New American Paintings Midwest Issue #167

New American Paintings was founded in 1993 as an experiment in art publishing. Working closely with a range of art-world professionals, we review the work of thousands of artists each year in order to discover America’s most promising emerging and under-recognized painters. Each bimonthly issue presents forty exceptional artists who are selected on the basis of artistic merit and provided space for free.

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RECENT JURORS:

Michael Rooks High Museum of Art

Ana Clara Silva Faena Art

Leila Grothe Baltimore Museum of Art

Jenny Gheith San Francisco Museum of Modern Art

Tyler Blackwell Blaffer Art Museum at the University of Houston

Nadiah Rivera Fellah The Cleveland Museum of Art

Amanda Morgan Institute of Contemporary Art, Miami

Bana Kattan Museum of Contemporary Art, Chicago

Bill Powers Half Gallery

Dominic Molon RISD Museum of Art

Lauren R. O’Connell Scottsdale Museum of Contemporary Art

Hannah Klemm St. Louis Art Museum

Molly Boarati Nasher Museum of Art, Duke University

Lauren Haynes Nasher Museum of Art, Duke University

Liz Munsell Museum of Fine Arts, Boston

Anna Katz The Museum of Contemporary Art, Los Angeles

Suzanne Weaver San Antonio Museum of Art

Henriette Huldisch Walker Art Center

Emily Stamey Weatherspoon Art Museum

Beth Rudin DeWoody Art Patron, Collector and Philanthropist

Jerry Saltz New York Magazine

Christine Y. Kim Los Angeles County Museum of Art

Rebecca Matalon Contemporary Arts Museum, Houston

Staci Boris Elmhurst Art Museum

Michael Rooks High Museum of Art

Amber Esseiva Institute of Contemporary Art at VCU

Ruth Erickson Institute of Contemporary Art, Boston

Nancy Lim San Francisco Museum of Modern Art

Alison Hearst Museum of Fort Worth

Dominic Molon RISD Museum of Art

Katie Pfohl New Orleans Museum of Art

Anne Ellegood Hammer Museum

Susan Cross Mass MOCA

Rita Gonzalez Los Angeles County Museum of Art

Valerie Oliver Contemporary Arts Museum Houston

Aug/Sep 2023

Volume 28, Issue 4

ISSN 1066-2235

$20

Editor/Publisher.............................................Steven Zevitas

Creative Director.....................................Alexandra Simpson

Marketing Manager...............................................Liz Morlock

Copy Editor....................................................Richie Feathers

Front cover: Bernhard, p26

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EDITOR’S NOTE

I want to thank Misa Jeffereis, Associate Curator at the Contemporary Art Museum St. Louis for serving as juror for Issue #167 of New American Paintings. Some of the artists featured in the forthcoming pages have maintained strong artistic practices for decades, while others are at the beginning of their careers. The aesthetic viewpoints of the artists are as diverse as their backgrounds. It is notable that fewer than twenty percent of the featured artists call Chicago their home.

There was a time not too long ago, where our annual review of artists working in the Midwest was dominated by those who were Chicagobased. This, of course, was not unusual given the city’s artistic history, robust support of the arts, and the presence of world-class educational institutions, including the School of the Art Institute of Chicago. In the wake of COVID-19, however, and with the ease of communication enabled by our increasingly digital world, it has become clear that having a sustainable and thriving artistic practice no longer requires artists to locate themselves in major urban centers. As is evidenced by this issue, smaller cities like St. Louis, Cleveland, Minneapolis, and Kansas City are now more viable as options.

One of the Chicago-based artists featured in this issue is painter Cindy Bernhard. I first encountered her work at a small group show several years ago, although she first began exhibiting in 2010. In the last two years, interest in Bernhard’s practice has taken a dramatic upswing; as I

write these words, her work is the focus of a successful solo exhibition at Monya Rowe Gallery in New York City. Her rapid ascendency made me think: Why does this happen to some artists, while others toil for years with little recognition?

There is a lot of window dressing in the art world, but ultimately, the work is the most important element. Artists must have not only ideas worthy of exploring but also the technical and conceptual abilities to generate meaningful content from those ideas; put simply, the work needs to be “there.”

Then there is the issue of timing, which, as they say, is everything. Over the past twenty years, the art world wasn’t particularly interested in painting—even less so in representational painting. Around 2015, this began to change in a radical way. Suddenly, representational painting— and in particular, that which addresses the figure—became the art world’s dominant obsession. It is a trend that remains largely intact to this day.

One of the side effects of such art world moments is the way they alter the lens through which we view art and, by extension, the world. There have always been legions of artists making figurative paintings, but in this “moment,” and with the attendant consensus and hype that surrounds such moments, the work suddenly made sense to a wide swath of people.

(As a side note, I realize that the commercialization of such moments plays a role in shaping them, but that subject is for another day.)

For artists such as Bernhard and many others, the timing is precisely right; and what they have to say is presently relevant. I don’t think you can force this in any art form… sometimes the world is ready for your vision and sometimes it is not. I am a big believer that if an artist’s practice is significant, the world will catch up.

Enjoy the issue!

Steven Zevitas Publisher & Editor

JUROR’S COMMENTS

MISA JEFFEREIS

Associate Curator, Contemporary Art Museum St. Louis, St. Louis, MO

I write this statement from St. Louis, a city where, like many Liberal blue islands in a sea of Conservative red, our civil rights face an onslaught of attacks—from the Supreme Court’s overturning of Roe v. Wade, to the extreme restrictions on gender-affirming care for trans people—and an impending presidential election that too closely resembles the previous one. Far too many individuals in this country are not safe. In a frighteningly divided political era, it feels nearly impossible to find common ground between our disparate beliefs and values. But I am grateful to the artists in this edition of New American Paintings who bravely forge the way through these dark times. I am thankful that we have art as an outlet and artists as our beacons, willing to help us reflect and shine a light on the complicated world unfolding around us.

Painting is a natural medium in which to process our experiences; it’s always subjective and situated in an individual’s perspective and search for meaning. Painting is open; it allows for nuance, subtlety, and interpretation. There is a certain in-betweenness that exists in painting, and in this liminal space is the potential for change, connection, hope, and understanding.

Artists in the following pages grapple with what it means to bridge multiple worlds, to occupy shifting identities, and to find belonging and a sense of self through their work. Andy N Li employs figurative abstraction that blurs any sense of direct representation, creating instead works that thrive in paradoxes and contradictions—much like our identities. Ivan Montoya-Vazquez contemplates the Mexican diasporic experience

through folkloric symbolism, as well as images of Modelo beer bottles and athletic jerseys that at first appear to be historical allegories, yet are later revealed as contemporary reminders of the continuity of time and of the past as present.

Elsewhere, Misato Pang draws from her cultural background, incorporating Chinese traditions, Japanese narratives, and nods to Western painting. She seamlessly blends these influences into a new artistic language that evades categorization. Muyiwa Adeyanju’s mixed media works feature Dutch wax textiles as collaged elements on the surface of the canvas, alluding to not only the rich history of African patterns but also familial schisms in the fallout of colonialism. Adeyanju, like Quinn Antonio Briceño and Su A Chae, employs collage to indicate ruptures in a linear narrative, fracturing the ground we stand on. These artists look to the past and to their own heritage to imagine a better future.

Many of the artists in this edition pose questions through their work rather than mine it for answers; their curiosity is rooted in self-introspection and -discovery. The paintings make visual the inner workings of our psyches. Michael Polakowski sets the stage for a psychological drama to unfold in his imagined scenes filled with the stuff of dreams and the colors to match. LaShae Boyd’s emotionally charged portraits employ looming shadows to confine them within claustrophobic interiors, hinting at the unconscious and potential metaphysical transcendence. In the spooky interiors of Cindy Bernhard’s paintings, a cast of cats wanders through memento mori scenes

where mortality and human existence hangs in the balance. The eery tension conveyed by these artists reflects the conflict held within ourselves.

I can’t resist calling attention to the brilliant use of color that invites us into these transformative, otherworldly spaces. These artists, and those such as Justin Brennan, Celina Curry, and Isabelle McCormick, ponder the ways in which we relate to one another; and in the case of the latter two, how technology—specifically the “scroll-and-swipe doom loop culture”— complicates our understanding of those connections.

The sense of the in-between appears not only in the content of this edition of New American Paintings, but also in the way that so many artists are thinking beyond the limitations of the 2D rectangular canvas and into the physical space of the viewer. From painting on different surfaces, such as Jorge Rios’s work on cowhides and Marcus Cain’s on garments; to not using paint at all, as seen in Jessica Campbell’s collaged carpets and Rachel Collier’s wool on canvas; to how Linda Vredeveld’s fabric accoutrement, Nick Schleicher’s shaped and wrapped panels, Hannah Parrett’s carved foam additions, and Gorgen + Burke’s birchwood assemblages are verging on the sculptural, these artists explode our ideas of what painting is. In doing so, they challenge our perceptions and invite us to think outside of what we know—which for me, is the most powerful ability of art.

