New American Paintings Northeast Issue #164 by newamericanpaintings

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CONTENTS

EDITOR’S NOTE Steven Zevitas

SPOTLIGHT Zombies with Hearts of Gold: Robin F. Williams Michael Wilson, Writer

JUROR’S COMMENTS Leila Grothe, Associate Curator of Contemporary Art, The Baltimore Museum of Art, Baltimore, MD

NOTEWORTHY Juror’s and Editor’s Picks

JUROR’S SELECTIONS Northeast Review 2022

187

EDITOR’S SELECTIONS Northeast Review 2022

213

PRICING GUIDE Asking prices for selected works

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Rubinstein, 198

Feb/Mar

EDITOR’S NOTE

Does something seem different to you? My hope is that the answer is yes. In mid-2022, we began the process of giving New American Paintings a long overdue refresh, and you are now holding the result of these efforts in your hands. Some things have not changed. As with all past issues, you will find the work of forty exceptional artists in these pages, along with information relevant to their respective practices. What has changed is in the presentation. In the interest of making New American Paintings more dynamic and curatorially engaged, artist spreads are no longer constrained to the orderly rhythm of four pages with set image sizes. In a world dominated by the screen, we wanted to make the magazine more visually stimulating, more fun, and ultimately, more informative for our readership. I want to give my deepest thanks to Alexandra Simpson, who led our redesign effort, and to Liz Morlock for all of her insight along the journey. I am extremely proud of what we have accomplished. Those of you who have been following New American Paintings over the years will also notice the return of our editorial feature, titled Spotlight. We are thrilled that so many of our alumni have gone on to become internationally recognized artists, and Spotlight is a chance to take a more in-depth look at some of them. In this issue, we focus on the work of Robin Francesca Williams. I first encountered Robin’s paintings more than a decade ago at P.P.O.W and I count her among the most significant artists working today. In these pages, writer and editor Michael Wilson provides an incisive look at Robin’s career and practice.

The juror for Issue #164 of New American Paintings was Leila Grothe, Associate Curator of Contemporary Art at the Baltimore Museum of Art, and we loved working with her. As with all of our jurors, Leila was tasked with considering the work of hundreds of artists. Given the population density of artists in the Northeast, especially in the New York City area, we are always faced with very tough decisions for this particular review. Leila took her job seriously and arrived at a truly memorable group of selected artists who are diverse, both in terms of their backgrounds and aesthetic viewpoints. You will be seeing big things from a number of these artists in the years to come. Enjoy the issue! Steven Zevitas Publisher & Editor

SPOTLIGHT

ZOMBIES WITH HEARTS OF GOLD: ROBIN F. WILLIAMS MICHAEL WILSON Writer

The erotic is a measure between the beginnings of our sense of self and the chaos of our strongest feelings. —Audre Lorde, Uses of the Erotic: The Erotic as Power

“My paintings are sentient,” states Robin F. Williams. “By that I mean, the figures I paint know they are paintings. To me they feel like clones, or AI with human emotions, or zombies with hearts of gold.” The New York painter, renowned for monumental depictions of ambiguously gendered individuals, employs a wide variety of media and methods— including oil, airbrush, poured paint, marbling, and the staining of raw canvas—to create complex, contemporary images. Bolstering her facility for traditional painting techniques with craft hacks picked up from TikTok and YouTube videos, Williams stirs references to early modernism, advertising, folk art, and cinema into a confrontational take on the sexualized representation of women across context and period. “They know they are being watched,” she observes of her subjects. “They know what they symbolize.” Williams was first drawn to narrative, figurative painting as a student at the Rhode Island School of Design in the mid noughties—a time when, as she acknowledges, digital imagery was in the ascendent. For her, the manipulation of recognizable images made possible a new degree of ambiguity

that is pertinent to critically exploring the human body’s divergent contexts and meanings. The protagonists of Williams’s paintings can be difficult to pinpoint. At times they seem to merge with their environments and, as her personifying remarks suggest, they toy with and subvert our expectations of power, imbuing the female figure with new agency. Her images are in conversation with each other and refuse to act as simple consumables for the viewer; some are open and welcoming, while others embody a spirit of defiance, even hostility. Williams’s exhibitions of the past few years have been organized around distinct bodies of work, yet there were often strong continuities between them. As the artist confirms, “[t]here are conceptual threads that run through all [her] work, and [she is] always looking for more nuanced ways to explore them.” One such link is her subjects’ evident awareness about their own fabricated nature, whereby their identities often seem to exist in fluid spaces between more traditionally discernible categories. As viewers, we’re prompted to ask questions of the artist and of ourselves as easy recognition becomes an ever more challenging undertaking. In Sons of the Pioneers, her 2014 exhibition at the New York gallery P.P.O.W, Williams examined gender roles by concentrating entirely on men rather than through any kind of side-by-side comparison, twisting our presuppositions of traditional portraiture in the process. Where we might have expected to see reclining women, Williams gave us consciously romanticized scenes of

“My paintings are sentient…the figures I paint know they are paintings.”

idling and perhaps misdirected men. Using a vignette-like tondo format to emphasize the voyeuristic nature of her and our relationship to each scene, she deliberately set herself apart from these feckless guys, casting them in strange light that fused picturesque—if at times mocking—fantasies with a quasi-anthropological observation. For example, in “Gold Panner” (2013) a man in a fruitless search for gold sits listlessly, stroking the surface of his empty copper dish. Elsewhere, the subject of “Onlooker” (2013) appears even more unfocused as they stare into the middle distance from beneath a blanket, cap, and net. For Your Good Taste Is Showing, her following 2017 exhibition at P.P.O.W, Williams shifted focus back to the female figure in a series of paintings of women adopting uncomfortable poses. The effect was confrontational—a heady tangle of influences, tropes, and suggestions. Drawing on advertisements from the 1970s that were distinguished by their obvious art historical borrowings, she explored the absurd aesthetic standards to which women were, and still are, expected to conform. The show’s titular canvas makes reference to a cigarette ad, blending shades of Vermeer’s “Girl With A Pearl Earring” (1665) with a stylized take on Balthus’s “Girl With A Cat” (1964). Its female subject holds two cigarettes, one of which appears to be giving the middle finger, while her exposed underwear makes explicit the appropriated images’ undercurrent of desire. A characteristically witty redirection of emphasis, Your Good Taste Is Showing examined the interrelated functions of eroticism, agency, and class.

Another key point of reference and source of imagery for Williams is cinema, which has emerged even stronger in her recent work. After spending the past few years compiling examples of exaggerated femininity from a variety of popular genres—chiefly, erotic thrillers, romances, and horror films— Williams is now making use of the heightened narrative and behavioral patterns that were revealed to her. “Often these shots are composed similarly across different films,” she explains. “They’re designed to make the viewer identify with the woman in terror, pleasure, excitement, or despair.” By undertaking roles of hyperfemininity, Williams posits that these individuals generate moments of catharsis that, especially for a heteronormative audience, can deliver “an experience of gender slippage, queer eroticism, or feminist rage” when sublimated into more socially acceptable forms of nudity and violence. Working off stills she captured with her phone, Williams employs multiple forms of distortion to recall the various technologies and media—from film and television, to videos and cell phones—through which these images have passed to finally become paint on canvas. Yet even as they are transformed, the emotions they elicit not only survive, but intensify, and thus remain valuable. It’s not long before the subjects seem to evolve from being merely the products of visual distortion to the agents of it. As Williams writes, “I want to give the subjects the power to distort the screen. They make the art with their emotions. They are the artists.” Here again, her subjects exert

their own kind of existence—one that’s non-living but somehow still self-aware and possessed of the capacity to influence how we the viewers understand ourselves and our world.

In particular, she makes use of the tools and techniques beloved by hobbyist and decorative painters, not just for their distinctive visual effects, but for their cultural associations as well.

The work in Williams’s fourth exhibition at P.P.O.W, 2021’s Out Lookers, “So much of what we consider ‘low’ in fine art is usually just code for ‘feminine’ or appeared to signal a shift away from her earlier earthly—and earthy—imagery ‘camp’,” Williams reminds us. “Or else we call it ‘folk’ or ‘naïve’, which is code for toward something more mysterious and rather paranormal. An established concern uneducated.” To create the work, she discovered through a cache of how-to and with ideas around gender identity remained, the artist describing her subjects as “prisms” work-in-progress videos on social media that cheap craft brushes and silicone that cast light through female identities suffering misrepresentation and attack. dish sponges could be as valuable to her as rarified and more costly fine-art The exhibition also found Williams continuing to make explicit references gear. Further, Williams found that they might convey something about the lines to film. Most notably, Out Lookers pulled from the common theme in sub- between innocence and adulthood, labor and value, and class and gender. mainstream narratives that women and girls are routinely driven to brutal “It’s no surprise that what reads as expensive and masculine has historically acts of revenge by suffering from a spectrum of fatal flaws that are even been more valuable to us,” she concludes. “I want to question why that is.” more dangerous than those of men. Among the exhibition’s most haunting images was “Final Girl Exodus” (2021) in which a cadre of translucent As women, we have come to distrust that power which rises from our female figures strides toward a brilliantly glowing horizon. The titular “final deepest and nonrational knowledge. We have been warned against it all girl” is itself a reference to the horror genre trope of a sole female survivor our lives by the male world, which values this depth of feeling enough to who is often our protagonist and who ultimately must confront the killer. In keep women around in order to exercise it in the service of men, but which Williams’s work, however, that narrative is about gender and the role of final fears this same depth too much to examine the possibilities of it within girl is altogether more ambiguous. themselves. —Audre Lorde, Your Silence Will Not Protect You: Essays and Poems These works and other projects also cast light on Williams’s range of materials and methods, which reveals how they—as in her references to cinema—extend into realms that can be considered beyond the critical pale.

Images in order of appearance: Your Good Taste is Showing, 2017 acrylic, airbrush, and oil on canvas, 72 x 72 inches Ghost in Labor, 2020 detail oil, acrylic, and oil stick on canvas, 64 x 84 inches Side Eye Tie Dye, 2019 detail acrylic and oil on canvas, 48 x 36 inches Final Girl Exodus, 2021 detail oil and acrylic on canvas, 78 x 144 inches Troll, 2021 detail oil, acrylic, and Flashe on canvas, 72 x 50 inches

All images courtesy of Robin F. Williams and P·P·O·W, New York

JUROR’S COMMENTS

LEILA GROTHE Associate Curator of Contemporary Art, The Baltimore Museum of Art, Baltimore, MD

Painters today are trying to deal. They respond to a near constant crush of crises, swinging from economic to ecological to sociopolitical, knowing all the while how closely each of these collapsing pressures connects. They are—and indeed the world is—recalibrating from a collective experience of the Covid-19 pandemic. Society often turns to art when attempting to make sense of the incomprehensible. Now is our moment to reflect on the isolation, fear, gratitude, injustice, division, and alternative connection that we have developed in relation to a changed world. There’s no need to explain; we have all had front row seats to this transfiguration. Nonetheless, acknowledging that we’ve experienced such a profound rupture in our lived experiences and understanding the impact are entirely different phenomena. We lean on artists to identify the nucleus of our time, exposing the roots of circumstance so that we might improve upon that which came before us. The selections in this edition of New American Paintings showcase the ways in which artists have anchored themselves as we transition from darkness to light. Painting takes time. Every mark is a decision, whether it be the imprint and twist of a brush or the speed and angle of a gesture. It could be surface accumulation or material removal, the density of paint in each stroke, the cohesion of a color palette, or the coherence of illusion. The finished works in this issue characterize the past few years in the studio for many of the artists represented. Painting has always danced between interior and exterior investigation; it constantly pushes its own boundaries, staying ahead of the ever-threatening—

and erroneous—bell curve that pronounces its own death. The artists in these pages are reconfiguring the field and showing us new ways to transform perception. While each responds to the present in their own singular way, some similarities of circumstance come to light by viewing all the work together. Daisy Patton and Mayumi Nakao use a keen eye to investigate our present moment by looking into those from the past. Nakao combines an approach to composition and expression borrowed from Njideka Akunyili Crosby with a brightness that is entirely their own. Patton fuses memory with unfolding pattern and flora, creating a fresh blueprint for embellished remembrances. A particularly compelling trend in contemporary painting is the impulse to incorporate textiles within the surface of the work. Among this issue’s roster of those employing such techniques are the patient, extraordinary works of Massiel Mafes, abundant as they are with the artist’s meticulous labor. In addition, Eustace Mamba and Jeanne F. Jalandoni provide strident examples of the range of possibilities when incorporating woven materials into a composition. Some of these painters reconcile the contingent relationship between intimacy and alienation, as in the works by Jiwoo Choi, whose paintings convey many facets of longing. These paintings feel psychedelic in their transitions from upbeat to melancholy. Luanne Redeye pushes back against alienation with a tangible sense of presence that does not rely on gaze to convey connection. The artist also flexes their representational skills with complex and entirely convincing drapery.

