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Contents 8

Editor’s Note Steven Zevitas

Noteworthy

Juror’s Comments Bana Kattan, Pamela Alper Associate Curator, Museum of Contemporary Art, Chicago, IL

Juror’s and Editor’s Picks

156

Winners: Editor’s Selections MFA Annual Competition 2021

178

2021 Emerging Artist Grant Recipient

182

Pricing

Robert Martin

Asking prices for selected works

Winners: Juror’s Selections MFA Annual Competition 2021

159 April/May 2022

Editor’s Note

I want to thank Bana Kattan, Pamela Alper Associate Curator at the

For many artists, the two-year course of study is a rite of passage

Museum of Contemporary Art Chicago, for serving as juror for the

that allows them to develop their technical skills, undergo an intense

2022 MFA Annual. In total, we received more than 800 applications

critical dialog with their peers, and learn how to best position

from artists attending 87 art schools throughout the United States.

themselves within the art world. Professional practice has become a

Bana reviewed all of the applications carefully and arrived at a group

key component of the contemporary MFA curriculum. The founder of

of selected artists whose collective work tells us a lot about the

the Bauhaus, Walter Gropius, suggested that “art is not a profession

current state of painting.

which can be mastered by study,” yet there is no doubt that learning to effectively navigate an increasingly complex art world is, for right

The MFA Annual has always been somewhat of a controversial release

or wrong, a skill that can increase an artist’s chances of success.

for us. Over the years, I have been contacted by many self-taught

In our Instagram age, we have all been given the tools to “market”

artists, as well as artists with undergraduate degrees, who have

ourselves in ways that have never before been possible.

complained that holding a graduate degree does not necessarily make someone a great, or even good artist. This, of course, is

Today’s art schools operate under the belief that successful artists

absolutely true. History is replete with significant artists who never

can be made. Masters of Fine Arts programs are now firmly

pursued any type of formal education, which leads many to contend

entrenched within a radically expanded and institutionalized art

that great artists are born, not made. Masters of Fine Arts programs

world where they function as both incubator and launching pad for

do, however, hold an outsized significance in the contemporary

emerging talent. Largely because of them, more individuals than ever

art world, and I think the exercise of focusing on this phenomenon

are able to consider the job of “working artist” as a viable career path.

annually can tell us a lot about how the art world is structured. While many U.S. art schools have seen alumni go on to achieve great There are now close to two hundred institutions in the United

success, certain programs have, at certain times, seemed to be

States that offer a Masters of Fine Arts degree, and thousands of

virtual hotbeds of creative activity. The Yale School of Art was such a

newly-minted MFAs emerge from these programs every year. Not

place in the 1960s, when artists including Eva Hesse, Richard Serra,

surprisingly, today’s art schools differ radically from the academies

Brice Marden, and Chuck Close attended; CalArts had its turn in the

that once served as the primary training ground for aspiring artists.

late 1970s when, under the watch of a visionary faculty that included

Technical competence, once the sine qua non of formal artistic

John Baldessari, artists such as David Salle, Mike Kelley, and Ross

training, now shares equal importance with breadth of organized

Bleckner emerged. In recent years, art world professionals and

knowledge.

collectors have closely followed the Rhode Island School of Design, Columbia, UCLA, Yale, and others, as graduates including Dana

Schutz, Louis Fratino, Sasha Gordon, Jordan Casteel, Vaughn Spann, and many others have come to rapid prominence after exiting these programs. I expect that a number of the artists featured in these pages will quickly find a large audience for their work. Some are already on their way. As I write this, Lizzy Lunday just wrapped up a successful and much talked about solo exhibition with Fredericks & Freiser in New York City and Grace Lynne Haynes has, over the past few years, garnered much attention for her extraordinary practice. n Enjoy the issue! Steven Zevitas Editor & Publisher

Noteworthy:

Josiah Ellner

Juror’s Pick p52

Marked by bright, rich color and a decision to revel glimpses into childhood memories, Josiah Ellner’s paintings feel somewhat autobiographical yet relatable. With nods to surrealism and animation, Ellner uses ominous humor, as well as flora and fauna, to reflect on our dwindling relationship to the natural world. Each of these oil on canvas works is uniquely episodic, while still sharing co-hesive gestures and themes; they land right on the border between figuration and abstraction. n

Salim Green

Editor’s Pick p158

The materiality of Green’s work and its presentation are striking. He “offers” his work to viewers in formats that mimic the strategies of retail display. Green is interested in how we navigate the spaces between personal, collective, and imagined histories. To this end, he deftly navigates in the gaps between image and abstraction, intention and accident. Green’s subjects are inextricably linked to the process of their own formation. n

Winners: MFA Annual Competition 2021 Juror: Bana Kattan, Pamela Alper Associate Curator, Museum of Contemporary Art, Chicago, IL

Walker

Ming

Wang

Lauryn

Welch |

Xuanlin

Rachael

Zur

Editor’s Selections: Salim

Green

Baoying

Huang

Jeremiah

2021 Emerging Artist Grant Recipient: Robert Martin

Jossim |

Lyn

Liu

Matthew

Sprung

Comments

Bana Kattan

Pamela Alper Associate Curator, Museum of Contemporary Art, Chicago, IL

It is my great privilege to have reviewed this year’s submissions for New

It is not surprising that one of the most common themes conveyed among

American Paintings from MFA candidates and recent graduates. Seeing

this group of artists is the concept of public vs private spaces and spheres.

that this cohort is from 2019-2021—the time

As we all individually reassess what it means

span of the still pending pandemic and what

to be in public and where our bodies are safe,

I see as the beginnings of our global social

artists like Lauryn Welch and Dante Cannatella,

reckoning, it is difficult to view their work

reflect on our relationships to the spaces we

without considering the effects of the moment

inhabit. They highlight both the fragility within

in which this work arises. While I believe that

our spaces and their capacity to transform. In

the art world has yet to experience the full

parallel, the work of Zoe McGuire and Antonia

impacts of the last few years, studying the

Constantine abstracts our understanding of

work from this group of artists has answered,

the internal and external, producing work that

for me, what to do in the interim.

attempts to bend space and time and creating paintings that are simultaneously familiar yet

In this long period, where it feels as though

strange.

we are constantly creeping closer but never reaching an ending, the future is suspended,

As we think of the spaces we inhabit, it is also

all we can do is go back to the indeterminate

important to think of displacement, and our

space of memory and accept the present.

bodies’ ability (or at times refusal) to transform,

This should be intuitive, as we are all born

abandon identities and assimilate into other

and we all move towards death. Our lives are

identities and into new spaces. This is covered

made up of the experiences of the middle and

with great care in the work of Nuveen Barwari,

this in between is the state of wonder and unknowing. Yet our current

Alena Mehic, Saj Issa, Stephanie Mei Huang and Tania Qurashi who

“in between” is complex and full of inexplicable change, the effects of

highlight the role of cultural fragmentation as a result of their diasporic

which, are so challenging to define that it demonstrates the difficulty of

lives. While their work challenges the varying constructions of what

experiencing it. Now more than ever, we do as we have done historically

is to be a good immigrant, they also focus on moments of continuality,

during distressing times, look to artists to make sense of our world and

relatedness and activation—which is no small feat in the face of

ground us in the present.

fragmentation.

Welch p145

Constantine p41

Issa p84

Troncoso p130

Haynes p69

Bremehr p26

“Now more than ever, we do as we always have done historically during distressing times, look to artists to make sense of our world and ground us in the present.” Several artists in this group create contemporary fictions within their

can only come as a result of the unique circumstance when immediacy,

work. This is not used as an escape from our present-day but as a

productivity and organization are deprioritized, and awareness of the

productive strategy to think about our reality and systems of belief, this

present becomes central.

artistic strategy is sometimes known as parafiction. Ruth L. Poor paints intricate re-writes of popular mythology and biblical stories to draw

As the days go on in our ongoing hybrid world, I hope to follow the direction

attention to unjust paradigms. Pedro Troncoso and Grace Lynne Haynes

described by Robert Smithson and set forth by this group of artists: to

defy the norm by combining fantasy, a genre which often excludes artists

continue to reflect on our temporal condition. The vitality and guidance

of color, with representational figuration. And, at the intersection of the

which artists provide is reminiscent of watching a slow sunrise while

fantasy world and the natural one is the work of Jessica Bremehr and

feeling the renewed potential for the day ahead. I thank this group (and all

Josiah Ellner. Their paintings are a reminder of the wonders within the

working artists) for persevering in their practice during these times when

ecological world we inhabit and our growing disconnection to it.

we need them most; their work is, to me, an overlooked essential role. n

Beyond the discussed gestures of space, identity fragmentation, and the use of paraficition, the artists in this edition have brought forth a number of other compelling and critical conversations which I have not covered in this short text. I hope that readers spend time with each of these artists’ practices and have the opportunity that I did to reflect on our current transitionary state. Artist Robert Smithson (1938-1973) describes the value of temporalty saying “when a thing is seen through the consciousness of temporality it is changed into something that is nothing, and it ceases to be a mere object and becomes art.” The transformation Smithson is suggesting

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.

Nuveen Barwari Mimicking Nature | burlap, found fabric, wood, 8 x 8 inches

Nuveen Barwari watering my house | rug cutout, concrete, 10.5 x 8.5 inches

Nuveen Barwari blue world | found fabric, found rug, latex paint and oil pastel, 48 x 72 inches

Nuveen Barwari Nashville, TN 615.236.6575 (The Red Arrow Gallery) bnuveen@gmail.com / www.nuveenbarwari.com / @nergizchiya / @nuveenbarwari

Education 2022

MFA, The University of Tennessee, Knoxville, TN

2019

BoS, Tennessee State University, Nashville, TN Residency

2020

Artist in Residence, McGruder Social Practice Artist Residency Center, Nashville, TN Professional Experience

2019

World Refugee Day Art Installation, in collaboration with Oasis Center and Frist Art Museum, Teaching Artist, Nashville, TN

Instead of focusing on what is often lost in translation, I sift through the different shapes and symbols that are found when one is living between clashing cultures, languages, and materials. My expansive studio practice involves gathering and repurposing artifacts from my community—such as worn Kurdish dresses, fabric, and used rugs—to investigate the politics of display, painting, fashion, and borders. I paint, cut, screen print, and sew on these materials to create discrete objects and larger, immersive installations that reflect and explore conditions of assimilation, colonial amnesia, and the fragmented state of diasporic living. There is a sense of history, place, and loss in the way elements of the body are presented in my work. The use and reuse of textiles evoke how they might have looked on a person; how they would have danced or even moved in them. My work is an attempt at locating the space between a love song and a protest song.