Congratulations to all of the artists in this proudly Midwest edition of New American Paintings whose voices form a chorus of the multiplicity of what

“There is a certain in- betweenness that exists in painting, and in this liminal space is the potential for change, connection, hope, and understanding.”

it means to exist in this time, together. Thank you for compelling us to slow down, to look, and then to look a little closer at what exists between the lines.

JUROR’S PICK:

QUINN ANTONIO BRICEÑO

p39

In Quinn Antonio Briceño’s paintings there is a transformative possibility. The artist wrestles with his multifaceted identity as a Nicaraguan and American and how to situate himself in an ever polarized society. As a person of mixed race background myself, I immediately connected with the artist’s journey and desire to find belonging. Briceño deftly conveys the sense of fracture through collage, disrupted patterns, and half invisible bodies—yet he weaves together a new narrative, and opens up a space in which one can exist in a multitude of ways.

EDITOR’S PICK:

TRAVIS MCEWEN

p195

Travis McEwen’s intimately scaled, lightly brushed paintings touch on themes of queerness, isolation, and world-building. His subjects are explorers who grapple with not only the cinematic, alien landscapes they inhabit, but ultimately with themselves. World-building is a powerful act of imagination that has given us extraordinary spaces to consider, from J.R.R. Tolkien’s Middle-earth to Frank Herbert’s Dune. For McEwen, the act of world-building is a potent tool that allows him, and us as viewers, to consider other ways of being, and to imagine spaces that are not constrained by the normative rules of the world in which we currently occupy.

JUROR’S SELECTIONS:

MUYIWA ADEYANJU

MADDIE AUNGER

CINDY BERNHARD

LASHAE BOYD

JUSTIN BRENNAN

QUINN ANTONIO BRICEÑO

MARCUS CAIN

JESSICA CAMPBELL

SU A CHAE

RACHEL COLLIER

JAMES COLLINS

CELINA CURRY

JULIA GARCIA

GORGEN + BURKE

STEVE HOUGH

CHRIS HYNDMAN

ANDY N LI

KNYAME MAISON (NANA EKOW)

ISABELLE MCCORMICK

IVAN MONTOYA-VAZQUEZ

DANA OLDFATHER

MISATO PANG

HANNAH PARRETT

MICHAEL POLAKOWSKI

SHAWN POWELL

JORGE RIOS

LAUREN DELA ROCHE

EDO ROSENBLITH

JEFFREY SANDERSON

WILLIAM SCHAEUBLE

NICK SCHLEICHER

JOHN SOUSA

ARIANA VAETH

LINDA VREDEVELD

JOY LALITA WADE

EDITOR’S SELECTIONS:

KATIE BUTLER

MAIYA LEA HARTMAN

KEVIN HOPKINS

ROBERT MARTIN

TRAVIS MCEWEN

Montoya-Vasquez, 104

JUROR’S SELECTIONS

Artists are presented in alphabetical order. Artist biographies have been edited to prioritize recent highlights. Pricing Guide can be found on p201.

618.305.9679

om97draws@gmail.com

muyiwaadeyanjuart.com

@OM_concept

Years of self-practice and expression through various mediums—which have ranged from charcoal pencils, graphite, ballpoint pens, photography, sign design, and most recently, mixed media—have accompanied my steady progression towards finding a unique style. I have worked on a number of projects, with themes including personal narratives, societal challenges, and migration. After years of experimenting, I began creating collage works using Dutch wax textiles, acrylics, oil paints, and photographs. I am attracted by these fabrics’ many colors; they remind me of Africa’s rich culture, as well as their history and how it became a mainstay in Africa.

To explore the ideological breakdown of African culture and practice from neocolonialism, as well as my own feelings of upheaval from migrating to the United States and being separated from my family, I take a mixed media approach to collaging. By cutting, twisting, adding, and redesigning fabrics, I find new ways to present these various cultural elements. In doing so, I create new dialogues with the viewer.

b. 1997 Ilorin, Nigeria | lives in Carbondale, IL

Education

2023 MFA candidate, Southern Illinois University (SIU), Carbondale, IL

2018 BSc, University of Ilorin, Ilorin, Nigeria

Selected Group Exhibitions

2022 First-Year MFA Exhibition, Surplus Gallery, SIU, Carbondale, IL

2018 National Youth Service Corps Art Jamboree, NYSC Orientation Camp Lagos, Lagos, Nigeria

BlinDead charcoal pencil, graphite pencil, and pastel pencil on paper, 20 x 16 inches

ADEYANJU

Non-Resident Alien mixed media; oil paint, printed photograph, and Dutch wax fabric on canvas, 48 x 60 inches

Window to the Milky Way mixed media; oil paint, printed picture, and Dutch wax fabric on panel, 30 x 30 inches

Untitled_22 screen print on fabric, 25 x 60 inches

MADDIE AUNGER

maddieaunger@gmail.com

maddieaunger.com

@maddie.aunger

My paintings walk the line between expressing sensation and capturing the reality of the everyday.

Each piece begins with an excitement about a specific formal quality—a shape of light, a hint of color, a repetition of form, or a composition of layered spaces. They are quiet, crisp, orderly, and controlled representations of places around my home, executed on an intimate scale in acrylic on panel.

Light and color are constantly shifting around us; they act as a reminder of the present moment, if we pause to observe it. Light that briefly touches a spot, shadows that stretch and disappear within minutes, and shocks of color catch my attention and narrow my vision.

I idealize the scene through a distillation of form, a removal of imperfections, and a heightening of contrast. These compositional and design changes extend the brevity of the present moment and hold the viewer in place before they snap back into seeing every detail.

My work encourages the viewer to slow down and recognize that these moments can be found within their own worlds.

b. 1995 St. Louis, MO | lives in St. Louis, MO

Education

2022 MFA, University of Nebraska-Lincoln (UNL), Lincoln, NE

2018 BFA, Southern Illinois University Edwardsville, Edwardsville, IL

Solo Exhibitions

2022 Idylls, Eisentrager-Howard Gallery, UNL, Lincoln, NE

2021 Viewpoints, MEDICI Gallery, UNL, Lincoln, NE

2018 Home Bodies, The DeToye Student Gallery, Edwardsville Art Center, Edwardsville, IL

Selected Group Exhibitions

2023 Small Works XVIII, Webster Arts, Webster Groves, MO

Windows, Manifest Gallery, Cincinnati, OH

2022 Future Tense, Kiechel Fine Art, Lincoln, NE

Suburban, Manifest Gallery, Cincinnati, OH

2020 NOW, Kiechel Fine Art, Lincoln, NE

2019 American Conversation, Art Saint Louis, St. Louis, MO

Collections

D.A. Davidson & Co., Lincoln, NE

Backyard Self Portrait acrylic on panel, 20 x 16 inches

CINDY BERNHARD

310.453.9191 (Richard Heller Gallery)

cindybernhard@gmail.com

cindybernhardart.com

@cindybernhard

My paintings tell a loose narrative about ritual and possible transcendence. Through illusion and tension, the works explore scenes with a heightened awareness packed with psychological energy. Beneath the surface of humor, the works subversively address philosophical subjects, such as human existence and one’s own mortality.

b. 1989 Chicago, IL | lives in Chicago, IL

Education

2014 MFA, Laguna College of Art and Design, Laguna Beach, CA

Solo Exhibitions

2023 Holy Smokes, Monya Rowe Gallery, New York, NY

2021 Smoke and Prayers, Richard Heller Gallery, Santa Monica, CA

Selected Group Exhibitions

2023 Works on Paper, Monya Rowe Gallery, New York, NY

2022 House Parte, Carlye Packer, Palm Springs, CA

Very Disco, Andrew Rafacz Gallery, Chicago, IL

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

Dreamcast, Volery Gallery, Dubai, UAE

Collections

Hall Art Foundation

Represented by Richard Heller Gallery, Santa Monica, CA

Blood Moon

oil and acrylic on canvas, 72 x 60 inches

Stairway

oil and acrylic on canvas, 60 x 48 inches

Lavender Haze

oil and acrylic on canvas, 72 x 60 inches

Midnight oil and acrylic on canvas, 48 x 36 inches

LASHAE BOYD

614.223.1655 (Brandt-Roberts Galleries)

lashaejb@lashaejboydart.com

lashaejboydart.com

@lashaejboyd

LaShae Boyd is a contemporary mixed media artist known primarily for making figurative work using acrylic, oil, and collage. Boyd’s staged subjects depict her own unique visual language of dissecting the human psyche, leading to a spiritual, transcendent experience. She takes influence from Carl Jung’s theory of the “shadow self” (repressed feelings of pain and fear left unacknowledged) and utilizes it as a source for creating balance between the conscious and unconscious aspects of self. Art movements, such as Expressionism and Surrealism, also influence Boyd; she implements a brightly saturated, complementary color-based palette to define each magenta monochromatic-skinned subject as a peculiar human who’s having a spiritual experience while undergoing introspection. Boyd collages intentionally distorted digital photographs of her subject to expose their “inner darkness” waiting to be embraced. Drawing from the aesthetics of Pop Art, she repetitively outlines the subject’s body and uses negative space silhouettes to figuratively add layers to her narratives. Boyd creates with an urge to offer space for conversations surrounding self-transformation under a metaphysical microscope.