“We lean on artists to identify the nucleus of our time, exposing the roots of circumstance so that we might improve upon that which came before us.” Daphne Arthur and Shiqing Deng jumble and reorder reality with compelling stories and bold structures. The possibilities for both of these confident painters feel endless. Many of the artists included here focus on interiority, particularly as it presents a gathering of the senses and the sensual. Of note are paintings by Li Wang, Dani Klebes, and the distinctive works of Natia Lemay, whose skillful rendering of entirely black, textured backgrounds overcomes the steep challenge of reproduction. The sculptural paintings of Jinie Park expand interiority into a contemplation of absence. In full, the artists presented here consecrate time—whether past, present, or future—with great sensitivity. Their investigations of our social fabric and lived experiences encourage close looking and invite us to journey beyond the canvas into terrain both known and unknown. This is contemporary art doing what it does best.

Patton Wang Redeye

141 166 147

NOTEWORTHY

JUROR’S PICK: TAHA CLAYTON

p35

These paintings read as if composed by a cinematographer. They are exceptional in their ability to transport the viewer into an alternate narrative with certainty that a significant drama has been momentarily stilled. Clayton offers psychological painting with dynamism. The artist is courageous with challenging representations, whether depicting light dappling through trees onto windblown laundry, the complex draping and shifting opacities of a lacy dress, the skillfully controlled lighting of a child peering through curtains, or tattooed skin and assorted camouflage with dramatic high and low lights. Clayton can do a lot with a lot or a lot with a little.

EDITOR’S PICK: AUGUSTINA WANG

p207

There are, of course, many reactions one can have the first time they are confronted by an artist’s work. Among them , ‘What exactly is going on here?’ Over the years, I have found that this feeling usually means an artist’s practice is worthy of attention. Rainbows, unicorns and warrior goddesses are just some of the images that Wang puts forth in her fantastical paintings, yet for all of their playful iconography her work is ultimately about identity and the reclamation of agency. Wang’s subjects are avatars, vessels for her to “role-play” and to confront the many forces that have impacted her as a first-generation Chinese American woman. It is through this process that healing—from traumas that are both societally and selfinflicted—is possible.

SELECTED ARTISTS: NORTHEAST REVIEW 2022

JUROR’S SELECTIONS:

DAPHNE ARTHUR JAMES BERTUCCI JIWOO CHOI TAHA CLAYTON BETHANY CZARNECKI SHIQING DENG ELIJAH RIVER DION HANK EHRENFRIED MAGGIE ELLIS MATILDA FORSBERG RONALD HALL KEES HOLTERMAN JEANNE F. JALANDONI DANI KLEBES VON HYIN KOLK NATIA LEMAY MASSIEL MAFES ESTELLE MAISONETT EUSTACE MAMBA LUISIANA MERA DOMINIC MUSA MAYUMI NAKAO ELLIE KAYU NG IN JUNE PARK JINIE PARK DAISY PATTON LUANNE REDEYE KAT SPEARS MIKO VELDKAMP ARIANNE WACK LI WANG ATALANTA XANTHE CORRINE YONCE JUSTIN YOON YURI YUAN

EDITOR’S SELECTIONS: JIN JEONG ANJULI RATHOD ALEXANDRA RUBINSTEIN SKYE VOLMAR AUGUSTINA WANG

Clayton, 38

JUROR’S SELECTIONS

Artists are presented in alphabetical order. Artist biographies been edited to prioritize recent highlights. Pricing Guide can be found on p213

DAPHNE ARTHUR

Queens, NY daphnearthur.com @daphnearthurart

b. 1984 Caracas, Venezuela Education

My work explores the politics of daily life and transnational imaginaries of the diaspora. By embracing diverse methods, materials, and inquiries, I survey liminal spaces of figuration and abstraction. Enmeshed in entropic dynamism, systolic and diastolic rhythms of translucent, colorful glissades and patinas of oil paints allow moments of invention and reflection. Ruminating on past and present mythologies and histories, my work engages with alternative narratives to consider human conditions beyond the paradox of culture, language, imagery, and memory.

2009 2007

MFA, Yale School of Art, New Haven, CT BFA, School of the Art Institute of Chicago (SAIC), Chicago, IL Residencies

2022

Vermont Studio Center, Johnson, VT

2021

Pocoapoco, Oaxaca, Mexico

2022

I’ve Arrived, Over the Influence, Los Angeles, CA

2020

In The Eye Of The World, Cedar Crest College,

Solo Exhibitions

Allentown, PA

Venus oil on canvas, 36 x 36 inches 22

ARTHUR

Alafia oil on canvas, 44 x 48 inches

Apep oil on canvas, 36 x 36 inches

ARTHUR

Ayo oil on canvas, 36 x 36 inches

I’ve Arrived oil on canvas, 60 x 48 inches

JAMES BERTUCCI

Brooklyn, NY info@jamesbertucci.com jamesbertucci.com @jamesbertucci

b. 1989 Chicago, IL Education

I consider my paintings to be landscapes—incessant scenes of urban planning and construction developments in the city’s boroughs. Often the compositions begin with a focus on barriers—chain linked fences, orange plastic mesh, plywood painted Hunter Green—at once marking a site and obstructing access to it. The paintings are composites, sourced from an archive of images and color memory. My working process is a hybrid of direct and indirect painting methods. The compositions arrive circuitously, while paint accretion builds up through extensive layering redolent of printmaking practices. Often, a complex foundation of underpainting is created before the final application of paint, mirroring the process of assembling a building. The resulting surfaces are an index of the painting process and they examine what it means to construct an image.

2012

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

2015

Vermont Studio Center, Johnson, VT Solo Exhibitions

2022

Placeholder, Bob’s Gallery, Brooklyn, NY Palmette, Basement Projects, Santa Ana, CA Distant Star, B Minus Studios, Santa Ana, CA Selected Group Exhibitions

2022

The Patriot, O’Flaherty’s, New York, NY

2016

Southern California/Baja Biennial, San Diego Art Institute, San Diego, CA

Viewing Panel (IV) oil on canvas, 18 x 18 inches 28

BERTUCCI

Safety Fence (I) oil on canvas, 28 x 28 inches

Safety Fence (II) oil on canvas, 28 x 28 inches

JIWOO CHOI

New York, NY allisonjwstudio@gmail.com jiwooart.com @artist_jiwoo.choi

b. 1997 Seoul, South Korea Education

I am an artist who uses color to explore and express the feelings of loneliness and isolation, as well as positive energy. My works blend both candid and surreal visual elements, and depict lone figures in socially isolated environments. They try to approach people with curiosity through a fantastic and dreamy atmosphere. I hope to convey a sense of the rather sublime moments of transcendence that one can feel in times of intense or extreme transition. My palette can shift from having a dark and melancholy look in some areas, to being almost overcharged with color in others. The subjects’ eyes also give the work a living feeling by communicating with the emotions expressed in the background. The bright pastel tone of colors and aura, contrasted with melancholy emotions, creates an atmosphere that seems alive and interesting. Through the use of various color expressions and narrative gestures, my work reveals the hidden, often unpleasant emotions of life. I allow viewers who feel lonely and isolated to embrace their own aura and find shelter in their hearts.

2023

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

2021

BFA, Columbus College of Art & Design (CCAD), Columbus, OH Selected Group Exhibitions

2022

AXA Art Prize 2022, NYAA, New York, NY Tribeca Ball, NYAA, New York, NY Student Curatorial Committee Exhibition: Hiraeth, NYAA, New York, NY

2021

She/ Her/ They/ Them, IncuArts Gallery, Honolulu, HI 12th Annual “Abstracts” Online Art Competition, Light Space & Time, Palm Springs, CA 2021 Tenth Annual Young Hearts Juried Exhibition, Sean Christopher Gallery, Columbus, OH Fresh Looks 2021 (online), Eastern Michigan University Galleries, Ypsilanti, MI

2020

BFA Graduate Show, Byers Gallery, CCAD, Columbus, OH

Encounter acrylic on canvas, 40 x 30 inches

CHOI

A Woman on the River oil on canvas, 30 x 24 inches Two Characters oil on canvas, 24 x 40 inches

TAHA CLAYTON

Brooklyn, NY info@tahaclayton.com tahaclayton.com @tahaclayton

b. 1981 Houston, TX Residencies

I create realistic renderings through portraiture to celebrate and transcend culture and legacy. My Muslim upbringing shapes my work in order to address mistruths about ethnic antiquity. This clash with Western perspectives is conveyed through images of empowerment, rather than historically misguided portrayals of despair and strife. My style and aesthetic are rooted in classical practices, giving a subdued approach to each narrative. Whether my subjects are captured in their natural environment or composed within an imagined story, these figures embody dignity, culture, and beauty.

2021

Family Residency, Wassaic Project, Wassaic, NY Solo Exhibitions

2022

The Cloth, Troutbeck, Amenia, NY Selected Group Exhibitions

2022

Go Brooklyn, The Brooklyn Collective, Charlotte, NC Still Standing, The Brooklyn Collective, Charlotte, NC

2021

What Comes After, Maxon Mills, Wassaic Project, Wassaic, NY Important 21st Century Realism, with ARC, Sotheby’s New York, New York, NY

2020

2020 Vision, Southampton Arts Center, Southampton, NY Collections Raymond Learsy, New York, NY Peggy Cooper Cafritz/The Studio Museum in Harlem, New York, NY

Soldier of Love oil on linen, 84 x 72 inches

CLAYTON

Eco-Spirituality oil on panel, 36 x 48 inches

Curtains oil on panel, 48 x 60 inches

BETHANY CZARNECKI

Greenwich, CT bethanyczarnecki.com @bethanyczarnecki

b. 1980 Westwood, NJ Education

Bethany Czarnecki creates abstract paintings which project an illusionistic sense of place, but also explore the paradoxes and complexities of the female body and its representation. Her swirling compositions investigate themes of gender, identity, the human psyche, and sensuality. Working slowly with oil paint, Czarnecki carves out multiple layers of concentric, biomorphic shapes that radiate chromatic planes. Ranging from opaque color fields to translucent overlays, nested silhouettes bend and bloom as they foster complex relationships within each composition. The artist’s use of repetitive forms signifies a distortion of time and place that alludes to dreamscapes, while color becomes a carrier of emotion that ultimately reveals the unseen. Inspired by the interplay between sensory experience and emotional resonance, Czarnecki’s paintings invite the viewer to contemplate that which lies beyond the self.