Solo Exhibitions 2021

Gul Barin, the state of being showered with flowers, Red Arrow Gallery, Nashville, TN Group Exhibitions

2021

Be Welat, Ngbk Gallery, Berlin, Germany Represented by The Red Arrow Gallery, Nashville, TN

Barwari | University of Tennessee, Knoxville

b. 1995, Nashville, TN

Nuveen Barwari | Mimicking Nature (detail)

Shir Bassa bed for three | etching, monotype, woodcut, and silk screen print, 63 x 63 x 86 inches

Shir Bassa Good Enough Mother | silk screen print on Perspex held on wood and iron construction, 71 x 31 inches

Shir Bassa Mom and Dad Are Sleeping | silk screen and woodcut print on paper, 275 x 92 inches

Shir Bassa Atlanta, GA 470.624.5316 shirbasa222@gmail.com / @allegrabassa

Education 2022

Shenkar College of Engineering, Design and Art, Ramat Gan, Israel

2019

MFA, Georgia State University, Atlanta, GA Professional Experience

2020

Shenkar College of Engineering, Design and Art, Dept. of Visual Communication, Teaching Assistant, Ramat Gan, Israel Group Exhibitions

2021

Mind Patterns, Rehovot Gallery, Israel Exchange Exhibition – Atlanta / Athens 2021, Glass Gallery, Lamar Dodd School of Art, Athens, GA

2020

Coming to Light, Jaffa Street Gallery, Khura, Israel

My work examines questions of identity, gender, culture, and socio-economic status within the domestic and familial space. Printmaking is my primary, but not exclusive medium. The prints blend into site-specific installations and grant it—and the space— greater significance. As an artist, I am fascinated with the way that a home is perceived as a symbol of intimacy and primarily presented in a feminine point of view. I continue to examine the gaps that exist between perceptions, stereotypes, and reality through broader aspects that relate to the term “home.” As a woman, it is my role to present an updated statement on aspects that do not receive attention in society; to formulate them in an authentic manner and turn them into a significant part of our collective memory. By living in the multicultural United States, I want to show the gaps, the similarities, and the various sides of this place in relation to the Jewish-Arab culture that molded me. Thus, I provide foreign eyes with a close-up view of the issues that touch us all.

Bassa | Georgia State University

b. 1998, Israel

Jessica Bremehr Evolution of O | acrylic on canvas, 24 x 18 inches

Jessica Bremehr Portal | acrylic and gouache on wood panel, 16 x 20 inches

Jessica Bremehr Hanging Garden | acrylic on canvas, 24 x 24 inches

Jessica Bremehr St. Louis, MO jbremehr@gmail.com / www.jbremehr.com / @jbremehr

Education 2021

MFA, Washington University, St. Louis, MO

2014

BFA, University of Missouri, Columbia, MO Professional Experience

2021

Mildred Lane Kemper Art Museum, Online Presenter and

I am simply an Earthling using my eyeballs as a vacuum, sucking up any inspiration that floats by and spitting it out through my hands. On an average day, I meditate on the gestures of plant life within my home and along the sidewalks in my neighborhood. Through these meditations, I imagine the alternate possibilities of the human body. If I were anything but human, I would be a plant; a long appendage who wiggles their way from dirt toward maturity and shifts daily with the direction of the sun.

Panel Discussant for “Fast Forward”: In Conversation Series, St. Louis, MO Group Exhibitions 2021

Wild Thing, Houska Gallery, St. Louis, MO Embrace: Summer Group Show, Maake Projects, State College, PA smoke, signals, space: MFA Thesis Exhibition, Mildred Lane Kemper Art Museum, St. Louis, MO Parabola: Salon, Des Lee Gallery, St. Louis, MO

2020

I translate these daydreams through my work, which offers an escape into a fantastical realm where science fiction, environmentalism, and sensuality intertwine to explore our innate connection to the world we inhabit. The vivid colors vibrate the senses in the way a flower uses visual cues to attract a pollinator. The repetitive designs and interwoven abstract and figural forms prompt meditative states to contemplate our own bodies in space, while promoting reverence for the microscopic and commonplace natural wonders of the world around us.

2020 MFA in Visual Art First Year Exhibition (online), Art & Education A Transitory Space (online), Semi-Gloss Gallery

2019

Parabola: Extraterrestrial, Des Lee Gallery, St. Louis, MO

2018

Headless, Reese Gallery, St. Louis, MO Consent/Dissent, with Alt-Space, FOAM, St. Louis, MO

2017

Drawing Room Pop-Up Show, Contemporary Art Museum, St. Louis, MO Publication

2021

New American Paintings, Issue #147 ‘Volume Two: Time Capsule,’ Echoverse Anthology, https:// echoverseanthology.com/

Bremehr | Washington University

b. 1991 Decatur, IL

Katie Butler Domestic Affairs | oil and acrylic on canvas, 36.5 x 60 inches

Katie Butler Boys’ Club | oil and acrylic on canvas, 35 x 60 inches

Katie Butler Reaching Across the Aisle | oil and acrylic on canvas, 50 x 62 inches

Katie Butler Akron, OH 216.820.1260 (Abattoir Gallery) katiebutlerstudio@gmail.com / www.katiebutlerstudio.com / @katiebutlerstudio

Education 2021

MFA, Kent State University, Kent, OH

2017

BFA, University of Akron, Akron, OH Professional Experience

2021-

Kent State University, Adjunct Instructor, Kent, OH

2021

A Seat at the Table, SPRING/BREAK Art Show,

Solo Exhibitions

Calling upon the tradition of still life painting, this body of work uses food and domestic settings to subtly address contemporary political issues. These unsettling tablescapes subvert the technical norms of the still life genre from the 17th century to comment on wealth and power in current American politics. Illogical shifts in perspective disorient the painting space; sharp knives loom above eye level as exaggerations in scale and tight compositions fuel the tension. Moments away from being gutted, filleted, and consumed, fish and crustaceans stare at the viewer with anxious eyes. These paintings question who the feast is for— and who is paying the tab.

New York, NY Kitchen Table Issues, CVA Gallery, Kent, OH Two-Person Exhibitions 2019

I know you are but what am I, (with Mike Gable), KINK Contemporary, Cleveland, OH Group Exhibitions

2021

New Narratives, Abattoir Gallery, Cleveland, OH FISH FLY FUR, Yards Projects, Cleveland, OH 2021 Young Painters Competition, Miami University, Oxford, OH

2018

Decennalia: 10 Years of Myers in Venice, Emily Davis Gallery, University of Akron, Akron, OH Awards

2016

Gillette Study of the Arts Abroad Grant, University of Akron, Akron, OH Myers Gold Studio Scholarship, University of Akron, Akron, OH Puglia New York City Travel Grant, University of Akron, Akron, OH

2015

Folk Charitable Foundation Venice Biennale Study of the Arts Abroad Scholarship, University of Akron, Akron, OH Collection Worthington Yards, Cleveland, OH 31 Represented by Abattoir Gallery, Cleveland, OH

Butler | Kent State University

b. 1995 North Canton, OH

First Last Title | medium, X x X inches

Katie Butler | Boys’ Club (detail) 186

Dante Cannatella Deluge | oil and tempera on canvas, 60 x 72 inches

Dante Cannatella Screen Door | oil on canvas, 60 x 72 inches

Dante Cannatella procession and conquest | oil on canvas, 60 x 48 inches

Dante Cannatella Brooklyn, NY 504.812.4498 dgcannatella@gmail.com / www.dantecannatella.studio.com / @dante_c504

Education 2021

MFA, Hunter College, New York, NY Professional Experience

2021

Hauser & Wirth Gallery, Curator, We were Already Gone, Zurich, Switzerland Solo Exhibitions

2021

Nascent Digitalism, UUU Gallery, Rochester, NY

2020

Heat, Shoot the Lobster, New York, NY

2021

Privilege of Getting Together Part 2, Anna Zorina Gallery,

In Dante Cannatella’s work, the landscape reclaims the city. The lines between inside and outside are blurred and lives play out against the truth of uncertainty and impermanence. The paintings reflect growing up amidst the destruction and rebuilding of New Orleans. Set against this backdrop and the deluge myth, the figures are caught in a theater of human folly that explores inner worlds and outer realities and the powerful forces of nature, commerce, and mass thought that shape, nurture, and destroy them. The figurative elements weigh against each other and take on roles such as the self, symbols of authority, the conscious witness, the audience, and the chorus.

Group Exhibitions New York, NY Mrs. Robinson, The Fireplace Project, East Hampton, NY

Cannatella | Hunter College

b. 1992 New Orleans, LA

Taylor Chapin Still Life with Special K Chewy Snack Bar | oil on canvas, 20 x 24 inches

Taylor Chapin Still Life with Faux Fiddle Leaf Fig | oil on canvas, 16 x 12 inches

Taylor Chapin Still Life with Nature Valley Bar | oil on canvas, 48 x 60 inches

Taylor Chapin San Diego, CA taylormchapin@gmail.com / www.taylorchapin.com / @blackbearss

Education 2022

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

2016

BFA, San Francisco Art Institute, San Francisco, CA Solo Exhibitions

2021

Consumption Capital, Oceanside Museum of Art,

2019

Real Big Deals, Hill Street Country Club, Oceanside, CA

2018

Closets and Corridors, Encinitas City Hall, Encinitas, CA

2021

Road Show, False Cast Gallery, Santa Monica, CA

2018

Redux, Brandes Gallery, Lux Art Institute Encinitas, CA

Oceanside, CA

Group Exhibitions

Journey, Hill Street Country Club, Oceanside, CA 2016

Bachelor of Fine Arts Show, Diego Rivera Gallery, San Francisco Art Institute, San Francisco, CA Awards

2015, 16 Ivan Majdrakoff Art Materials Award, San Francisco Art

My paintings examine consumerism and advertising to suggest an inherent comedy—and absurdity—of daily life. My work questions our mindless drive toward industrialized American consumerism, the contents of which fill and fetishize our interior spaces. I deliberately obscure forms by creating multi-layered, illusory facades. Human bodies and consumer goods are ensconced in pattern and color, emphasizing their inherent banality while simultaneously enshrining and transforming their visual structures of identification as a way of critiquing the perception of value. Through the lack of a reveal, it is left indiscernible which cloaked forms contain commercial or societal value, challenging our perceptions of what is real and unreal, valuable and valueless. I am drawn to the allure of what lies underneath. I drape, wrap, and cover with various fabrics to transform once recognizable forms into abstract shapes, semi-composed inklings of what lies below. It is this illusory quality of implied volume and depth that bemuses and betrays the two dimensional space of the stretched canvas, allowing the painted surface to become an additional layer of the facade.

Institute, San Francisco, CA

Chapin | University of California, San Diego

b. 1991 Santa Monica, CA

Antonia Constantine Big Stretch | oil on panel, 48 x 36 inches

Antonia Constantine Date Night | oil on panel, 20 x 16 inches

Antonia Constantine Dog Years | oil on panel, 36 x 48 inches

Antonia Constantine Bloomington, IN antoniaconstantine@gmail.com / www.antoniaconstantine.com / @antoniaconstantine

Education 2024

MFA, Indiana University, Bloomington, IN

2016

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

2017-21 Museum of Contemporary Art, Individual Giving Assistant, Chicago, IL 2017

Museum of Contemporary Art, Curatorial Intern, Chicago, IL

2015

Hyde Park Center, Exhibitions Intern, Chicago, IL

2012-15 Sullivan Galleries, Gallery Assistant, Chicago, IL Group Exhibitions 2019

Home Is Where the Art Is, Jeffrey Breslow Gallery,

2017

Open House, Autotelic Studios, Chicago, IL

Through my paintings I explore paranoia, daydreaming, and curiosity with a playful bending of space, time, and bodies. Informed by my suburban Midwest upbringing and a sensibility toward worldbuilding, I rely on domestic motifs to establish immediate access points for the viewer, which I then transform into bizarre narratives and invented environments. The figures I depict are desperate to escape their residential reality to either find connection or snoop on their neighbors, but first they must navigate a world that is familiar yet strange. Despite repeated invitations into the paintings through open doors, saccharine colors, and idyllic lawns, both the figures and the audience are kept at a distance by impenetrable fences, simplistic landscapes, and claustrophobic architecture. Ultimately, this process exposes an underlying tension, as the resulting picture is simultaneously comforting and disconcerting, outdoors and indoors, human and animal, day and night, and intimate and remote.

