Operations Manager: Alexandra Simpson Marketing Manager: Liz Morlock Copy Editor: Lucy Flint

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Miller p98

Contents 8

Editor’s Note

Noteworthy

Conversation with Bill Powers, owner, Half Gallery, New York, NY

Steven Zevitas

Juror’s and Editor’s Picks

19 161 182

Winners: Juror’s Selections Northeastern Competition 2021

Winners: Editor’s Selections Northeastern Competition 2021

Pricing Asking prices for selected works

Steven Zevitas

158 February/March 2022

Editor’s Note

I was thrilled to have Bill Powers serve as juror for this issue of New

twenty-eight-year legacy; the benefit is that we are finally, after more

American Paintings. Bill has, over the years, carved out a unique niche

than two years, back on our standard release schedule. I anticipate

within the art world as a television personality, writer, and owner of

that things will run smoothly from here. You can expect the release of

Half Gallery in New York City. In a field that can be crushingly insular,

the MFA Annual (no. 159) in April, and subsequent publications will be

he is one of a handful of art-world denizens to have attained celebrity

arriving every two months as they are intended to.

status, largely due to the ways in which he has effectively embraced a variety of media, including Instagram. What I most admire about

I want offer my sincere apologies to our subscribers for the confusion

Bill is his effusive passion for art and artists. He brought his passion,

all of this has caused. As has been communicated to you through

knowledge, and a no-bullshit approach to this project, and I think the

mail and email, none of these digital releases will affect your

results are exceptional. There is a lot of work to like in these pages.

subscription—you will still receive all of the printed issues that you paid for. More importantly, I want to apologize to the artists featured

It is no secret that the past two years have been challenging for

in those issues. Although our digital release and social media

both individuals and businesses. The COVID pandemic caused

strategy allowed far more individuals to read the magazine, I am well

myriad problems for New American Paintings on both economic and

aware that artists eagerly anticipate seeing their work in the printed

operational levels. In order to make the project viable, we have for the

publication. n

past twenty years printed the publication in South Korea. As I write this, three issues of New American Paintings that should have been

Thank you for bearing with us and for your continued support. Enjoy

released months ago are stuck outside the Port of Los Angeles, and

the issue!

we have virtually no clarity as to when they will make it to their final destination.

Steven Zevitas Editor & Publisher

Because our release schedule has become so backlogged, I was forced to make a difficult decision. Issue numbers 154, 155, 156 and 157 of New American Paintings were, over the past three months, released in digital form only. (To mitigate the situation, we made all of these issues free to the world in digital form.) The obvious drawback of this is that we now have a gaping hole in the printed publication’s

Noteworthy:

Autumn Wallace

Juror’s Pick p148

The way Autumn Wallace talks about “double consciousness” reminds us that perception IS interpretation. There is a strangeness and delightful inconsistency to her work that conjures Hans Bellmer, Kerry James Marshall, and Bri Brooks in equal measure. The best art disorients and magnetizes the eye. Take a look. n

Linus Borgo

Editor’s Pick p28

I first saw the painting that appears on the cover of this issue on Instagram, and it stopped me in my tracks. I was impressed with the work’s clarity and sensed in it a deep vulnerability. As it turns out, Borgo’s practice largely revolves around a personal trauma that occurred when he was only fourteen years old: a high-voltage shock that left him with third-degree burns all over his body and necessitated the amputation of his left hand. Working through selfportraiture, and with a keen interest in art history, Borgo attempts to understand the limits of his body and, by extension, our corporeal nature. n

Winners: Northeastern Competition 2021 Juror: Bill Powers, owner, Half Gallery, New York, NY

Juror’s Selections: Alicia

Adamerovich

Pablo

Barba

Linus

Borgo

Amy

Bravo

Annabelle

Buck

Horing

Editor’s Selections: Lydia Baker | Keiran Brennan Hinton | Sung Hwa Kim | Hannah Murray | Soyeon Shin

Conversation with

Bill Powers Owner, Half Gallery, New York, NY In an art world that can seem opaque and ladened with Byzantine rules,

for how you read text—it’s the speed of your inner voice. It’s fascinating

Bill Powers does things his way and it works. I spoke with the owner of

that when you think back on art you saw in childhood you can see how it

taste-making Half Gallery about his journey in the art world, how he has

comes back to you and resonates in different ways.

successfully grown his business, and how emerging artists can position themselves for success.

SZ: Were any members of your family involved in the arts?

STEVEN ZEVITAS:

BP: My parents were both doctors, but my

In speaking with artists and those who make

grandfather on my mother’s side was a

their life in the art world over the years, it

drummer and had his own orchestra, and

has become clear to me that childhood

my other grandfather had a piano store,

exposure to the arts is often pivotal in

Powers Pianos, on 57th Street. So, I grew up

determining the direction their lives took.

with a lot of music.

So let’s start there . . . Tell me about your SZ: How did your professional journey in the

earliest memories of art.

art world begin? BILL POWERS: My earliest memory of encountering art

BP: In terms of actual exposure to the art

would probably be going to the King Tut

world, that started in the early 1990s when

exhibit at the Metropolitan Museum in

I dated one of Larry Rivers’s daughters.

grade school. And at the same time, my

That was the first time I witnessed or dealt

parents had a Robert Indiana Love poster

with artists who were alive. Her godmother

in our hallway (which became kind of ironic

was Niki de Saint Phalle, who I remember

after they got divorced). I mentioned the

meeting up with after an opening—she let

poster in an essay I wrote a couple of years

us take her limo out for the rest of the night.

ago about Christopher Wool. It was my first

I was in my early twenties at the time.

encounter with art that had a text element in it, and I later connected it in my thinking to

Image by Adrian Crispin

My real professional journey began when

Christopher Wool’s text paintings. It made me realize that the difference

I started writing for magazines and newspapers in the mid-to-late

in reading text, as opposed to, say, looking at a narrative, figure-based

1990s. I was writing for Paper, Ray Gun, Bikini, and other indie culture

painting, is that text operates at our interior speed. There’s no set speed

magazines. That led to writing for the New York Times Style section

and T Magazine. I was doing

interesting photographer, but you inevitably get to one or two artists in

broader cultural coverage that

the lineup that you’re not that crazy about. I think that artists should live

intersected with the art world.

under their own steam and gain a reputation apart from choices that a gallery has made in terms of the artists they’re showing.

SZ: How did your writing gigs transition to the founding of

I’ve worked with some artists, such as Ginny Casey, for a decade, and

Half Gallery?

we have done multiple shows over the years. As long as the artist knows that you’re working together, and you know that you’re working

Barba p25

BP: I was on the advisory board

together, the public-facing aspect is less important. I just figure, if the

at RXR, which is a nonprofit that places contemporary art in hospitals,

artist has a good experience and you have a good experience, why not

and they were moving from Midtown to the Lower East Side. They had

keep working together? I notice that when people do announcements

a storefront space that they only needed half of for their offices, so they

now, they do them in all-caps—you get an email that so-and-so now

asked me about the potential for a gallery space. The New Museum

represents X, Y, Z—and I always feel like it’s too proprietary. It feels like

had not been built yet, but the Lower East Side was starting to bubble

that model is a bit antiquated.

up as a hotbed of young galleries. I asked Luhring Augustine and a few others if they wanted to take the space for projects, but they all passed.

SZ: Half Gallery has a history of working with artists whose work has

Then I asked Andy Spade if he might want it to do special projects and

exploded, in some cases quickly. I am thinking of Genieve Figgis, Louise

he suggested that we do it together. He was the one that brought us

Bonnet, and Vaughn Spann, for instance. I think it’s fair to say that you

our second show at the space in spring 2008, which was an exhibition of

have become a tastemaker who doesn’t seem particularly concerned

works by Robert Hawkins. That exhibition got reviewed in Artforum, and

about the prospect of artists moving on to larger galleries.

I thought that, This could be a real thing. BP: If you’re really in it to SZ: Were you “representing” artists at that point? How do you define the

support the artists, then you

gallery’s relationship with artists?

should try and bring them to as big a stage as they can

BP: When we were downtown for those first five years, we didn’t

handle.

represent artists. It was really a project space—we were doing one-

means

introducing

offs with people. I think of representation in a very fluid way. Whenever

Bonnet to Gagosian, or Anna

you look at a roster of pretty much any gallery, you’ll go down the list

Park to Blum and Poe, your

and think, Ooh, I like that painter, that’s a great sculptor, this is a really

heart should be in it for the

whether

that

Louise

Buck p38

artist. Every gallery works for

I remember Rashid Johnson came to one of our televised openings. It

the artist. I think that when

was a lot of fun for me. Glenn O’Brien was always a hero of mine, and I

people have a lot of heat,

think what he did with TVparty! on public-access television in New York

things can get twisted around

in the late 1970s was groundbreaking, so I hoped to do something in

and the galleries might make

that spirit.

it seem like the artist works for them. In the end, every gallery

The setup of the show was a bit strange. If you give somebody six hours

works for the artist.

to make a painting that has to be tied to a theme, that’s a pretty daunting

Crawford p54

task, and the critics and people who would judge operated like we were

SZ: Aside from your programming at Half Gallery, you are very active in

selecting artists for the next Venice Biennale. After we began working

curating shows at other galleries. You presently have a show at Spurs

together, I remember Nathaniel Mary Quinn telling me that he had

Gallery in Beijing, and I know that you have done exhibitions for Almine

auditioned for Season Two and didn’t make the cut. He didn’t make the

Rech and others. How do you view your curatorial activities?

cut, but he ended up working with me, and had a show with Jeanne Greenberg that Jerry Saltz reviewed. So, funnily enough, he wound up

BP: It is extension of what I do with Half Gallery and a way to bring more

working with almost everyone who was on the show and in a better

attention to artists that we support. In curating shows, I always like to

capacity.

have a mix of people. The trick is to have a balance of novelty and consistency. So maybe there are six artists that we’ve worked with before, and

SZ: What did you hope might come out of the show?

then I want to have a few surprises that generate new relationships and expose people to artists that they haven’t seen in our universe before.

BP: Greater exposure for artists and the art world. There was one segment, I think it was a

SZ: So, let’s discuss your big pop culture moment. Tell me about your

newsprint challenge, where

experiences with Work of Art: The Next Great Artist.

the winner would have their piece shown in the lobby of

BP: Everything that I do now is probably to prevent the first line of my obit

the New York Times building

reading “former reality TV judge Bill Powers passed early this morning.”

in Times Square. The artist

It was a great but weird experience. I think maybe it was a little too early

who won that week did stacks

for the show to appear, in that art wasn’t impacting popular culture the

of newspapers in an almost

way it is now. It’s amazing to look back and think of some of the guest

Robert Gober–like gesture.

judges that we had. KAWS was a guest judge, Rob Pruitt was another.

But then on top of each Miguel p94

“I think that when people have a lot of heat, things can get twisted around and the galleries might make it seem like the artist works for them. In the end, every gallery works for the artist.” stack he wrote: “Where is Ai Weiwei?” At that time, Ai Weiwei was in

know anything about it at the time, but I saw that John Currin was on

custody in China. I thought that it was insane that this was going to end

the selection committee, as was Massimiliano Gioni from the New

up being broadcast on Bravo. People who were tuning in to watch Real

Museum. When I got to Anna Park’s work, I told Michael that if I were

Housewives were going to learn about Ai Weiwei. And in a broader sense,

on the jury, I would pick this. Michael said that that choice was funny

I always thought there was a public-service aspect of doing Work of Art.

because when they had honored KAWS there a few months prior, Brian

It struck me as sad that people could name five “Real Housewives” and

[Donnelly, or KAWS] had walked through all the artists’ studios and he

couldn’t name five living artists. I was hoping that the show could help

had been so taken by Anna’s drawings that he bought one. I thought it

correct that.

was noteworthy that I had had an initial take without knowing anything about her or who else was interested in her work. Finding out that Brian,

SZ: You obviously have a passion for art and like to see as much as pos-

who has impeccable taste and owns Martin Wong’s work and all kinds

sible. How do you know when you want to pursue a given artist’s work?

of great treasures, was interested, I thought maybe I should do a studio

We recently both became interested, through different channels, in the

visit. I DMed her to meet up, and she said we should meet up the next

practice of a young painter named Maud Madsen, so maybe discuss it

week. During that interval, she won the AXA Art Prize.

through that lens. SZ: I have always found that having the urge a buy an artist’s work, be it BP: I think that with figurative painting, you want presence and

during a studio visit or whatever, is a strong indicator that I want to work

atmosphere. I had seen a painting by her and it felt like a real person. It

with them.

felt animated, it had the breath of life in it. You have to go with curiosity as your guide to get you into the room, and then you want context. In

BP: Yes, I agree, it is probably the best indicator.