2003

BA, Barnard College of Columbia University, New York, NY Solo Exhibitions

2022

Selected paintings (online), Night Gallery, Los Angeles, CA Future Fair, Massey Klein Gallery, New York, NY

2021

splendor, Massey Klein Gallery, New York, NY Selected Group Exhibitions

2022 2020

Mother Nature, CORE: Club, New York, NY Look Again: A Survey of Contemporary Painting, Hollis Taggart, Southport, CT The Edge Effect, Katonah Museum of Art, Katonah, NY Collections Capital One Bank Citizens Bank Represented by Massey Klein Gallery, New York, NY

Petal oil on canvas, 60 x 48 inches

CZARNECKI

Pollinator oil on canvas, 60 x 48 inches Quench oil on canvas, 24 x 18 inches

SHIQING DENG

Brooklyn, NY dengshiqing5@gmail.com dengshiqing.com @demodemoooo

b. 1992 Xi’an, China Education

My work explores the relationship between virtually-manipulated realities and the tangible world, using clothing as a starting point. We use clothing to express ourselves yet it can suppress and conceal us, thereby becoming a restraint on our freedom. I use the human body as the carrier of clothing and clothing as a carrier of bodily expression. Cloth and figure interlace in my paintings, where clothing represents a second skin of human bodies that are undefined by gender, race, and origin.

2018

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

2014

BFA, Central Academy of Fine Art, Beijing, China Residencies

2017

Terra Foundation Residency, Paris, France Solo Exhibitions

2021

Stretched, Simchowitz, Los Angeles, CA

2019

All My Friends Are Monsters, Parasol Projects, New York, NY Selected Group Exhibitions

2022

Eat Drink Man Woman, 180 The Strand, London, England

2021

Art Basel Miami Beach, with Chubb Insurance, Collectors Lounge, Miami, FL Artists for Artists, Sotheby’s New York, New York, NY

2020 2019

Vision, Southampton Arts Center, Suffolk, NY Art Miami, The Art Miami Pavilion, Miami, FL Chubb Fellows Exhibition, NYAA, New York, NY

2018

Emerging, The Elizabeth Foundation for the Arts, New York, NY

Fight oil on linen, 60 x 40 inches

DENG

I’m tired oil on linen, 68 x 92 inches 45

ASMR oil on linen, 60 x 80 inches 46

DENG

He/Herstory oil on linen, 26 x 50 inches

ELIJAH RIVER DION

Brooklyn, NY studio@elijah-river.com elijah-river.com @elijah.river

b. 1994 Nashua, NH | curr. Brooklyn, NY Education

Elijah River Dion was born and raised in the urban areas of southern New Hampshire. In his wayward youth, Dion found himself waiting for the man and searching for working veins. Close to the edge, watching most fall over, Dion eventually came to believe in a power greater than himself. In spite of this revelation, he cleaned up and chose to be an artist. Dion received a Bachelor of Fine Arts in Painting with Honors and Minors in Art History and Drawing from the Maine College of Art in 2019. His paintings expose sentiments of debasement, religiosity, and a world of reckless abandon—unreliable narration professing the myth of certainty.

2019

BFA, Maine College of Art & Design (MECA&D), Portland, ME Residencies

2018

Summer Undergraduate Residency, New York Academy of Art, New York, NY Selected Group Exhibitions

2022

Omen, Amen., Box Factory Gallery, The Box Factory, New York, NY

2021

Poetics of Process, Institute of Contemporary Art, MECA&D, Portland, ME

the treachery of narrative oil on cradled panel, 36 x 24 inches

DION

st. paul on the road to lawrence oil on cradled panel, 36 x 24 inches playing dress-up after ‘lights out’ oil on cradled panel, 48 x 36 inches

DION

titanomachy (or, fuck around and find out) oil on cradled panel, 36 x 24 inches a junkie lecturing at the séance oil on cradled panel, 48 x 36 inches

HANK EHRENFRIED

Brooklyn, NY hankehrenfried@gmail.com hankehrenfried.com @hankfriedegg

b. 1992 Summit, NJ Education

I paint from collages composed of my own studio ephemera that are cut and folded, pasted back together, then finally pinned to the walls. Through painting the scenes that emerge, I pay homage to these impromptu materials and to the time during which they became significant for, and yet despite their ephemerality. The results are painted archives that work to preserve moments in time while acknowledging the necessity of history passing. By announcing this project, however, the paintings spell out their inevitable failure; just as the collages they depict reveal a contingent significance of their assembled components, the paintings themselves convey the duplicity of their representation through trompe l’œil effects. This tension becomes the ultimate theme of my work. Taking inspiration from Cubist painters, I supplement their planar experiments by attending to the radical potential of folds and edges—sites where a viewer begins to wonder what in the collage and what in the painting is visible or disappeared, fixed or moveable.

2019

MFA, Pratt Institute, Brooklyn, NY

2014

BFA, Carnegie Mellon University, Pittsburgh, PA Residencies

2020

Trestle Art Space, Brooklyn, NY Solo Exhibitions

2022

Fold Upon Fold, Auxier Kline, New York, NY

2021

I Am Not An Alchemist, Quappi Projects, Louisville, KY

2019

I Treat Each Day Like Christmas, Pratt Institute, Brooklyn, NY Selected Group Exhibitions

2022 2021

Atmosphere, Turley Gallery, Hudson, NY Towards a More Beautiful Oblivion, Fredericks & Freiser, New York, NY Angle of Repose, Poker Flats, Williamstown, MA

2019

In the Summertime, Danese/Corey, New York, NY

Stack 1 oil on linen, 40 x 30 inches

EHRENFRIED

Collage with Paintbrush oil on linen, 40 x 30 inches 57

Foal Folded oil on linen, 14 x 11 inches Folded Snowflake oil on linen, 16 x 12 inches 58

MAGGIE ELLIS

New York, NY 212.226.2646 (Charles Moffett) maggieellisstudio@gmail.com maggieellis.com @maggieellisss

b. 1991 Atlanta, GA Education

Referencing 16th century Northern European painters Bruegel and Bosch, I depict compositions that are filled with people in the city. These works contain both of the artists’ trademark humor and horror—without the dragons. I create a sense of high speed and energy by using line, psychedelic color, and light, all of which function together to draw the viewer into the collective mood. The figures in my work are born from fleeting moments of observation that I experience while walking in New York City. Pulling specific details from memory and utilizing a variety of painting techniques, I paint each figure uniquely, while simultaneously considering the inner psyche of the individual and their own experiences. Living in the city means much of one’s life occurs in public—the only privacy is in one’s thoughts. I use painting as a vehicle to capture those private, inner spaces and feelings that are often only visible on the face.

2017 2014

MFA, Hunter College, New York, NY BFA, Savannah College of Art and Design Atlanta, Atlanta, GA Residencies

2017

Skowhegan School of Painting & Sculpture (SSPS), Madison, ME Solo Exhibitions

2021

Strange Strangers, Charles Moffett, New York, NY Rosebud, Charles Moffett, New York, NY Selected Group Exhibitions

2022

Through A Glass, Darkly, Carl Kostyál, Milan, Italy ART FOR CHANGE x Planned Parenthood, ART FOR CHANGE, New York, NY

2021 2020

The Neighbors, The Catskills, New York, NY NADA New York (online), with Artnet, Charles Moffett, New York, NY Endless State (online), The Skowhegan Alliance, SSPS, New York, NY Represented by Charles Moffett, New York, NY

Double Vision oil on linen, 45 x 35 inches

ELLIS

Turbulence oil on canvas, 50 x 60 inches

Karaoke oil on linen, 50 x 60 inches

ELLIS

IMAX oil on canvas, 36 x 57 inches

MATILDA FORSBERG

Maplewood, NJ forsbergmatilda@gmail.com matildaforsberg.com @iamapainter

b. Kungsbacka, Sweden Education

My paintings are inspired by family, heritage, and migration, largely revolving around my experiences as an immigrant and my daughter’s mixed Swedish and Chinese heritage. The works contemplate what it means to leave one’s country and settle in a new culture while reconnecting with our family histories. Through an intuitive process of searching and discovering, my paintings intertwine dreamscapes and stories from the past with current experiences. By referencing specific components from multiple photographs of my daughter’s paternal side of the family, The works become a kind of mind collage of non-linear narratives about converging family histories. My paintings only allude to time and place to convey layered and colliding expressions of familiarity and uncertainty.

2000

BFA, Pacific Northwest College of Art, Portland, OR Residencies

2021

Liquitex, East Orange, NJ

2019

Gallery Aferro, Newark, NJ Selected Group Exhibitions

2022

Reemergence, New Jersey State Museum, Trenton, NJ Becoming, Out Left Art, New York, NY Future Perfect/Imperfect: The Next Century, Silvermine Galleries, New Canaan, CT Maximum/Minimum, The Gallery Space, Rahway, NJ

2021

A Collective Escape, Deanna Evans Projects, Brooklyn, NY National Juried Exhibition, First Street Gallery, New York, NY

2020

Darkest Before Dawn | Art in a Time of Uncertainty, Ethan Cohen Gallery, KuBe Art Center, Beacon, NY Mother Tongue, The Immigrant Artist Biennial, Brooklyn, NY Black & White 2020, BWAC Gallery, Brooklyn, NY

An introduction to cultural treasures acrylic and spray paint on canvas, 60 x 48 inches

FORSBERG

Sustenance acrylic on canvas, 60 x 72 inches

The daredevils acrylic on canvas, 60 x 72 inches

RONALD HALL

Brooklyn, NY 646.634.5243 (Duane Thomas Gallery) @ronaldhallstudios

b. 1967 Pittsburgh, PA Education

My work is based on fictional characters and real stories borrowed from Black history books, yet the images—often photographs—are sometimes intertwined with my own life experiences. The computer plays an important role in my process to refine color, composition, and scale. Although details tend to change drastically from screen to canvas, the computer remains the primary and necessary tool for cultivating my ideas and concepts. My work summons the past and looks into the future, and seeks to resolve political and social issues through visual poetry.

1991

Art Institute of Pittsburgh, Pittsburgh, PA Residencies

2021 2018

Sharpe-Walentas Studio Program, Brooklyn, NY Studio Program, The Elizabeth Foundation for the Arts, New York, NY

2016

Pollock-Krasner Foundation grant, Pollock-Krasner Foundation, New York, NY

2015

AIM Program, The Bronx Museum of the Arts, Bronx, NY

2014

Resident Fellowship, New York Arts Residency and Studios Foundation, Brooklyn, NY Solo Exhibitions

2020 2019

New Paintings, Duane Thomas Gallery, New York, NY Undisclosed: Visual Conversations, Ground Floor Gallery, Brooklyn, NY Represented by Duane Thomas Gallery, New York, NY

King Of The Proletariat acrylic on canvas, 30 x 24 inches

HALL

Brothers in Arms acrylic on canvas, 60 x 84 inches Black Molasses acrylic on canvas, 48 x 84 inches

KEES HOLTERMAN

Philadelphia, PA keesholterman1@gmail.com keesholterman.com @keesholterman

b. 1994 Wareham, MA Education

I use storytelling as a means of dismantling memories, relationships, and environments to bridge the gap between a past and potential self. I began creating this body of work after being diagnosed with congenital heart disease in early 2022. This diagnosis allowed me the space to move away from my printmaking practice and utilize painting and drawing to define impactful personal stories. Through repetitive imagery, skewed perspective, and nonsensical light sources, I provide myself the opportunity to investigate and gain control of specific narratives. Each piece begins as if I am making a print; I lay down graphic shapes, flat and bold colors, and characters transferred from sheets of vellum with graphite paper. As the work develops, I let go of some of the print-based foundations and honor my influences of the Social Realist and American Folk art movements to further explore an image. By being observed, these stories and moments I’m defining become something more tangible. I am offering vignettes of vulnerability, healing, and treatment; confronting fear and uncertainty.