Chicago, IL SAIC Spring BFA Show, Sullivan Galleries, Chicago, IL 2015

Nippon Steel & Sumitomo Art Appreciation Exhibition, Nippon Steel Inc., Chicago, IL

2012

ARTBASH, LeRoy Neiman Center, Chicago, IL Awards

2015-16 Advance Painting Studio, School of the Art Institute of Chicago, Chicago, IL 2015

Nippon Steel & Sumitomo Art Appreciation Award, Nippon Steel Inc., Chicago, IL

Constantine | Indiana University, Bloomington

b. 1993 Grand Rapids, MI

Victoria Dugger Make a Wish | gouache, glitter, and molding paste on panels, 48 x 36 inches

Victoria Dugger It Ain’t that Deep | gouache, glitter, and synthetic hair on panel, 60 x 36 inches

Victoria Dugger Little Vicky of 3 Years | nylon, hair, and pointe shows, 14 x 42 inches

Victoria Dugger Athens, GA 917.463.3901 (Sargent’s Daughters) victoriaduggerstudio@gmail.com / www.victoriadugger.studio / @victoria.dugger.studio

Education 2022

MFA, University of Georgia, Athens, GA

2016

BFA, Columbus State University, Columbus, GA

2021

Out of Body, Sargent’s Daughters, New York, NY

2021

8.19%, University of Georgia, Athens, GA

2020

My Flannel Knickers, Sargent’s Daughters, New York, NY

As a disabled Black woman, I have a desire for people to accept or appreciate me for both my surface and what’s below it; to humanize me not because of my appearance, but despite it. My paintings channel the complexity of my identity. I create a surface of works that are richly layered, both demanding attention and refusing any simple legibility.

Solo Exhibitions

Group Exhibitions

Publications 2021

Simpson, Annie, ‘How I Made This: Victoria Dugger’s

My anthropomorphic figures are a way for me to visualize my own body. Their irregular extremities are intended to express a state of atrophy. I render them joyful and beautiful. Ambivalence is a core theme in my work; these figures exist on the border of abstraction and representation. I’m interested in the evocation of nostalgia for girlhood, while also imagining possible futures. Neither utopian nor dystopian, I instead produce bodies that refuse to be contained.

Alternative Cosmologies,’ ARTnews (online) Cascone, Sarah, ‘Editor’s Picks: 11 Events for Your Art Calendar This Week – “Victoria Dugger: Out of Body” at Sargent’s Daughters,’ Artnet News, (online) Kamp, Justin, ‘Victoria Dugger Materializes the Frictions of Accessible Space,’ Hyperallergic, (online) 2020

New American Paintings, Issue #142 Represented by Sargent’s Daughters, New York, NY

Dugger | University of Georgia

b. 1991 Columbus, GA

Jonah Elijah Ghetto Dreams | acrylic, chalk, and shoe sole on wood panel, 96 x 48 inches

Jonah Elijah Keep your eyes open and don’t let anyone sell you a wooden nickel | acrylic on canvas, 80 x 55 inches

Jonah Elijah B4 the Street Light cut on | acrylic, chalk, and Kobe 7s on wood panel, 36 inches round

Jonah Elijah Los Angeles, CA jonahelijahjay@gmail.com

Education 2020

MFA, Claremont Graduate University, Claremont, CA

2017

BFA, University of Texas at San Antonio, San Antonio, TX

I negotiate and celebrate the concept of being Black with my narratives, exploration of identity, portraiture, and language. Through abstraction, representation, and assemblage I use my memories to depict the experience of being raised in a predominantly Black neighborhood. My hope is that these scenes from my journey provide nostalgia for the viewer.

Residency 2021

Artist Residency, Virginia Center for the Creative Arts, Amherst, VA Professional Experience

2021

The dA Center for the Arts, Art Leader, Pomona, CA Solo Exhibition

2021

When it comes to innovation, I’m always in search of new ways to bring my ideas to life. Currently, I have been dissecting sneakers and attaching them in my pieces to help the viewer walk in my shoes.

As Above So Below, The dA Center for the Arts, Pomona, CA

My work invites viewers to look at these experiences both literally and metaphorically, echoing my upbringing. I not only want people to see scenes from my life, but also to feel what it’s like to be a part of my larger community—and to maybe even feel what it’s like be Black in America.

Group Exhibitions 2021

Nine Voices, Launch LA, Los Angeles, CA Not Just in February, The dA Center for the Arts, Pomona, CA Intersections, Self Help Graphics and Art, Los Angeles, CA Felix Art Fair, Hollywood Roosevelt Hotel, Los Angeles, CA

2020

SoCAl MFA 2020 Group Exhibitions, Millard Sheets Art Center, Pomona, CA Awards

2020

Friedman Grant, CGU, Claremont, CA The Blaisdell Fellowship, CGU, Claremont, CA Publications

2021

Holcomb, Shelley, ‘Artist Jonah Elijah on Leaving the House and Making His Mark on the Earth,’ Curate LA Turner, Re’Chelle, ‘Yates High School graduate bringing Black Lives Matter mural to Third Ward community,’ Click2Houston.com 51

Elijah | Claremont Graduate University, CGU

b. 1994 Houston, TX

Josiah Ellner Running, Chasing, Flying | oil and oil pastel, 47.5 x 59 inches

Josiah Ellner Swimmy | oil and sand, 41 x 55 inches

Josiah Ellner Dangerously Delphinium Blue | oil and oil pastel, 48 x 36 inches

Josiah Ellner Chicago, IL 262.573.9062 (Tchotchke Gallery) josiahcellner@gmail.com / www.josiahellner.com / @josiahcellner

Education 2023

MFA, School of the Art Institute of Chicago (SAIC), Chicago, IL

2019

BFA, University of Wisconsin, Milwaukee, WI Two-Person Exhibition

2021

Creature Comforts (with Dustin Brown), (online), Tchotchke Gallery, New York, NY Group Exhibitions

2021

Overlook on the Asthenosphere, School of the Art Institute

My paintings translate moments of connection between people and nature, captured through the lens of a digital native. They are narratives that revolve around the tumultuous relationship between humanity and the natural world. I am drawn to moments that embody the feeling of oneness with nature; the formal decisions I make in my work are all informed by the characteristics of these moments, which tend toward the awkward, whimsical, playful, and sometimes slightly humorous. This results in ungainly and awkward figures and environments that are patterned and playful. Through these abstractions I strive to achieve a heightened narrative that encapsulates the connections and the concealed discomfort we have with the natural world.

of Chicago Galleries, Chicago, IL Regnum Luminis (online), Eve Leibe Gallery, London, England 2020

Contemporary Portraiture: Redefining the Figure (online), Visionary Art Collective, Brooklyn, NY Show House Art Call NR 2 (online), Show House Jay Jay, Antwerp, Belgium HOT PAPER (online), GIFC We might have been born yesterday...But we stayed up all night, Between Two Galleries, Milwaukee, WI Publications

2020

New American Paintings, Issue #149

2019

Create! Magazine, Issue #16: Summer Edition Represented by Tchotchke Gallery, New York, NY

Ellner | School of the Art Institute of Chicago, SAIC

b. 1996 Milwaukee, WI

First Last Title | medium, X x X inches

Josiah Ellner | Running, Chasing, Flying (detail) 188

Mahsa R. Fard Occultation | watercolor on paper, 9 x 6 inches

Mahsa R. Fard Acculturation | watercolor on paper, 12 x 9 inches

Mahsa R. Fard I will see you soon | watercolor on paper, 9 x 6 inches

Mahsa R. Fard Baltimore, MD mahsa.rafard@gmail.com / www.mahsarfard.com / @mahsa.r.f

Education 2019

MFA, Maryland Institute College of Art (MICA), Baltimore, MD

2014

BFA, School of Art and Architecture, Tehran, Iran

2006

Diploma in Art, Soureh School of Art, Tehran, Iran Professional Experience

2021

Artist Talk at The Julio Fine Arts Gallery, Loyola University, Baltimore, MD Solo Exhibitions

2021

Study Wall, The Hunter Gallery, Newport, RI

2020

Occultation, Office116A, Baltimore, MD

Mahsa R. Fard was born and grew up in Tehran, Iran. She studied painting at the School of Art and Architecture in Tehran and moved to the United States to pursue her graduate studies at Maryland Institute College of Art, where she received an MFA in Painting in 2019. Since then, she has been working in her Baltimore studio and has participated in group and solo shows nationally and internationally. Growing up in Iran, Fard has always been conscious of the dominant patriarchal gaze in both the public and private sphere. Navigating these masculine orders as a woman requires a wide range of strategies. Through her paintings, she represents these orders and approaches, and speculates possible scenarios through which to maneuver.

Dream Simulator, Gallery Institute, Baltimore, MD Group Exhibitions 2021

Architecture of the elsewhere (online), Gallery Perchee, New York, NY Envisioning, Transformer Gallery, Washington, DC

2020

Women in the Arts Online Exhibition, Latela Curatorial x Artsy, Washington, DC Emerging Artist, Target Gallery, Alexandria, VA

2019

MECA International Art Fair, San Juan, Puerto Rico Object Permanence, Hancock Solar Gallery, Baltimore, MD Awards

2017

Hoffberger Foundation Fellowship, Baltimore, MD LeRoy E. Hoffberger School of Painting (MFA) Graduate Scholarship, Baltimore, MD

2006

Nominated for Best Artist, 6th Annual Khwarizmi Youth Award, Tehran, Iran

Fard | Maryland Institute College of Art, MICA

b. 1987 Tehran, Iran

Ana Maria Farina histérica #4 | fibers on monk’s cloth, 52.5 x 29 inches

Ana Maria Farina histérica #7, Baubo | fibers on monk’s cloth, 50.5 x 29.5 inches

Ana Maria Farina histérica #8, Jardim Secreto | fibers on monk’s cloth, 40.5 x 63.5 inches

Ana Maria Farina Beacon, NY anamafarina@gmail.com / www.anamafarina.com / @anamafarina

Education 2021

MFA, State University of New York (SUNY) at New Paltz, New Paltz, NY

2016

MFA, Columbia University, New York, NY

2012

BFA, Faculdade Santa Marcelina, São Paulo, Brazil

2021

Blessed Bodies, SPRING/BREAK Art Fair, New York, NY

Group Exhibitions The Fridge Show, Garrison Art Center, Garrison, NY

I paint with a gun—a tufting gun—along with needles, hooks, and knots. Repurposing such a phallic signifier of violence, I conjure vibrant objects of comfort that inhabit a mystical pictorial space between abstraction and representation. Stabbing fabric with yarn, my psyche cracks open into fibers. It’s intuitive and it’s cathartic; it’s a pain in the ass but it’s satisfying. The resulting images are hysterical—in the truest sense of the word. Liberated from its slanderous connotations, hysteria is understood as a manifestation of the unconscious when it’s ferociously unbound. Ruptures are reborn as rugs, inviting the viewer into the home within.

If You Lived Here You’d Be Home By Now, Wassaic Project, Wassaic, NY In The Wake Of Slumber, Paradice Palase, Brooklyn, NY New Voices For The Twenties, Susan Eley Fine Art, New York, NY Histérica, The Samuel Dorsky Museum, New Paltz, NY Unartisanal, ABC No Rio, New York, NY Awards 2021

College Art Association Professional Development Fellowship in Visual Arts

2020

Research and Creative Projects Award, SUNY New Paltz, NY

2019 2018

MFA Scholarship, SUNY New Paltz, NY Immigrant Artist Mentoring Program, New York Foundation for the Arts Publications

2020

Farina, Ana Maria, ‘Crafting Space: The Endless Journey of Women (Not) Gaining Recognition in the Art World,’ WHITEHOT Magazine (online)

Farina | State University of New York (SUNY), New Paltz

b. 1989 São Paulo, SP

Brianna Gluszak Wanna hangout | tufted rug,18 x 14 inches

Brianna Gluszak Are we all in this together? | tufted rug, 16 x 21 inches

Brianna Gluszak My eyes are up here… | tufted rug, 40 x 30 inches

Brianna Gluszak Columbus, OH www.briannagluszak.com / @studio.gluszak

Education 2022

MFA, Ohio State University, Columbus, OH

2016

BFA, Alberta University for the Arts, Calgary, Canada Residencies

2018-19 Artist in Residence, Harbourfront Centre Craft & Design:

Through shape, colour, and scale, the objects I make suggest specific gendered traits and circumstances, playing off the viewers implicit biases and perception of gender. The long stretched out forms of glass reference dominance, power, and erection, while painting and textiles evoke softness, warmth, comfort, and figurative curves. They evoke a seductive relationship that cross contaminates the gendered fields of textiles and glass blowing with a play between hard material and soft curves.