Maud’s case, I was interested in her take on childhood memories. She asks herself, When we look back, is it on our physical self as a

SZ: What is your take on the

six-year-old, or do we bring our adult body and experience to those

“figurative painting” moment

recollections? She has a unique take on the time travel we adults do

that we find ourselves in?

as we think back to those pivotal early experiences. I ended up buying a painting out of her studio.

BP: I think people can be reductive in the way they

First encounters happen in different ways. I saw my first Anna Park

think of art as a pendulum

drawing when I was asked to do a lecture at the New York Academy of

that swings from abstraction

Art with Michael Kagan. I got there early, so I spent some time looking

to figuration and then back

at the work they had for the AXA Art Prize’s first iteration. I didn’t

again. It’s more like the penMorowitz p104

dulum, while swinging back and forth, also goes crisscross and side-

but of the four pillars, commercial support might actually be the least

ways. If you really pay attention, you see how the success of a Salman

important, if you have the other three. And then you need the support

Toor might open the door for people like Asif Hoque and Orkideh Torabi,

of other artists. Artists have to like your work and demonstrate their

because people are looking at Middle Eastern painters in a new way.

enthusiasm. So when Rashid Johnson buys an Anna Park, or when

And it doesn’t have to be driven by where someone’s from, or their race

Richard Prince buys a Natalie Ball, that is incredible––established

or gender status. It can also have to do with technique. Avery Singer,

artists buying emerging artists’ work. I think that’s my favorite kind

who makes paintings using technology as an assist, opens the door for

of sale. So those are the four pillars. You need critical, institutional,

people like Mike Lee and Emma Stern. With Avery Singer at one end of

collegial, and commercial support. And if people keep an eye on all four

the spectrum and KAWS at the other, they allow for people to look at

of those things, that’s the best assurance of longevity.

Mike Lee and Emma Stern in a serious way. In terms of advice to young artists, they should be focused on getting SZ: Throughout this conversation it has become clear that you always put

into group shows. That may sound like a daunting task, but like any-

artists first. I am curious as to what advice you have for emerging art-

thing in life, you have to do most of the work yourself to get somewhere.

ists as they try to gain exposure for their practice.

Cold-calling a gallery or sending in images doesn’t usually gain a lot of traction. Artists have to be curious and learn about gallery programs in

BP: I deal with so many artists coming out of grad school, whether it’s

order to engage with dealers and artists of their generation that they’d

Yale, Columbia, or wherever, and I am always surprised that they are

like to be affiliated with. And that’s a process that demands persistence.

taught so little about the business side of art. I’m surprised the schools

I can’t overstress the importance of having other artists interested in

don’t do a better job prepping artists for the reality of the gallery system.

your practice. It can lead to a lot of things.

If you want to survive long-term as an artist, you need to check four boxes. You need institutional support. This can be donations to museums

SZ: Okay, Bill . . . You have carved out a unique niche for yourself in the

or, for instance, when we set

art world. If you can get “reality TV star” out of your obituary, what do you

up a show for Genieve Figgis

hope will take its place?

at the Metropolitan Opera for

Ramirez p118

Romeo and Juliet. You need

BP: “Supporter of artists.” If you’ve ever read the book Eye of the Sixties,

critical support. That can be

about Richard Bellamy and Green Gallery, you’ll know how many first

reviews, obviously, but also

shows he gave to people who went on to become legends. In the end,

catalogues and any form of

my real legacy will be that I did the first New York City shows for art-

print or digital media. You

ists like Genieve Figgis, Nathaniel Mary Quinn, Vaughn Spann, and Anna

need commercial support. I

Park. That is something that will live on their CV, and on Half Gallery’s,

mean, everyone needs sales,

forever. n

MFA ANNUAL COMING MAY 2022 17

Image: Date Night | Antonia Constantine

AD PLACEMENT

Juror’s Selections

The following section is presented in alphabetical order. Biographical information has been edited. Prices for available work may be found on p182.

Alicia Adamerovich Staring at the Sun | oil on canvas, 48 x 40 inches

Alicia Adamerovich A Bat out of Hell | oil on linen on panel, 24 x 18 inches

Alicia Adamerovich Vacancy | oil on linen on panel, 11 x 14 inches

Alicia Adamerovich Brooklyn, NY alicia@adamerovich.com / www.adamerovich.com / @aliciaadamerovich

Residencies 2021

Del Vaz Projects, Los Angeles, CA Moly-Sabata, Fondation Albert Gleizes, Sablons, France Palazzo Monti, Brescia, Italy Solo Exhibitions

2021

My works are representations of inner journeys, giving shape to a range of emotions I encounter while in introspection. My paintings, drawings, and sculptural frames anchor the viewer in landscapes of my subconscious, where terrains of apprehension and disquiet bathe in the solace of a full moon’s light. Although my work is rooted in psychology, the images exist in a world that is familiar to me. I paint light and places that everyone, and yet no one, has seen.

Second Nature, Del Val Projects, Los Angeles, CA A bat out of hell, Sans titre (2016), Paris, France Day, Galerie Tator, Lyon, France Two-Person Exhibitions

2021

Shelter Lines: Barbara Prenka & Alicia Adamerovich,

2019

Wild Objects: Alicia Adamerovich + Sessa M. England,

Palazzo Monti, Brescia, Italy Projet Pangée, Montreal, Canada

Each piece I make drifts along a spectrum between specificity and complete dissociation. Sometimes the images are dreamlike but recognizable, at other times a complete abstraction. Although at times my inspiration comes from a certain personal space, I am not attempting to illustrate an exact event. Rather, I attempt to capture a feeling. Moments when one’s own feelings involve two sides of the coin. A contrast that is impossible to explain with words, but is felt immediately upon viewing: attraction and disdain, joy and pain, expansion and compression.

Group Exhibitions 2021

Parallax: Alicia Adamerovich, Jenna Ransom, Alisa Bones, Y2K Group, New York, NY Theorem Y, Mrs., Queens, NY Theorem X, Rachel Uffner Gallery, New York, NY The Symbolists: Les fleurs du mal, Hesse Flatow, New York, NY

2020

Art Toronto, w/ Projet Pangée, Toronto, Canada

2019

Tulips, Kapp Kapp, Philadelphia, PA

Material Art Fair, w/ Projet Pangée, Mexico City, MX A Fairly Secret Army (notes from NY), Wild Palms, Düsseldorf, Germany Represented by Projet Pangée, Montreal, Canada

Adamerovich

b. 1989 Latrobe, PA

Pablo Barba Business Casual | oil on canvas, 60 x 48 inches

Pablo Barba The Aristocrats | oil on canvas, 72 x 60 inches

Pablo Barba Cherry Pie | oil on linen, 48 x 36 inches

Pablo Barba New York, NY www.pablobarba.com / @dumbasapainter

Education 2016

MFA, Columbia University, New York, NY

2014

MA, Universdad de Chile, Santiago, Chile

2009

BFA, Universidad Católica de Chile, Santiago, Chile

Barba

b. 1985 Santiago, Chile

Pablo Paints Paintings

Solo Exhibition 2021

Business Casual, Steve Turner, Los Angeles, CA

2020

LOVE 2020: Perfect Vision, LeRoy Neiman Gallery,

2019

2019 Presidents Day Soirée [Portray, Pray and Disobey],

Group Exhibitions New York, NY Lucas Lucas, Brooklyn, NY 2018

LOVE 2018: Purple Hearts, LeRoy Neiman Gallery,

2017

Bronx Calling: The Fourth AIM Biennial, Bronx Museum of

Columbia University, New York, NY the Arts, Bronx, NY The Tyrrany of Common Sense Has Reached Its Final Stage, LeRoy Neiman Gallery, Columbia University, New York, NY Cats Without Claws, Mom’s Gallery, New York, NY

Pablo Barba | The Aristocrats (detail)

Linus Borgo Bed of Stars: Self-portrait with Elsina and Zip | oil on canvas, 68 x 46 inches

Linus Borgo Self-portrait in my studio | oil on canvas, 52 x 46 inches

Linus Borgo Noli Me Tangere (Nick ties my shoe) | oil on canvas, 66 x 52 inches

Linus Borgo New York, NY www.linusborgo.com / @linusborgo

Education 2022

MFA, Columbia University, New York, NY Solo Exhibition

2022

Steve Turner Gallery, Los Angeles, CA

2021

Columbia MFA First Year Exhibition, Lenfest Center for the

Group Exhibitions Arts, Columbia University, New York, NY A Howl Is Also a Prayer, Anne Wright Wilson Fine Arts Gallery, Georgetown College, Georgetown, KY 2020

We Must Begin Wherever We Are, Zürcher Gallery,

2019

Where We Once Were Someone, Young Space (online)

New York, NY

In 2014, when I was eighteen years old, there was an electrical accident where I was shocked with 11,000 volts, resulting in eleven surgeries to treat the third-degree burns all over my body, and the amputation of my left hand. All of the subsequent work I have made is an attempt to grapple with the new physical and metaphysical limits of the body I live in. Working through Self-portraiture, I study my own body as one might study a mathematical problem, searching for what was subtracted or rearranged, what is hidden, what is imagined, and what is a memory. What new boundaries has the surgeon’s incisions drawn on my body, and how does this manifest in the boredom of everyday life. I draw heavily on my childhood fascination with Italian Renaissance paintings, from which I learned to draw when I was still in a stroller, as well as my years of classical training in figure drawing and anatomy. I believe my work lies somewhere in the gap between the quotidian and trauma.

Borgo

b. 1995 Stamford, CT

Linus Borgo | Noli Me Tangere (Nick ties my shoe) (detail)

Amy Bravo Psicopompa Tending the Garden | acrylic, ink, and embroidery on canvas, hung from found object, 75 x 36 inches

Amy Bravo Se un Bravo | acrylic, collage, graphite, and wax pastel on unstretched canvas, 78 x 68 inches

Amy Bravo Hen Party | acrylic, ink, wax pastel, and collage on canvas, 86 x 100 inches

Amy Bravo Brooklyn, NY amybravo830@gmail.com / @_amybravo_

Education 2022

MFA candidate, Hunter College, New York, NY

2019

BFA, Pratt Institute, Brooklyn, NY

2021

Cruising the Horizon: New York, The Latinx Project at NYU,

Group Exhibitions New York, NY Flame Tree, Regular Normal, New York, NY

Amy Bravo is interested in the shared language of culture and family, be it a found, queer family or blood relatives. Her work is an attempt to reflect her existence as a queer Cuban person building a found family, with few living blood relatives of Cuban descent left. Challenged with the complications of Cuban politics, Bravo’s large-scale paintings seek to create an impossible utopia in the vague outline of Cuba. This utopian desire hinges on the question of what it means to love someone or somewhere you do not always agree with. What does it mean to love unconditionally? What toll does it take?

These Opalescent Dreams of Mine, Selena’s Mountain, Brooklyn, NY The Alternative States, Project Gallery V, New York, NY 2020

YB²P, Catinca Tabacaru, Harlem, NY Young Artists: One, Fridman Gallery, New York. NY 100 Drawings from Now, The Drawing Center, New York, NY Admirational Invitational, Studio E. Gallery, Seattle, WA Publications

2021

Cristina Cruz, “Editors’ Picks,” Artnet News Danilo Machado, “Cruising the Horizon: New York Imagines New, Queer(er) Potentials,” Hyperallergic, posted April 4 Maria Zemstova, ArtMaze Magazine, no. 22

Bravo

b. 1997 Park Ridge, NJ

Annabelle Buck Alex with Iced Coffee | acrylic on canvas, 40 x 30 inches

Annabelle Buck Born Again | acrylic on canvas, 36 x 24 inches

Annabelle Buck Green Light | acrylic on canvas, 30 x 24 inches

Annabelle Buck Philadelphia, PA www.annabellebuck.com / @annabellebuck

Education 2011

BA, Temple University, Philadelphia, PA

Annabelle Buck is interested in quiet moments in loud spaces, compelling light and shadow, and intimate, candid depictions of her subjects. Her work illustrates an interplay between humanity and nature, as well as elements of the surreal and the everyday.