b. 1996 Cleveland, OH | lives in Columbus, OH

Education

2019 BFA, Columbus College of Art and Design (CCAD), Columbus, OH

Solo Exhibitions

2022 Ice Cream, 934 Gallery, Columbus, OH

2019 Out of Control, Byers Gallery, Columbus, OH

Selected Group Exhibitions

2023 Wisdom in the Marigolds, Brandt-Roberts Galleries, Columbus, OH

2021 Identity: The Birth of Reflection, with 934 Gallery, Columbus International Airport, Columbus, OH

2019 Chroma: Best of CCAD, Beeler Gallery, CCAD, Columbus, OH

Young Hearts 8: The Color of Love, Sean Christopher Gallery, Columbus, OH

Black Infinity: Of Other Spaces, Guerrero Gallery, San Francisco, CA

Represented by Brandt-Roberts Galleries, Columbus, OH

A Shared Space Between Me and My Desires acrylic, photo collage, 60 x 48 inches

Sitting in What Was Denied acrylic, 48 x 36 inches

Familiar Strangers on a Random Night acrylic, oil, oil pastel, and photo collage, 60 x 48 inches

JUSTIN BRENNAN

216.650.4201 (HEDGE Gallery)

jbrennanart76@gmail.com

jbrennanart.com

@jbrennanart

My practice focuses mainly on relationships and self-reflection. These interactions and this contemplation are portrayed with a sense of ambiguity and anonymity as an expression of my search for identity and purpose. Once finished, I leave it to the viewer to determine what or who they may relate to.

b. 1976 Cleveland, OH | lives in Cleveland, OH

Solo Exhibitions

2021 General Maintenance, HEDGE Gallery, Cleveland, OH

2019 Ego, BAYarts, Bay Village, OH

2016 Turbulence, Maria Neil Art Project, Cleveland, OH

2012 Cause and Affect, Rotten Meat Gallery, Cleveland, OH

Selected Group Exhibitions

2022 CAN Triennial: You Are Here, Collective Arts Network, Cleveland, OH

Lost Treasure, Parlor Gallery, Asbury Park, NJ

Portraiture, Chicago Truborn, Chicago, IL

2021 Figural Allusions, Malone Art Gallery, Malone University, Canton, OH

Collections

Cleveland Art Association, Cleveland, OH

Represented by HEDGE Gallery, Cleveland, OH

Little Things oil, enamel, and spray paint on canvas, 40 x 30 inches

quinnbricenoartist@gmail.com

quinnbriceno.com

@qbricenoart

I am a guisado, a savory stew with ingredients that are both Nicaragüense and Estadounidense—Nicaraguan and American.

As an artist I examine both my struggle with identity and how I came to be who I am today. Being both Nicaragüense and Estadounidense, it is important that my paintings reflect those two worlds and create a new space where people like me can belong.

Blending Americana with Latinx, my work gives dignity to the working class while expressing my own longing for acceptance into both worlds from which I feel excluded.

Through the act of collaging found materials that connect to my life in the United States with the painted imagery of Nicaragua, my work takes society’s scraps and the personal stories and histories of my family to create a new environment—one that celebrates my identity and the way I became the person I am.

b. 1993 St. Louis, MO | lives in St. Louis, MO

Education

2022 MFA, Washington University in St. Louis, St. Louis, MO

2017 BFA, San Francisco Art Institute, San Francisco, CA

Residencies

2023 Rockport Center for the Arts, Rockport, TX

Solo Exhibitions

2023 Rockport Center for the Arts, Rockport, TX

2021 Cunst Gallery, St. Louis, MO

2020 Como Tú, Houska Gallery, St. Louis, MO

2019 Gallo Pinto, Galería Obscura, St. Louis, MO

La

Las Portadoras de Sueños

acrylic, found prints, solvent transfers on paper, and sand on canvas, 30 x 40 inches

El Joven de Rojo acrylic, found prints, and sand on canvas, 24 x 36 inches

Allí acrylic, found prints, packing stickers, solvent transfers on paper, and sand on canvas, 60 x 96 inches

MARCUS CAIN

816.221.2626 (Sherry Leedy Contemporary Art)

marcuscainstudio@gmail.com

marcuscain.com

@marcuscain

For me, painting is a slow and durational method of comprehending and interpreting the world. I build images for that narrow delay between sight and perception—between looking and seeing—when color, texture, pattern, and material are in service to gestures that mesh process with content. These works represent the radiance of biological perception and cognition, language, memory, and the presence and absence of the figure and its attendant identities and energies. Collectively, they are meditations on personal and universal mythologies, acts of transformation, and experiences of discovery and loss in the natural world.

b. 1970 Kansas City, MO | lives in Kansas City, MO

Education

1998 BFA, Kansas City Art Institute, Kansas City, MO

Solo Exhibitions

2020 Borrowed Light, Sherry Leedy Contemporary Art, Kansas City, MO

Selected Group Exhibitions

2023 Distant Context, Joseph Nease Gallery, Duluth, MN

Sharp-Sighted, Sherry Leedy Contemporary Art, Kansas City, MO

2019 Sioux City Selects, Sioux City Art Center, Sioux City, IA

Summer Invitational, George Billis Gallery, New York, NY

Collections

BBC Worldwide America, Los Angeles, CA

Daum Museum of Contemporary Art, Sedalia, MO

Sioux City Art Center, Sioux City, IA

Soka University of America, Aliso Viejo, CA

Represented by

Sherry Leedy Contemporary Art, Kansas City, MO

Joseph Nease Gallery, Duluth, MN

George Billis Gallery, New York, NY

Split leg acrylic on denim, 29 x 15.5 inches

CAIN

Sleeves V

Sleeves IV

acrylic on men’s dress shirt sleeves, 19.5 x 8.5 inches each

acrylic on men’s dress shirt sleeves, 19 x 9 inches each

JESSICA CAMPBELL

312.480.8390 (Western Exhibitions) westernexhibitions.com/artist/jessica-campbell @jessica_campbell_art

My work—satirical drawings, comics, and textiles—is woven from elaborate, humorous, and politically pointed narratives that expose the experiences with sexism that women have faced throughout history and continue to face every day. Primarily, I have been using carpet to create figurative works that visually mimic latch hook rugs, yet deviate from the medium’s traditional subject matter, depiction style, and scale. Drawing on a wide range of influences, from science fiction and art world politics, to ancient Greek myths and my evangelical upbringing, my worlds reference craft traditions, home decor, and fine art, with an emphasis on comics. I use humor as a tool to help process what is happening in the world; by reconsidering past traumatic events in my life, I have now mentally recast them as funny. Humor can make some trauma bearable.

b. 1985 Nanaimo, Canada | lives in Green Bay, WI

Education

2014 MFA, School of the Art Institute of Chicago (SAIC), Chicago, IL

Residencies

2023 Fabric Workshop and Museum, Philadelphia, PA

Solo Exhibitions

2023 The Fabric Workshop and Museum, Philadelphia, PA

2021 Gigantomachinations, Western Exhibitions, Chicago, IL

2019 A Beautiful Woman Eating a Spinach and Artichoke Dip Quesadilla, Field Projects, New York, NY

2018 Chicago Works: Jessica Campbell, Museum of Contemporary Art, Chicago, IL

Selected Group Exhibitions

2022 In the Adjacent Possible, John Michael Kohler Art Center, Sheboygan, WI Comic Sans, Art Gallery of Alberta, Edmonton, CAN

2021 Chicago Comics: 1960s to Now, Museum of Contemporary Art, Chicago, IL

Represented by Western Exhibitions, Chicago, IL

Porphyrion (Fighting my Dad’s Belief that Women are Born to be Servants) collaged acrylic carpet, 80 x 75 inches

CAMPBELL

Helios (Fear of the Impending Climate Catastrophe) collaged acrylic carpet, 84 x 84 inches

Alcyoneus (Fighting my Dad about Climate Change) collaged acrylic carpet, 80 x 43 inches

SU A CHAE

suachaestudio@gmail.com

suachae.com

@sua_chae

My painting explores the idea of an asymmetrical balance that creates paradoxical, spatial relationships and the ambivalence associated with identity.