Glass, Toronto, Canada 2017-18 Artist in Residence, The Royal Danish Academy of Design, Architecture and Conservation (KADK), Bornholm, Denmark Solo Exhibitions 2018

Showcase, Alberta Craft Council, C-Space, Calgary, Canada

The forms in the rugs act as stand-ins for our bodies in space. They navigate the composition in relation to each other and the overall form of the rug. The figures blend into one another as others are emerging out. The background pushes past the figures, an attempt to escape or enlarge the room. We can gain a sense of how these figures relate themselves to one another and the space that contains them.

Two-Person Exhibitions 2021

A Prolonged Handshake (with Hannah Parrett), Urban Arts Space, Columbus, OH Sad Lady Sad (with Hannah Parrett), Roy G Biv Gallery, Columbus, OH

2019

Open To Be, Samara Contemporary, Toronto, Canada

2021

Resisting the Hard Edge, Brandt Roberts Gallery,

2019

Comfort In, Samara Contemporary, Toronto, Canada

Group Exhibitions Columbus, OH Skew-wiff, Harbourfront Centre, Toronto, Canada Collections The Royal Danish Academy of Fine Art (KADK), Bornholm, Denmark Lisa and Dudley Anderson STARworks Center for Creative Enterprise

Gluszak | Ohio State University

b. 1994 Calgary, Alberta, Canada

Grace Lynne Haynes When Two Collide | acrylic and collage, 50 x 50 inches

Grace Lynne Haynes A Grand Welcome to the Outsider | acrylic and collage, 50 x 67 inches

Grace Lynne Haynes Redeemed | acrylic and collage, 35 x 47 inches

Grace Lynne Haynes New Brunswick, NJ bygracelynne@yahoo.com / www.bygracelynne.com / @bygracelynne

Education 2022

MFA, Rutgers University, New Brunswick, NJ

2017

BFA, Art Center College of Design, Pasadena, CA Residencies

2019

Kehinde Wiley’s Black Rock Senegal Inaugural Class, Dakar, Senegal

2018

Vermont Studio Center Visual Arts Fellowship, Johnson, VT Professional Experience

2021

The California African American Museum Presents: I Am Woman, Panel Discussant, Los Angeles, CA

2020

This series focuses on relationships Black women have with one another through dance. I am curious about the realms of dance and how the movement of one’s body can create a ritual of existence and suggest an agency over their body. When two bodies collide, intertwining community and movement, they take on a new form. I showcase this collision through the lens of a fairytale, a genre that often excludes women of color. The invented characters in my works are various beings ranging from fairies, to spirits, and humans in flesh form. These characters are placed against vibrant backgrounds that contain intricate patterns, detailed carpentry, shadow play, and indoor exotic plants. These elements are created with acrylic paint and found objects—such as fabric and wallpaper—that are repurposed into the figure’s form and environment. Through these paintings, I am exploring themes of mysticism, community, womanhood, and performance.

Wildenstein Plattner Institute, in partnership with The Romare Bearden Foundation: The Prevalence of Ritual, Panel Discussant, New York, NY Group Exhibition

2021

The Armory Art Fair, Javits Center, Manhattan, NY Awards

2021

Artist of the Year Award, Neiman Marcus

2020

Forbes 30 Under 30: Art & Style, Forbes Magazine Publications

2021

‘State of the Arts’ (video interview publication), NJ PBS Cover art, The New Yorker

2020

‘These Are The Artists You Need to Know Right Now,’ Elephant Art (online) ‘20 Painters Shaping the Next Decade,’ Decade Collector Collection The California African American Museum Represented by Luce Gallery, Turnin, Italy 71

Haynes | Rutgers University

b. 1992 Carson, CA

First Last Title | medium, X x X inches

Grace Lynne Haynes | When Two Collide (detail) 190

Megan Hinton Belt #2 | oil on canvas, 8 x 10 inches

Megan Hinton Belt (Fatso) | oil on canvas, 12 x 16 inches

Megan Hinton Hand in Belt #2 | oil on canvas board, 12 x 16 inches

Megan Hinton Truro, MA 508.332.0518 hinton.megan@gmail.com / www.meganhinton.com / @megahinton

Education 2020

MFA, Mills College, Oakland, CA

2002

MFA, New York University, New York, NY

1997

BFA, Ohio Wesleyan University, Delaware, OH Residencies

2019

Twenty Summers at the Hawthorne Barn, Provincetown, MA

2017

Frans Masereel Centrum International Printmaking Center, Kasterlee, Belgium Solo Exhibitions

2020

Signal, Farm Project Space, Wellfleet, MA

2019

Revisit, AM Gallery, Provincetown, MA

2016

En Bretagne, Wellfleet Preservation Hall, Wellfleet, MA

2014

Painting Plays, Harbor Stage Company, Wellfleet, MA

2011

Overlooks, Cape Cod Museum of Art, Dennis, MA

2022

Three-Person Exhibition, Jewett Art Gallery, Wellesley

2020

Lines of Site, Visual Arts Gallery, SUNY Adirondack,

2018

Art at Play, Higgins Art Gallery, Cape Cod Community

If the body is a container of space in painting, what object could suggest that repository? How could a painted thing make the figure’s form present without the actual body being there? I choose to paint belts as stand-ins for the body’s absence to defy and stay within a conversation about figurative painting. By placing a tilted mirror on the floor, I observe my own body wearing a belt while painting. On the canvas, a loose perspective is created where the viewer seems to be kneeling below the figure. The belt hovers above to dominate or engage in a power play. This object holds the pants up, like a line to define the delicate, yet strong core of the body. The intermittent addition of a hand further gestures to the belt as a symbol of cinching, weight gain or loss, masculinity, and a fashion accessory.

Group Exhibitions College, MA Queensbury, NY College, Hyannis, MA

Hinton | Mills College

b. 1974 Sandusky, OH

Stephanie Mei Huang erasure v | video, sound

Stephanie Mei Huang requiem for myself (install view) | oil on linen, sisal, and horseshoes

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

Stephanie Mei Huang New York, NY stephaniemeihuang@gmail.com / www.stephaniemei.com / @stephaniemeihuang

Group Exhibitions

Education 2022

The Whitney Museum Independent Study Program, New York, NY

2020

MFA, California Institute of the Arts, Valencia, CA

2016

BA in Media Studies, Scripps College, Claremont, CA Solo Exhibitions

2021

the foul lump in my throat, 4th Ward Project Space, Chicago, IL (self-portraits as) neither donkey nor horse (publication release), The MAK Center for Art and Architecture, Los Angeles, CA self armature, Office Space, Salt Lake City, UT (self portraits as) neither donkey nor horse, Hauser and

2021 2020

General Objects, Heaven Gallery, Chicago, IL Once more, with feeling…, New Wight Gallery, University of California, Los Angeles, CA Art.Response.Now, Arizona State University Art Museum, Tempe, AZ ARCHIVE MACHINES, Los Angeles Municipal Art Gallery, Los Angeles, CA

Publications 2021

Huang, Stephanie Mei, (Self-Portraits as) Neither Donkey nor Horse, Pgs. 10 – 47 Huang, Stephanie Mei, ‘A Chinese Cure,’ Contemporary Art Review Los Angeles – No. 21 Collections Autry Museum of the American West, Los Angeles, CA New Genres Library, University of California Los Angeles, Los Angeles, CA 79

Huang | California Institute of the Arts

Wirth Book and Printed Matter Lab, Los Angeles, CA

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

b. 1994 Wausau, WI

Ji Min Hwang Untitled V | oil on canvas, 16 x 16 inches

Ji Min Hwang Untitled W | oil on canvas, 24 x 36 inches

Ji Min Hwang Untitled Y | oil on canvas, 30 x 24 inches

Ji Min Hwang Seoul, Korea +82.102.811.8689 hwangjimin129@gmail.com / www.jimin-hwang.com / @_hwangjimin_

Education 2021

MFA, School of Visual Arts (SVA), New York, NY

2018

BFA, Pratt Institute, New York, NY

2021

Memory Keeper, Ki Smith Gallery, New York, NY

Group Exhibitions Here Together, 79 Warren St, New York, NY WO’s Next, The Warehouse Gallery, Hong Kong, China 2019

Capturing the moments when my life views and personal experiences click together is what I want. I believe a lot of things that we overlook in our daily life have a spiritual quality that reveals our strength and potential to move forward. My work intends to highlight the spiritual dimension that lies behind the events and obstacles we encounter in life and to bring that to the viewer’s attention. In this body of work, my paintings introduce a portal to another space where the viewer can experience and recall their own bittersweet moments and understand the coexistence of different kinds of emotion.

Pupusas, Bahia, Brooklyn, NY Look, 198 Allen St., New York, NY

2018

Melted City 4, Yui Gallery, New York, NY Onishi Project Summer Show, Onishi Gallery, New York, NY Awards

2019

American Illustration

2018

Society of Illustrators Student Scholarship Competition Publication

2018

Capsules Book Curatorial, Volume 1

Hwang | School of Visual Arts, SVA

b. 1995 Seoul, Korea

Saj Issa Bob’s Food Mart & Liturgy | acrylic, collage on canvas, ceramic, and wood, 50 x 40 x 3 inches

Saj Issa Almost Celebrated Something | acrylic, collage on canvas, ceramic on wood, 50 x 40 x 3 inches

Saj Issa What Surrounds Randy | acrylic and collage on canvas, 30 x 30 inches

Saj Issa Los Angeles, CA sajedaissa@gmail.com / www.sajissa.com / @saj_issa

Education 2023

MFA, University of California (UCLA), Los Angeles, CA

2017

BFA, Webster University, Webster Groves, MO Residencies

2019

Belger Crane Studios Foundation Residency, Kansas City, MO

2018

Craft Alliance Residency, St. Louis, MO Two-Person Exhibitions

2019

My paintings are a representation of displacement, identity, social issues, labour, and consumerism. The implementation of ceramic tiles alongside the paintings is an attempt to reference my personal experiences with religion, politics, and parallels of the East and West. I want my viewers to be provoked, informed, and entertained by my work. I position myself as a sardonic commentator through overlapping hypocrisies that each culture is guilty of yet points blame elsewhere. This is reflective of my perspective as an individual situated on both sides. By putting form to these social overlaps, I am attempting to bring awareness to viewers of their own similarities to the side they position themselves against.