Group Exhibitions 2021

Eros, The Curators (online) Bandits, James Oliver Gallery, Philadelphia, PA

2018

Let’s Connect: Philly Artists Take on the Barnes, Barnes Foundation, Philadelphia, PA Baby’s on Fire, Philadelphia Mausoleum of Contemporary Art, Philadelphia, PA

Buck

b. 1989 Harrisburg, PA

Ivana Carman Dragon Lamp | acrylic and charcoal on canvas, 40 x 30 inches

Ivana Carman Late Night Reflection | acrylic and mixed media on canvas, 60 x 48 inches

Ivana Carman The Blue Studio | acrylic and mixed media on canvas, 48 x 120 inches

Ivana Carman New York, NY ivanacarmanart@gmail.com / www.ivanacarman.art / @ivanacarman

Education 2021

MFA, Columbia University School of the Arts, New York, NY

2015

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

2021

Art 52nd St 2021, Chungbuk National University, Seoul,

I paint to explore the blurry border between our inner and outer reality in daily life. Through an assemblage of painting, drawing, photography, and printmaking, I seek to synthesize visual languages sampled from antiquity to modernism in order to describe the contemporary mind and observer. My work explores the complex relationships between the virtual and the real, the intimate and the public, the factual and the imagined.

Group Exhibitions South Korea I Thought It Was a Drought, Yonkers Community Art Center, Yonkers, NY 2020

The Codex, Works on Paper Gallery, Philadelphia, PA

2019

National Juried Exhibition, First Street Gallery,

My paintings flicker between gestural marks, sensitive drawing, and highly photographic elements. In their amalgamation, these disparate parts harmonize to evoke a sensation of lived experience. Using potent color and intimate brush marks, I create a convincing reality that breaks with abstraction. I animate quiet interiors with emotional and psychological depth.

New York, NY The Poetics of Re-presentation, Woodmere Art Museum, Philadelphia, PA 2018

Got To Be Real, Gallery 8, Philadelphia, PA

By reflecting on my own experiences, I consider how the rich and complex inner life of a contemporary mind fragments and distorts the way we move through and see the world.

Award 2020

Grant, The Elizabeth Greenshields Foundation Publications

2021

Art 52nd St, 2021 (Chungbuk National University)

2019

Create!, International Women’s Issue

Carman

b. 1991 Hollywood, FL

Kyle Coniglio Boardwalk Buddy | oil on canvas, 48 x 36 inches

Kyle Coniglio The Fiction of My Affliction | oil on linen, 44 x 36 inches

Kyle Coniglio Night Walk | oil on canvas, 40 x 32 inches

Kyle Coniglio Hoboken, NJ conigliokyle@gmail.com / www.kyleconiglio.com / @kylefyles

Education 2012

MFA, Yale University, New Haven, CT

2010

BFA, Montclair State University, Upper Montclair, NJ Residencies

2012-13 Queer Art Mentorship Fellow, New York, NY 2012

Al Held Affiliated Fellow, American Academy in Rome Group Exhibitions

2021

You Got Your Secret On, Quappi Projects, Louisville, KY Victoria Miro x OUT Collective on Vortic, Victoria Miro

I create fictional images that serve as a platform to explore my emotional experiences. Sensations of destitution, melancholy, lust, optimism, queer desire, and the euphoric have all been used as a jumping-off point to make a picture. Taking formal cues from the history of Western painting, I use light and color to emote and dramatize an image. I understand color as an element of artifice within representational painting, and approach it with a camp sensibility to explore its potential to invoke a sense of atmosphere, time of day, the theatrical, and the spiritual. Working exclusively with the male figure, I am interested in depicting men as vulnerable rather than heroic, subverting art-historical norms through a queer point of view. Ultimately, I employ the dreamy space of painting to create an empathetic experience.

Gallery, London, England 2020

Hot Heads, Catherine Clark Gallery, Los Angeles, CA

2019

Personal Spaces, Danese Corey Gallery, New York, NY About Face: Portraits in Paint and Clay, The Painting Center, New York, NY Stonewall 50/50, 1969 Gallery, New York, NY

2018

Cast of Characters, Bureau of General Services Queer Division, New York, NY Moment of Intimacy, 68 Projects, Berlin, GR

2013

Kyle Coniglio, Andrew Cornell Robinson and Doron Langberg, Anna Kutsera Gallery, New York, NY

Coniglio

b. 1988 Wayne, NJ

Kyle Coniglio | Night Walk (detail)

Michael Costello Melancholy | oil on canvas, 24 x 24 inches

Michael Costello Nathan | oil on canvas, 24 x 24 inches

Michael Costello Painting Becca | oil on canvas, 24 x 24 inches

Michael Costello Boston, MA michaelcostelloartist@gmail.com / www.michaelcostelloartist.com / @michaelcostelloartist

Education 1977

Diploma, School of the Museum of Fine Arts, Boston, MA Residency

2011

Residency at the Studios at Key West, Key West, FL Solo Exhibitions

2020

Flesh and Fauna, William Scott Gallery, Provincetown, MA

2007

Models and Muppets, Gallery XIV, Boston, MA

1998

Barbara Singer Fine Art, Cambridge, MA

2019

We the People, Cape Cod Art Museum, Dennis, MA

2013

Off the Wall, Danforth Art Museum, Framingham, MA

My work explores the anxiety of humankind in the twentyfirst century. My goal is to capture the human body in all its vulnerability by celebrating our perceived flaws. In order to demystify the nude, one has to find beauty in the grotesque, yet in an affectionate manner. My subjects are imperfect and I do not flatter them. I paint them with emotional honesty. Their nudity becomes a vehicle for presenting the psychology of the sitter over the formality of portraiture, allowing me to discover and pierce the unconscious. I choose my models for their ability to inspire empathy for our universal humanness, and their capacity to confront the truth within ourselves as to what we believe to be beautiful.

Group Exhibitions

New Directions, Barrett Art Center, Poughkeepsie, NY Award 2007

Pollock Krasner Byrdcliffe Master Publications

2013

“Michael Costello: Boxers and Ballerinas,” The Boston Globe, February 27

2010

“Michael Costello, Gods and Monsters,” American Art

2008

Matthew Nash, “Michael Costello at Gallery XIV,”

Collector, April Big Red & Shiny Collections Smithsonian National Portrait Gallery Provincetown Art Association and Museum Boston Public Library Federal Reserve

Costello

b. 1954 Boston, MA

Awesum Crawford Transformation of the Mind (Self-Portrait) | acrylic on canvas, 36 x 24 inches

Awesum Crawford As I see a man transformed in a field / The Buterfly King | acrylic on canvas, 20 x 20 inches

Awesum Crawford “Space Command to Mothership…Come in, Mothership?!”/ Return to M.E.G.A. | acrylic on canvas, 20 x 20 inches

Awesum Crawford Brooklyn, NY 929.900.9923 awesumarts@gmail.com / @sumofallawe

Professional Experience 2021

Teaching Artist, RISE program, Brooklyn, NY

2021

Exchanging Visions Art Exhibition: Women and Non-Binary

Group Exhibition

The moment my mother told me we came from a family of seers, I’ve learned never to take my dreams lightly. I began to paint every surreal scene, place, and person that haunted me in order to analyze each message. It’s for the story that each painting holds and for my determination to create that I depict everything with such detail and color as acrylics and my skills afford me on canvas.

Artists of Brooklyn, The Hall BK, Brooklyn, NY Award 2021

CAC ArtBridge Initiative Award, Brooklyn, NY

Crawford

b. 1988 Bronx, NY

Rhea Cutillo Storm over High Desert | oil on linen, 40 x 30 inches

Rhea Cutillo Sky over Gemini, South Georgia | oil on linen, 40 x 30 inches

Rhea Cutillo There’s Oil under the Arctic | oil on wood, 36 x 36 inches

Rhea Cutillo Philadelphia, PA studio@rheacutillo.info / www.rheacutillo.info / @rheacutillo_art

Education 2021

Barnes-de Mazia Certificate, Barnes Foundation, Philadelphia, PA

2011

BA, Mills College, Oakland, CA Residencies

2017

Fellowship, Schoolhouse, Beijing, China

2016

Fjúk Art Centre, Húsavik, Iceland

2012

LoBot Gallery, Oakland, CA

2017

for Jalien, The Brewery, Los Angeles, CA

2014

[Lack of] Being, Hatch Gallery, Oakland, CA

2013

An Unweaving of Color, Fenwood Resort, Big Sur, CA

Solo Exhibitions

Drift Velocity, Lower Bottom Gallery, Oakland, CA 2011

Alice, Lower Bottom Gallery, Oakland, CA Group Exhibitions

2021

I experience painting as an intellectual activity but with the immediate act as intrinsic and intuitive. I paint from a space of internal submission, though with a decisive vision leading the image. There is a conversation between using the medium to my will and letting the medium lead me. My work focuses on a search for open space, both internally and externally. My paintings are meant to be expansions of space into the immaterial or cerebral realms. Absence and presence coexist within my images; both a dissolution and coherency of identity occur. I believe that the importance of finding empty space internally is just as crucial to the human spirit as conserving open land is to nature and her ecosystems. My images, too, explore our novel position, coined as the Anthropocene. Where in the world does open space still exist without political or industrial control? In our contemporary manmade environmental crisis, it is not just the biosphere that is disappearing. Our history, heritage, and communion with the land is in question as well.

Out of Isolation, Yellowstone Art Museum, Billings, MT 34th September Competition, Alexandria Museum of Art, Alexandria, LA Short & Sweet, Gross McCleaf Gallery, Philadelphia, PA

2018

The Locals, Community Arts Phoenixville, Phoenixville, PA The Other Art Fair, Los Angeles, CA

2016

List í Lójsi: Art in Light Festival, Seydisfjördur, Iceland Represented by Gross McCleaf Gallery, Philadelphia, PA

Cutillo

b. 1987 Philadelphia, PA

Rhea Cutillo | Storm over High Desert (Between Men) (detail)

Deborah Druick Parlor Games | vinyl paint and acrylic paint on linen, 36 x 30 inches

Deborah Druick Shadowed | vinyl paint and acrylic paint on linen, 30 x 24 inches

Deborah Druick Solitude | vinyl paint and acrylic paint on linen, 30 x 24 inches

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

Residency 2020

Vermont Studio Center, Johnson, VT

2021

Painting 2011–2021, Site:Brooklyn Gallery, Brooklyn, NY

Group Exhibitions Lines and Other Forms, dodomu gallery, Brooklyn, NY People,Places, Things, Project Gallery V, Brooklyn, NY Formation: Bodies in Contemporary Art, Greenhouse Auctions, Brooklyn, NY 2019

Art Market Hamptons, w/ Vellum Projects, Bridgehampton Museum, Bridgehampton, NY Pulse Miami, w/ Vellum Projects, Miami Beach, FL Unseen, Collar Works Gallery, Troy, NY

My paintings address issues of gender definition, selfidentification, and female objectification, using stylized figuration and saturated high-key color. I emphasize and exaggerate stereotypical concepts of precision, perfection, and beauty in femininity. My females are both representations of self and faceless archetypes, eliciting questions about identity, selfawareness, and sentiment. I explore codes of femininity while also addressing issues of willingness and consent. I often insert my subjects into situations where self-control and self-awareness are requisites. My work can best be described as belonging to the “New Surrealist” movement, using an abstract visual language to express the objectification of women’s bodies. The border frames that I paint on the canvas serve as both an additional element of pattern and a transitional bridge from canvas to wall, easing the visual abruptness of the change in surface.