I employ abstraction or semiabstraction as a means of compressing my personal perceptions and experiences, which are often intertwined with sociopolitical and cultural specifics. Arch shapes, distorted square forms, and other idiosyncratic elements with recognizable shapes and patterns are personified to suggest their multifaceted, and sometimes contradictory, relationships that can be both confrontational and comforting.

b. 1977 Incheon, South Korea | lives in Bloomington, IN

Education

2019 MFA, Indiana University Bloomington (IUB), Bloomington, IN

Residencies

2021 ACRE Projects, Steuben, WI

2019 Vermont Studio Center, Johnson, VT

2018 Penland School of Craft, Spruce Pine, NC

Solo Exhibitions

2022 Between You and Me, Racecar Factory, Indianapolis, IN

Cabinet of Curiosities, The Gayle Karch Cook Center, Maxwell Hall, IUB, Bloomington, IN

Selected Group Exhibitions

2022 Screenic Paradigms, The Neon Heater, Findlay, OH

2021 Forbidden Fruit, with I Like Your Work, Piano Craft Gallery, Boston, MA

Pet Show, Gross McCleaf Gallery, Philadelphia, PA

In the Wake of Slumber, Paradise Palace, Brooklyn, NY

No Man’s Land, 5-50 Gallery, Queens, NY

Journey acrylic, molding paste, and glitter on canvas, 36 x 36 inches

CHAE

Autumn Notes

acrylic and molding paste on canvas, 20 x 20 inches

Cabinet of Curiosities acrylic and molding paste on canvas, 36 x 36 inches

RACHEL COLLIER

415.987.3037 (HAIR + NAILS)

rachelbaileycollier@gmail.com

rachelcollier.com

@rachelcolliermwa

Rachel Collier is an interdisciplinary artist whose work focuses on the release of internal visual language held in the emotional body, resulting in radically uplifting imagery that rides the line between the mysterious and the familiar. Her materials are activated by a meditative and repetitive process rooted in nonrepresentational painterly tradition.

b. 1981 Minneapolis, MN | lives in Minneapolis, MN

Education

2007 BFA, School of the Art Institute of Chicago, Chicago, IL

Residencies

2022 Anderson Ranch Arts Center, Snowmass Village, CO

Anderson Center at Tower View, Red Wing, MN

2021 Wassaic Project, Wassaic, NY

Solo Exhibitions

2022 Still Together, Saint Kate, Milwaukee, WI

Field Moves, HAIR + NAILS, Minneapolis, MN

2021 Soft Landing, Nemeth Art Center, Park Rapids, MN

Selected Group Exhibitions

2022 NADA Miami, with HAIR + NAILS, Miami, FL

Tournament of Lies, Wassaic Project, Wassaic, FL

2021 The Human Scale, Rochester Art Center, Rochester, MN

Represented by HAIR + NAILS, Minneapolis, MN

Moved in wool on canvas, 60 x 40 inches

JAMES COLLINS

312.535.4555 (DOCUMENT)

jamescollinsart@gmail.com

james-collins.info

@jamescollinz

Painting for me is as much about technique and process as it is about the final artwork. To illustrate: Each painting embodies an element of chance and less regard to a premeditated outcome. My goal is not solely to create new imagery, but coax the painting to life through the gestures of its making.

b. 1972 Superior, WI | lives in Detroit, MI

Solo Exhibitions

2021 Jeff’s, Detroit, MI

2020 Paris London Hong Kong, Chicago, IL

2018 exploring the tributaries, Simone DeSousa Gallery, Detroit, MI

Selected Group Exhibitions

2022 Reduce/Reuse, Simone DeSousa Gallery, Detroit, MI

2018 Lounge of Saturn, Popps Packing, Hamtramck, MI

2017 A Painting Show, Simone DeSousa Gallery, Detroit, MI

An Anonymous System, Rogaland Kunstsenster, Stavanger, Norway

Summer Group Show, DOCUMENT, Chicago, IL

99 Cents or Less, Museum of Contemporary Art Detroit, Detroit, MI

2016 Et. al, San Francisco, CA

Collections

KADIST, San Francisco, CA; Paris, France

Represented by DOCUMENT, Chicago, IL

Simone DeSousa Gallery, Detroit, MI

Hoffmann Maler Wallenberg, Nice, France

Untitled acrylic on canvas, 40 x 30 inches

COLLINS

Untitled acrylic on canvas, 40 x 30 inches

Untitled acrylic on canvas, 28 x 22 inches

CELINA CURRY

celina@celinacurry.com

celinacurry.com

@currychx

My work is fundamentally at odds with the pervasive “cult of busyness.” Time consuming to make and packed with detail, my paintings demand a certain level of time and attention before revealing all they have to offer. Traditional themes and compositions provide familiar entry points, luring viewers deep into dreamlike scenes from everyday life. Intense attention to detail captivates modern eyes that are more accustomed to scrolling imagery consumed at warp speed. Exaggeration of form and space create an underlying sensation of the uncanny that deliberately borders on the surreal; nostalgia for the mundane comes to life through vivid and vulgar uses of color.

b. 1991 Allentown, PA | lives in Kansas City, MO

Education

2013 BFA, Kansas City Art Institute, Kansas City, MO

Residencies

2022 Charlotte Street Foundation, Kansas City, MO

Solo Exhibitions

2023 Stupid Animals, Habitat Contemporary, Kansas City, MO

2021 Everything You Need, Nothing You Don’t, Kansas City Artists Coalition, Kansas City, MO

Selected Group Exhibitions

2022 BODY TALK, Troost Gardens Art Gallery, Kansas City, MO

Elevate at 21c: EMBODY, 21c Museum Hotel, Kansas City, MO

JULIA GARCIA

In my most recent body of paintings, I work by alternating the canvas between horizontal and vertical orientations in order to control the flow of water, paint, and ink seeping into the work’s surface. For me, this method is linked to the depicted landscape: a porous bedrock, subject to the flow of both aquifers and surrounding water bodies. Using tape and a blade as drawing tools early in the process, partitions of canvas are corralled in order to guide an outcome, which nevertheless, often has unexpected results. Formative years spent in South Florida—notorious for its contradictory mythos of luxury and outrageous headlines—have shaped my interest in imagery which questions violence, erotic drive, and the seduction of spectacle. juliagarcia.studio @__joolz

b. 1992 Pompano Beach, FL | lives in Minneapolis, MN

Education

2016 MFA, Maryland Institute College of Art, Baltimore, MD

2014 BFA, School of Visual Arts, New York, NY

Residencies

2018 MORIUMIUS, Ogatsu, Japan

Solo Exhibitions

2023 Sawgrass, Night Club, Saint Paul, MN

Selected Group Exhibitions

2023 Sagittarius, Night Club, Minneapolis, MN

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

2020 Cloud 9, Flatiron Project Space, New York, NY

2016 The Edge, Ballroom Gallery, Baltimore, MD

Pagina, Libreria Cascianelli, Rome, Italy

Represented by HAIR + NAILS, Minneapolis, MN

The Leopard

acrylic and ink on canvas, 48 x 52 inches

Ride

acrylic and ink on canvas, 52 x 60 inches

Sunset acrylic and ink on canvas, 92 x 83 inches

Swimming Hole acrylic and ink on canvas, 92 x 83 inches

byproductstudios@gmail.com

byproductstudios.com

@byproductstudios

Married artist/designers Nathan Gorgen and Molly Jo Burke comprise Byproduct Studios—a collaborative practice based in Cincinnati which is focused on the balance of artistic, family, and professional life. Their work explores domestic life and space through the use of artifacts and materials generated by their children, home renovations, individual practices, and collections. Of particular interest to the artists are materials that are, or appear to be, soft and malleable, and that do, or seem to, slump, stretch, flow, drip, and squish. These qualities are shared with the human body and lend an organic, biological character to the work. The results are whimsical creations that are chaotic, joyful, and curious; they challenge the audience to reconsider the environments and objects that we all encounter daily.

f. 2017 Columbus, OH | lives in Cincinnati, OH

Education

2012 MFA, Columbus College of Art & Design, Columbus, OH

2009 MFA, The Ohio State University (OSU), Columbus, OH

Solo Exhibitions

2022 What’s Worth Keeping, Rogers Gallery, Berea College, Berea, KY

2021 Compatibility Test, Thomson Art Gallery, Furman University, Greenville, SC

2020 Existential Byproducts, Merwin Gallery, Illinois Wesleyan University, Bloomington, IL

2017 Expanding Waste Line, Hopkins Hall Gallery, OSU, Columbus, OH

Selected Group Exhibitions

2023 Domestic Detritus, Brea Gallery, Brea, CA

2022 Boundary Lines, Columbus Cultural Arts Center, Columbus, OH

2020 GCAC Individual Artist Fellowship Exhibition, Columbus Museum of Art, Columbus, OH

Lavatorium Aspergillum

wenge plywood, mortar, ceramic tile, grout, poplar, red oak, box elder, maple, blown glass, kerdi band, and borosilicate glass, 42 x 24 inches

GORGEN + BURKE

Wasteline Domesticus III (Onagraceae Musa) birch plywood, wallpaper, and wax, 24 x 22 inches

Wasteline Domesticus I (Orchidacae Alcove) birch plywood, paper, wax, glass, air dry clay, and ABS, 24 x 22 inches

STEVE HOUGH

312.654.9900 (Zg Gallery) stevehough@msn.com zggallery.com

Using materials associated with Light and Space and Finish Fetish movements of the ‘70s, my work seeks to extend the traditions and vocabulary of painting to include 3D transitions of form and flatness as ratios of absence and presence, space and objecthood. In place of brush strokes from mark making, my work uses pristine, single-surface undulations as figurative motifs of transcendence to explore and comment on relationships between simulation and authenticity, ubiquity and uniqueness, and reality and fantasy, toward notions of a contemporary sublime.