Back In Our New Home (with Kiki Salem), Kranzberg Arts Foundation, St. Louis, MO Group Exhibitions

2021

City Too Hot, Los Angeles, CA

2020

2020 MARCH EXHIBIT, Sager Braudis Gallery, Columbia, MO AIR Exhibition, Kansas City, MO Awards

2020

Artists Fellowship Inc. Grant Foundations of Contemporary Arts Grant Luminary Arts Artists Grant Regional Arts Commission of St. Louis Grant

Issa | University of California Los Angeles, UCLA

b. 1994 St. Louis, MO

First Last Title | medium, X x X inches

Saj Issa | What Surrounds Randy (detail) 192

Lizzy Lunday Sky Smells Like Vanilla Wafers | oil and acrylic on canvas, 60 x 50 inches

Lizzy Lunday Sooner Away | oil and acrylic on canvas, 46 x 42 inches

Lizzy Lunday From The Wrong Side of Time | oil and acrylic on canvas, 54 x 50 inches

Lizzy Lunday Brooklyn, NY @lizzylunday

Education 2019

MFA, Pratt Institute, Brooklyn, NY

2021

Anchored in Midair, Fredericks & Freiser, New York, NY

Solo Exhibitions

Group Exhibitions 2021

Lunday’s paintings distort the boundaries between the real and the artificial to consider the constructions of relationships in a world informed by celebrity culture. Her figures are modeled on the endless cycle of celebrities from reality television, Instagram, and tabloids. Combining images from these sources with her own personal photographs, the artist focuses on the messy ethics of our instantly-famous culture to create tableaus of romantic engagement where genuine emotion is hidden behind precarious notions of selfhood and awkward moments of human interaction.

Untitled Art Miami Beach with Fredericks & Freiser, Miami Beach, FL Towards a More Beautiful Oblivion, Fredericks & Freiser, New York, NY Frieze New York, Fredericks & Freiser, New York, NY 4 Artists, Fredericks & Freiser, New York, NY Represented by

Using formal connections to art’s historical touchstones, Lunday calls attention to—or perhaps satirizes—our cultural obsession with celebrity while foregrounding what happens when the strange and familiar collide. In Lunday’s paintings, this ambiguity replaces the authenticity of interpersonal relationships and affords the viewer an opportunity to reflect upon the instability of desire.

Fredericks & Freiser, New York, NY

Lunday | Pratt Institute

b. 1992 Kansas City, KS

Zoe McGuire Emerald Interior | oil on canvas, 33 x 28 inches

Zoe McGuire Enter Morning | oil on canvas, 33 x 28 inches

Zoe McGuire The Green Sun | oil on canvas, 44 x 34 inches

Zoe McGuire Brooklyn, NY zoemcguire.studio@gmail.com / www.zoelmcguire.com / @zoe_mcguire

Education 2023

MFA candidate, Cranbrook Academy of Art, Bloomfield HiIls, MI

2018

BA, Skidmore College, Saratoga Springs, NY

2021

Lucky Charm, Moosey Art, Norwich, London, England

Group Exhibitions Daughters Rising Auction, The Boiler, Brooklyn, NY Flat Files, Deanna Evans Projects, Brooklyn, NY 2020

I am absorbed in the creation of a fantasy world that unifies external and internal landscapes. Trees, mountains, skies, and bodies of water are arranged architecturally alongside glowing spherical forms I see as celestial bodies or musical notes. Over the years, recurring shapes in nature, art historical treatments of landscape, and synesthetic visual experiences have been absorbed and catalogued. I also spend time investigating religious art across epochs and cultures, borrowing compositional elements to represent nature’s inherent spirituality. Now, forms emerge intuitively on canvas to fit the emotive, musical, and conceptual needs of a painting.

Spring to Action, Monica King Contemporary, New York, NY Quo Vadis, Vanderplas Gallery, New York, NY November 2nd, M Street Gallery, Jersey City, NJ Flat Files, Collar Works, Troy, NY

2019

Introductions, Trestle Gallery, Brooklyn, NY

2018

All Art +, Vanderplas Gallery, New York, NY

McGuire | Cranbrook Academy of Art

b. 1996 Delmar, NY

Alena Mehić Cult of Personality | oil on panel, 48 x 36 inches

Alena Mehić Dorm Lobby Blues | oil on panel, 48 x 36 inches

Alena Mehić Plavi Voz | oil on canvas, 30 x 40 inches

Alena Mehić Frostburg, MD alenamehic@gmail.com / www.alenamehic.com / @alena_mehic

Education 2021

MFA, University of North Carolina (UNC), Chapel Hill, NC

2017

BFA, Middle Tennessee State University, Murfreesboro, TN Residencies

2023

Loghaven Artist Residency, Knoxville, TN

2018

Belgrade Arts Studio Residency, Belgrade, Serbia Lazuli Artist Residency, Corinth, VT

Drawing from the post-socialist landscape of and attitudes about the former Yugoslavia, I analyze collective memory politics and the archive. I create in between spaces, concentrating on objects, architectural features, political photographs, and embroidered words to mimic the geographic and political placement of a departed country. Dissecting the dissonance between national attitudes and my own feelings of displacement, the images and historical design in my pieces memorialize a long gone environment and reflect upon contemporary disillusionment. Ultimately, as a study of absence, aesthetic markers, and political relics, my practice focuses on the transformation of national memory.

Professional Experience 2021-

Frostburg State University, Lecturer of Painting and Drawing, Frostburg, MD Solo Exhibitions

2021

Between a Waiting Room, a Built Utopia, and It’s Void, The Wedge Building, Nashville, TN Works by Alena Mehic, Blend Studio, Nashville, TN Pleasant Terminal, Stephanie Ann Roper Gallery, Frostburg State University, Frostburg, MD Micro/Macro, Ackland Art Museum, UNC, Chapel Hill, NC

2018

9th Annual Drawing Discourse Exhibition, S. Tucker Cooke Gallery, UNC, Asheville, NC

2017

Printwork 2017, Artists Image Resource, Pittsburgh, PA On the Street Where I Live, Webster Arts, St. Louis, MO Awards

2021-22 MFA Fellowship in Painting and Sculpture, Dedalus Foundation, New York, NY 2018

Professional Development Support Grant, Tennessee Arts Commission, Nashville, TN

Mehić | University of North Carolina, UNC

b. 1995 Zavidovići, Bosnia & Herzegovina

Levi Nelson The Little People | oil on canvas, 24 x 36 inches

100

Levi Nelson Dead Horse | oil on canvas, 28.5 x 42 inches

101

Levi Nelson The Fallen Horse Thief | acrylic, silkscreen, and collage on canvas, 52 x 52 inches

102

Levi Nelson New York, NY ln2463@columbia.edu / www.levinelson.ca / @levi.nelson.artiste

Education 2021

Emily Carr University of Art + Design, Vancouver, Canada Professional Experience

2021

Emily Carr University, Featured Artist/Presenter, Donor Recognition Event, Vancouver, Canada Solo Exhibition

2020

After the Blast: The Art of Levi Nelson, Whistler Contemporary Gallery, Whistler, British Columbia, Canada Group Exhibitions

2021

Resurgence: Indigequeer Identities, Bill Reid Gallery of Northwest Coast Art, Vancouver, Canada

Through oil painting and mixed media works on canvas, I am interested in exploring issues of Indigeneity and the contemporary Indigenous experience as it relates to the Western world. As a First Nations person from Canada, I am aware that oil painting is a European tradition in the arts. This informs my practice as I include traditional elements of Canadian Aboriginal culture, or—as we are more widely known here in the United States—the Native American or American Indian. I am both fascinated with and appalled by American Indian stereotypes, and I often borrow the signifying vernacular from the plethora of typecast imagery depicting my people that stems from the media, advertisements, sports team logos, and throughout art history. I fuse traditional motifs from Indigenous culture with a Western understanding of art historical association to speak about my experience as it communicates to a larger Western audience.

Awards 2021

John C. Kerr Chancellor Emeritus Award for Excellence in Visual Arts, Vancouver, Canada

2018

IDEA Art Award, Vancouver, Canada Publications

2021

Cover design/Featured artist, Indiescreen Magazine, Fall 2021 Issue Collections Vancouver General Hospital & University of British Columbia Hospital Foundation Permanent Collection, Koerner Pavilion, Vancouver, Canada

103

Nelson | Emily Carr University of Art + Design

b. 1983 Vancouver, BC

Chen Peng Under the Moon | oil on canvas, 43 x 34 inches

104

Chen Peng Crossing the Field | oil on canvas, 30 x 40 inches

105

Chen Peng Okay I’m Going Home | oil on canvas, 26 x 34 inches

106

Chen Peng Cambridge, MA studiochenpeng@gmail.com / www.chenpengstudio.com / @chenpenguinn

Education 2022

MFA, Boston University (BU), Boston, MA

2016

BFA, Cleveland Institute of Art, Cleveland, OH

2012

BA, National Taiwan University, Taipei, Taiwan Residencies

2019

Vermont Studio Center, Johnson, VT

2018

The Studios at MASS MoCA, North Adams, MA

2021

Ferns in my kitchen, Boston University Commonwealth

Traveling between the US and Taiwan for the past eight years, I find myself constantly struggling to define where home is and who I am. In my recent body of work, I take inventory of my life. I pick objects that I’m particularly fond of and paint them from life. Through the act of looking and painting, I reconstruct the connection between the objects and myself and implant my own character and narrative in them. I approach each painting as a journey of self-reflection and exploration. Under the facade of various styles and light-hearted images, each painting reveals pieces of personal memories, wishes, or fantasies.

Group Exhibitions Gallery, Boston, MA IYKYK: Are You Ready for the Future?, Piano Craft Gallery, Boston, MA 2020

In Manual Mode, The Yard: Back Bay, Boston, MA

2019

Concoction, ROY G BIV Gallery, Columbus, OH Paper Art Project, MUMU Gallery, Tainan, Taiwan Collections Cleveland Institute of Art Baker Hostetler University Hospitals Harrington Heart & Vascular Institute Fidelity Corporate Art Collection

107

Peng | Boston University, BU

b. 1989 Hsinchu, Taiwan

First Last Title | medium, X x X inches

Chen Peng | Crossing the Field (detail) 194

Ruth L. Poor Sexting in the Circle | ink, screenprint, acrylic, oil, hand-embroidery, embroidery hoop, and tatting on panel, 24 x 18 x 2 inches

108

Ruth L. Poor Heirlooms | embroidery floss, oil, screenprint, and wooden supports on toile de jouy, 72 x 52 x 2 inches

109

Ruth L. Poor Weeds (Jesus Saves) | oil, ink, hand embroidery, acrylic medium transfer, and fabric on panel, 18 x 24 x 2.25 inches

110

Ruth L. Poor Chicago, IL www.ruth.wix.com/portfolio / @ruthlpoor

Education 2022

MFA, School of the Art Institute of Chicago (SAIC), Chicago, IL

2013

BFA, Religious Studies, DePauw University, Greencastle, IN Two-Person Exhibitions

2014

Suspicious Continuation (with Brittany Sievers), Low Road Gallery, Greencastle, IN

Lying through the fog and wild thickets of the rural Midwest landscape are isolated and zealot sectors of Christianity. Spiritual leaders in closed communities build proverbial arks containing traditions of hierarchy that create a culture of erasure and duty, all while hiding under the guise of biblical rhetoric. My collage work attempts to modernize biblical stories and rural cultural mythologies in a way that highlights forms of injustice or hierarchy. The subjects and mediums used to create my work are often symbolic and juxtaposed in the hopes that the viewer is able to re-code and re-imagine the separate collaged parts—paint, embroidery, and print—that create contemporary fictions.