Saturated: An Eye for Color, Barrett Art Center, Poughkeepsie, NY GIFC, Shrine Gallery, New York, NY 2018

Signal, Katonah Museum of Art, Katonah, NY

2017

The Figure: Interpreted Through Contemporary Mediums,

The Other Art Fair, Brooklyn, NY Site:Brooklyn Gallery, Brooklyn, NY Publications 2021

“Are We There Yet?,” Elephant Magazine, no. 44 ArtMaze Magazine, no. 21

2020

New American Paintings, no. 146

Druick

b. 1963 Montreal, Canada

Minoo Emami When She Pirouettes | archival digital photograph, 30 x 21 inches

Minoo Emami So, I Can Fly | digital collage printed on canvas and mounted on wood, acrylic paint, and neon light, 70 x 56 x 8 inches

Minoo Emami Andaruni | video projection and acrylic painting on canvas mounted on wooden structure, fabric curtains, and fluorescent light, 89 x 120 x 10 inches

Minoo Emami Providence, RI www.emamiminoo.com / @minooemamistudio

Education 2021

MFA, The University of North Carolina at Chapel Hill, Chapel Hill, NC

2019 2017

BFA, Tufts University, Medford, MA School of the Museum of Fine Arts at Tufts University, Boston, MA Professional Experience

2021

Co-founder, “Invitation to My Garden,” Cassiopeia Caravana (cohort of artists from Canada, China, Iran,

My research examines patriarchy through a transnational justice and feminist lens in the Middle East. I combine family portraits and aspects of Islamic architecture to unveil parts of the denied feminist history and connect viewers with the resilience and agency of Iranian (Muslim) women. Layering formal meaning through the various mediums I use, my work juxtaposes the past with the present, history with memory, and fiction with reality. My art ultimately asks the viewer to consider persistent colonial stereotypes that fetishize women in postrevolutionary Iran, and reframes Iran’s history through a feminist lens. I like to layer techniques and materials like projection video, drawing, light resource, or prints on my paintings.

Pakistan, and the United States): Interviews and therapeutic artistic collaboration with Iraqi and Iranian war survivors in Iran and the United States Solo Exhibitions 2019 2016

Wounded Beauty, Gallery Kayafas, Boston, MA Aura of War, Harbor Gallery, University of Masachusetts, Boston, MA

2015

War Collection, Center for Middle Eastern Studies, Harvard University, Cambridge, MA Group Exhibitions

2021

Our Tears Are Sweet, Our Laughter Venomous, ECSU Art Gallery, Eastern Connecticut State University, Willimantic, CT MFA Thesis Exhibition, Ackland Art Museum, Chapel Hill, NC

2018

The Shape of Birds, Newport Art Museum, Newport, RI Awards

2020

Hanes Alumni Sculpture Garden Grant, The University of North Carolina at Chapel Hill, Chapel Hill, NC

2016

Biot Award, School of the Museum of Fine Arts, Boston, MA Publications

2012

The Art of Minoo Emami Art (Aras)

2007

Minoo Emami: Selected Paintings, 1996–2006 (Lak Lak)

Emami

b. 1963 Tehran, Iran

Nicasio Fernandez Finding the Foundation | oil, grog, and sand on linen, 70 x 55 inches

Nicasio Fernandez Longing | oil on linen, 66 x 54 inches

Nicasio Fernandez The Climb | oil on linen, 80 x 60 inches

Nicasio Fernandez Mahopac, NY nicasio.fz@gmail.com / www.nicasiofernandez.com / @nicasio_fernandez

Education 2015

BFA, School of Visual Arts, New York, NY Solo Exhibitions

2021

Within and Without, Harper’s, East Hampton, NY

2020

How Can I Tell You?, Ross+Kramer Gallery, East Hampton, NY Something’s Off, Over the Influence, Los Angeles, CA

2018

Working Through It, Harper’s, New York, NY

2021

Summer Summer Group Show, Ross+Kramer,

Group Exhibitions

These vibrant figurative works develop from intuitive marks on the surface into narrative paintings intertwined with the embodiment of human emotion and my personal experiences throughout life. The surrealistic oil paintings are considered displays of anxiety, melancholy, manual labor, the pressures of life, and the feeling of not belonging. The expressive cast of stylized figures with exaggerated features and unnatural flesh tones are proxies for the viewer as they try to find connection within the present circumstances. Fusing a variety of arthistorical references, from German Expressionism to Peter Saul and the Chicago Imagists, the work engages visual metaphors, absurd hypothetical situations, social commentary, and humor to explore the psychological and physical endurance required by our contemporary life.

East Hampton, NY My Sweet Doppelgänger, Richard Heller Gallery, Santa Monica, CA 2020

36 Paintings, Harper’s, East Hampton, NY Rise and Shine, Over the Influence, Hong Kong, China Collections Hall Art Foundation Beth Rudin DeWoody Collection (The Bunker)

Fernandez

b. 1993 Yonkers, NY

Nicasio Fernandez | Finding the Foundation (detail)

Amber Heaton Keep This Far Apart | acrylic on panel, 36 x 48 inches

Amber Heaton If We Could Have Loved | acrylic on panel, 48 x 60 inches

Amber Heaton Between Earth and Sky | acrylic on panel, 36 x 48 inches

Amber Heaton Brooklyn, NY amber.n.heaton@gmail.com / www.amberheaton.com / @amberheat

Education 2012

MFA, Rhode Island School of Design, Providence, RI

2009

BFA, Univeristy of Utah, Salt Lake City, UT Residencies

2018

Wassaic Project Summer Residency, Wassaic, NY

Growing up in the Western United States, my sense of space was shaped by the rhythms of light and time visible in the natural. I learned to observe shifting states of balance and harmony from nature. For me, these states are spaces of freedom and democracy. Like Byzantine architecture and mandala drawings, my work lies in the tradition of creating spaces that embody the sensation of the sacred or mystical. In each artwork, I invite the viewer to seek tranquility and equality.

2016-17 Scholarship for Advanced Studies in Book Arts, Center for Book Arts, New York, NY Solo Exhibitions 2019

From the Sides, Cedar Crest College, Allentown, PA Digits, Narrows Center for the Arts, Fall River, MA Evenly Even, Big Orbit Gallery, Buffalo, NY

2016

Everything Is Equal, This Friday or Next Friday, Brooklyn, NY Group Exhibitions

2021

Forbidden Fruit, Piano Craft Gallery, Boston, MA

2019

Ad Astra Per Aspera, Wassaic Project: Maxon Mills,

2018

Art, Artists & You, Children’s Museum of Manhattan,

With influences from Euclidean diagrams to minimalism, I create colorful, geometric installations, paintings, mixed-media works, and prints. I construct patterns with a sense of vibration, establishing a physical relationship to the eye and the body. Using scale, abstraction, and repetition, I devise spatial relationships with psychological tension and release. These psychological spaces give me room to consider human interactions in a visual way, and my geometries become metaphors for those interactions. Compositionally, I want each work to come to a state of equilibrium, and to emanate a sense of calm and openness.

Wassaic, NY New York, NY Special FX, Susquehanna Art Museum, Harrisburg, PA 2017

Bronx Calling: The Fourth AIM Biennial, The Bronx

2016

Innervisions: New Prints 2016–Summer, International

Museum of the Arts, Bronx, NY Print Center New York, New York, NY Awards 2016

Artist in the Marketplace Fellowship, The Bronx Museum of the Arts, Bronx, NY

2001-3 Fulbright ETA Fellowship, South Korea

Heaton

b. 1975 Provo, UT

Patty Horing Red Maple | oil on linen, 70 x 60 inches

Patty Horing Inside Cat | oil on panel, 48 x 36 inches

Patty Horing Horseplay | oil on linen, 70 x 60 inches

Patty Horing New York, NY 212.243.2100 (Anna Zorina Gallery) patty.horing@gmail.com / www.pattyhoring.com / @pattyhoring

Education 2015

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

1986

BA, Brown University, Providence, RI

2022

Patty Horing: To Be a Man, Anna Zorina Gallery,

2019

Patty Horing: Underdressed, Anna Zorina Gallery,

2017

Patty Horing: Ordinary Lives, Anna Zorina Gallery,

Solo Exhibitions New York, NY New York, NY New York, NY Group Exhibitions 2021 2020

I am interested in the narrative and psychological nature of portraiture. Contemporary paintings of specific people simultaneously raise questions and offer clues about individual identity and the larger cultural context in which the subjects exist. My goal is not simply to show what a person looks like, but to examine, through subjective interpretation, who that person is, wants to be, has been. Often, the subjects’ material surroundings also reflect some aspect of personal desire or identity that is linked to the emotional underpinning of the portrait. My current series focuses on men: an open-ended investigation of contemporary manhood, from this woman’s point of view. Who rejects toxic masculinity and who clings to it? Who embodies a more nurturing way of living in the world? How do boys absorb mixed cultural messages about how to be a man, here and now?

Give Me Some Skin, Sugarlift, New York, NY Sit Still: Self-Portraits in the Age of Distraction, Anna Zorina Gallery, New York, NY

2019

Femme, Juxtapose Projects at Mana Contemporary,

2017

Domesticity: Jaclyn Dooner, Patty Horing, Zoe Saldana, Art

Jersey City, NY Gallery at CSI, College of Staten Island, The City University of New York, New York, NY UPRISE/Angry Women, The Untitled Space, New York, NY 2015

Three Women: Nadine Faraj, Alonsa Guevara, Patty Horing, Anna Zorina Gallery, New York, NY

2010

Outwin Boochever Portrait Competition, National Portrait Gallery, Smithsonian, Washington, DC Collections Fundación Amparo y Manuel, Mexico City, Mexico Girls’ Club, Fort Lauderdale, FL Museo Internacional de Arte, Jalisco, Mexico Represented by Anna Zorina Gallery

Horing

b. 1965 Chicago, IL

Sarah Lee As Long as There’s Light | oil on canvas, 28 x 25 inches

Sarah Lee Cat in the Fog | oil on canvas, 55 x 50 inches

Sarah Lee Moon and a Star | oil on canvas, 54 x 48 inches

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

Education 2017

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

2011

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

2021

The Blue Hour, ATM Gallery, New York, NY

I paint an alternative universe somewhere between dusk and dawn that is mysterious and melancholy via landscapes that are vacant, possibly dangerous, but peaceful.

Solo Exhibitions Women in Paris, Galerie Hussenot, Paris, France The Weight of Night, mh PROJECT, New York, NY 2020

Homecoming, AHL Foundation, New York, NY (online)

2019

Critical Point: Exploration Beyond Relativity, Artnutri

2017

Unoriginal sublime, The Mission, Chicago, IL

Gallery, Sanyi, Taiwan Control & Contrast, The Mission, Chicago, IL Presence Interrupted, Julius Caesar, Chicago, IL Publications 2021

ArtMaze Magazine, no. 23 Juxtapoz, posted July 22

2019

New American Paintings, no. 141

Lee

b. 1988 South Korea

Quentin James McCaffrey Landscape with Saint | oil on wood panel, 10 x 8 inches

Quentin James McCaffrey Landscapes and Houseplant | oil on wood panel, 16 x 13 inches

Quentin James McCaffrey Landscape with Pillows | oil on wood panel, 14 x 11 inches

Quentin James McCaffrey New York, NY 917.881.5631 (Hesse Flatow) @_quentinjames

Education 2011

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

2009

BA, Taylor University, Upland, IN Solo Exhibitions

2021

False Azure, Hesse Flatow East, Amagansett, NY A Day at the Beach, Marlborough Gallery, New York, NY I have an idea!, 1969, New York, NY Night Watch, Winter Street Gallery, Edgartown, MA

2020

Promises, Hesse Flatow, New York, NY INTERIORS: hello from the living room, 1969, New York, NY Home Bound, Trestle Gallery, Brooklyn, NY Lost World, Hesse Flatow, New York, NY Edition #2, Showhouse Jay Jay, Antwerp, Belgium (online)

In Western painting, the domestic interior has been a place for investigating the psyche and intimate relationships. My paintings draw from quattrocento Italian painting and seventeenth-century Dutch interiors in their use of simple geometry and symbolism, as well as in their stoicism. Drawing a parallel between intimate personal experience and imperfect historical narratives, I compare the domestic and psychological interior and how they are mutually symbolic and influential. Referencing the nostalgia of nineteenth-century academic painting, my paintings allow a space for questioning the forgetful serenity often depicted, and acknowledge an undercurrent of a more complex reality. I use cultural appropriation in Western art and decoration as a general symbol for unconscious personal development in postimperial international society. As development of society and the psyche straddle pastiche, compilation, and imitation, the lack of clarity of self becomes evidence of the internal psychological void and human state of fragility and vulnerability.