2016

BFA, Temple University, Philadelphia, PA Residencies

2022

ARTSPACE at Untitled, Oklahoma City, OK Solo Exhibitions

2022

Copper Snakes, ARTSPACE at Untitled,

2021

Let’s Get Back, The Fairmount House Gallery,

Oklahoma City, OK Philadelphia, PA Selected Group Exhibitions 2022

Let’s Skip The Line, And Jump The Fence, {neighborhood}, Dallas, TX Still Nice, Get Nice., Seattle, WA

2019

Hang Loose, The Fairmount House Gallery, Philadelphia, PA East Austin Studio Tour, Fine Southern Gentlemen, Austin, TX High Life and High Tops, Ubiq, Philadelphia, PA Philadelphia Mural Exhibition, House of Vans, Philadelphia, PA

2018

Park(ing) Day, Space 1026, Philadelphia, PA Dear Fleisher, Fleisher Art Memorial, Philadelphia, PA

Apartments acrylic and pencil on conjoined paper, 36 x 48 inches

HOLTERMAN

Walk Away (Neil’s Portrait) acrylic and pencil on conjoined paper, 26 x 37.5 inches Anniversaries (Self Portrait of Sobriety 2019-2022) acrylic and pencil on paper, 18 x 24 inches

HOLTERMAN

Neighbors acrylic and pencil on paper, 19 x 25 inches

JEANNE F. JALANDONI

New York, NY jeannefjalandoni@gmail.com jeannejalandoni.com @jfjalandoni.art

b. 1993 New York, NY Education

My painting and textile pieces attempt to navigate the complexities and tangibility of being culturally a Filipino American as a second generation New Yorker. I combine timelines by drawing from personal research into early U.S. empire documents of Filipinos, citing ancestral stories and childhood memories, while also subverting national symbols in my own myth-making. My work often depicts personifications of both Philippine culture and Filipino American culture, illustrated as a figure in a yellow terno and a figure with a carabao head. They have a mother-daughter relationship and are usually focused on mundane tasks in intimate settings as a way to dispel historically Westernized inventions of the exotic, hypersexualized Filipina. Textile-making indicates time and structure, and their familiar tactility demands attention to question which parts of the piece are real and which are painted illusions; what aspects of biculturalism are true and what are made up. The purpose of my work is not only to offer a new understanding around the facets of biculturalism within the diaspora, but to also recognize the global legacies established by a marginalized nation.

2015

BFA, New York University (NYU), New York, NY Residencies

2022

ChaNorth Artist Residency, Pine Plains, NY

2021

Textile Arts Center, Brooklyn, NY

2018

36 Chase & Barns Artist and Art Historian Residency, North Adams, MA Solo Exhibitions

2021

Faraway Embrace, (online) Taymour Grahne Projects,

2019

Sowing Mythology, Real Art Ways, Hartford, CT

London, England

Selected Group Exhibitions 2022

Wonder Women, Jeffrey Deitch, Los Angeles, CA Ghosts of Empires, Ben Brown Fine Arts, Hong Kong, China Intimacy, Taymour Grahne Projects, London, UK

2019

Super Sarap, Asia Society Texas Center, Houston, TX

The Load oil on canvas sewn to machine knitted cotton fabric, 40 x 38 inches

JALANDONI

Transience oil on canvas sewn to machine knitted textile, handknit and hand crochet, handspun cotton and indigo-dyed wool, and epoxy, 68 x 64 inches

Sugarcane Milkfish oil on canvas, weaving and machine knit sewn to canvas, pastel, resin, and epoxy, 68 x 64 inches

JALANDONI

Care machine knitted cotton, fabric hardener, charcoal, oil on canvas, and canvas backing, 44 x 57 inches

Fish Harvest oil and acrylic on canvas, stitched satin, woodblock fish print on jusi, and cotton fishnet, 63 x 92 inches

DANI KLEBES

Wassaic, NY danielleklebesart@gmail.com danielleklebes.com @danielleklebesart

b. 1989 Rochester, NY Education

I rented a furnished apartment for a few months from the artist Michael Chapman, a Hemingway type. It had a taxidermy of a big horned sheep and a boar mounted on the walls. There was a liquor cabinet that slid to reveal a secret room with stained glass and a big bed. The furniture was rugged, dark, and heavy.

2017

MFA, Lesley University, Cambridge, MA

At around the same time, I found a treasure trove of 1960s Playboy magazines at a thrift store nearby. I became fascinated by the objects that were advertised as necessary ingredients to being a “man’s man”—primarily whiskey, technology, cigarettes, and cars.

2020

2022

Midnight Adventure Club, AVA Gallery, Lebanon, NH

I am interested in exploring and disrupting social expectations and gender roles by co-opting these traditionally normative and heteronormative spaces and ideals and reimagining them with a queer cast.

2020

House Fire House Party, Installation Space,

Residencies 2021

Sitka Center for Art and Ecology, Otis, OR Wassaic Project, Wassaic, NY Lademoen Kunstnerverksteder, Trondheim, Norway Solo Exhibitions

North Adams, MA Selected Group Exhibitions 2022

Properties of Illusion in the Candy Store, ArtPort Kingston, Kingston, NY Summer, Galleri Christoffer Egelund, Copenhagen, Denmark Confluence of Tongues, Grove Collective, London, UK

2021

Fifty, MOCA Jacksonville, Jacksonville, FL

Shan at Chapman’s Place oil on canvas, 50 x 48 inches

KLEBES

Afternoon oil on canvas, 54 x 52 inches Molly and Nora in the Bath contemplating the meaning of existence oil and spray paint on canvas, 36 x 52 inches

VON HYIN KOLK

Brooklyn, NY vonhyinkolk@gmail.com vonhyinkolk.com @vonhyinkolk

b. 1997 Huntington, NY Education

Von Hyin Kolk is a visual artist living and working in New York City. Kolk’s paintings address the tensions and idiosyncrasies of multicultural Chinese American immigrants. Her visual memoirs and depictions of nostalgic Cantonese dishes, juxtaposed with uncanny scenes and environments, are the vehicles through which she explores the margins between memory and fantasy. Through the maximal collaging of vignettes from her childhood and current daily life, she chronicles the process of assimilation as it occurs within the creation of the paintings themselves. In addition, her choice of material invokes the interstice of the assimilated experience; she mainly paints on vinyl, a synthetic material that is largely manufactured in and exported from China. While the chemical makeup of the vinyl remains an unorthodox painting surface, in using the traditional process of canvas-stretching on the vinyl, Kolk’s working process mimics her concurrent realities as having both homogenous and divergent identities.

2019

BFA, Parsons School of Design, New York, NY Solo Exhibitions

2017

IGAMEW FRINKATWO!, Sister Gallery, Adelaide, AU Selected Group Exhibitions

2022

Conversations with a Stranger, Land to Sea, Brooklyn, NY Naked Lunch, SPRING/BREAK, Atlantic Production Center, New York, NY

2019

BFA THESIS EXHIBITION, Parsons School of Design, New York, NY Beauteous, MoMa PopRally x The Bronx, Andrew Freedman Home, Bronx, NY So Much Future, Trans-Pecos, Queens, NY

2017

Summer Grand Salon Show, The Greenpoint Gallery, Brooklyn, NY

Dahn Taht Day acrylic on stretched vinyl, 48 x 36 inches

KOLK

Green Beans (In the Mid-Afternoon) acrylic on stretched vinyl, 48 x 36 inches Cutting the Flesh Cake oil and acrylic on stretched vinyl, 48 x 36 inches

NATIA LEMAY

New Haven, CT 212.414.0370 (Yossi Milo Gallery) info@natialemay.com natialemay.com @natialemayart

b. 1985 Toronto, Canada Education

There is difficulty in representing a historical and cultural position in space and time that’s constructed from remnants of the past and traumas inherited from previous generations. I often find myself within an unresolved struggle between the social and psychological.

2022

MFA candidate, Yale University, New Haven, CT

2021

BFA, Ontario College of Art & Design, Toronto, Canada

I use the idea of home to think about the complexity of this space. Through entirely black backgrounds, the past comes to dwell within a house. Influences of class, gender, race, and ethnicity help construct a dwelling, weaving one out of a thousand stories, objects, feelings, and memories.

2022

Within these black paintings, objectivity and subjectivity can be played with, and black is seen not just as a color but as a condition—one at once hypervisible and yet invisible. This condition allows for the dual legibility of the work; as conditions—such as lighting or proximity to the viewer—shift, the work metamorphoses. These black paintings require the viewer to be patient, to find comfort and discomfort in the slow composition of a spatial and temporal world.

2021

Family in Relation, Artscape, Toronto, Canada

2022

A Prologue to Somewhere, Green Hall Gallery,

Residencies Dumfries House, Royal Drawing School, Cumnock, Scotland Solo Exhibitions

Selected Group Exhibitions Yale University, New Haven, CT Circularity of (un)knowing, Mayten’s Gallery, Toronto, Canada Arrangements in Black, Philips NYC, New York, NY The Will to Change: Gathering as Praxis, Lyman Allyn Art Museum, New London, CT Brought It Home: A Continuum, Yale Afro-American Cultural Center, New Haven, CT 2021

Action Required, Yale University, New Haven, CT Represented by Yossi Milo Gallery, New York, NY

Daughter wakes up from a nap oil on canvas, 26 x 38 inches

LEMAY

Sunday Morning on Parr St. oil and acrylic on canvas, 52 x 64 inches Always but Never Dreaming oil on canvas, 42 x 62 inches

MASSIEL MAFES

New York, NY massielmafesstudio@gmail.com massielmafes.com @massielmafes

b. 1993 Miami, FL Education

I am a storyteller. Each surface of my paintings is a stage where I direct, compose, and position my characters to play out a narrative. With thread and a sewing needle, I stitch together reality and imagination. My work is a vessel that draws on themes of displacement and migration by referencing art history, Latin American literature, poetry, and autobiographical details. I explore these ideas through painting, drawing, and collaging. Treating fabric like paint, I stain, layer, cut, and meticulously hand-stitch small pieces of secondhand clothes until they become images. This material is the foundation of my practice—a carrier of stories, memories, and lived experiences of the people who once wore them. I use my family’s discarded clothing that they ship from Miami to my studio in New York City. It is a tactile connection to my Cuban ancestry. I make this work to honor my community and unite the stories of the people displaced worldwide and the memories of the place they once called home.