Group Exhibitions 2021

AXA Art Prize, New York Academy of Art, New York City, NY New Work Show, The Galleries at SAIC, Chicago, IL

2019

Halo Halo, Pinto International Gallery, New York City, NY Potpourri Rapture 2, ADDS DONNA Gallery, Chicago, IL

2014

17th International Open, Woman Made Gallery,

2012

National Society of Arts and Letters Bloomington Chapter

Chicago, IL Annual Exhibition, Indiana University, Bloomington, IN Rites of Passage 9, Manifest Gallery, Cincinnati, OH Collections North Central College, Naperville, IL The Company, Greencastle, IN

111

Poor | School of the Art Institute of Chicago, SAIC

b. 1989 Greencastle, IN

Tania Qurashi Obscuro | oil and flashe on panel, 18 x 14 inches

112

Tania Qurashi When I spit a poppy grows there | oil on panel, 14 x 11 inches

113

Tania Qurashi Your Garden Grows | oil on panel, 20 x 16 inches

114

Tania Qurashi Philadelphia, PA taniaqurashi@me.com / www.taniaqurashi.com / @tania.qurashi

Education 2021

MFA, Pennsylvania Academy of Fine Arts (PAFA), Philadelphia, PA

2016

BFA, The University of the Arts, Philadelphia, PA

2021

Porous Modes, Field Projects, New York, NY

Group Exhibitions Good Neighbors, Amos Enos Gallery, Brooklyn, NY MFA Thesis 120th Annual Student Exhibition, Pennsylvania Academy of Fine Arts, Philadelphia, PA Pet Dreams, PAFA, Philadelphia, PA 2019

Reflection(s), Anne Bryan Gallery, Philadelphia, PA

2018

The Imploring Surface, Stella Elkins Gallery,

2017

A More Perfect Union, Asian Arts Initiative,

My work is rooted in my identity as a daughter of immigrants from Pakistan and Guatemala. Through paintings, drawings, and objects, I explore the cultural, racial, and ethnic melancholy and isolation of living in an American suburb. Gardens, windows, fences, and objects represent the many facets of my identity as a child of immigrants, a multi-racial and multi-ethnic woman, subjected to American history and idealism. Objects become vessels of exchange between cultures and generations, as well as channels to explore the romantic, religious, personal, and political. The fragmented identities contribute to the shifts in imagery, while attempts of reconciliation with the self through windows and fences affirms our identities as outsiders looking in and looking out.

Philadelphia, PA Philadelphia, PA Award 2021

Brodsky Center at PAFA James V. Nixon Jr. Award Honorable Mention, InLiquid and Dina Wind Young Fellowship

2019

Artistic Excellence Award

2016

Roberta Treatment Eisenberg Scholarship Viola Foulke Scholarship Ernest W. Greenfield Annual Memorial Award in Painting

115

Qurashi | Pennsylvania Academy of Fine Arts, PAFA

b. 1993 Plainfield, NJ

Abby Robinson Pravda Tocca | acrylic, charcoal, fabric, and collage on wood board, 48 x 48 inches

116

Abby Robinson Cinq | oil, acrylic, silkscreen, tape, and paper on wood board, 12 x 12 inches

117

Abby Robinson Tabled | oil, acrylic, rock, aluminum, and canvas on wood board, 36 x 36 inches

118

Abby Robinson New York, NY 504.975.3356 abigail.v.robinson@gmail.com / www.abbyrobinsonstudio.com / @abigailvrobinson

Education 2022

MFA candidate, Columbia University, New York, NY

2013

MBA, New York University, New York, NY

2007

BA, Tulane University, New Orleans, LA

2021

The (better late than never) summer show, ChaShaMA,

Group Exhibitions New York, NY 2019

9999, The Fireplace Project, East Hampton, NY

I make paintings, drawings, and sculptures that explore formal questions of space, color, form, and line in informal and playful ways by using diverse materials. My abstract visual language often includes organizing conventions—such as nets, webs, and grids—and more spontaneously emerging forms and marks. In these paintings, I start with a delicate, carefully constructed surface before an inherent geometry emerges that gets played with and interrupted as I populate the painting. Delicate, organized gestures live together with detritus, ultimately arriving at a place of tension and harmony. As I’m working, I often think about what conditions create a more free and imaginative space.

119

Robinson | Columbia University

b. 1984 New Orleans, LA

Polina Tereshina Venus | acrylic on canvas, 78 x 94 inches

120

Polina Tereshina Rider | acrylic on canvas, 76 x 89 inches

121

Polina Tereshina Big Baby | acrylic on canvas with plastic buckets, 89 x 79 inches

122

Polina Tereshina Brooklyn, NY 206.624.3034 (Linda Hodges Gallery) polinatereshina@gmail.com / www.polinatereshina.com / @polinatereshina

Education 2021

MFA, Hunter College, New York, NY

2013

BFA, University of Washington, Seattle, WA Solo Exhibition

2017

Ghost, Linda Hodges Gallery, Seattle, WA Group Exhibitions

2021

A Gathering, The Catskills, New York, NY Flesh and Time and Bread and Friends, Galerie Christine Mayer, Munich, Germany

Polina Tereshina uses a wide range of vocabulary, from the language of zines and protest, to that of abstract expressionism. Tereshina weaves together the discourse of the white cube with comic book humor, reflecting on canonical ideological constructs. By condensing binaries of representation, such as abstraction and gender, as well as other cultural tropes, she creates areas of openness where these categories begin to lose their assertive power. Sundry references to art history and geography swim in a sea of loose brush marks where archetypes are untethered from the frameworks they rely on to exist. Tereshina creates arrangements where each object is a concrete proposition— social, political, and imaginary—creating a constellation of varying ideas that forms an overall conceptual gestalt.

In The Wake, Hunter College Gallery, New York, NY 2 Gather, Studio E Gallery, Seattle, WA 2020

Leyline of Anticipation, Puppy American, Bronx, NY

2018

One Room, Studio E Gallery, Seattle, WA

2017

Out of Sight, Jackson Street, Seattle, WA

2016

What’s the story?, Linda Hodges Gallery, Seattle, WA Giant Steps, King Street Station, Seattle, WA Awards

2016

Grant recipient, Grants for Artists’ Progress (GAP)

2015

Art Walk Award, City Arts Magazine Represented by Linda Hodges Gallery, Seattle, WA

123

Tereshina | Hunter College

b. 1988 Chelyabinsk, Russia

Andrew Thorp Untitled | oil on canvas, 56 x 48 inches

124

Andrew Thorp Untitled | oil on canvas, 70 x 52 inches

125

Andrew Thorp Untitled | oil on board, 56 x 48 inches

126

Andrew Thorp Baltimore, MD andandrewthorp@gmail.com / www.andrew-thorp.com / @andrew_thorp

Education 2020

MFA, Towson University, Towson, MD

2013

BFA, Maryland Institute College of Art, Baltimore, MD Residency

2013

Vermont Studio Center, Johnson, VT

2021

State of Being, Hamilton Gallery, Baltimore, MD

My paintings are landscapes from liminal, everyday spaces, usually painted with oil on canvas or panel. These scenes are typical, but in them I find immense depth, presence, and beauty. I enjoy the quickness and washiness of paint, often letting it be itself on canvas rather than worrying too much about its representation. As I paint, I focus on the idea of being present in a world that is on the verge of collapse due to climate catastrophe and economic disaster. I wonder what it means to make art in the end times.

Group Exhibitions Not Again, RISD, Providence, RI

127

Thorp | Towson University

b. 1991 Tulsa, OK

Pedro Troncoso 6 brides 4 maids | oil on canvas, 40 x 36 inches

128

Pedro Troncoso Baby shower | oil on canvas, 40 x 36 inches

129

Pedro Troncoso Silly slammer | oil on canvas, 27 x 20 inches

130

Pedro Troncoso Bronx, NY rogelio-troncoso@hotmail.com / www.iwaspedro.com / @iwaspedro

Education 2022

MFA candidate, New York Academy of Art (NYAA), New York, NY

2020

BFA, The New School, Parsons School of Design, New York, NY

2018

Altos de Chavon La Escuela de Diseño, AAS, La Romana, Dominican Republic Group Exhibitions

2021

AXA Art Prize, New York Academy of Art, New York, NY 29th Biennial of Visual Arts, Museum of Modern Art, Santo Domingo, Dominican Republic Young New Yorkers Art Fundraiser, Showfields, New York, NY

2020

The Autry’s Collecting Community History Initiative, Autry Museum of the American West, Los Angeles, CA Black and White, BWAC Gallery, Brooklyn, NY 41st Annual Juried Art Exhibition, Monmouth Museum,

Despite art being passively present as I was growing up, I ended up studying aviation. While dealing with this universal decision, my honesty, intuition, and spontaneity from childhood were deteriorating. So, I quit aviation and moved to the United States, where my work now questions cultural roles, stereotypes, and uncertainties about identity. I explore a fantasy world that is fused with representational figuration of what remains of our genuine self as we “grow up” and adapt to society, incorporating the only toy remaining in adulthood: imagination. Mainly inspired by childhood memories, the narratives are played by self portraiture or imagined alter egos. They inhabit dark, intimate interior spaces where, ironically, I mentally deal with external, real world anxieties, such as acceptance, gender roles, and self-image. Fragmentation and deconstruction of the figure allow me to juxtapose contradictory scenarios; they remind me of how our identity is constantly distorted and threatened by social standards. We are pushed to wear artificial masks in order to fit within the “norm” and expectations, repeatedly making me question what it even means to be my real self at this point.

Lincroft, NJ 2017

Palace of Fine Arts Freddy Beras-Goico (Award Finalist), Santo Domingo, Dominican Republic

2016

Galería Altos de Chavón, La Romana, Dominican Republic

131

Troncoso | New York Academy of Art, NYAA

b. 1996 La Romana, Dominican Republic

Frank Vega Altar No. 7, Armado | mink collar, egg shell, basket, two carved shapes, floor tile, clamps, acrylic, and oil paint on plywood, 51 x 21 x 7 inches

132

Frank Vega We Change | wood napkin rings, clamps, found metal base, acrylic and oil on plywood, 62 x 37 inches

133

Frank Vega Ave Viajera (Traveling Bird) | feathers, found brass leaves, acrylic, and oil on canvas, 61 x 67 x 2.5 inches

134

Frank Vega Chicago, IL fvega@saic.edu / www.frankvega.net / @fvegart

Education 2022

MFA candidate, School of the Art Institute of Chicago (SAIC), Chicago, IL

2018

BFA, University of Illinois at Urbana-Champaign, Champaign, IL Residencies

2021 2020

Artist-in-residence, Casa Lü, Ciudad de México, Mexico Tanda, self-directed research residency, Chuquimarca Projects, Chicago, IL

I gravitate to the playfulness of objects and their potential for transformation. My practice calls attention to the relationships between our bodies and the things we surround ourselves with. My goal is to put divergent objects into a whole. Different materials, surfaces, and shapes help me represent personifications with unique attributions that can coexist together. When constructing entities through painting, sculpture, and other processes, I avoid direct representations of human bodies to create autonomous objects that expand on the idea of what constitutes a body. My hybrid identity grounds my desire to create a personal mythology that builds on my understanding of the many histories and systems I inhabit.