Award 2020

Grant, The Elizabeth Greenshields Foundation Publications

2021

“The Future Is Collaborative: A New Fair Embraces Unlikely Pairings and Profit-Sharing,” Hyperallergic

2020

Alfred Mac Adam, “Interiors: hello from the living room,” Brooklyn Rail Represented by Hesse Flatow, New York, NY

McCaffrey

b. 1987 New York, NY

Bradley McCrary The Last Song of the Magenta Storm | acrylic paint and crayon on canvas, 24 x 32 inches

Bradley McCrary The Angels’ Ass-Kicking Pose | acrylic paint on canvas, 48 x 40 inches

Bradley McCrary Theater | acrylic and crayon on canvas, 32 x 24 inches

Bradley McCrary Rockland, ME bradley.mccrary.studio@gmail.com / www.bradleymccrary.com / @bradley.mccrary

Education 2020

BFA, Rhode Island School of Design, Providence, RI

2021

ViewFinder, Thierry Goldberg Gallery, New York, NY

2019

Interaction: Tiles and Pieces, Bibliotè Gallery, Rome, Italy

Group Exhibitions

In my work I most often look to Mariah Carey, Céline Dion, figure skating, and the romantic landscapes of the nineteenth century. I collect and collage images of these and other subjects to create dramatic scenes with new, personal narratives. For example, I might take (and have taken) an image of Mariah Carey performing a whistle note, her hand to her ear, and transform her into a man, nude, copying her pose while dancing like a figure skater before an erupting volcano.

Basta Così: The Lemon Has Been Squeezed, Palazzetto Cenci, Rome, Italy

Through layers of acrylic paint and wax crayon, I craft a world steeped in the aesthetic history of romanticism. It is a world where my figures can exist openly, a ritualistic place to go and be free. I see this as more than a formal pictorial invention, but as places to empower queer narratives in the history of painting figures in landscape.

McCrary

b. 1998 Schenectady, NY

Courtesy of the artist and Deli Gallery, NY

Sergio Miguel Víbora Criolla | oil on canvas, 60 x 72 inches

Courtesy of the artist and Deli Gallery, NY

Sergio Miguel Tente en el ayre y Bodeguita | oil on canvas, 36 x 47 inches overall

Sergio Miguel Ahí te estás | oil on linen, 39 x 26.5 inches

Sergio Miguel Brooklyn, NY @sarujiro

Education 2021

Informed by colonial and modern Mexican art as well as the New Objectivity, Sergio Miguel’s work explores ideas of personhood, symbolism, and sexuality.

MFA, Columbia University, New York, NY Group Exhibitions

2021

Thesis Exhibition, Columbia University, New York, NY First Year Show, Columbia University, New York, NY De Por Siempre, Company Gallery, New York, NY Awards

2021

MFA Fellowship, Daedalus Foundation

2019-21 Visual Arts Fellowship, Columbia University

Miguel

b. 1992 Mexicali, Mexico

Sergio Miguel | Ahí te estás (detail)

Emily Marie Miller Ophelia, Resurrected | oil on canvas, 48 x 36 inches

Emily Marie Miller Weeping Room | oil on panel, 20 x 16 inches

Emily Marie Miller 8 Cups | oil on canvas, 30 x 40 inches

Emily Marie Miller Copake, NY www.emilymariemiller.com / @emily.marie.miller

Education 2013

BFA, University of Florida, Gainesville, FL Residencies

2020

The Macedonia Institute, Chatham, NY

2018

Woodstock Byrdcliffe Guild, Woodstock, NY

2022

New Work, Monya Rowe Gallery, New York, NY

Solo Exhibitions 2021

If I Cannot Bend the Gods then I Will Move the Infernal Regions, Monya Rowe Gallery, New York, NY

2020

Mirror, Mirror, Unit London, London, England Witch, Cub, and Dream Hunter, Brownie Project, Shanghai, China

2019

I make hedonistic dreamscapes of a single figure, duplicated and expanded, interacting with itself under the night sky or on velvetcurtained stages. The figural projections harm one another, comfort one another, and enact punishments. Adorned with the trappings of femininity—lingerie, ballet shoes, stockings, veils— these figures wear the costume of womanhood while acting outside the bounds of that construct. They perform the roles of punisher and punished, healer and sick, seducer and seduced, victim and perpetrator. My paintings grapple with shame—of the body, of leisure, of destructive impulses. They deal with desire— the desire to be closer to nature, to be rid of shame, to be in a group. Coexisting with the desire for violence, these paintings grapple with the desire to heal. I am interested in what feminine power looks like, both the inaccurate picture that has been sold to us and what that power would actually look like if we were able to collectively possess it, in its highest form.

8th House, Barney Savage Gallery, New York, NY Group Exhibitions

2021

The Bedroom Show, Monya Rowe Gallery, New York, NY

2020

Outside Touch, Monya Rowe Gallery, New York, NY

2019

A Fairly Secret Army (notes from NY), Wild Palms, Düsseldorf, Germany Yin/Yang, 0-0 L.A., Los Angeles, CA

2018

Seed, Kasmin Gallery, New York, NY Publications

2021

Katie White, “Editor’s Pick: 11 Events for Your Art Calendar This Week,” Artnet, posted April 5

2019

Cristina Cruz, “Editor’s Pick: 24 Thing Not to Miss in New York’s Art World,” Artnet, posted October 21 Represented by Monya Rowe Gallery, New York, NY

Miller

b. 1991 St. Petersburg, FL

Aliza Morell Soft Evidence | oil and acrylic on linen, 26 x 34 inches

100

Aliza Morell Wind Telephone | oil and acrylic on canvas, 26 x 34 inches

101

Aliza Morell Aftertouch | oil and acrylic on canvas, 28 x 22 inches

102

Aliza Morell Queens, NY aliza.morell@gmail.com / www.alizamorell.com / @aliza_maria

My paintings have a sensory agenda.

Education

The somatic experience of suspension and longing that melodies capture so easily requires a synesthetic approach in pictures. My imagery pulls from the flowers of New York, specifically the rosebushes of my neighborhood, Ridgewood, Queens, which seem to whisper to me. As opposed to narrative, I invoke these forms like a medium. Their color, light, movement, and mood are the true conduits of meaning, vehicles for an experience that resonates in the body.

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

2005

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

2021

Community, Glass Rice, San Francisco, CA

Group Exhibitions Leave Your Body and Soul at the Door, Tempus Projects, Tampa, FL Du-Good, Subliminal, Los Angeles, CA 2019

Everything Has Changed, Camayhus Gallery, Atlanta, GA Yin/Yang, 0-0 L.A., Los Angeles, CA Puppies and Flowers, Royal Society of American Art, Brooklyn, NY

2018

My process is slow and materially focused, always pushing my capacity for risk and loyalty. I draw and adjust at length, finally cutting and collaging shapes further into place. Everything is hand-painted, through ever-evolving studio experiments and techniques.

Belladonna, SPRING/BREAK Art Show, New York, NY The Sea Wants to Take Me, Tempus Projects, Tampa, FL

2017

Four Steps to Self-Help, Small Editions, Brooklyn, NY

2016

Just Give Me a Happy Middle, Castor Gallery, NY Abracadabra, Elijah Wheat Showroom, Brooklyn, NY

The graphic compositions ring of urban signage, designed to entice one inside. The titles function poetically, the sound of the words equal to what they evoke. I hope that the work feels affirming and resolute in its openness, fulfilling a sense of enchantment for all that enter.

Publications 2017

New American Paintings, no. 128

2014

New American Paintings, no. 110

103

Morell

2014

b. 1982 Philadelphia, PA

Daniel Morowitz St. George and the Dragon (The Myth) | acrylic and collage on canvas, 46 x 46 inches

104

Daniel Morowitz Shower | acrylic and collage on canvas, 40 x 34 inches

105

Daniel Morowitz The Four Seasons | acrylic and collage on canvas, 44 x 40 inches

106

Daniel Morowitz Jersey City, NJ 201.669.0862 daniel.morowitz@gmail.com / www.danielmorowitz.com / @dm61889

Education 2015

MFA, Montclair State University, Montclair, NJ

2011

BFA, Rutgers University, New Brunswick, NJ

2021

New Mystologies, Domingos en la Playa,

2017

Young and Hung, BAU Gallery, Beacon, NY

Solo Exhibitions Provincetown, MA

Two-Person Exhibition 2021

CANON (with Colin Radcliffe), Proto Gomez Gallery, New York, NY Group Exhibitions

2021

Dogmatic Magic, SPRING/BREAK Art Show, New York, NY

Queer culture and visibility are more important than ever in a moment where queer identity and queer bodies are under attack. Painting has a responsibility to its own history but functions powerfully as a tool to combat the dangers that queerness is facing. My work is fiction that attempts to elevate queer realities to the level of mythological canon. Queer culture mythologizes sex and sexuality as equal parts abject and the ultimate out-of-reach experience. It’s both normalized and sometimes beyond reach, existing singularly as a dichotomy. In my paintings, queer identity is coded to exist hidden in plain sight, coexisting between oppression and desire, a chimeric blending of coexistent realities. In the natural world, bright colors and intricate patterns in animals act as a warning. By decorating figures the same way, I try to seduce while maintaining the same level of danger. I am drawn to monsters, half-man halfbeasts in particular, which always functioned in mythology as the symbolic interruption of heteronormative coupling. In the worlds I create, these figures are both normal and desirable.

Animal Instincts, Steven Zevitas Gallery, Boston, MA The Privilege of Getting Together, Anna Zorina Gallery, New York, NY 2020

Unnatural Intimacy, SPRING/BREAK Art Show,

2019

Queer as I, Here Arts Center, New York, NY

2018

Hot Farce, Field Projects, New York, NY

New York, NY

Bathers and the Backroom, 411 Gallery, Provincetown, MA Award 2013

Saul and Adelaide Goldfarb Scholarship

2021

Friend of the Artist 13

Publication

Collection Kates-Ferri Collection, New York, NY

107

Morowitz

b. 1989 Englewood, NJ

Daniel Morowitz | St. George and the Dragon (The Myth) (detail)

Hannah Morris Bird Club | gouache, Flashe, and paper collage on board, 24 x 24 inches

108

Hannah Morris Camp | gouache, Flashe, and paper collage on board, 24 x 24 inches

109

Hannah Morris Candy Market | gouache, Flashe, and paper collage on board, 24 x 24 inches

110

Hannah Morris Barre, VT 802.877.2173 (Stella Quarta Decima) hannah@draw-lucky.com / www.draw-lucky.com / @draw_lucky

Education 2007

MPhil, Stellenbosch University, Stellenbosch, South Africa

1996

BA, Bates College, Lewiston, ME

I am intrigued by the contrast between ambiguity and specificity. I use found images as the starting place in the building of surreal or unlikely narratives, created from layers, marks, tones, and details. I am always seeking to create a convincing visual language that allows for many interpretations of a familiar yet surreal scene in a paused moment of time. I want to trigger memories, for I believe that vision is shaped by thousands of remembered moments.

Residencies 2021

Monson Arts, Monson, ME

2018

Artist-in-Residence Program, Studio Place Arts, Barre, VT

2008

Instituto Sacatar, Itaparica, Brazil Solo Exhibitions

2021

On Second Thought, Northern Daughters Gallery,

2019

Waiting to Happen, Northern Daughters Gallery,

2009

Através do Olho Mágico/ Through the Peephole, AVA

Vergennes, VT Vergennes, VT Gallery, Cape Town, South Africa Group Exhibitions 2021

Affordable Art Fair, New York, NY Anticipation, Stella Quarta Decima Gallery, Manchester, VT

2017

Refuge, Kent Museum, Calais, VT Northern Daughters, Vergennes, VT Represented by Stella Quarta Decima, Manchester, VT

111

Morris

b. 1974 Bennington, VT

Haley Darya Parsa Little Texas | photo transfer and oil on canvas, 20 x 16 inches

112

Haley Darya Parsa Half-Seen | photo transfer and oil on canvas, 48 x 30 inches

113

Haley Darya Parsa The Lost Concert | oil on canvas, 48 x 36 inches

114

Haley Darya Parsa haleyparsa@gmail.com / www.haleyparsa.com / @haleydaryaparsa

Education 2018

BFA, University of Texas at Austin, Austin, TX Solo Exhibitions

2020 2019

The sun leaves me to find you, Third Room, Portland, OR What Is Lost in Distance and Separation, Winterfeldstr 56, Berlin, Germany

I work in a variety of mediums—engaging in painting, cyanotypes, fabric-dyeing, print, and sculpture—and look at the ways in which images, objects, and rituals embedded in personal histories can relate to a larger cultural context. Having grown up in Texas as Iranian and American, I place my family and Persian heritage under an intimate meditative lens, reflecting on ideas of distance, separation, memorialization, and connection. My work is both sentimental and critical, addressing how we read, identify, and value things.