2018

MFA, California College of the Arts (CCA), San Francisco, CA

2015

BFA, Miami International University of Art & Design, Miami, FL Residencies

2018

Joya: arte + ecología, Vélez-Rubio, Spain

2018

Bay Area MFA, with Artsource Consulting,

Selected Group Exhibitions Mills Building, San Francisco, CA MFA Thesis Exhibition, Minnesota Street Project, San Francisco, CA Caught in the Fray, College Avenue Galleries, Oakland, CA Barclay Simpson MFA Award Exhibition, The Nave, CCA, San Francisco, CA Ten x Ten, Standard Projects, Kaukauna, WI 2017

SF Open Studios Exhibition, SOMArts Cultural Center, San Francisco, CA

Floreciendo (Blooming) acrylic paint, secondhand clothes, tulle, and thread on cotton canvas, 31 x 26.5 inches

MAFES

Silhouette acrylic paint, bleach, secondhand clothes, tulle, and thread on cotton canvas, 70.5 x 58 inches El Taller (The Studio) acrylic paint, bleach, secondhand clothes, tulle, and thread on canvas, 63.5 x 86.5 inches

100

MAFES

Silhouette (Detail) acrylic paint, bleach, secondhand clothes, tulle, and thread on cotton canvas, 70.5 x 58 inches

ESTELLE MAISONETT

New Haven, CT estellemaisonett.com @elle915

b. 1991 Bronx, NY Education

Bronx-born interdisciplinary artist Estelle Maisonett draws from her lived experiences to explore associations to identity, class, gender, and sexuality through the lens of material culture. With a practice that comprises photography, printmaking, sculpture, painting, and video, Maisonett creates life-size collages out of found and recycled materials and documentation. Her work features figures that are often devoid of the body, providing the viewer an opportunity to reflect on their own associations with a sense of place and materials. Maisonett explores how the relationship between object and environment informs perception of a figure or alludes to a prescribed identity. A social and interactive process, her interdisciplinary assemblages are forms of self and communal reflection that question how we create preconceived notions of value, economic status, race, culture, sexual orientation, and gender based on personal associations. Inspired by her own experiences, the work takes an explorative approach to the intersection of identity, and investigates how bias, stereotypes, or personal histories inform perception.

2023

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

2013

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

Queen Queer Sized Bed mixed media on panel, 87 x 55.5 x 7 inches

104

MAISONETT

Tracing Roots mixed media on panel, 93 x 82 x 5 inches Burgos Lunch Special mixed media on panel, 82 x 61 x 1 inches

105

106

EUSTACE MAMBA

Philadelphia, PA artisteustace@gmail.com eustvce.com @eustvce

b. 1992 New York, NY Education

My interdisciplinary practice, which branches from painting into experimental design, sculpture, and digital media, is rich with autobiographical associations to my experience as a first born, first generation child of Antiguan immigrants. The artwork is an extension of my obsessive need to record complex contemporary thoughts and issues through simple expressions. Jute rope, cigarette cartons, and paint chips take on a new world of symbolic meanings, inspired by both unconscious and meticulously researched ideas. I insert images, stories, and information pertinent to fostering stronger communities into my art, while actively resisting colonial ideals and expectations of fine art. As an artist, I strive to create a world that is less intimidating and more accessible to—and reflective of—people who have historically been unfairly represented in the fine arts. I have seen how art can be a tool for healing and community building, and I continue to find ways to use my experience as an art designer for a Philadelphia-based, Black HIV/ AIDS organization to inspire and impact the images I create today.

2022

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

2020

BFA, PAFA, Philadelphia, PA Residencies

2020

Philadelphia Fellowship for Black Artists, Mural Arts Philadelphia, PA

2019

Raymond D. & Estelle Rubens Travel Scholarship, PAFA, PA Solo Exhibitions

2022

Yikui (Coy) Gu and Eustace Mamba: Living in between worlds, Commonwealth Gallery, Philadelphia, PA

2021

CODEX Year 2 with The Codex Project, Works on Paper

2019

Crosscurrents, Annenberg Gallery, PAFA,

Gallery, Philadelphia, PA Philadelphia, PA Collections Woodmere Art Museum, Philadelphia, PA PAFA, Philadelphia, PA Petrucci Family Foundation Collection of African-American Art, Asbury, NJ

The Blockhead sewn oils and canvas, 24 x 12 inches

108

MAMBA

Rations sewn oils and canvas, 20 x 16 inches Flamin’ Hot Cheetos (Hot Boy) sewn oils and canvas, 14 x 11 inches

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110

LUISIANA MERA

New York, NY luisimera@gmail.com luisimera.com @luisimera

b. 1995 New York, NY Education

As a figurative artist, I am fascinated by capturing fleeting moments. Memories from my childhood in Panama and portraits of friends are grounds to explore the ephemerality that permeates everyday life. A birthday cake, a cartoon, a subtle gesture—subjects that feel impermanent are transformed by the labor of rendering them realistically. My subject matter changes but I always work in series, following an idea to its end. Sometimes I will spend days depicting a single moment that felt unimportant as it passed, trying to savor the tension in memorializing its nature of unrepeatability. I am guided by the hope that this tension will layer itself into my compositions, which are dedicated to the transience of youth, beauty, and the contours of memory.

2019

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

2019

Cuttyhunk Island Residency, Cuttyhunk Island,

2018

Leipzig International Art Programme, Leipzig, Germany

Gosnold, MA

Solo Exhibitions 2022

Solo una vez, ATM Gallery NYC, New York, NY Selected Group Exhibitions Ojos de Perro Azul, Marinaro Gallery, New York, NY Home Alone, ATM Gallery NYC, New York NY

2019

Bliss with NYAA, Mandarin Oriental, Miami, FL MFA Thesis Exhibition, Wilkinson Gallery NYAA, New York, NY Drawn Together Again, The Flag Art Foundation, New York, NY

2018

NYAA Annual Summer Exhibition, Flowers Gallery, New York, NY Contemporary Romantics, Di Donna Galleries, New York, NY Solo un sueño charcoal on paper mounted on wood, 72 x 48 inches

112

MERA

Raspado con Extra Leche Condensada charcoal on paper mounted on wood, 20 x 16 inches Dulce de Cumpleanos charcoal on paper mounted on wood, 36 x 36 inches

113

114

DOMINIC MUSA

Paterson, NJ dominicmusa.com @dominic_musa

b. 1989 Poughkeepsie, NY Education

The human condition mirrors that of the painter, and my paintings allow me a space to suspend, dismantle, and uphold this contradiction. With paint I am both architect and observer. Throughout each painting, I seek to learn the limits of the medium. I scrape and tighten, wipe down and build up, stain the surface and drag the brush; figures are rendered, erased, then restored anew. Paint is unique in its ability to contain such polarities, and it allows me a formal channel to describe the contradictions of trying to answer existential questions. Paint can mean nothing, or mean everything. My paintings are a vehicle for navigating the world I inhabit. It’s a world that is grown, built, dictated, and performed, and I aim to capture that in my work. Fleeting scenes intermix organically; they are observed, recollected, and reconfigured. Questions of desire and need, guilt and honor, greed and obligation are answered in moments of pause. Each painting is a mirror; each painting is a window.

2017

MFA, Rhode Island School of Design (RISD), Providence, RI

2013

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

2022

Skowhegan School of Painting & Sculpture, Skowhegan, ME Solo Exhibitions

2022

The Trouble’s Not in the Mirror, Taymour Grahne

2021

Itch for Solitude, Galerie Nicolas Robert,

Projects, London, England Montreal, Canada Outside and Around, Y2K group, New York, NY 2019

Anywhere Out of the World, Helena Anrather, New York, NY Selected Group Exhibitions

2022

Task-Negative, Galerie Nicolas Robert, Toronto, Canada Resonance, YSK Group, New York, NY Apple in the Dark, Harkawik, New York, NY A Place of One’s Own, Andrea Festa Fine Arts, Rome, Italy

Past Leads the Blind oil and iron on linen, 62 x 45 inches

116

MUSA

Horologist oil on linen, 72 x 53 inches The Shadow of Artifacts oil and iron on linen, 62 x 45 inches

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MAYUMI NAKAO

Brooklyn, NY mayumilkshake@gmail.com @milkshake.jp

b. 1985 Kobe, Japan Education

My work concept is about family and friendship, and it emerged from a very good place. A friend of mine in New York City, who is from Ghana showed me their family photos from back in the day. I was immediately drawn to those of his family enjoying their time together in America. These captured moments touched my heart—so much so that I wanted to paint them on canvas. When I first saw the photos a few years ago, they made me think about my own family back in Japan; about the good times and the bond we all still share. The experience elicited intense feelings of nostalgia. I wanted my work to focus on different cultures and races as a way of cultivating humanity and spreading love. I thought about the different generations represented in my friend’s photos and aimed to tap into our common memory through paintings that are strongly present, and simultaneously, doorways to our shared past.

2022

Certificate of Fine Arts, The Art Students League New York, NY Residencies

2022

Black Wall Street Gallery Residency, Venice, Italy Solo Exhibitions

2022

All the Small Things, Black Wall Street Gallery, New York, NY Selected Group Exhibitions

2021

At the Table, The Art Students League and Chashama, Brooklyn, NY Nine Lives, Fortnight Institute, New York, NY Beloved Community, Black Wall Street Gallery, New York, NY Collections The Art Students League, New York, NY Rema Hort Mann Foundation, New York, NY Beth Rudin DeWoody

Chatter phone oil on canvas, 48 x 36 inches

120

NAKAO

Mom and daughter oil on canvas, 50 x 64 inches

121

slice of pizza oil on canvas, 50 x 64 inches

122

NAKAO

123

Subway car oil on canvas, 54 x 60 inches on the train oil on canvas, 24 x 18 inches

124

ELLIE KAYU NG

Brooklyn, NY ellie.kayu@gmail.com elliekayu.com @eille_

b. 1998 Hong Kong, China Education

Clothing is a language that speaks for people before they even say a word. As an immigrant in America seeking a sense of belonging, however, I often dress to blend in, and so I feel that my wardrobe has a limited vocabulary. I’ve silenced a part of my true self that I’m curious to rediscover. In wondering what person I would become if I didn’t care about the unspoken rules of dress and behavior, I came up with the solution to paint myself in borrowed outfits and accessories on canvases, where rules and norms don’t apply. By utilizing this language, I get to create, experiment, and experience new personas in every painting. This practice allows me to remain inconspicuous within my community and still pursue art individuality at the same time. I have become both the window dresser and the mannequins in my paintings.

2021

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

2019

BFA, School of Visual Arts, New York, NY Residencies

2021

Summer Residency, New York Academy of Art, New York, NY Solo Exhibitions

2022

Guilty Pleasure, VillageOneArt, New York, NY Selected Group Exhibitions

2022

If It’s Not Baroque, Don’t Fix It, Tchotchke Gallery, New York, NY All Is Not What It Seems, Lorin Gallery, Los Angeles, CA

2021

With Genuine Eyes, Susan Eley Fine Art, New York, NY

2019

Tales From the Crit #3, Gramercy Gallery SVA,

2018

Constellations, Chelsea Gallery SVA, New York, NY

New York, NY

Alice’s Dress oil on canvas, 60 x 32 inches

126

Silent Partner oil on canvas, 60 x 42 inches Broadway Show-ers oil on canvas, 60 x 42 inches

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128

129

The Intimate Dress oil on canvas, 36 x 44 inches

130

IN JUNE PARK

Brooklyn, NY injunepark@gmail.com injunepark.com @injunee

b. 1996 Incheon, South Korea Education

As an immigrant, I find that the predisposition to seek the familiar when navigating the strange and foreign is a blessing and a curse. On one hand, it speaks to our incredible capability to locate comfort as a means of survival; yet on the other, it can hinder our ability to integrate and contribute to the new world around us. This is a tension that I am constantly exploring within myself and when I engage with my surroundings. As a painter, I am curious about further exploring the constructs that create these conditions for immigrants and what consequential effects these choices have. My works portray these questions, visualizing them by collaging moments and bringing them into close conversations with another. Confrontations are an effective way to dissect some of the more politicized and personal parts of the content. At the core, my works function as fuel for expanded research into the history of immigration, and act as points of meditation for broader concepts such as religion and familial history.