Professional Experience 2018

University of Illinois at Urbana-Champaign, Apprenticeship with Professor Patrick Earl Hammie, Champaign, IL Two-Person Exhibitions

2021

Pareidolia (with Payton Harris-Woodard), Patient Info,

2019

Visceral (with Bobbi Meier), Extra Projects, Chicago, IL

2021

Ambiente Humano, Galeria 54, Mexico City, Mexico

Chicago, IL

Group Exhibitions Three Person Exhibition, West Loop Dot Gallery, Chicago, IL 2019

UNIDXS, Side Street Art Center, Elgin, IL

2018

Small Works, Harper College, Palatine, IL Carnaval, Krannert Art Museum, Champaign, IL Awards

2021

Helen Frankenthaler Scholarship, SAIC, Chicago, IL

2018

Florence M. House Scholarship, College of Fine and Applied Arts at Illinois, Champaign, IL

2017

Helen E. Platt Blake Scholarship, College of Fine and Applied Arts at Illinois, Champaign, IL

135

Vega | School of the Art Institute of Chicago, SAIC

b. 1992 Cuenca, Ecuador

Bianca Walker Douglas Flats | house paint on drop cloth, 53 x 45 inches

136

Bianca Walker Trillbilly Trilby | house paint on drop cloth, 40 x 45 inches

137

Bianca Walker Last Black Seminole | house paint on drop cloth, 69 x 43 inches

138

Bianca Walker New Orleans, LA 510.949.6190 biancawalkerart@gmail.com / @biancawalkerart

Education 2023

MFA, University of New Orleans, New Orleans, LA

2020

BFA, Grambling State University, Grambling, LA

2021

Arts at Oakland, Oakland Cemetery, Atlanta, GA

Group Exhibitions Art of the Black Experience, Ashe Cultural Center, New Orleans, LA Dismantle Noma: The New Now, Spillman Blackwell Gallery, New Orleans, LA

In my current work, I explore the history of colonization by embracing simple methods of crafting the environment so as to emphasize the primitive qualities of the materials. For example, I utilize the fluidity of house paint by dripping it on the work; I represent the absorbency and malleability of drop cloth by leaving it bare and wrinkled. Abstracting images of the African Diaspora allows me to present Blackness in a vulnerable and primitive state, one in which it often isn’t allowed to exist. My reverence for the materials mirrors that of the subject matter; the archival images I work from compose their own paintings with little to no manipulation due to the absence of a brush, creating moments where Black people are free.

Mr. Wolf Espresso, Contemporary Arts Center, New Orleans, LA Uptown Laundry, Beaubourg Theatre, New Orleans, LA Louisiana Contemporary, Ogden Museum of Southern Art, New Orleans, LA Welcome to the Afrofuture, New Orleans African American Museum, New Orleans, LA 2020

Rediscovering, Lost Values, New Orleans, LA

139

Walker | University of New Orleans

b. 1997 Berkley, CA

Ming Wang Inescapable Doll House | oil on canvas, 28 x 22 inches

140

Ming Wang Cactus | oil on canvas, 40 x 30 inches

141

Ming Wang Underground Spring | oil on canvas, 43 x 61 inches

142

Ming Wang New York, NY 347.453.6783 mingwangart@gmail.com / www.mingwangart.com / @mingmingmingwang

Education 2023

MFA candidate, Columbia University, New York, NY

2020

BFA, School of Visual Arts, New York, NY

My work combines different imagistic rules and visual languages to create new dimensions that are almost always located in a “wonder world.” These reflect reality—from personal experiences, to events happening in our surroundings. I place characters in different settings, experiment with space and rhythm, then create paintings that become curious simulacra.

Professional Experience 2020

Studio Assistant to Stella Zhang, San Francisco, CA

2020

2020 Visions, SVA Chelsea Gallery, New York, NY

Group Exhibitions Society of Illustrators, Museum of American Illustration, New York, NY 2019

Location as Character, SVA Chelsea Gallery, New York, NY

2017

First Offerings, Flatiron Project Space, New York, NY

I often start projects with a vague motif or direction that will hopefully lead to an intriguing image. The trigger may include objects that are acutely attractive to me or the atmosphere created from music or film. When I start painting, I keep asking myself questions and making choices, while gradually noticing what the work is trying to tell me. Through making images, I am searching for my position in the world.

China Illustration Biennial, Guan Shanyue Art Museum, Shenzhen, China Awards 2020

Jack Endewelt Memorial Award, School of Visual Arts, New York, NY

2019

Gilbert Stone Full Tuition Scholarship 2019-2020, School of Visual Arts, New York, NY

143

Wang | Columbia University

b. 1998 Shenzhen, China

Lauryn Welch Sam’s Window | acrylic on canvas, 72 x 36 inches

144

Lauryn Welch Covid Living Room | acrylic on canvas, 68 x 72 inches

145

Lauryn Welch Masking Up | acrylic on canvas, 10 x 8 inches

146

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

Education 2023

MFA candidate, Hunter College, New York, NY

2015

BFA, State University of New York (SUNY), Purchase, NY Residencies

2021

Distribution Mentorship, IF/Then Shorts, New York, NY

2017

Vermont Studio Center, Johnson, VT Professional Experience

2020

CAA Conference, Panelist, Analogue Rebellion: The Relevance of Mail Art in the 21st Century, Chicago, IL

2015-

Teaching Artist, Art Prof (online)

2020

Semaphore for Geese and Goslings (online),

Solo Exhibitions POWDERFREEVACUUMSEALED Two-Person Exhibitions 2019

My acrylic paintings are about the relationship between private spaces and the people that inhabit and shape them. 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 me as they do my own body. Private space provides potentialities of being not offered by the public sphere. I draw from my experiences in caregiving and disabilities to depict the many joyful, loving, idiosyncratic, and fraught iterations of private space between two people. I use magical realism to describe the psychological tenor that is interwoven between body and interior over time; I imagine the conditions needed to put down roots. 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.

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

2022

Welcome Home, Shelter, New York, NY

2021

Nice to See You Again, Underdonk, Brooklyn, NY Platform 2021, Winston Wächter, New York, NY Publications

2019

Aldredge, Michelle, ‘10 Emerging New England Artists,’ Art New England

2017

New American Paintings, Issue #128 Collection Green Family Art Foundation

147

Welch | Hunter College

b. 1991 Hanover, NH

First Last Title | medium, X x X inches

Lauryn Welch | Covid Living Room (detail) 196

Xuanlin Ye Vase and flower | oil and photo transfer on canvas, 48 x 71.5 inches

148

Xuanlin Ye back | oil and ink on canvas, 52 x 78 inches

149

Xuanlin Ye trinity of the nowness | oil on canvas, 72 x 60 inches

150

Xuanlin Ye Chicago, IL xye8141@gmail.com / www.artworkarchive.com/profile/xuanlin-ye

Education 2022

MA candidate, Art History, The University of Chicago, IL

2020

MFA, Maryland Institute College of Art (MICA), Baltimore, MD

2017

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

2021

Still, Life, Art Cake, Broolyn, NY

Group Exhibitions Asian Students and Young Artists Art Festival 2021, Hongik Museum of Art, Seoul, Korea Significant Delay, School 33, Baltimore, MD 2020

Incubate This!, Fred Lazarus IV Gallery, Baltimore, MD

I task myself with finding a new genre of visual expression that is representative of the contemporary Asian geopolitical psyche without the influence of Western stereotypes. One main strand of my work includes taking the imagery of traditional Asian tropes and questioning it in a humorous or insouciant way through the physical manipulation of paint. The second strand involves extensive research comparing contemporary popular images that relate to both classical Chinese culture and paintings. I believe classical Chinese culture and art were formed in a particular state of consciousness that brings us a unique aesthetic experience that, in essence, is also a philosophical state of being. I attempt to use the representations of this classical sensibility to create images that generate moments of absorption wherein we can reflect on our shared state of being.

Award 2020

Hoffberger Fund Fellowship

151

Ye | Maryland Institute College of Art, MICA

b. 1993 Wenzhou, China

Rachael Zur Leftovers & Afterglow | plaster gauze, acrylic, resin, acrylic cackle paste, and spray paint, 22 x 30.5 inches

152

Rachael Zur Held | corrugated plastic, plaster gauze, acrylic, resin, and spray paint, 15 x 20 inches

153

Rachael Zur 1939-2019 | corrugated plastic, plaster gauze, acrylic, spray paint, fabric, sequins, and netting, 39 x 24 inches

154

Rachael Zur West Linn, OR rzur00@yahoo.com / www.rachaelzur.com / @rachaelzur

Education 2019

MFA, School of the Art Institute of Chicago (SAIC), Chicago, IL Professional Experience

2020

SAIC, Program Mentor, Low Residency MFA Program, Chicago, IL Solo Exhibitions

2021

Haunt, Stone House Art Gallery, Charlotte, NC

2020

Artifacts of Affection, Gallery 114, Portland, OR

Traces of us linger in the physical world, even in our absence. There is an evocative nature to domestic objects and spaces; items within homes hold the residual energy of lives lived long after people are gone. My work depicts ordinary objects from living rooms that hold a remaining radiance and tenderness of the departed. I work with materials that have weight to them to ground ephemeral concepts into an artwork that is physically solid and fixed. The artwork holds the ideas and feelings, which are light and almost impossible to contain—similar to how homes can hold the lingering domestic presence of those who are gone. Contour lines move across the surface of my paintings like phantoms; or, at other times, one defines the edge of a work, articulating a wing or hand as a fully present body.

Parlor Room, 26Twenty Gallery, Cape Girardeau, MO 2017

Chimeras & Underdogs, Gallery 114, Portland, OR Two-Person Exhibitions

2021

Home/body (with Ruth Ross), Anita S. Wooten Gallery at Valencia College, Orlando, FL Group Exhibitions

2021

Artworks Northwest Biennial, Umpqua Valley Arts Association, Roseburg, OR Porous Modes (online), Field Projects, New York, NY What’s Different?, SOIL, Seattle, WA Residual Dwelling, Wavelength Space, Chattanooga, TN

2019

Night Garden (online), yngspc All Together, One Grand Gallery, Portland, OR Publications

2021 2020

New American Paintings, Issue #151 Mothes, Kate, Artist Interview, yngspc, https://yngspc.com/ artists/2020/05/rachael-zur/ Awards

2018

Ox-Bow Loretta Grellner Scholarship, Ox-Bow School of Art, Saugatuck, MI 155

Zur | School of the Art Institute of Chicago, SAIC

b. 1980, Albany, OR

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.

Salim Green 4 | oil on burlap installed on a metal swivel arm, 80 x 53.5 inches

158

Salim Green Jamil | oil on burlap installed in a metal swivel arm, sizes variable (80 x 53.5 inches)

159

Salim Green Suit Jacket | liquid rubberized asphalt, archival photograph, my father’s suit jacket, dimensions variable

160

Salim Green Los Angeles, CA allensalim@gmail.com / @salim.green

Green | University of California, Los Angeles, UCLA

b. 1996 Hartford, CT

Salim Green hides.

Education 2024

MFA candidate, University of California, Los Angeles, CA

2020

BA, Wesleyan University, Middletown, CT Residency

2021

Chautauqua School of Art Residency, Chautauqua, NY Professional Experience

2020

Something Special Studios, Board Member, Black Creative Endeavors Grant, Los Angeles, CA Group Exhibition

2020

The Democracy Project (online), Artillery Magazine Awards

2021

Visiting Artist Lecture, Massachusetts College of Art and Design, Boston, MA Visiting Artist Lecture, Wesleyan University, Middletown, CT

2020

Best Paper Prize, Wesleyan University, Sociology Department, Middletown, CT Publications

2020

Cheng, Vivian, ‘Newark Boys Chorus School x Something Special Studios,’ Office Magazine

2019

Dunn, Frankie, ‘Billie Eilish: I’m never going to get old. I shall stay young forever’ (Beats by Dre feature), i-D Magazine

2016

Petrarca, Emilia, ‘Photos: A Fashion Collaboration Was Inevitable for Eileen Kelly – Russian-born DJ Cyber 69 collaborates with Parisian label, NasaSeasons on baseball hats,’ photographs by Green, Salim, W Magazine Collection Lee Kaplan, Arcana: Book of the Arts The Underground Museum 161

First Last Title | medium, X x X inches

Salim Green | Jamil (detail) 198

Baoying Huang 10 A.M. | oil on linen, 34 x 34 inches

162

Baoying Huang Grayish-gray Mirror | oil on linen, 60 x 46 inches

163

Baoying Huang Studio Arrangement No. 3 | oil on linen, 36 x 28 inches

164

Baoying Huang Boston, MA baoying0309@gmail.com / www.baoyingstudio.com / @baobaostudio

My work is about things that are close to me, which I translate through observation and documentation.