Group Exhibitions 2021

New Contemporaries, dodomu gallery,

2019

People Who Work There, David Zwirner (online)

2018

Everything we could carry, Shotgun Gallery, Dallas, TX

2017

The Paved Garden, Dimension Gallery, Austin, TX

Brooklyn, NY (online)

Two Christmases and a Half-Birthday, Visual Arts Center, Austin, TX Awards 2016

Outstanding Student Awards in Arts and Humanities, UT System Regents Marshall F. Wells Scholarship and Fellowship Endowment, Saugatuck, MI Publications

2021

Maake Magazine, no. 12 ArtMaze Magazine, no. 22

115

Parsa

b. 1996 Dallas, TX

Bony Ramirez Sueño | acrylic, colored pencil, oil pastel, and paper on wooden panel, 40 x 60 inches

116

Bony Ramirez DELONIX REGIA | acrylic, colored pencil, soft oil pastel, oil bar, cork paper, pastel paper, and Bristol paper on wooden panel, 72 x 96 inches

117

Bony Ramirez Fiera: Views from the Outside | acrylic, colored pencil, soft oil pastel, butterfly specimen, and Bristol paper on wooden panel, 72 x 72 inches

118

Bony Ramirez Perth Amboy, NJ 212.228.7569 (Thierry Goldberg Gallery) www.bonyramirez.com / @bonyramirezz

Solo Exhibitions 2021

Noblesse Oblige, Bradley Erktaskiran, Montreal, Canada

2020

MUSA X PARADISIACA, Thierry Goldberg Gallery, New York, NY

Born in a small town in the Dominican Republic, I retain a connection with my Dominican heritage through my art, incorporating elements of the Caribbean with my own distinctive details. Through a combination of painting and drawing, I adhere life-size paper figures onto painted wood panels. My subjects are bold yet strange, often appearing mysteriously oversized or contorted.

Group Exhibitions 2021

Shattered Glass, Jeffrey Deitch, Los Angeles, CA De Por Vida, Company Gallery, New York, NY

2020

GEST, Nino Mier Gallery, Los Angeles, CA The Privilege of Getting Together, REGULARNORMAL, New York, NY And the Sun Left, Thierry Goldberg Gallery, New York, NY New Wave, Anna Zorina Gallery, New York, NY Represented by Thierry Goldberg Gallery, New York, NY

119

Ramirez

b. 1996 Tenares, Dominican Republic

Bony Ramirez | Fiera: Views from the Outside (detail)

Elena Redmond Holy Smokes | oil on canvas, 40 x 48 inches

120

Elena Redmond Look Both Ways | oil on canvas, 32 x 38 inches

121

Elena Redmond Hot Territory | oil on canvas, 24 x 18 inches

122

Elena Redmond Brooklyn, NY 262.573.9062 (Tchotchke Gallery) elenaredmond@gmail.com / www.elenaredmond.co / @elena.redmond

Education 2021

BFA, Rhode Island Schoolf of Design, Providence, RI

2021

Summer Camp, Tchotchke Gallery, New York, NY

Group Exhibitions With Genuine Eyes, Susan Eley Fine Art, New York, NY Who We Are, Susan Eley Fine Art, New York, NY Paper and Clay: Senior Degree Project Exhibition, Woods Gerry, Providence, RI 2020

Life, Still, Jonathan Travis, New York, NY

2019

Providence Art Club Scholarship Award Exhibition, Providence Art Club, Providence, RI Awards

2020

John A. Chironna Memorial Scholarship, Rhode Island

In my examination of the “self” and its iterations, I employ kitsch associations and humor to point at my own uncertainties and looming discomforts. These works act as extensions of myself, portraits of my anxieties, angers, habits, and physicality. The bodies are heavy, textured, swollen, and physical. Nakedness of the body paired with an eye-locking, dominant gaze are used to vulgarize feelings of being seen, the painting catching the viewer in voyeurism. Through self-portraiture, I utilize the vulnerability of sharing to give heaviness to loud colors, toying with standards, measurements, and expectations of smallness for the girls in each image. Wispy titles complicate and split the narrative; idioms and visual innuendos stitch the work tightly to what I ponder. I aim to question the structure through which we look at the body, in relation to choice, expectations, loudness, and definition. Femininity, largeness, roundness, and nakedness do not act as a detriment to the girls in the paintings but as the largest power, invading the associations surrounding them.

School of Design, Providence, RI 2019-21 G. W. Hodge Ritchie Award for Excellence in Printmaking, Rhode Island School of Design, Providence, RI 2019

Second Prize, Providence Art Club Scholarship Award, Providence RI Publications

2021

“Happy Hour with Elena Redmond,” Tchotchke Gallery (video interview)

2020

“A Look Into the Life, Still: Fundraiser For NAACP Legal Fund and Food Bank NYC,” Juxtapoz “Artist Spotlight: Elena Redmond,” Booooooom Represented by Tchotchke Gallery, New York, NY

123

Redmond

b. 1998 Pittsburgh, PA

Marcy Rosewater Spring Thaw | oil on linen, 30 x 32 inches

124

Marcy Rosewater Spring Bog | oil on linen, 34 x 34 inches

125

Marcy Rosewater High Meadow | oil on linen, 30 x 30 inches

126

Marcy Rosewater Brooklyn, NY marcyrosewaterarts@gmail.com / www.marcyrosewater.com / @marcyrosewater

Education 1989

MA, New York University, New York, NY

1987

Certificate, New York Academy of Art, New York, NY

1977

BFA, School of the Art Insitute of Chicago, Chicago, IL Residencies

2019

Woodstock Byrdcliffe Guild, Woodstock, NY 77ART, Rutland, VT

2018

Saltonstall Foundation, Ithaca, NY

2017

Virginia Center for the Creative Arts, Amherst, VA Golden Foundation Residency, New Berlin, NY

2015

Vermont Studio Center, Johnson, VT

2017

In & Out: Kate Teale and Marcy Rosewater, Studio 10,

Two-Person Exhibition

It is in human nature to make art that imitates the people, places, and events around us. I think about a future where we have suffered some kind of environmental or pathological devastation. People will long to connect back to the natural world they remember. This body of work represents that nostalgic view of a symbolic landscape. I imagine myself living in this altered physical world, substituting inanimate objects, both man-made and natural, for their nowdefunct originals. Here, porcelain animals represent their reallife counterparts: blue tape, bottles, and lids become water; tennis balls are the sun, and so on. Painted from observation, these still lifes are both altars to and memorials for natural habitats I fear won’t exist in the future. I see these pieces as part forewarning and part homage, depending on which side of the catastrophe they are viewed from.

Brooklyn, NY Group Exhibitions 2021

Hudson Valley Artists, Samuel Dorsky Museum of Art, State University of New York, New Paltz, NY

2019

Ear to the Ground, Ely Center of Contemporary Art,

2018

Made in Paint, Sam and Adele Golden Gallery,

2017

Tell the Truth but Tell It Slant, SRO Gallery, Brooklyn, NY

New Haven, CT New Berlin, NY Sunscreen, Page Bond Gallery, Richmond, VA

127

Rosewater

b. 1954 New York, NY

Sarah Sutton Deep Horizon | oil on panel, 36 x 48 inches

128

Sarah Sutton Autopoesis | oil on panel, 48 x 60 inches

129

Sarah Sutton Fuzzy Edges | oil on panel, 18 x 24 inches

130

Sarah Sutton Rochester, NY sarahsutton163@gmail.com / www.sarahsutton.net / @sarahdsutton

Education 2006

MFA, Kent State University, Kent, OH Residencies

2021

Yaddo, Saratoga Springs, NY

2008

Sante Fe Art Institute, Santa Fe, NM

2007

Millay Colony for the Arts, Austerlitz, NY Solo Exhibitions

2020

Knots and Pulses, Hallwalls Contemporary Arts Center,

The content of my work centers on stories of land use, environmental disasters, and the constant temptation of escape through amusement. I try to create time-based images within the finite, fixed frame of a painting. The imagery is often so visually complex and dense that my hand struggles to keep up and combine them. The process from sketching to painting teaches me how to decipher the complexity of the moment, and to explore the webs and networks that exist outside historical or mainstream narratives often used to describe them. I aim to create unity upon first glance, but also allow for incongruence, contradiction, and pain. The act of painting and knowing the world are intimately connected.

Buffalo, NY 2019

When the Wind Comes After the Rain, Point of Contact

2017

Wilderness and Wasteland, Mariboe Gallery, The Peddie

Gallery, Syracuse University, Syracuse, NY School, Hightstown, NJ 2016 2010

Dissolve, Handwerker Gallery, Ithaca College, Ithaca, NY Sarah Sutton: New Paintings, Leslie’s Artgallery, Bridel, Luxembourg Group Exhibitions

2019 2017

The Edge Effect, Katonah Art Museum, Katonah, NY Upstate New York Painting Invitational, Main Street Arts, Clifton Springs, NY Here There: Poetics of Place, The Ink Shop, Ithaca, NY Space: Art about the In-between, Manifest, Cincinnati, OH Made in New York–Visions of the Future, Schweinfurth Memorial Art Center, Auburn, NY

131

Sutton

b. Kingston, PA

Natalie Terenzini Making an Appearance | oil on linen, 72 x 52 inches

132

Natalie Terenzini Mouse Trap | oil on linen, 52 x 40 inches

133

Natalie Terenzini In, Over, Through and Out | oil and acrylic on linen, 24 x 30 inches

134

Natalie Terenzini New York, NY natalieterenziniart@gmail.com / www.natalieterenzini.com / @terenzini_

Education 2020

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

2018

BFA, Laguna College of Art and Design, Laguna Beach, CA Residency

2019

Leipzig International Art Programme (LIA), Spinnerei

In my work, I explore my relationship with myself by inserting self-caricatures into scenes from an imagined reality meant to mirror my own life. Through these self-portrayals, I can form a vision of myself that feels whole, blurring the lines between a public and private sense of identity. Themes of insecurity about femininity and sexuality invite the viewer to ask what it means to be our authentic selves in a world that is constantly exploiting self-doubt.

Leipzig, Leipzig, Germany Group Exhibitions 2020

Artists for Artists, New York Academy of Art,

2019

Leipzig Residency Group Exhibition, New York Academy of

New York, NY Art, New York, NY PERSONA PERSONA PERSONA, Laden Fuer Nichts/LIA, Leipzig, Germany Awards 2020 2018

Academy Scholarship, New York Academy of Art Merit Scholarship, Laguna College of Art and Design, Laguna Beach, CA

135

Terenzini

b. 1996 San Diego, CA

Natalie Terenzini | Making an Appearance (detail)

Elizabeth Thach Circuit (Data) | crocheted wool, 21 x 19 inches

136

Elizabeth Thach Untitled (Cult of Isis) | crocheted wool, 18 x 23 inches

137

Elizabeth Thach Decorated Wall/Window | crocheted wool, 46 x 47 inches

138

Elizabeth Thach Boston, MA www.elizabeththach.com / @thachelizabeth

Education 2010

MFA, Massachusetts College of Art and Design, Boston, MA

1997

BA, Vassar College, Poughkeepsie, NY Residency

2011

Catwalk Artist Residency, Catskill, NY Professional Experience

2012

Curator, Out of the Ruins: Reimagining the Romantic Tradition, Newton Art Center, Newton, MA

My work is focused on material culture. Using humor and metaphor, I explore how humans interact emotionally with an objective external world: the commodity objects they surround themselves with, consume, and preserve and the art objects they create. I am also interested in how humans use language and poetry to describe the intangible (feelings, aspirations, the future). My imagery is informed both by futurist speculation and past (experienced) visual motifs: the video games of the ’80s and ’90s, the patterns of the archeological artifact as well as Greek and Roman ruins. Recurring themes include the idea of the art object as a stage, or alternatively, as a fragment of something larger or a ruin. Always, I seek images that are as simple and obvious as they are strangely incoherent.