The paintings are hand carved and shaped from a single sheet or block of composite polymer, then progressively sanded smooth. They are painted with color shifting automotive paint and other similar industrial coatings to produce a flawless monochrome surface without evidence of manufacture.

b. 1969 Widnes, England | lives in Grafton, WI

Education

1996 BA, UCL Slade School of Fine Art, London, England

Solo Exhibitions

2018 Sublime Geometry, Zg Gallery, Chicago, IL

2011 Solid Space Liminal, Zg Gallery, Chicago, IL

2010 Precious States, Arin Contemporary, Laguna Beach, CA

2009 Still, Zg Gallery, Chicago, IL

Selected Group Exhibitions

2017 The Para Natural World, Zg Gallery, Chicago, IL

2016 Doppelgänger, Torrance Art Museum, Torrance, CA

2015 Palm Springs Fine Art Fair, with Peter Blake Gallery, Palm Springs, CA

2013 The Nature of Abstraction, Peter Blake Gallery, Laguna Beach, CA

Collections

Aviva Life Insurance, Des Moines, IA

Baker & McKenzie LLP, Chicago, IL

Saks Fifth Avenue

Represented by Zg Gallery, Chicago, IL

R of Entropy

dyed silver plating on carved polymer relief, 39 x 86 inches

Pass urethane automotive paint on carved polymer relief , 20 x 40 inches

CHRIS HYNDMAN

chrishyndmanstudio.com

@chrishyndmanstudio

For several years my paintings have suggested shallow, stage-like spaces, activated by patterned forms performing in front of curtains or simple backdrops. Recently, they have also included depictions of pennant strings, confetti streamers, and pompoms—the stuff of staged celebrations. I consider staginess to be a fundamental condition of painting, and I hope for results that both picture and embody it.

In terms of fitting in with my earlier work, the latest paintings continue my interest in color and texture, structured surfaces, and the function of pattern and digital tools in the construction of contemporary images.

b. 1973 London, Canada | lives in Chicago, IL

Education

2001 MFA, Ohio University, Athens, OH

1997 BA, University of Guelph, Guelph, Ontario, Canada

Residencies

2001 Skowhegan School of Painting & Sculpture, Skowhegan, ME

Solo Exhibitions

2022 Chris Hyndman: I Feel Better, IBIS Contemporary Art Gallery, New Orleans, LA

2015 Chris Hyndman: Auditions and Curtains, Grace Albrecht Gallery, Bluffton University, Bluffton, OH

Selected Group Exhibitions

2021 A Mark Extended, Wasserman Projects, Detroit, MI

2020 Evanston Art Center, Evanston, IL

Never Normal, Wasserman Projects, Detroit, MI

2018 24th Evanston + Vicinity Biennial, Evanston Art Center, Evanston, IL

Represented by Wasserman Projects, Detroit, MI

IBIS Contemporary Art Gallery, New Orleans, LA

Stancehappen 7 (Best Vote)

acrylic and tissue paper on canvas, 80 x 60 inches

HYNDMAN

Stancehappen 5 (Blood Elevator)

Audition 12

acrylic and tissue paper on canvas, 74 x 56 inches

acrylic and tissue paper on canvas, 80 x 60 inches

andynli.com

@andy_n_li

I make images that engage with the literal meaning of “representation as a repeat presentation.” Through this iterative representation, I aim, and playfully fail, to create entities that embody the contradictions of identity formation. They are between and beyond Chinese and American; boyish and nonbinary; self and other; animal and human. These spaces and faces allow for their paradox to feel truer than direct depiction. With face masks, knockoff cartoons, suggestive symbols, and craft techniques, the beings and forms in my work translate a number of contradictory voices into a unified chorus.

b. 1995 Chicago, IL | lives in Chicago, IL

Education

2017 BFA, Brown University, Providence, RI

Residencies

2022 Hyde Park Art Center, Chicago, IL

2016 ACRE Projects, Steuben, WI

Selected Group Exhibitions

2023 First Note (online), Project Gallery V

2022 Continuous Span, Hyde Park Art Center, Chicago, IL

ENCOUNTER, Chicago Cultural Center, Chicago, IL

2018 QueerTech.io (online), Midsumma Festival, Melbourne, Australia

2017 An Elsewhere Within Here, ACRE Projects, Chicago, IL

EXPO vol. IV, 155 George St., Brown University, Providence, RI

Proxies, AS220, Providence, RI

2016 TRQPiTECA, Junior’s, Chicago, IL

Spring Arts Festival, Granoff Center, Brown University, Providence, RI

Fixed, Benson Hall Gallery, RISD, Providence, RI

Winter oil and acrylic on canvas, 24 x 24 inches

Mask with flashlight 1 oil on panel, 14 x 11 inches

Mask with flashlight 2 oil on panel, 11 x 14 inches

knyamem@gmail.com

nanaekow.com

As an artist, my motivation stems from a deep desire to convey emotions through visual designs that incorporate both spiritual impressions and factual symbols inspired by my Ghanaian heritage and everyday experiences.

My work is multilayered with various principal shapes—often spidery, silhouetted human figures interacting with symbols—all anchored within a neatly defined pictorial space that’s expressed by the weaving of color through an obsessive urge similar to pointillism.

In my creative process, I prioritize innovation, intuition, and spontaneity over technicality. Every sign, color, and image, however, is purposeful, not arbitrary or fanciful. They all represent real forms of a certain reality that I aim to convey. Even the traditional Ghanaian art forms that I incorporate are not exempt from this approach.

b. Accra, Ghana | lives in Peoria, IL

Education

2004 MFA, Bradley University, Peoria, IL

2000 BA, Kwame Nkrumah University of Science and Technology, Kumasi, Ghana

Solo Exhibitions

2021 Historical Consequences, Peoria Art Guild, Peoria, IL

2019 Fragments, Schnormeier Gallery, Mount Vernon Nazarene University, Mount Vernon, OH

2017 Reflections, Foster Gallery, FUMC Peoria, Peoria, IL

Selected Group Exhibitions

2023 Art of Soul!, National Afro-American Museum & Cultural Center, Wilberforce, OH

One Art, Foster Gallery, FUMC Peoria, Peoria, IL

2022 Peoria City Hall, Peoria, IL

Ken’s Friends, Peoria Art Guild, Peoria, IL

2021 RSVP, Lonnie Eugene Stewart Art Gallery, Carl Sandburg College, Peoria, IL

2018 To Carry, To Hold, Studio #222, International Studio and Curatorial Program, Brooklyn, NY

Emergence: The National Arts of Central Illinois, Peoria Riverfront Museum, Peoria, IL

Ancestors of Ancient Places I water, mixable oil, and oil on canvas, 35 x 45 inches

MAISON (NANA EKOW)

Do Not Believe Everything You Think water and mixable oil on canvas, 24 x 36 inches

Edges of Consciousness water and mixable oil on canvas, 30 x 40 inches

MAISON (NANA EKOW)

Four Hundred Years; 1619-2019 water and mixable oil on canvas, 60 x 96 inches

ISABELLE MCCORMICK

isabelle.claire.mccormick@gmail.com

isabellemccormick.com

@izzabot3000

Isabelle McCormick employs traditional oil painting techniques and sculptural relief to render virtual space. At the intersection of technology and art history, she examines the relationship between self-surveillance and feminine archetypes that persist across the social media screenscape. Combining gold leaf, glitter, and Swarovski crystals with plaster casts and cake decorating techniques, she cultivates a tactile materiality that imitates self-branding. In a hyperbolic world of retouching apps and reality TV, McCormick explores the scopophilic pleasure in curating an online image, and the consequent chasm between the bodily self and social media façade.