Education 2022

MFA candidate, Boston University (BU), Boston, MA

2019

BFA, School of Visual Arts (SVA), New York, NY Residency

2019

Trestle Projects, Critical Feedback Projects Program,

Painting acts like a portal for me to tell the story of feeling trapped in the gap between two countries, where I am a citizen of one, and a resident of another. Finding the resolution among vague memories and vivid life is a journey of reconciling the struggle of disorientation I constantly encounter.

Brooklyn, NY Group Exhibitions 2021

Ferns in my kitchen, BU Commonwealth Gallery, Boston, MA Dinner to follow, BU Commonwealth Gallery, Boston, MA

The non-fictional depiction of the accessible surroundings highlights the sensibility required to notice the nuances of expression we often overlook in our daily routine. In order to grasp the tangible connection with the physical world, I try to place my invisible presence in these otherworldly spaces.

IYKYK, Piano Craft Gallery, Boston, MA 2020

Backyard dream keeps me awake, Tutu Gallery,

2019

Tales from the crit, SVA Gramercy Gallery, New York, NY

Brooklyn, NY Intensive, Columbia University Neiman Gallery, New York, NY Awards 2020

Jon McDonald Scholarship, Society of Illustrators, New York, NY

2019

Rhodes Family Award for Outstanding Students, School of Visual Arts, New York, NY BFA, Illustration and Cartooning Award, School of Visual Arts, New York, NY

165

Huang | Boston University , BU

b. 1997 Shenzhen, China

Jeremiah Jossim Southwest Service Road | oil on panel, 32 x 48 inches

166

Jeremiah Jossim Solo Trip | oil on panel, 48 x 60 inches

167

Jeremiah Jossim Self Portrait (therianthrope) | oil on panel, 17 x 17 inches

168

Jeremiah Jossim Gainesville, FL jeremiahjossim@gmail.com / www.jeremiahjossim.com / @jeremiahjossim

Education 2023

MFA candidate, University of Florida, Gainesville, FL

2010

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

2016

The Hambidge Center, Rabun Gap, GA

2021

Fragile Horizon, Florida Mining, Jacksonville, FL

2021

Impact, Sulfur Studios, Savannah, GA

Jeremiah Jossim’s work speaks to a deep reverence for the American landscape, but also questions the privileges of recreation, tourism, and who has the right to explore and live alternatively in this country. His practice is deeply concerned with our manipulation of the environment and the ever-growing imbalance that has come to define the Anthropocene. Through examining our relationship with the landscape, his paintings investigate the shape and the feeling of the land, and explore the landscape’s psychological effect on our personal sense of place.

Solo Exhibition

Group Exhibitions

Represented by Florida Mining, Jacksonville, FL

169

Jossim | University of Florida, Gainesville

b. 1988 Jacksonville, FL

Lyn Liu Act I | oil on linen, 29 x 36 inches

170

Lyn Liu Searching | oil on linen, 29 x 36 inches

171

Lyn Liu Traveler | oil on linen, 33 x 40 inches

172

Lyn Liu New York, NY lynnliu1220@gmail.com / www.lynliu.com / @lynlynlliu

Education 2022

MFA candidate, Columbia School of Visual Arts, New York, NY

2020

École nationale supérieure des Beaux-Arts, Paris, France

2016

BFA, School of Visual Arts, New York, NY

2019

Dire son nom, Atelier Guillaume Paris, Beaux-Art de Paris,

Group Exhibitions

Lyn Liu was born and grew up in Beijing, China. She studied at the School of Visual Arts in New York and École nationale supérieure des Beaux-Arts in Paris, where she achieved her two Bachelor degrees in Fine Arts. She is currently an MFA candidate for the Columbia Visual Arts program. Liu works in painting, printmaking, and publication. Her work focuses on the interdependent relationship between an individual and a community. The psychological perspective from which she views the social strategy is closely linked to her biography.

France 2018

The Imaginations of A Museum, J:Gallery & Museum of

2016

LinkedIn: From Photography, to Painting, to Sculpture and

Science Fetish, Shanghai, China New Media, SVA Chelsea Gallery, New York, NY

173

Liu | Columbia School of Visual Arts

b. 1993 Beijing, China

First Last Title | medium, X x X inches

Lyn Liu | Searching (detail) 200

Matthew Sprung The Carousel | oil and acrylic on unstretched canvas, 78 x 68 inches

174

Matthew Sprung Voter Suppression Continued | oil on unstretched canvas, 78 x 68 inches

175

Matthew Sprung Information Desk | oil on unstretched canvas, 78 x 68 inches

176

Matthew Sprung New York, NY m.ian.sprung@gmail.com / www.matthewsprung.com / @m.sprung

Education 2021

MFA, School of the Art Institute of Chicago (SAIC), Chicago, IL

2014

BA, Oberlin College, Oberlin, OH

Since beginning to teach myself how to paint in 2016, and following my graduation from the Painting and Drawing MFA program at the School of the Art Institute of Chicago in 2021, my practice has taught me three key lessons: (1) it takes the most difficult work to make something seem simple; (2) the object is trying to feel and understand every emotion as you work through them; and (3) there is always more to learn.

Solo Exhibition 2022

The David Graeber Institute Inaugural, The Poor Farm, Little Wolf, WI Group Exhibitions

2021

Goodbye Horses (Alumni show), The Research House of Asian Art, School of the Art Institute of Chicago, Chicago, IL MFA Graduate Show, School of the Art Institute of Chicago, Chicago, IL

2019

Material Landscape, Social Landscape: Human Presence,

As the realities of political extremism, climate change, and inequality become starker and more bleak, the more I believe we need to reach out and support each other. This can happen with big actions but also with small ones, like simply occupying the same space as someone who needs to not be alone. The spaces I’ve begun to seek out and construct in my larger landscape and interior paintings attempt to reflect the tensions and harmonious connections found in both empty and populated places as we all continue to strive to help one another get through these trying times.

Kunstraum Gallery, Brooklyn, NY 2018

MEASURES, The Art Vacancy, Brooklyn, NY A Quick Turnaround (So I’m Pretty Turned Around), Kunstraum Gallery, Brooklyn, NY Studio Painting Residency Showcase, Con Artist Collective, New York, NY

177

Sprung | School of the Art Institute of Chicago, SAIC

b. 1991 New York, NY

First Last Title | medium, X x X inches

Matthew Sprung | Information Desk (detail) 202

2021 Emerging Artist Grant Recipient

Biographical information has been edited.

Robert Martin Marsh Portrait | acrylic and oil on canvas, 72 x 31.5 inches

179

Robert Martin Valerie’s Letter | oil on stretched canvas, 24 x 36 inches

180

Robert Martin Denver, CO robert.m.buehler@gmail.com / www.rmsculpture.com / @robertmartinart

Education 2020

MFA, University of Colorado Boulder, Boulder, CO

2018

BFA, University of Wisconsin-Stout, Menomonie, WI Professional Experience

2022

Rocky Mountain College of Art & Design, Adjunct Faculty, Foundations Dept., Lakewood, CO

2021

Metropolitan State University of Denver, Adjunct Professor, Foundations Dept., Denver, CO

I am creating work that visually presents as—or perhaps somewhere near—wildlife art. That is, I am using the visual language and motifs of this genre to communicate queer themes, identities, and storylines on the rural American stage. Conversely, in generating ruralcore art, I extend an invitation to those who may feel excluded by the sometimes elitist nature of the art world and its institutions. It is important that my work acts as a bridge rather than presents as a Trojan horse. I am interested in generating conversation over critique; between the queer community and rural America, between the canonized fine arts and the commodified wildlife arts, across wealth brackets and beyond a gender binary.

University of Colorado Boulder, Adjunct Professor, Drawing & Painting Dept., Boulder, CO Solo Exhibitions 2021

Two Bucks, Bermudez Projects, Los Angeles, CA Legacy, Warner Ball Gallery, (online) Group Exhibitions

2022

Leave a Light On, The Valley, Taos, NM After Dark, Rule Gallery, Denver, CO

2021

The Scenic Route, 1969 Gallery, New York, NY School’s Out, Friend of a Friend, Denver, CO Fly Over with the Rural Midwest Artists Cooperative, The HUB Arts & Cultural Center, Rushville, IL Winter in the Valley, The Valley, Taos, NM 31st Annual Midwest Seasons, The Center for the Visual Arts, Wausau, WI

2020

Great Expectations, Gallery of Contemporary Art, Colorado Springs, CO

181

Martin | University of Colorado, Boulder

b. 1994 Marshfield, WI

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.

Nuveen Barwari p16 NFS p17 NFS p18 NFS

Megan Hinton p72 $1,000 p73 $1,400 p74 $1,400

Pedro Troncoso p128 NFS p129 NFS p130 NFS

Shir Bassa p20 $2,500 p21 $3,000 p22 $2,500

Stephanie Mei Huang p76 NFS p77 NFS p78 NFS

Frank Vega p132 NFS p133 NFS p134 NFS

Jessica Bremehr p24 $2,100 p25 $1,500 p26 $2,500

Ji Min Hwang p80 $2,600 p81 $5,500 p82 $5,200

Bianca Walker p136 NFS p137 NFS p138 NFS

Katie Butler p28 NFS p29 NFS p30 $4,000

Saj Issa p84 NFS p85 $6,500 p86 $5,000

Ming Wang p140 $3,000 p141 $3,000 p142 $5,000

Dante Cannatella p32 $4,500 p33 $4,500 p34 $3,000

Lizzy Lunday p88 NFS p89 NFS p90 NFS

Lauryn Welch p144 $6,000 p145 NFS p146 $1,000

Taylor Chapin p36 $1,000 p37 $850 p38 NFS

Zoe McGuire p92 NFS p93 NFS p94 NFS

Xuanlin Ye p148 $4,000 p149 NFS p150 $4,000

Antonia Constantine p40 NFS p41 NFS p42 NFS

Alena Mehić p96 $2,600 p97 NFS p98 $2,300

Rachael Zur p152 NFS p153 NFS p154 NFS

Victoria Dugger p44 POR p45 POR p46 POR

Levi Nelson p100 NFS p101 $5,000 p102 NFS

Jonah Elijah p48 $13,500 p49 $11,400 p50 NFS

Chen Peng p104 NFS p105 NFS p106 NFS

Josiah Ellner p52 NFS p53 NFS p54 NFS

Ruth L. Poor p108 NFS p109 NFS p110 NFS

Mahsa R. Fard p56 $250 p57 $250 p58 $250

Tania Qurashi p112 $1,000 p113 $800 p114 $1,200

Ana Maria Farina p60 $4,500 p61 $4,500 p62 $8,000

Abby Robinson p116 NFS p117 NFS p118 NFS

Brianna Gluszak p64 $600 p65 NFS p66 $1,300

Polina Tereshina p120 NFS p121 NFS p122 NFS

Grace Lynne Haynes p68 NFS p69 NFS p70 NFS

Andrew Thorp p124 NFS p125 NFS p126 NFS

182

Salim Green p158 NFS p159 NFS p160 NFS Baoying Huang p162 NFS p163 NFS p164 NFS Jeremiah Jossim p166 NFS p167 NFS p168 NFS Lyn Liu p170 $1,500 p171 $1,500 p172 $1,500 Matthew Sprung p174 $5,000 p175 $5,000 p176 $5,000

$20