Solo Exhibitions 2019

Immaterial World, Musa Collective, Allston, MA

2017

Paintings about Food and Paintings, Google, Cambridge, MA Group Exhibitions

2021 2019

Painting, Musa Projects, Boston, MA Storytelling in Textiles, The Martin Group and Cambridge Art Association, Boston, MA Amalgamation, Wedeman Art Gallery, Lasalle University, Newton, MA Pattern in Place, Scollay Square Gallery, Boston City Hall, Boston, MA Let’s Dance, Basement Projects DTSA, Santa Ana, CA Awards

2012

Individual Artist Grant, Berkshire Taconic Community Foundation

2010 2009

Individual Artist Fellowship, Vermont Studio Center George Nick Prize for Painting, Massachusetts College of Art and Design

1996

Weitzel-Berber travel prize, Vassar College Represented by Atrium Gallery, St. Louis, MO The Boston Drawing Project, Boston, MA

139

Thach

b. 1974 Montreal, Canada

Katayoun Vaziri memories of a bourgeois series—tribute to Goya, The Third of May | gouache on paper, 6 x 8 inches

140

Katayoun Vaziri memories of bourgeois series—Labor Day Weekend in America OR i think David Hammons hates Labor Day Weekend | gouache on paper, 8 x 6 inches

141

Katayoun Vaziri memories of bourgeois series—tribute to Delacroix hours before opening of Liberty Leading the People show | gouache on paper, 6 x 8 inches

142

Katayoun Vaziri New York, NY katayoun.vaziri@gmail.com / www.sundaysdrawings.com / @katayoun.vaziri

Education 2009 2007

MFA, Yale School of Art, Hartford, CT Post-Baccalaureate, School of the Art Institute of Chicago, Chicago, IL

Vaziri’s recent works depict ordinary citizens who are simultaneously subjects and objects of capitalism: we are political agents of social transformation, yet inevitably subjected to socio-economic inequalities that demand that we forego our ideals for the sake of survival. In this duality and paradox of our daily life, do we need empathy or critique? In her work, the aesthetic lies exactly in this paradox.

Residencies 2021

Skowhegan School of Painting and Sculpture, Madison, ME

2013

Eyebeam, Brooklyn, NY Award Project Grant, Creative Time Reports

143

Vaziri

b. 1983 Tehran, Iran

Jean-Pierre Villafañe The Parlor | oil on canvas, 48 x 48 inches

144

Jean-Pierre Villafañe The Vestry | oil on canvas, 40 x 40 inches

145

Jean-Pierre Villafañe La Historia de Nuestras Traiciones | oil on linen, 40 x 30 inches

146

Jean-Pierre Villafañe New York, NY jeanpierrevseda@gmail.com / www.jeanpierrevs.com / @jeanpierre.villafane

Education 2019

MoA, Graduate School of Architecture, Planning and Preservation (GSAPP), Columbia University, New York, NY

2016

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

2016

Junior Architect, Atelier Manferdini, Los Angeles, CA

2015

In-house Architect, WhiteBox: Artspace, New York, NY Solo Exhibitions

2021

Divertimento: Donde Hay una Catátrofe, Hay un Escape, Embajada, San Juan, Puerto Rico Baile Latinoamericano, Museo de Arte y Diseño Contemporáneo, San José, Costa Rica

2017

Puerto Rico Relief, Gensler, Washington, DC Group Exhibitions

2021

NADA Miami Beach, w/ Charles Moffett, Miami, FL

2020

Shanghai International Art Fair, w/ 4Art, Shanghai, China

2018

Aperoboat Neo-Connexion, Batofar, Paris, France

2017

Looking at the world through the eye of a trained architect, my pictorial work traverses the intersection between figurative painting and architecture, while drawing from an expansive breadth of idiosyncratic associations to present irreverent compositions. I construct social environments exploring notions of intimacy, sexuality, and self-concept in a satirical and macabre fashion. Through the intermingling of carnival figures, my paintings examine the inescapable performativity of being. Inscribed in social settings such as bars, museums, public squares, or cultural centers, the characters—arrested in moments of decadence and indulgence—dance, drink, and sing in an overlapping and hyperconnected manner. My satyrical choreographies brim with rhythms and striking colors, elicit ambivalent states rich in irony, joy, tenderness, and contempt. These scenes of social abundance stand in contrast to a present-day reality in which boundaries between public life and the domestic have been suddenly obliterated, feeding an impulse to reconfigure interpersonal relationships and examine the way in which bodies move through spaces.

Chicago Architecture Biennial, w/ Tatiana Bilbao ESTUDIO, Chicago, IL Award

2019

Studio-X Prize, GSAPP Publications

2021

Terremoto, May 20 Forbes Magazine, March

2019

Abstract GSAPP (Graduate School of Architecture, Planning, and Preservation)

147

Villafañe

b. 1992 San Juan, Puerto Rico

Autumn Wallace Gold-Plated Moment | acrylic, oil, and pastel on PVC, 48 x 48 inches

148

Autumn Wallace Left on Re[a]d | acrylic, oil, and pastel on PVC, 32 x 28 inches

149

Autumn Wallace Double Dutch | acrylic, oil, pastel, and rhinestones on canvas, 44 x 60 inches

150

Autumn Wallace Philadelphia, PA 508.413.9621 (Gaa Gallery) autumnvwallace@gmail.com / www.autumnwallace.com / @veggiemon

Education 2018

BFA, Tyler School of Art, Philadelphia, PA Residencies

2021

Bed Stuy Art Residency, Brooklyn, NY Fine Arts Work Center, Provincetown, MA

2019

Massachusetts Museum of Contemporary Art, North Adams, MA

2018

Yaddo, Saratoga Springs, NY Solo Exhibitions

2021

I am a visual artist who works across media to create paintings and sculptures that examine human sexuality, gender, and the Black femme experience. Influenced by early ’90s cartoons, Byzantine aesthetics, all things Baroque, and what I describe as “low-quality adult materials,” my work generates a sense of fluidity whereby all subjects defy spatial, social, physical, emotional, and psychological boundaries, using the following set of rules:

Ode to the Mercury Thermometer, Gaa Projects, Cologne, Germany How to Hug Yourself: 10 Steps with Pictures, Gaa Gallery,

Be shameless. Create situations so intimate the viewer becomes voyeur, and so awkward the audience becomes embarrassed. Magnify perverse, sinful, and taboo sociopolitical topics to displace spectators from complacency. Listen. Challenge the need for seriousness and socially acceptable behavior and create space for the viewer to decode mindsets ingrained in culture and language itself.

Provincetown, MA 2018

#SingleWithPets, Stella Elkins Tylor Gallery, Tyler School of Art and Architecture, Philadelphia, PA Group Exhibitions

2020

#ShowMeTheSigns, Blum and Poe, Los Angeles, CA

2019

More Than That: Diversity within Diversity, Flaten Art

Be excessive. Craft uncomfortable situations with perspectives positioned to make viewers voyeurs or participants—no bystanders allowed. Be empathetic. Remember “double consciousness,” feel who we are and how others see us—augment it. Feel the discomfort so deeply that you can only approach it through unraveling the “normal” into strands of experience. Repeat.

Museum, St. Olaf College, Northfield, MN Awards 2020

Louise Bourgeois Visual Arts Fellowship, Fine Arts Work Center

2018

Sendak/Glynn Narrative Illustration Award Regina Brown Fellowship, National Council on Education for the Ceramic Arts Collections The Lumpkin-Boccuzzi Family Collection Studio Museum in Harlem Represented by Gaa Gallery, Provincetown, MA, and Cologne, Germany 151

Wallace

b. 1996 Philadelphia, PA

Autumn Wallace | Left on Re[a]d (detail)

Lauryn Welch Nurture | acrylic on canvas, 48 x 36 inches

152

Lauryn Welch Kama Sutra | acrylic on canvas, 60 x 48 inches

153

Lauryn Welch Covid Living Room | acrylic on canvas, 70 x 70 inches

154

Lauryn Welch Brooklyn, NY laurynredwelch@gmail.com / www.laurynwelch.com / @laurynredwelch

Education 2023

MFA candidate, Hunter College, New York, NY

2015

BFA, Purchase College, Purchase, NY Residencies

2021

IF/Then Shorts Distribution Mentorship Program, Tribeca Film Institute, New York, NY

2018

Arts Letters & Numbers, Averill Park, NY

2017

Vermont Studio Center, Johnson, VT Professional Experience

2020

I make acrylic paintings about the relationship between private space and the people that inhabit and shape it. I am interested in the accretion of history and language developed between people and objects within such spaces. These observed pockets of interiority between house and home express as much about myself as my body. Private space provides potentialities of being not offered by the public sphere.

Panelist, “Analogue Rebellion: The Relevance of Mail Art in

I draw from my experiences in caregiving and disability to depict the many joyful, loving, idiosyncratic, and fraught formulations of private space between two people. I use magical realism as a way to describe the psychological tenor interwoven between body and interior over time. I imagine the conditions needed to put down roots.

the 21st Century,” CAA Annual Conference, Chicago, IL 2015-

Teaching Artist, Art Prof Solo Exhibitions

2020

Semaphore for Geese and Goslings, POWDERFREEVACUUMSEALED (online)

My enthusiasm for all of the individual things that compose these telescoping interiors presents itself as maximalism. I use color and pattern to unify the digressions of detail within my paintings. I work iteratively, reconfiguring old paintings within new ones to generate worlds within worlds.

Two-Person Exhibition 2019

Florilegium (with Sonja John), The Magenta Suite, Exeter, NH Group Exhibitions

2021

Platform 2021, Winston Wächter Fine Art, New York, NY (online) Transcendence, The Gallery at Flat Rock, Flat Rock, NC

2019

The Overlook, Launch F18, New York, NY Publications

2019

Michelle Aldredge, “10 Emerging New England Artists,” Art New England

2017

New American Paintings, no. 128

155

Welch

b. 1991 Hanover, NH

José Delgado Zúñiga Blooming | oil on linen, 90 x 60 inches

156

José Delgado Zúñiga Wreck Loose | oil on linen, 90 x 60 inches

157

José Delgado Zúñiga Storm | oil on Italian poly-cotton, 84 x 64 inches

158

José Delgado Zúñiga New York, NY www.studiozuniga.com / @studio.zuniga

Education 2017

MFA, Columbia University, New York, NY

2015

BFA, Otis College of Art and Design, Los Angeles, CA Solo Exhibitions

2021

Noises, Central Fine, Miami Beach, FL

2019

Wreck Loose, East Projects, New York, NY Quotidian, Central Fine, Miami Beach, FL

My body of work carries a rhythm of the muralist sensibility. I believe that nothing exists independently or in a vacuum; everything in this present moment results from earlier relationships and activities. As a result, my compositions are accumulative, fractured, connected, and stacked. The notions within my paintings express the internal and external politics that occur within my mind and body. I use languages of abstraction and representational painting as textures to depict my connections and attachments as a person and as a Mexican American. For myself, life is momento mori, the constant reminder of my mortality and the experience of dying slowly.

Group Exhibitions 2019

MECA International Art Fair, w/ East Projects, San Juan, Puerto Rico

2018

NADA Miami Beach, w/ Central Fine, Miami, FL Award

2018

Emerging Artist Grant, Rema Hort Mann Foundation, New York, NY Represented by Central Fine, Miami Beach, FL

159

Zúñiga

b. 1988 Ventura, CA

Editor’s Selections

The following section is presented in alphabetical order. Biographical information has been edited. Prices for available work may be found on p182.

Lydia Baker Another Day | colored pencil and wax pastel on paper, 40 x 30 inches

162

Lydia Baker Strawberry Legs | colored pencil on paper, 30 x 22 inches

163

Lydia Baker Electric Forest | colored pencil on paper, 26 x 40 inches

164

Lydia Baker New York, NY lydiakbaker@gmail.com / www.lydiakbaker.com / @lydia_k_baker_arts

Education 2020

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

2013

BFA, Virginia Commonwealth University, Richmond, VA Residencies

2021

Constance Saltonstall Foundation, Ithaca, NY High Line Nine x Sugarlift, New York, NY

A need for a constructive escapism led me to create my current body of work, which simultaneously explores ideas of sanctuary, harmony, and the unknown. As I draw with colored pencils on paper, I immerse myself in a women-centered world, savoring the landscape and the pendulum between curiosity and stability. I consider the imagined environments to be a resting place after conflict—ripe for new growth and possibility. My drawings float between the internal and the external—the intuitive and the concrete—as the landscape echoes the interior of a body, and the figures explore, adapt, and plant themselves firmly.