b. 1992 St. Paul, MN | lives in St. Paul, MN

Education

2021 MFA, Cranbrook Academy of Art, Bloomfield Hills, MI

2015 BFA, Rhode Island School of Design (RISD), Providence, RI BA, Brown University, Providence, RI

Residencies

2022 Everwood Farmstead Foundation, Glenwood City, WI

2018 RISD, Rome, Italy

Solo Exhibitions

2023 Screen Time, Août Gallery, Beirut, Lebanon

2022 Mirror, Mirror, Belle Isle Viewing Room, Detroit, MI

2021 More Real, Août Gallery, Beirut, Lebanon

Selected Group Exhibitions

2022 NADA New York, with Over the Influence LA, New York, NY

Hullabaloo, JPS Gallery, Tokyo, Japan

Picture in a picture in a picture in a picture (night) oil, acrylic, gold leaf, and Swarovski crystals on canvas stretched panel, 72 x 56 inches

Falling Angel

oil, acrylic, glitter, Swarovski crystals, and plaster relief on canvas stretched panel, 30 x 24 inches

Corona Cake III (winter is coming)

oil, acrylic, glitter, and Swarovski crystals on canvas, 12 x 10 inches

IVAN MONTOYA-VAZQUEZ

248.345.6417

imontoyaillustration@gmail.com ivanmontoya.art @imontoya_

I create paintings that express the Mexican American diaspora through folkloric symbolism. I use bold color and dynamic lighting, and combine old word visual motifs with contemporary icons, to turn allegorical figures into representations of immigrants and their experiences and memories. I am interested in what happens when cultural heritage intersects with the incidental effects of assimilation. My work explores the resulting spark of identity that comes from this friction and what happens when we are forced to change.

Why do we choose to let go of certain cultural traits but hold onto others?

What stories do we tell ourselves to stay connected to a world that we no longer belong to? I am drawn to the ethereal space between two cultures that is navigated by many but represented by few.

b. 1995 Chihuahua, Mexico | lives in Detroit, MI

Education

2017 BFA, College for Creative Studies, Detroit, MI

Residencies

2022 City Walls, City of Detroit, Detroit, MI

Solo Exhibitions

2022 Semillas, PLAYGROUND DETROIT, Detroit, MI

2021 Alegoría, KO Studio Gallery, Hamtramck, MI

Selected Group Exhibitions

2020 Address Unknown: An Incomplete Map of Belonging, 333 Midland, Detroit, MI

Collections

Guillermo Del Toro’s “Bleak House,” Los Angeles, CA

Represented by PLAYGROUND DETROIT, Detroit, MI

Apprentice acrylic on birch panel, 24 x 36 inches

MONTOYA-VAZQUEZ

Tercos

acrylic on birch panel, 24 x 36 inches

Descanso

acrylic on birch panel, 24 x 36 inches

MONTOYA-VAZQUEZ

Setting of the Altar acrylic on birch panel, 36 x 48 inches

DANA OLDFATHER

dmo@danaoldfather.com

danaoldfather.com

@danaoldfather

I have always felt a little off-balance and untethered, like the ground is falling or a breeze could pick me up. I struggle to attend to my home and family. I am overwhelmed, jumpy. The world is moving faster than I am. Perhaps we should give more weight to our actions, no matter how small? The whole of our lives is built of innumerable events, one succeeding another, obtusely influencing the next. In a world full of unknowns, change and impermanence are our only certainties. If I could come to terms with this, would my fear subside?

I communicate the dilemma of being through landscape. I bring my insides to bear on the outside, and trepidation colors the scene. The atmosphere in the images is like that of an eclipse of a summer storm. Flora becomes luminous, bulbous, and feathery in the waning light. While building these other worlds, a sense of my own impermanence in a mysterious universe pushes against a broader context and I am free, expansive. I wander on through a great forest without any thought of return.

b. 1978 Berea, OH | lives in Cleveland, OH

Solo Exhibitions

2022 Flyfall, Museum of Contemporary Art, Cleveland, OH

2020 Beast, Red Arrow Gallery, Nashville, TN

2019 Out of the Woods Into the Weeds, McDonough Museum of Art, Youngstown, OH

2016 Sweet, Sweet, Sweet, Zg Gallery, Chicago, IL

Selected Group Exhibitions

2022 Landscape Cityscape, Abattoir Gallery, Cleveland, OH

20th Anniversary: 20 x 20, Zg Gallery, Chicago, IL Show Up, The Parthenon, Nashville, TN

Interior Exterior, Red Arrow Gallery, Nashville, TN

2019 Season Pass Members Show, SPACES, Cleveland, OH

2017 Echoes, Kathryn Markel Fine Art, New York, NY

Collections

Progressive Art Collection, Cleveland, OH

Bedrock, Detroit, MI

Cleveland Clinic, Cleveland, OH

MGM International, Las Vegas, NV

Eaton Corporate Headquarters, Beachwood, OH Jones Day, Cleveland, OH

Represented by Abattoir Gallery, Cleveland, OH

Red Arrow Gallery, Nashville, TN

Pathfinding oil on linen, 48 x 60 inches

Violet Hour oil on linen, 60 x 60 inches

MISATO PANG

347.380.2585

misatopang@gmail.com

misatopangart.com

@misatopang

Painting is where I develop sensitivity to the self, the environment, and the overall experience of being present and alive. I rely on form and rhythm to reflect my own familiar feelings of displacement and nostalgia. These ideas are expressed as interlocking forms and color shifts that create dimension and a sense of fullness. The narratives reveal themselves slowly, over time; the shapes advance and recede as they interact with those around them, giving the paintings a sense of movement.

By infusing motifs from Japanese folklore, Chinese customs, and classical Western forms, my work celebrates this confluence of Asian imagery and the history of European painting. These influences serve as a springboard for my pursuit of discovering both my own pictorial language and insights into my cultural heritage. Having been exposed primarily to Eurocentric art for the majority of my life, I want to reclaim my own cultural roots by embracing imagery that has historically been deemed “too Asian” or “foreign.”

b. 1992 Hong Kong, China | lives in St. Louis, MO

Education

2019 MFA, New York Studio School (NYSS), New York, NY

Residencies

2022 Mount Gretna School of Art, Mt Gretna, PA

2020 Rosemarie Beck Foundation, with NYSS, New York City, NY

2018 Chautauqua School of Art, Chautauqua, NY

Solo Exhibitions

2021 Breakdown, The Gallery at W83, New York, NY

Selected Group Exhibitions

2023 Landscapes, Bellwether Gallery, The Sheldon, St. Louis, MO

2022 Four Pillars, Susquehanna Art Museum, Harrisburg, PA

Pandemic Works on Paper, The Front, New Orleans, LA

2021 Annual Juried Competition, Bowery Gallery, New York, NY

2020 Fallout, Grunwald Gallery of Art, Indiana University, Bloomington, IN

2018 Observations and Imaginations, NYSS, New York City, NY

2017 Hidden Beauty, Hamarikyu Asahi Hall, Tsukiji, Tokyo

Heritage oil on canvas, 30 x 22 inches

Yōkai Onsen oil on canvas, 30 x 24 inches

Setsubun oil on canvas, 30 x 24 inches

HANNAH PARRETT

hparrett4@gmail.com

hannahparrett.com

@hparrett

I make paintings to process contradictions between personal memory and cultural artifacts, and to explore the ways that color and image can be conduits for psychological environments.

I am interested in the symbols and icons that have built mythologies around the landscape of the American West. I use these images as tools to meditate on the alienation and shame I feel from the daily cultural expectations driven by the belief of American exceptionalism. The works are stages where landscapes become curtains, birds become headstones, and the sun repeatedly rises and sets.

In using carved foam reliefs and shaped fabric surfaces, alongside painted environments, I think about how an image’s relationship to an object’s surface has culturally and historically been used as a memory device to share knowledge and stories.

These objects represent sets, props, or counterfeit reliquaries that act as repositories for memory and myth. With this work, I’m speaking to the ways that storytelling through image making can influence accepted historical truths, and how this can shape belief systems.

b. 1993 Shakopee, MN | lives in Cincinnati, OH

Education

2020 MFA, The Ohio State University, Columbus, OH

2015 BFA, Maine College of Art, Portland, ME

Residencies

2022 Hambidge Center for the Arts, Rabun Gap, GA

Solo Exhibitions

2016 The Waterbed, The Matthews Opera House & Arts Center, Spearfish, SD

Selected Group Exhibitions

2023 GCAC Fellowship, Pizzuti Collection of the Columbus Museum of Art, Columbus, OH

Notes from Another Place, Louise Hopkins Underwood Center for the Arts, Lubbock, TX

2022 Interior Facsimiles, Olin FAC Gallery, Washington & Jefferson College, Washington, PA

Reverse Grip, AUTOMAT Collective, Philadelphia, PA

Holding Patterns, Holland Project, Reno, NV

Young Painters Competition, Hiestand Gallery, Miami University, Oxford, OH

Another Name for Horse Heaven, The Neon Heater, Findlay, OH

2021 Sad Lady Sad, ROY G BIV Gallery, Columbus, OH

Mantel for the Day Passing

oil on panel, acrylic on canvas, vinyl, foam, and spindles, 72 x 48 x 3 inches

PARRETT

Headstone for Exterior Waves oil on panel, acrylic on canvas, foam, and spindles, 73 x 57 x 3 inches

Headstone for Interior Waves oil on panel, acrylic on canvas, foam, and spindles, 73 x 42 x 3 inches

MICHAEL POLAKOWSKI

313.670.0780

michaelmpolakowski@gmail.com

michaelpolakowski.com

@michaelpolakowski

In my painting practice, I document scenes from my life that carry inexplicable emotional weight. I aim to strike a balance between heaviness and lightness by using the juxtaposition of each extreme to capture the truth of my lived reality. My focus is on how mental health frames and contextualizes our view of the world. With each painting, I create a stylistically abstracted reality that mirrors our own, but whose physical characteristics reflect its emotional context.