2021

BFA, Rhode Island School of Design (RISD), Providence, RI Selected Group Exhibitions

2022

Flame Casts No Shadow, Subtitled.nyc, Brooklyn, NY

2021

At One’s Side, Subtitled.nyc, Brooklyn, NY Un-Hidden, Memorial Hall Gallery, RISD, Providence, RI Senior Exhibition, Wood-Gerry Gallery, Providence, RI

2018

Eruption the Point in Between, Bibliothé, Rome, Italy

and the Pursuit of Happiness: Crouching Tiger acrylic on canvas, 40 x 30 inches

132

PARK

Untitled acrylic on canvas, 20 x 14 inches Mailbox acrylic on canvas, 18 x 14 inches

133

134

JINIE PARK

Philadelphia, PA 503.224.0521 (Elizabeth Leach Gallery) jiniepark.art@gmail.com jiniepark.com @jiniepark

b. 1987 Seoul, South Korea Education

This series of paintings contains physical openings that expose the stretcher bars. This formal and material exploration reveals the walls behind the paintings with shadows casting through the openings. These were inspired by observing interior spaces and how sunlight seasonally shifts through windows. As they reflect both inside and outside, windows are portals between intimate space and open nature.

2015

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

2011

BFA, Seoul National University, Seoul, South Korea Solo Exhibitions

2022

Courtyard, Columbia College, Columbia, SC

2021

Windows, Elizabeth Leach Gallery, Portland, OR

2019

A Pair: Two of the Same, Elizabeth Leach Gallery,

2017

Jinie Park: Observations in Paint, Scott Center, Carroll

Portland, OR Community College, Westminster, MD 2016

Reap/Sow, Hamilton Arts Collective, Hamilton Gallery, Baltimore, MD Selected Group Exhibitions

2019

OK, Comrade, Kimsechoong Museum, Seoul,

2018

Let’s Connect, Barnes Foundation, Philadelphia, PA

2017

Jeju Biennale, Jeju Biennale, Art Space IAa,

South Korea

Jeju, South Korea Inverse Variants, Lazy Susan Gallery, New York, NY Represented by Elizabeth Leach Gallery, Portland, OR

Light Evening acrylic on sewn Kwangmok (Korean muslin) and cheesecloth, 36.5 x 36.5 inches

136

PARK

137

Red Window acrylic on sewn Kwangmok (Korean Muslin), 35 x 22 inches Moth acrylic on sewn Kwangmok (Korean muslin) and linen, 30 x 30 inches 138

DAISY PATTON

South Hadley, MA 303.590.9800 (K Contemporary) daisy.a.patton@gmail.com daisypatton.com @daisy_patton

b. 1982 Los Angeles, CA Education

Who do we choose to remember, and how do we do it? This fraught terrain encompasses family relationships, identities, and collective memorialization. In Forgetting is so long, I collect abandoned family photographs, enlarge them to life-size proportions, then paint over them in an to attempt to reenliven and dislocate the images from their former places and times. By combining paint and photography, I expand Roland Barthes’s theory linking death and the photograph into a loving tribute of remembrance. The use of bright swathes of color and ornate patterns signifies a kind of vibrant afterlife, where the individual’s vestiges become visitations. Each piece functions as an altar for the departed, a portal that fractures linear time, and an opportunity for rich connection between the viewer and the subject. Floral vegetation, forever blooming in fragmented time, underlines our relationship to the natural world and the hereafter. These rewilded botanical patterns adorn and embellish the photographic relics with devotional marks of care. Nearly forgotten people are transfigured and ‘reborn’ into a fantastical, liminal space that holds both beauty and joy, temporarily suspended from oblivion.

2011

MFA, School of the Museum of Fine Arts at Tufts University (SMFA), Boston, MA Solo Exhibitions

2022

Like Two Drops of Water/Like Oil and Vinegar,

2021

To Help You Remember Me, J. Rinehart Gallery,

K Contemporary, Denver, CO Seattle, WA Selected Group Exhibitions 2022

Uncovered Spaces, International Museum of Art & Science, McAllen, TX Deep Roots, Susquehanna Art Museum, Harrisburg, PA Collections Tampa Museum of Art, Tampa, FL Denver Art Museum, Denver, CO Represented by K Contemporary, Denver, CO Foto Relevance, Houston TX

Untitled (Dear half 5-4-1927) oil on archival print mounted to panel, 80 x 60 inches

140

PATTON

Untitled (Father with Two Daughters and Painted Backdrop with Campions) oil on archival print mounted to panel, 90 x 64 inches 141

Untitled (Five Patterned Women on the Ledge with White Flowers) oil on archival print mounted to panel, 96 x 80 inches

142

PATTON

143

Untitled (A Walking Woman’s Collective) oil on archival print mounted to panel, 90 x 160 inches

144

LUANNE REDEYE

Endicott, NY luredeye@gmail.com luanneredeye.com @luredeye

b. 1985 Jamestown, NY Education

As primarily a figurative artist, my paintings are an intersection of autobiography and community. My work focuses on representation of native cultures through the lens of someone who is native as a means of highlighting our shared experiences and celebrating our uniqueness. I am creating work I want to see about people I want to see represented. The portraits I create are of my family, friends, and community members in their everyday life, because it’s important to me to represent them exactly as they are; I want their lives and likenesses to be seen. The paintings are from my gaze and their surfaces become windows into the subjects’ domestic spaces and surroundings. The works are visual narratives about the complexities of their lives; they capture what it means to be Indigenous today.

2011

MFA, University of New Mexico, Albuquerque, NM Residencies

2021

Constance Saltonstall Foundation for the Arts, Ithaca, NY Truth & Reconciliation, Santa Fe Art Institute, Santa Fe, NM Solo Exhibitions

2022 2021

Made in NY, Schweinfurth Art Center, Auburn, NY @Creation, Parks Exhibition Center, Idyllwild Arts, Idyllwild, CA

2020

Tamara Ann Burgh and Luanne Redeye: FRAMED, Museum of Contemporary Native Art, Santa Fe, NM Collections New York State Museum, Albany, NY

Bobby oil on panel, 18 x 18 inches

146

REDEYE

147

Becky oil on panel, 32 x 24 inches Jackie’s Hands oil on panel, 8 x 10 inches

148

KAT SPEARS

Pittsburgh, PA 812.606.9639 kes992@gmail.com katspears.studio @spearskat

b. 1992 Savannah, GA Education

I’m painting about porousness—like two irreducible consciousnesses becoming emulsified into a solution that also includes a dog in the corner, a lamplight, and dust on the sill. Porous figures slip into abstract reveries as easily as awareness can vacillate between the physical and the psychological. Fragments of image, sound, and bodily sensation intermingle with emotions, distractions, and daydreams. Attracted to the sensuousness of a presence, I take on the point of view of a bee hovering above, drawn by some sweetness in the air. I reach for new, unimaginable colors that might constitute a secret language of energies, significant looks, and endocrine signals, like the flower’s ultraviolet flagging to the bee’s specially adapted vision. My paintings are attempts at capturing and holding something of memory; at making a unified whole out of what’s fragmented and indecipherable. They also serve my urge to re-examine the past, to haunt these moments and the people in them like a bee haunts the hive, probing the storage cells and busily depositing its nectar.

2022

MFA, Indiana University (IU), Bloomington, IN BA, Berea College, Berea, KY Residencies

2021

Rural Artist Residency, Center for Rural Engagement, IU, Huntingburg, IN

2018

Hypatia-in-the-Woods, Shelton, WA Selected Group Exhibitions

2022

Sharing Space, Ann Arbor Art Center, Ann Arbor, MI

2021

Home Theater, Racecar Factory, Indianapolis, IN

Collections Faulkner Morgan Archive, Lexington, KY Berea College, Berea, KY

some puppy eyes acrylic and oil on panel, 32 x 32 inches

150

SPEARS

gorge (Toyota camry interior #1) oil, acrylic, glitter, and curling ribbon panel, 48 x 48 inches

151

gulf (Toyota camry interior #2) acrylic and oil on panel, 48 x 48 inches

152

MIKO VELDKAMP

New York, NY mikoveldkamp.com @mikoveldkamp

b. 1982 New York, NY Education

Through the use of romantic, introspective metaphors, such as shadows, reflections, and windows, I dive into my personal memories. The three places I call home—Suriname, the Netherlands, and New York—come together in a fictional psychological landscape, where colonial relations have collapsed yet identity and race still must be performed. By playing with cultural markers and stereotypes that are often read and (mis)understood in different ways, multiple self portraits can appear. Indonesian ghost stories from rural Suriname about shape shifting creatures serve as metaphors for my own shifting identity within changing environments. I start painting without a clear plan, constructing the narrative as I build up the composition, color, and surface. I combine everyday circular shapes, like satellite dishes, wheels, and fans, with the modernist binary of stains and grids, lighthearted immediacy with slow glazing, and inky strokes with impasto. The painting becomes a mix of layers, points of view, and historical and geographical styles, yet in harmony with and consideration of the cultural relations of its parts.

2021

MFA, Hunter College, New York, NY Residencies

2014

Hodder Fellowship, Princeton University, Princeton, NJ

2013

Rijksakademie van Beeldende Kunsten, Amsterdam, Netherlands Solo Exhibitions

2022

Second Nature, Southwark Park Galleries, London, England Ghost Stories, WORKPLACE, London, England Selected Group Exhibitions

2022

Viscereal, Althuis Hofland, Amsterdam, Netherlands Dream Life, BB&M, Seoul, South Korea

2021

Privilege of Getting Together, Regular Normal and

2020

Once More, With Feeling... (online), UCLA Department of

Swivel Gallery, New York, NY Art, Los Angeles, CA Represented by WORKPLACE, London, England

Piano Player oil, acrylic, and ink on canvas, 48 x 30 inches

154

VELDKAMP

Passenger oil, acrylic, and ink on canvas, 24 x 18 inches Mirror Stage oil, acrylic, and ink on canvas, 54 x 48 inches

155

156

VELDKAMP

157

Rain Screen oil, acrylic, and ink on canvas, 40 x 60 inches

158

ARIANNE WACK

Pine Bush, NY awackart@gmail.com awackart.com @awackart

b. 1985 Versailles, KY Education

My work is an exploration of a specific kind of beauty that exists at the intersection of the natural and the artificial. I am interested in how the two collide in visually, culturally, and at times politically striking ways. Many of us may expect to find moments of awe in traditionally ‘beautiful’ scenes or subjects of a landscape painting, but perhaps that anticipation prevents us from experiencing genuine awe in our own scenes of daily life. Capitalism and consumer culture dictate much of the world around us—often more so than the natural world. Slowing down to take in the collision or juxtaposition of them can provide a new way of experiencing—or expecting to experience—beauty. The aim in all my work is to tap into the physiological and psychological dimensions of sight—how we interpret a scene’s beauty, violence, or mundanity informs how we move through the world, and indeed, how we choose to treat ourselves and each other.