Solo Exhibition 2022

Massey Klein Gallery, New York, NY

2021

Exit Point (with Angela Gram), Sugarlift Gallery,

Two-Person Exhibitions New York, NY Group Exhibitions 2021

Art Basel Miami, w/ Chubb Insurance, Miami Beach, FL Artists for Artists, Sotheby’s, New York, NY Chubb Fellows Exhibition, Wilkinson Gallery, New York Academy of Art, New York, NY

2020

The Feminine Agenda, Womenswork.Art Gallery, Poughkeepsie, NY Awards

2021

City Artist Corps Grant, NYFA, DCLA, MOME, and Queens Theatre

2020-21 The Chubb Fellowship, New York Academy of Art, New York, NY 2020

Art Heals Grant, R&F Handmade Paints and International Encaustic Artists Publications

2021

Friend of the Artist 14 Artsin Square, no. 1 ArtMaze Magazine, no. 22 165

Baker

b. 1990 Norfolk, VA

Keiran Brennan Hinton Schoolhouse Bath | oil on canvas, 54 x 42 inches

166

Keiran Brennan Hinton September Kitchen | oil on canvas, 24 x 18 inches

167

Keiran Brennan Hinton Sun Shower | oil on canvas, 56 x 48 inches

168

Keiran Brennan Hinton New York, NY keiranbrennanhinton@gmail.com / www.keiranbrennanhinton.com / @keiran.brennan.hinton

Education 2016

MFA, Yale University, New Haven, CT

2014

BFA, Pratt Institute, Brooklyn, NY Residencies

2018

The Macedonia Institute, Chatham, NY James Castle House, Boise, ID Solo Exhibitions

2021

Day Breaks Night Falls, Galerie Thomas Fuchs, Stuttgart, Germany Towards Sentimentality, Charles Moffett, New York, NY

2020

A Broken Clock Is Right Twice a Day, Michael Gibson

2019

Close at Hand, 1969 Gallery, New York, NY

2018

Standing Still, James Castle House, Boise, ID

I paint from observation. Starting with a limited palette, I mix colors from life and give attention to the temperature of the light or saturation of a shadow. Through close looking, I am able to capture tactility and texture, and in doing so, depict experience and time. For me, painting is an exercise in patience and concentration that requires a willingness to be surprised. It is about looking without assumptions and listening without interruptions. A painting translates time through observation—slowing the fleeting nature of life via attention and care. It is an invitation to linger and to become aware of the details that previously blended into the surroundings. Most of all, to practice observation through painting is to resist an urge to generalize.

Gallery, London, Canada

Group Exhibitions 2021

Better Weather, The Orange Advisory and Charles Moffett, Minneapolis, MN

2020

NADA Miami Beach, w/ Charles Moffett,

2019

Gestures of Comfort, Galerie Antoine Ertaskiran,

Miami, FL (online) Montreal, Canada Los Angeles Contemporary, w/ 1969 Gallery, Los Angeles, CA Awards 2020

Grant, The Elizabeth Greenshields Foundation

2018

Finalist, RBC Canadian Painting Competition, Toronto, Canada Represented by Charles Moffett, New York, NY Galerie Thomas Fuchs, Stuttgart, Germany Galerie Nicolas Robert, Montreal, Canada 169

Brennan Hinton

b. 1992 Toronto, Canada

Keiran Brennan HInton | Sun Shower (detail)

Sung Hwa Kim Nocturne: My love, hope, and sweet dreams. I’m still here and that is all that matters | acrylic, Flashe, and gouache on canvas, 60 x 48 inches

170

Sung Hwa Kim Nocturne: One day I’ll become a star in the night sky and protect you forever | acrylic, Flashe and gouache on canvas, 30 x 24 inches

171

Sung Hwa Kim Nocturne: Sometimes we are fed with things to fight about instead of things to fight for | acrylic, Flashe, and gouache on canvas, 30 x 24 inches

172

Sung Hwa Kim Brooklyn, NY studiokimgoon@gmail.com / www.sunghwakim.com / @_sunghwa_

Education 2012

MFA, Maryland Institute College of Art, Baltimore, MD

2008

BFA, The Art Institute of Boston at Lesley University, Boston, MA Group Exhibitions

2021

Future Art Fair, w/ Hesse Flatow, New York, NY Shifted Horizon, Hesse Flatow, New York, NY 36 Paintings, Harper’s Books, East Hampton, NY Nocturne, Galleryplatform.LA, w/ M+B, Los Angeles, CA (online)

2020

Reclaimed/Reimagined, Field Projects, New York, NY (online) Congruency, The Gallery, Prato Capital Management,

My recent work captures the particular scenes, emotions, and images that I experienced while on nightly excursions. At the start of the pandemic, the absence of human interaction and the collective uncertainty about the future created feelings of anxiety and fear. Like many artists, I found the act of creation challenging. There was something shameful about being in my studio when everyone in the city, everywhere in the world, was suffering. I started taking long bike rides late into the night to escape my thoughts and worries, as well as the crowded streets and subways of New York City. I found that under the cover of darkness, light appeared brighter. Moving through the night was like navigating the uncertainty of our recent moment. The moon, the stars, and the streetlights became my guides, beacons of hope, compassion, and goodwill toward humanity. Capturing these moments of light breaking through darkness brought me inner peace and comfort. I hope the viewer is able to feel that same sense of solace.

White Plains, NY 2019

COLOR, Brooklyn Waterfront Artists Coalition, Brooklyn, NY The Edge Effect, Katonah Museum of Art, Katonah, NY Crocodile Tears, Morgan Fine Arts Building, Brooklyn, NY

2018

JUXTAPOSITIONS, The Painting Center, New York, NY Publications

2020

ArtMaze Magazine, no. 20

2018

ArtMaze Magazine, no. 10 Friend of The Artist Magazine 6

173

Kim

b. 1985 Seoul, South Korea

Sung Hwa Kim | Nocturne: Sometimes we are fed with things to fight about instead of things to fight for (detail)

Hannah Murray Rohini | oil on linen, 48 x 46 inches

174

Hannah Murray Dinner at Pearl’s | oil on linen, 48 x 36 inches

175

Hannah Murray Valentines in Florence | oil on linen, 50 x 46 inches

176

Hannah Murray Brooklyn, NY hannahmurray94@hotmail.com / www.hannahmurray-art.com / @hannah_murray_artist

Education 2021 2017

MFA, New York Academy of Art, New York, NY Secondary PGCE, Institute of Education, University College London, England Residency

2021

Delicious colours, seductive textures, and alluring light: the women in my paintings hold your gaze, powerful as modern goddesses. In my work, I find myself reexamining the idea of Venus—Who is she today and how has she developed?

Leipzig International Art Programme (LIA), Spinnerei Leipzig, Leipzig, Germany Solo Exhibition

2022

Marinaro Gallery, New York, NY

2021

Lights, Lorin Gallery, Los Angeles, CA

Group Exhibitions AXA Art Prize 2021 Exhibition, Wilkinson Gallery, New York Academy of Art, New York, NY

Venus still embodies the concept of feminine sexual beauty, but this beauty is a wealth that the women in my paintings can spend as they so choose. Their power is their own. Their power may be uncomfortable. I aim to present this power in unexpected ways, such as an emanation of heat in a shadow. By embellishing a metaphoric language of skin with moments of hyper-real truth in an imagined environment, I hope my models continue the reign of Venus as an icon and reimagine her as a woman who can harness the power of her adulation. I want to show that these women relish their own beauty. Now it is their own and not a gift from a man’s gaze. Their world will be a better one.

Give Me Some Skin, Sugarlift Gallery, New York, NY 2019

Annual Portrait Exhibition, Royal Society of Portrait Painters, Mall Galleries, London, England Ruth Borchard Collection: Artists’ Self-Portraits, Piano Nobile, London, England

2018

The Columbia Threadneedle Prize: Figurative Art Today, Mall Galleries, London, England Awards

2021

Chubb Fellowship, New York Academy of Art

2020

Grant, The Elizabeth Greenshields Foundation Merit Scholarship, New York Academy of Art, New York, NY

2019

First Prize, Portrait Category, Annual Artists Magazine Competition

2017 2015

Shortlisted, Sky Arts Portrait Artist of the Year Young Artist Award, National Open Art Competition, Royal College of Art, London, England

177

Murray

b. 1994 London, England

Soyeon Shin Hall Street | acrylic on canvas, 30 x 30 inches

178

Soyeon Shin Cumberland Street | acrylic on canvas, 24 x 30 inches

179

Soyeon Shin 20th Street I | acrylic on canvas, 36 x 48 inches

180

Soyeon Shin Brooklyn, NY www.soyeonshin.com

Education 2013

MFA, Pratt Institute, New York, NY

2007

BFA, Seoul National University, Seoul, South Korea

2020

Walk, Mrs., Queens, NY

2020

Gest, Nino Mier Gallery, Los Angeles, CA

My work can be seen as a mirror image of my mind, a surrealistic version of my mindscape. My paintings are simply about my memories, cityscapes, and people, I have seen and I have met in the city. What I feel is not exactly what you see. But what you feel is exactly what I made.

Solo Exhibition

Group Exhibitions Home Bound, Trestle Gallery, Brooklyn, NY Publications 2021

Yxta Maya Murray, “Gest,” Brooklyn Rail “Soyeon Shin: Walk,” Journal. fyi

2020

Nina Wolpow, “ArtSeen: Mark Murloney and Soyeon Shin,” Brooklyn Rail, December Jordana Landres, “More than meets the eye: citiscape as mindscape,” Queens Chronicles, posted November 25

2019

ArtMaze Magazine, no. 14

181

Shin

b. 1983 Seosan, South Korea

Soyeon Shin | 20th Street I (detail)

Pricing

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

Alicia Adamerovich p20 NFS p21 NFS p22 NFS

Patty Horing p76 $14,000 p77 $8,500 p78 $14,000

Natalie Terenzini p132 NFS p133 NFS p134 NFS

Paulo Barba p24 NFS p25 NFS p26 NFS

Sarah Lee p80 NFS p81 NFS p82 NFS

Elizabeth Thach p136 NFS p137 NFS p138 NFS

Linus Borgo p28 POR p29 NFS p30 POR

Quentin James McCaffrey p84 NFS p85 NFS p86 NFS

Katayoun Vaziri p140 NFS p141 NFS p142 NFS

Amy Bravo p32 $3,800 p33 $7,000 p34 NFS

Bradley McCrary p88 $3,000 p89 $5,000 p90 $3,000

Jean-Pierre Villafañe p144 NFS p145 NFS p146 NFS

Annabelle Buck p36 $1,800 p37 $1,500 p38 $1,500

Sergio Miguel p92 NFS p93 NFS p94 NFS

Autumn Wallace p148 NFS p149 NFS p150 NFS

Ivana Carman p40 $4,200 p41 $8,750 p42 $17,500

Emily Marie Miller p96 POR p97 POR p98 POR

Lauryn Welch p152 $4,000 p153 $7,000 p154 $8,000

Kyle Coniglio p44 NFS p45 NFS p46 NFS

Aliza Morell p100 POR p101 POR p102 POR

José Delgado Zúñiga p156 NFS p157 NFS p158 NFS

Michael Costello p48 NFS p49 NFS p50 NFS

Daniel Morowitz p104 $6,500 p105 $4,200 p106 $6,500

Awesum Crawford p52 $7,000 p53 NFS p54 $3,000

Hannah Morris p108 NFS p109 NFS p110 NFS

Rhea Cutillo p56 $4,500 p57 $4,500 p58 $3,900

Haley Darya Parsa p112 NFS p113 $2,730 p114 NFS

Deborah Druick p60 $12,000 p61 $10,000 p62 $10,000

Bony Ramirez p116 NFS p117 NFS p118 NFS

Minoo Emami p64 $1,200 p65 NFS p66 $18,000

Elena Redmond p120 NFS p121 NFS p122 $1,750

Nicasio Fernandez p68 NFS p69 NFS p70 NFS

Marcy Rosewater p124 $2,700 p125 $3,200 p126 $2,500

Amber Heaton p72 NFS p73 $4,000 p74 $3,000

Sarah Sutton p128 POR p129 POR p130 POR

182

Lydia Baker p162 NFS p163 NFS p164 NFS Keiran Brennan Hinton p166 NFS p167 NFS p168 NFS Sung Hwa Kim p170 $8,000 p171 NFS p172 NFS Hannah Murray p174 NFS p175 NFS p176 NFS Soyeon Shin p178 NFS p179 NFS p180 NFS

$20