For me, each painting is a chance to expand upon an ongoing narrative where the unseen protagonist grapples with finding a sense of self, maintaining presence in their environment, and connecting to the world around them. Against the backdrop of the Midwest, I explore how it can be both comforting and insulating; heavy and light; expansive and constrictive. Through my work, I hope to convey the complex emotions and experiences that shape our lives, making the invisible visible through color, form, and texture.

b. 1994 Dearborn, MI | lives in Detroit, MI

Education

2017 BFA, College for Creative Studies, Detroit, MI

Residencies

2019 Red Bull Arts Detroit, Detroit, MI

2017 The Platform, Fisher Creative Spaces, Detroit, MI

Solo Exhibitions

2022 Anywhere & Here, Thinkspace Projects, Los Angeles, CA

Selected Group Exhibitions

2022 Get Together, Reyes | Finn, Detroit, MI

Potluck, Hashimoto Contemporary, Los Angeles, CA

Ahora, Muzeo Museum and Cultural Center, Anaheim, CA

Voyage, Nothing At All, Sheung Wan, Hong Kong, CHN

2021 Depth of Field, PLAYGROUND Detroit, Detroit, MI

17th Annual MOCAD Gala and Art Auction, Museum of Contemporary Art Detroit, Detroit, MI

2019 Fresh Squeezed, KO Studio Gallery, Detroit, MI

Represented by Thinkspace Projects, Los Angeles, CA

Here (Doorway)

acrylic on canvas, 40 x 24 inches

POLAKOWSKI

A Function of Memory

acrylic on canvas, 30 x 24 inches

Ever

POLAKOWSKI

SHAWN POWELL

216.820.1260 (Abattoir Gallery)

shawnkellypowell@gmail.com

shawnkpowell.com

@shawnkpowell

Utilizing the motif of a top-down, cinematic viewpoint, my work looks at scenes of leisure from a hovering perspective. Sometimes the paintings act as large-scale, rectangular still lifes of enigmatic items—such as a rollerblade or a spork—carefully positioned on a field of grass. Witty, wry narratives are suggested through playful yet calculated arrangements; at other times, the paintings are shaped works in the form of a parasol, adopting the size and shape of their referent. These circular paintings embrace the strictures of reductive abstraction, while simultaneously poking fun at representational trompe l’œil images.

A mix between Jacques Tati and Fernand Léger, the whimsiness of my work overall is contrasted with palpable stillness and an eerie absence of characters populating the scenes. This sets up a proposition that offers participation rather than dictation. Maybe the figures are simply out of frame; or is there something more sinister at play? Perhaps everyone was suddenly called into work? This is America, after all, where we love our commodified objects but have no time to spend with them.

b. 1978 St. Clair, MO | lives in Kent, OH

Education

2008 MFA, Hunter College, New York, NY

2005 BFA, Kansas City Art Institute, Kansas City, MO

Residencies

2023 International Center for the Arts, Monte Castello di Vibio, Italy

Solo Exhibitions

2022 PARK, Abattoir Gallery, Cleveland, OH

2021 Tennis Elbow, The Journal Gallery, New York, NY

2019 Kindred, Kent State University, Kent, OH

2017 Too Many Mornings, 106 Green, Brooklyn, NY

2014 Blue Tomorrows, Chapter NY, New York, NY

Collections

Akron Art Museum, Akron, OH

Fidelity Corporate Art Collection, Boston, MA Cleveland Clinic London, London, UK

Represented by Abattoir Gallery, Cleveland, OH

Bike, Backpack, Lollipop, Partial Denture, Flute, and Shuttlecock acrylic on canvas, 50 x 75 inches

POWELL

Blanket, Crutch, Rollerblade, Lipstick, Corndog, and Paper Airplane acrylic on canvas, 75 x 50 inches

Park Bench, Metal Detector, Grabber, Notebook, Magnifying Glass, Spork, and Leaves acrylic on canvas, 75 x 50 inches

JORGE RIOS

786.608.6543

lyotard88@yahoo.es

jorgerios.net

@sense.non.no

I paint because playing with the alchemic mechanics of pigments makes me happy. For me, each work is an attempt to provide the viewer with an ineffable experience of the extraordinary, a moment of discovery that offers a special kind of knowledge—one that transcends the limitations of verbal and logical discourse. Aside from painting’s immediate sensual character, to paint is to mimic creation in the theological sense.

b. 1988 Havana, Cuba | lives in St. Louis, MO

Education

2023 MFA, Washington University in St. Louis, St. Louis, MO

2021 BFA, School of the Art Institute of Chicago, Chicago, IL

Solo Exhibitions

2021 Random Specific, Pan American Art Projects, Miami, FL

La Edad del Viento, Pan American Art Projects, Miami, FL

2017 Cellar Door, Cevor Latin American Art, Miami, FL

Selected Group Exhibitions

2023 The Air That Inhabits, Mildred Lane Kemper Art Museum, St. Louis, MO

Protection No Longer Assured, Colección SOLO, Madrid, Spain

2022 NADA Curated: Reduction to Satire (Reductio ad Satura) (online), New Art Dealers Association

2020 100 Years of Cuban Art, Pan American Art Projects, Miami, FL

Collections

Jorge M. Pérez, Miami, FL

Colección SOLO, Madrid, Spain

Untitled / A snowflake falls and no omnipotent agent ever exists watercolor and acrylic marker on paper mounted on wood, 96 x 48 inches

Untitled / The Amazon River floods an odd number of times less than four watercolor and acrylic marker on paper mounted on wood, 96 x 48 inches

Untitled / Plato freely decides to write a dialogue watercolor and acrylic marker on paper mounted on wood, 96 x 48 inches

LAUREN DELA ROCHE

laurenroche.art@gmail.com

laurendelaroche.com

@roach_coache

I am interested in what nourishes the nurturer, and what role I might cultivate in my practice as an artist. My aesthetic is often rooted in autobiography and grapples with the elusive territories of the imagination and memory. My compositions examine an uneasiness and balance simultaneously; feminine figures often bend and reach in gestures of an empathetic connection, revealing solidarity between impassive yet vulnerable forms. Lately, I have been painting on antique cotton feedsack textiles that were previously used for farming and agricultural purposes. I often mend them by hand as I paint and draw on them, maintaining a curiosity about their individual and unique histories while I work.

b. 1983 Santa Rosa, CA | lives in St. Louis, MO

Residencies

2021 Bed Stuy, Brooklyn, NY

Solo Exhibitions

2022 Day Lily, Sean Horton (Presents), New York, NY

2018 Collected Vessels, Bockley Gallery, Minneapolis, MN

2016 Silent Partner, Bockley Gallery, Minneapolis, MN

Selected Group Exhibitions

2022 Do Sandlocks Dream of the Wind?, Eritage, Lisbon, Portugal Snake whiskey still life and other stories, Various Small Fires, Los Angeles, CA

2021 Spring Show, Bockley Gallery, Minneapolis, MN

2020 Of Course, Where Else, Nemeth Art Center, Park Rapids, MN

Crescendo, New Image Gallery, West Hollywood, CA

Delphian X Guts, The Factory, London, UK

Collections

Jasper Hotel, Fargo, ND

Minneapolis Institute of Art, Minneapolis, MN

Represented by

Sean Horton (Presents), New York, NY

Beta Fish

oil on antique cotton feedsack with acrylic varnish, 38 x 36 inches

ROCHE

Rock Dove oil on antique cotton feedsack with acrylic varnish, 58 x 66 inches

Joyce and Lydia oil on antique cotton feedsack with acrylic varnish, 52 x 66 inches

ROCHE

Cruciform Parcheesi

oil on antique cotton feedsack with acrylic varnish, 52 x 62 inches

Bulldozer paintings on found feedsacks stretched onto stretcher bars, 36 x 46 inches

EDO ROSENBLITH

erosenbl@alumni.risd.edu

edorosenblith.com

@edorosenblith

The majority of my work can be seen as an effort to weave together the disparate accounts of my own experiences and observations, filtered through the lens of a personalized cartoon language. Over time, I have found myself drawn to various populist mediums— such as murals, books, and printmaking— as different arenas to employ a dense web of grotesque cartoon imagery. This pictorial strategy is employed to address both personal and historical narratives.