2013

MA, New York University, New York, NY

2008

BFA, Ringling College of Art and Design (RCAD), Sarasota, FL Selected Group Exhibitions

2022

Open Juried Exhibition, Woodstock Artists Association & Museum (WAAM), Woodstock, NY Far and Wide: Risk & Experimentation, WAAM, Woodstock, NY

2020

Global Garden, Cultural Alliance of Western

2014

Springs Invitational, Ashawagh Hall,

2008

Best of Ringling, Crossley Gallery, RCAD, Sarasota, FL

Connecticut, Danbury, CT East Hampton, NY 33 Flavors, Mack b Gallery, Sarasota, FL 2007

From the Mouths of Dolls, Crossley Gallery, RCAD, Sarasota, FL

School’s Out for Covid acrylic on canvas, 18 x 36 inches

160

WACK

Okinawa acrylic and gouache on canvas, 30 x 48 inches

161

Welcome, Welcome acrylic on canvas, 30 x 48 inches

162

LI WANG

New York, NY lw2937@columbia.edu liwang.biz @liwang_leo

b. 1995 Beijing, China Education

I’m interested in how queer male bodies inhabit domestic spaces. Rendering my figures within a realistic atmosphere, I interrogate the concept of masculinity. In my work, nude bodies are bathed in sexual innuendo, tension, and gay desire. They expose themselves or commit acts of kink while staring directly at the viewer, as if including them in their secret deed. The figures in my paintings are beautiful, sexy, frail, effeminate, and sickly. My works illuminate the emotional landscape and cultural complexities experienced by my community of gay male immigrants from China who live in the United States.

2022

MFA, Columbia University, New York, NY

2019

BA, The Central Academy of Drama, Beijing, China Selected Group Exhibitions

2022

Body Politic, 440 Gallery, Brooklyn, NY Otherwise, Half Gallery, New York, NY Summer Show, Chashama Gallery, New York, NY (UN)FIXED, SoMad, New York NY

It would be impossible for me to return to China and live as an openly queer man, yet to live authentically in the United States, while preferable, can be a deeply lonely existence because of cultural isolation. The queer diaspora of China is faced with the dilemma of not belonging anywhere. My paintings depict alienation and authenticity simultaneously.

A Teddy is Watching Me oil on canvas, 70 x 58 inches

164

WANG

Portrait and Still Life in the Afternoon oil on canvas, 60 x 48 inches Tao I oil on canvas, 70 x 60 inches

165

166

ATALANTA XANTHE

Brooklyn, NY atalantaxanthe@gmail.com aliceblackart.com/ap-atalanta-xanthe @atalantaxanthe

b. 1996 Brooklyn, NY Education

These paintings imagine the journey of anthropomorphized sperm as they struggle through the reproductive tract. A few years ago, I discovered I have a half-brother, born from sperm my father donated decades before. This new half-sibling was exactly my age—and lived three miles away from me. I started wondering about all the versions of ourselves that didn’t make it; he and I were from the luckiest gametes, but what about the runners-up? The average ejaculate contains 200 million others. From the Willendorf Venus onwards, art often depicts fertility as passive, generous, and bountiful. It’s not. The inside story of procreation includes seismic uterine contractions, battering microvilli, and searing vaginal acid. I wanted to tell a story of reproduction that foregrounded the randomness, harshness, and drama of the race. Fusing influences from Hiroshige, Bruegel, and biological diagrams, and by appropriating the grand scale of History Paintings, this series is a homage to all the versions of ourselves that could have existed.

2016

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

2014

University of Oxford, Oxford, England Solo Exhibitions

2022

Uteroverse, ALICE BLACK, London, England Selected Group Exhibitions

2022

Seven, ALICE BLACK, London, England

2021

Two Flights of a Crossbow, SPRING/BREAK Art Fair, New York, NY Collections Ruth Borchard Collection, London, England Marval Collection, Milan, Italy

Not all my work is about sperm.

Acid Leap acryla gouache, 84 x 60 inches

168

XANTHE

Torrent acryla gouache, 84 x 60 inches Uphill acryla gouache, 84 x 60 inches

169

170

CORRINE YONCE

Winooski, VT 802.324.0014 (Soapbox Arts) corrinemarie.yonce@gmail.com cmyonce.com @corrine_yonce

b. 1991 Bath, ME Education

Painting answers my impulse to re-materialize personal histories that have been lost over time. My figurative paintings incorporate ethnographic media, including household objects, audio interviews, and photographs. The assemblage of fragmented memories and materials form an imperfect narrative of my home experience.

2023

My work considers the intimacies of home space and the figures sharing that space. The paintings reach for domestic reference points both in content and in material, hanging like drapes and featuring puddling mops and reflective mirrors. I integrate household objects with a sense of humor, reverence, and shame. Like those who I work with as a housing advocate, these objects become symbolic of a place we can no longer visit.

2020

77Art, Rutland, VT

2019

New City Gallerie, Burlington, VT

The instinct to hold on to objects, photographs, and other forms of documentation is deeply embedded in my experiences of housing insecurity. Through making my work, I am recreating the muscle memory of relocation by holding onto the unwieldy materiality of home and bringing it from place to place. Home is the materials and memories that remain, rather than the sheltering structures.

MFA candidate, Maryland Institute of Contemporary Art (MICA), Baltimore, MD

2013

M.Ed, University of Vermont, Burlington, VT Residencies

Solo Exhibitions 2021

Estate Sale, Soapbox Arts, Burlington, VT Between Place & Home, Vermont Folklife Center, Middlebury, VT Selected Group Exhibitions

2022

Where Things Touch, Lazarus Contemporary Gallery, MICA, Baltimore, MD

2021

Out of Office, Collar Works, Troy, NY Stories, Isadore & Dunn, Brooklyn, NY

2020

Stay Home/Safe, Burlington City Arts, Burlington, VT Represented by Soapbox Arts, Burlington, VT

Never Good At Pretty Things but Pretty Good at Good Things acrylic, plaster, wood, canvas, and t shirt, 90 x 80 x 28 inches

172

YONCE

Elderberry harvest acrylic on insulation board, resin, 40 x 36 x 3 inches i think im in love with my gynecologist acrylic and collage on canvas, 24 x 24 inches

173

174

JUSTIN YOON

Brooklyn, NY jyoon.ny@gmail.com justinyoon.com @jyoonny

b. 1991 Los Angeles, CA Education

Justin Yoon is a Brooklyn based painter who was born in Los Angeles and grew up both there and in Bundang, South Korea. Early childhood memories of American junk food, old Hollywood movies on late night TV, and listening to jazz on long car drives with his family significantly inspired him to create a world of romantic melancholia, synthetic colors, and a casual lostness of being. With no specific emotions provoked, the group of characters reoccur in a deeply synthetic, yet ambiguous dream-like landscape, continuing on a never ending ‘high school reunion’. The viewer becomes a part of this experience, which feels vaguely universal yet deeply personal. These three characters represent a certain glamorous, queer Asian idolatry as well. By glamorizing such figures in hyper masculine and feminine visuals, they become a symbol of sensual intimacy within oneself.

2014

BFA, Parsons School of Design, New York, NY Solo Exhibitions

2022

Night on the Town, Mindy Solomon Gallery, Miami, FL Lunch at Sunset, Anat Ebgi, Los Angeles, CA Opening Night (online), Taymour Grahne Projects, New York, NY Selected Group Exhibitions

2022

F*CK ART: the body & its absence (online), Museum of Sex, New York, NY A Dream Within a Dream (online), Gallery Shin, New York, NY Hues, Hannah Traore Gallery, New York, NY

2021

It’s Much Louder Than Before, Anat Ebgi, Los Angeles, CA Brainbow, Shelter Gallery, New York, NY

2020

Uncensored Group Show, Blackbird Gallery, Brooklyn, NY

2018

Governors Island Art Fair, with 4 heads, New York, NY Represented by Taymour Grahne Projects, London, England Anat Ebgi, Los Angeles, CA

6 Marges acrylic, acrylic gouache, and glitter on canvas, 40 x 40 inches

176

YOON

You’re Here acrylic, acrylic gouache, and glitter on canvas, 40 x 40 inches

177

Intermission acrylic, acrylic gouache, and glitter on canvas, 40 x 40 inches

178

YOON

Sunset Training acrylic, acrylic gouache, and glitter on canvas, 40 x 40 inches

179

Goodnight to Fantasy acrylic, acrylic gouache, and glitter on canvas, 40 x 40 inches

180

YURI YUAN

Jersey City, NJ yuriyuanart@gmail.com yuriyuan.com @yuri_hatake

b. 1996 Harbin, China Education

I am a storyteller who uses the language of painting. I paint surrealist scenes featuring ambiguous, physically impossible figure/landscape relationships to explore existentialist themes of longing and loss. Through visual symbolism, metaphors, and magical realism, I investigate the ways in which exterior landscapes become projections of both the viewer’s and my own psychological states. My latest work combines personal and art historical allegories with enigmatic narratives to create fragmented and uncanny dreamscapes. Using imagination, I delve further into the psyche, highlighting the absurdity between sleeping and waking, living and dying.

2021 2019

MFA, Columbia University, New York, NY BFA, School of the Art Institute of Chicago (SAIC), Chicago, IL Solo Exhibitions

2022

Dark Dreams, Alexander Berggruen, New York, NY The Great Swimmer, Make Room, Los Angeles, CA River Flows In You, Alexander Berggruen, New York, NY Selected Group Exhibitions

2022

Inferno, Simon Lee Gallery, London, England Collections Columbus Museum of Art, Columbus, OH The Museum of Contemporary Art San Diego, San Diego, CA Represented by Alexander Berggruen, New York, NY Make Room, Los Angeles, CA Metamorphosis oil on linen, 72 x 68 inches

182

YUAN

Snowstorm oil on canvas, 60 x 48 inches Will You Remember oil on linen, 72 x 60 inches

183

184

YUAN

185

Changing Room oil on canvas, 36 x 72 inches

186

Rathod, 195

EDITOR’S SELECTIONS

Artists are presented in alphabetical order. Artist biographies been edited to prioritize recent highlights. Priging Guide can be found on p213

JIN JEONG

New York, NY jin-jeong.com @jinjeong_art

b. 1993 Seoul, South Korea Education

By portraying a departure from or presence in nature, my images demonstrate my fundamental purpose: to offer breathable moments that are necessary for delivering immediacy, traces of processes, and natural reactions. The narrative initiates finding a space where one can feel rooted or catch a subtle glimpse of serenity amid the anxieties of experiencing compound feelings. The abstract landscape has a certain weight and intended perspective that conveys serenity and suffocation simultaneously. The various tones of colors, brushstrokes, and broad levels of transparency and opacity symbolize the diverse, abstract languages of my stream of consciousness. I desire my paintings to speak about emotions by appreciating the image itself rather than giving a boring lecture of nonsense connotations. Thus, my works could be called “emotional landscapes.” I create a space that resonates with the feelings of being rooted—settled, yet still moving and flexible enough to notice the liveliness in nature.

2022 2017

MFA, Hunter College, New York, NY BFA, School of the Art Institute of Chicago (SAIC), Chicago, IL Solo Exhibitions

2022

Grounded, Half Gallery, New York, NY Somewhere to sit, Another Gallery LA, Los Angeles, CA

2021

Luminous Moment, Foundwill Art Society, Seoul, South Korea Selected Group Exhibitions

2022

Harmonious Arrangement, Half Gallery, Los Angeles, CA Moon in Virgo, Bill Brady Gallery, Los Angeles, CA

2021

Write Your Own Script, Backyard Ghost, New York, NY Seven Forevers, Thierry Goldberg Gallery, New York, NY

2019

Second Semester Show, MFA Gallery Hunter College,

2017

BFA Thesis Show, Sullivan Galleries, SAIC, Chicago, IL

New York, NY

Awakening acrylic and oil on linen, 40 x 34 inches

190

JEONG

191

Not a Simple Emotion acrylic and oil on linen, 50 x 44 inches Grounded acrylic and oil on linen, 48 x 36 inches

192

ANJULI RATHOD

Queens, NY

b. 1987 Norristown, PA Education

These paintings present grief and loss as almost hallucinogenic experiences; anguish turning into animism. After confronting an intense loss, one can imagine an afterlife full of ghosts, communions with spirits, parallel worlds, and dream worlds. The figures in my works may be seeing a ghost, a double, or a reflection; there is a yearning and desperation behind them, but also care and tenderness. The paintings’ perspectives flip between the living and the dead, the material world and an imagined afterlife.

2009

BFA, School of the Museum of Fine Arts at Tufts University (SMFA), Boston, MA Solo Exhibitions

2022

Chrysalis, Harkawik, Los Angeles, CA

2020

Open Portal, Y2K group, New York, NY

2019

what fires, a burning room, Interstate Projects, Brooklyn, NY Selected Group Exhibitions

2022

Wonder Woman, Jeffrey Deitch, New York, NY/ Los Angeles, CA Maverick, Magician, Muse, Deli Gallery, New York, NY

2021

These Opalescent Dreams of Mine, Selenas Mountain, Queens, NY A Space for Monsters, Twelve Gate Arts, Philadelphia, PA

2019

Object of Desire, Tiger Strikes Asteroid New York, Brooklyn, NY

2018

Anjuli Rathod / Serban Ionescu, Safe Gallery,

2017

The Far Off Blue Places, Projet Pangée,

Brooklyn, NY Montréal, Canada

Above All Angels watercolor, acrylic, and Flashe on canvas, 26 x 32 inches

194

RATHOD

195

Alchemy watercolor, acrylic, and Flashe on canvas, 54 x 60 inches Passage watercolor, acrylic, and Flashe on canvas, 40 x 48 inches 196

ALEXANDRA RUBINSTEIN

Brooklyn, NY info@alexandrarubinstein.com alexandrarubinstein.com @therubinstein

b. 1988 Yekaterinburg, Russia Education

Growing up in an immigrant home with two Russian men made me acutely aware of how terrible they are. (Just kidding!) Certainly, that’s a sweeping generalization, but the culture of masculinity in my motherland and here in America leaves a lot to be desired. Building on my previous work of examining male identity and behavior, I am now interested in man’s relationship to land and the gendering of nature that has shaped it. After centuries of exploring and exploiting and calling it destiny, man has used up the planet’s resources, leaving it on the verge of a meltdown. Instead of taking care of Mother Earth, he’s going to get some ‘space’. Although most men aren’t planning escape routes, spreading misinformation, or invading sovereign countries, they do very little to actively counter what is happening to our planet. By taking aspirational male bodies that symbolize traditional ideas of strength and morphing them into the land, I turn them into this very passivity. They are hurdles that disrupt their surroundings; beautiful but useless obstacles, weighed down by apathy and dominated by the shifting elements that envelop them.

2010

BFA, Carnegie Mellon University, Pittsburgh, PA Solo Exhibitions

2022

The Moon Also Rises, Mother Gallery, New York, NY

2020

Dick Diaries, Established Gallery, Brooklyn, NY Selected Group Exhibitions

2022

A Woman’s Right to Pleasure, Sotheby’s Los Angeles, CA Mother Gallery Booth, NADA Art Fair, New York NY

2021

Les Femmes, Tethy’s Art, Southhampton, NY

2020

Wet Dreams, Satellite Art Club, Brooklyn, NY The Confidence Game, Undercurrent Projects, Artsy (online)

2019

Macho, Established Gallery, Brooklyn, NY Go Figure, Hewitt Gallery of Art, New York, NY IRL: Investigating Reality, Untitled Space, New York, NY

2018

Barberini, Proto Gallery, Hoboken, NJ

2017

Hands Off My Cuntry, Undercurrent, Projects, New York, NY Represented by Mother Gallery, Beacon, NY

The Moon Also Rises #1 oil on canvas, 63 x 71 inches

198

RUBINSTEIN

The Moon Also Rises #4 oil on canvas, 48 x 36 inches The Moon Also Rises #3 oil on canvas, 48 x 36 inches

199

200

SKYE VOLMAR

Philadelphia, PA skyevolmar.com @skyevolmar

b. 1997 Livingston, NJ Education

Volmar’s practice explores her connection with Black and Haitian American (sub)urban girlhood, city settings, and the natural world. She communicates these intersecting identities through color, craft, material, movement, multiplicity, and repetition. She presents the beautiful and the ugly of her experiences as an offering to the collective.

2019

BFA, Rhode Island School of Design (RISD),

2022

The Macedonia Institute, Chatham, NY

Volmar creates art-objects that are often images with specific attention to craft—both domestic and ritual—and mixed media material, such as acrylic and oil paints, plastic barrettes, brown paper bags, colored pencils, crayons, rhinestones, and more. Her work is an enticing space for connection, selfreflection, and conversation. It is bathed in the energetic beauty, creativity, imagination, and innovation of Black femininity. Everything is made with admiration, care, and love for those who survive the complex trauma of Black girlhood in a world that perpetuates violence against them.

2020

Vermont Studio Center, Johnson, VT

Providence, RI Residencies

2019

Fellowship, Ox-Bow School of Art & Artists’ Residency, Saugatuck, MI Solo Exhibitions

2021

flower, child, Deli Gallery, New York, NY I see how you look at me, Richard Heller Gallery, Santa Monica, CA Selected Group Exhibitions

2021

The Interior, Venus Over Manhattan, New York, NY Split Ends, Unit London, London, England

2020

Myselves, Kohn Gallery, Los Angeles, CA We Begin with Noticing (online), Deli Gallery, New York, NY We Must Begin Wherever We Are, Zürcher Gallery, New York, NY

Girl backed into a corner oil and Swarovski crystals on board, 72 x 48 inches

202

VOLMAR

humidity, humility acrylic and oil on stretched canvas, 24 x 24 inches

203

Orange Moon (The mother in Me) acrylic and oil on stretched canvas, 24 x 24 inches

204

VOLMAR

205

Paradise Lost (City Girls) acrylic, glass mosaic, flower barrettes, grout, and oil paint on canvas, 40 x 30 inches homegirl :) beads, barrettes, gems, glass mosaic tiles, joint compound, rhinestones, and oil on paper mounted to board, 24 x 18 inches

206

AUGUSTINA WANG

New York, NY wang.augustinaa@gmail.com augustina.world @owo_soldier

b. 1999 New York, NY Education

Wang’s work explores her Asian femme identity through lore, worldbuilding, and investigations into the machinations of power. She considers painting to be a way of allowing her to ‘roleplay’ power, a force that seems unattainable to her as a first-generation Chinese American woman. She draws inspiration from her childhood self, a girl who trolled roleplaying blogs, fanfiction forums, and video game sites as a way to experience agency and community in a world that lacked it for her. Wang sees roleplay, and therefore painting, as way to heal her trauma, whether self-inflicted, sexual, generational, or even primordial. Wang is also inspired by her mother, an immigrant single mom whose life experience echoes that of her daughter, despite the differences in time and age. She reconciles with how these vessels—Asian and femme—may be forever subjugated. Instead of turning to fatalism, Wang seeks to build worlds where no such history exists.

2022

BFA, Rhode Island School of Design (RISD), Providence, RI Selected Group Exhibitions

2022

I Saw Things I Imagined, Cierra Britton Gallery, New York, NY Salt Fish, New Image Art, West Hollywood, CA Straight Ahead and Pose to Pose, Sow & Tailor, Los Angeles, CA Magic Hour, Memorial Hall, RISD, Providence, RI Represented by Sow & Tailor, Los Angeles, CA

Evolve Scales, Gemini oil and Conté on canvas, 60 x 40 inches

208

WANG

Snake Goddess oil and conte on canvas, 30 x 48 inches

209

Go to, Heaven oil and conte on canvas, 36 x 48 inches

210

WANG

211

Dressing Columbia (detail) oil on canvas, 35.5 x 30.5 inches 212

PRICING GUIDE New American Paintings is not intended to be a catalog of offerings per se, but, given that many of our readers are collectors, it has been a tradition to offer pricing information for the artists included in each issue. The ranges published below offer guidance as to the current retail pricing for each artist’s work. Works reproduced herein may, or may not be available for acquisition. For information on a specific work, we encourage you to reach out to the artist and/or gallery via the contact information provided in each artist’s spread. The pricing of artwork is, perhaps, the most enigmatic component of the art market. For artists who have a record of secondary market sales that the public can easily view, arriving at an appropriate price point becomes somewhat easier. For emerging artists, such as the majority of those featured in New American Paintings, determining price points can involve a number of considerations, including: the scale and medium of a work, an artist’s exhibition history and the collections in which their work is included, and an artist’s educational background. Layered on top of these factors is the subjective notion of an artworks perceived “quality.” All of these elements will ultimately determine the demand for a given artist’s work and help inform pricing.

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DAPHNE ARTHUR

RONALD HALL

DOMINIC MUSA

LI WANG

p21-26 POR

p69-72 POR

p115-118 NFS

p163-166 NFS

JAMES BERTUCCI

KEES HOLTERMAN

MAYUMI NAKAO

ATALANTA XANTHE

p27-30 POR

p73-78 $1,000-$5,000

p119-124 POR

p167-170 POR

JIWOO CHOI

JEANNE F. JALANDONI

ELLIE KAYU NG

CORRINE YONCE

p31-34 $1,500-$3,500

p79-84 POR

p125-130 POR

p171-174 POR

TAHA CLAYTON

DANI KLEBES

IN JUNE PARK

JUSTIN YOON

p35-38 POR

p85-88 $3,800-$5,200

p131-134 range of works: POR

p175-180 $7,000

BETHANY CZARNECKI

VON HYIN KOLK

JINIE PARK

YURI YUAN

p39-42 $10,000-17,000

p89-92 POR

p135-138 $2,800-$9,500

p181-186 NFS

SHIQING DENG

NATIA LEMAY

DAISY PATTON

JIN JEONG

p43-48 $2,000-12,000

p93-96 POR

p139-144 range of works: $7,800-$44,000

p189-192 NFS

ELIJAH RIVER DION

MASSIEL MAFES

LUANNE REDEYE

ANJULI RATHOD

p49-54 POR

p97-102 NFS

p145-148 $500-$6,000

p193-196 POR

HANK EHRENFRIED

ESTELLE MAISONETT

KAT SPEARS

ALEXANDRA RUBINSTEIN

p55-58 $2,000-15,000

p103-106 POR

p149-152 POR

p197-200 POR

MAGGIE ELLIS

EUSTACE MAMBA

MIKO VELDKAMP

SKYE VOLMAR

p59-64 POR

p107-110 $1,500-4,000

p153-158 NFS

p201-206 POR

MATILDA FORSBERG

LUISIANA MERA

ARIANNE WACK

AUGUSTINA WANG

p65-68 POR

p111-114 POR

p159-162 POR

p207-212 POR

$20