Within my work the question arises: How does my own autobiography intersect with the desire to present a larger social and political critique? The key to unify these interests comes from examining how trauma connects us all. History is precisely the way that we are implicated in each other’s traumas. The comic image or caricatures remain unique in their ability to depict our collective trauma and cultural derangements. Both are highly critical tools that allow for an engaging image that can be absorbed by a larger audience. In some cases, the work will hopefully induce a physical reaction from the viewer—preferably one of laughter.

b. 1988 Tel Aviv-Yafo, Israel | lives in St. Louis, MO

Education

2017 MFA, Washington University in St. Louis, St. Louis, MO

2011 BFA, Rhode Island School of Design (RISD), Providence, RI

Residencies

2023 Crosstown Arts, Memphis, TN

2019 Vermont Studio Center, Johnson, VT

2017 Cité Internationale des Arts, Paris, France

Solo Exhibitions

2023 Plastic Golems: 2012-2023, The Schmidt Art Center, Southwestern Illinois College, Belleville, IL

Selected Group Exhibitions

2023 Faithfully Askew Too, Monaco, St. Louis, MO

2021 Fluid Ground, Julius Caesar, Chicago, IL

2019 How Shallow, with Monaco, Ortega y Gasset Projects, Brooklyn, NY

Collections

John and Susan Horseman Collection of American Art, St. Louis, MO

PANORAMA

acrylic and house paint on wood panel, 72 x 96 inches

ROSENBLITH

Noodle Legs acrylic and house paint on wall, 72 x 96 inches

Noodle Women

acrylic and house paint on wall, 72 x 96 inches

ROSENBLITH

Bar Moro (Part One)

acrylic and house paint on two wood panels, 48 x 96 inches

JEFFREY SANDERSON

847.922.5736 (Alma Art & Interiors) sanderson.jeffrey@gmail.com jeffreysanderson.com

@jeffreysanderson

My paintings are a series of spontaneous, improvised choices, made as I feel and react to relationships within their evolving surfaces. These works depend on form, color, and the tactile realities of paint. As markers of time, these works collect deposits which become their surfaces and layers and evidence of my choices in the studio. I think in terms of looseness versus precision, as well as thickness, flatness, and my desire for colors. I want a whole that’s somehow connected and worked through, one that allows the viewer to find space and can take a sustained gaze.

Marks arrive through acting on the question: What conglomeration would finally feel like the painting is done with me? The painted marks and elements all depend on and celebrate the remarkable sensitivity and uncanny memory that humans possess.

b. 1976 Toronto, ON | lives in Chicago, IL

Education

1999 BFA, Lamar Dodd School of Art, University of Georgia, Athens, GA

Solo Exhibitions

2023 Collected Pauses, Alma Art & Interiors, Chicago, IL

Selected Group Exhibitions

2022 Threaded Together, Alma Art & Interiors, Chicago, IL

2021 Pilsen Open Studios, Pilsen Arts & Community House, Chicago, IL

Abstracted Abstraction, St. Louis Artists’ Guild, St. Louis, MO

2020 Midwestern Biennial, Rockford Art Museum, Rockford, IL

Collections

Lynn and John Manilow, Chicago, IL

Represented by Alma Art & Interiors, Chicago, IL

March 2023

oil on canvas, 35 x 40 inches

SANDERSON

May 2022

May 2008

oil on canvas, 27 x 36 inches

oil on canvas, 47 x 53 inches

WILLIAM SCHAEUBLE

206.858.3004 (Povos) williamschaeuble.com

@willschaeuble

William Schaeuble is an American painter, amateur outdoorsman, and aspiring bird watcher. His work focuses on telling stories of his personal life in connection to the broader world of contemporary culture, art history, and the great outdoors. It’s semi-autobiographical, filled with figures, animals, nicknacks, lovers, enemies, locations, and themes that all come from his own experiences. Schaeuble depicts certain memories and moments from his life that stand out enough to spend extra time with. He alters those memories through a lens of humor and intimate reference of whatever is occupying his mind at the time. The work becomes a body of documentary paintings so that when he is an old man he will be able to revisit old friends through paint.

b. 1999 Des Moines, IA | lives in Des Moines, IA

Education

2023 BFA, School of the Art Institute of Chicago (SAIC), Chicago, IL

Solo Exhibitions

2022 Inside Games, Outside Games, Povos, Chicago, IL

Selected Group Exhibitions

2023 Bloom, Povos, Chicago, IL

2022 Des Moines Exhibited, Polk County Heritage Gallery, Des Moines, IA

Ordinary Instant, Thierry Goldberg Gallery, New York, NY Fables, Povos, Chicago, IL

Represented by Povos, Chicago, IL

Fingers Filled With Rings oil on canvas, 24 x 30 inches

SCHAEUBLE

Duel for F.R.G. oil on canvas, 30 x 24 inches

Dinner Time With Cats oil on canvas, 62 x 50 inches

SCHAEUBLE

Lunch With Apple Tree oil on canvas, 20 x 16 inches

Tug of War oil on canvas, 20 x 16 inches

NICK SCHLEICHER

314.488.9313 (Monaco) nickschleicher.com @nick_schleicher

Nick Schleicher’s work ranges from color field abstractions to sculptural forms inspired by domestic display. Most recently, his practice investigates the relationship between object, painting, sculpture, and void. His latest series of shaped canvases dissolves the exactness of hardline abstraction and overtly rejects clinical crispness in pursuit of something more human. Schleicher’s practice embraces ambiguity; he utilizes abstraction as a vehicle for projection and engages with the empathetic potential of minimalism.

Schleicher also co-hosts the visual arts podcast Cool WIP with Silver Space STL founder Marina May. Cool WIP is a biweekly podcast of conversations with artists, curators, and gallery owners and operators.

b. 1988 St. Louis, MO | lives in St. Louis, MO

Education

2011 BFA, School of the Art Institute of Chicago (SAIC), Chicago, IL

Solo Exhibitions

2021 LIMBOOO, Houska Gallery, St. Louis, MO

2020 SLIME, Monaco, St. Louis, MO

BOSS SKULL (online), Rick Banger Gallery

2017 6 Paintings 9 Sculptures, Grease 3, St. Louis, MO

Selected Group Exhibitions

2023 Faithfully Askew Too, Monaco, St. Louis, MO

2022 DECENTER, The Latent Space, Chicago, IL

B Sides -flowers for my friends, Monaco, St. Louis, MO

Faithfully Askew, with Monaco, The Latent Space, Chicago, IL

2021 RUN, RUN QUIET, PLUG, Kansas City, MO

2020 HOT SPOT, Aupuni Space, Honolulu, HI

2019 Royale, Monaco, St. Louis, MO

Flowers For My Friends, Aupuni Space, Honolulu, HI

Represented by Monaco, St. Louis, MO

mün-tmb

acrylic, glazing medium, graphite, fluorescent pigment, and iridescent pigment on linen wrapped panel, 19 x 11 inches

SCHLEICHER

OLI-DCT-O acrylic, glazing medium, fluorescent pigment, and iridescent pigment on canvas wrapped panel, 40 x 30 inches

TRI-CB4

acrylic, glazing medium, fluorescent pigment, and iridescent pigment on linen wrapped panels, 69 x 32 inches

JOHN SOUSA

937.369.4367

thejohnsousa@gmail.com

johnsousa.com

@thejohnsousa

I think of each work in my Chaos Fields series as part of an imagined plane of infinite possibility, where anything can emerge out of the field/void. This is a play on both the formal field of painting and the frothy, quantum one of physics. At the quantum level, it seems reality’s emergence requires observation; with art, the viewer is also essential.

These works do not dictate; their meaning is unfixed. Instead, they suggest. What you experience is filtered through your personal perception. The notion that ‘any possibility’ can appear out of the field/void gives me the freedom to include in them whatever I wish. This has led me to be more playful than usual. I like to say these works are like Robert Ryman paintings gone bad.

The work rewards looking.

b. 1960 Detroit, MI | lives in Springboro, OH

Education

1982 BFA, Bradley University, Peoria, IL

Solo Exhibitions

2018 Reconstructions, Grace Albrecht Art Gallery, Bluffton University, Bluffton, OH

Selected Group Exhibitions

2022 Appropriate Everything!, Boyd Cultural Arts Center, Wilmington College, Wilmington, OH

2021 Appropriate Everything!, Art Access Gallery, Columbus, OH

2019 The Dayton Connection, Art Access Gallery, Columbus, OH

2017 Summerfair Select: An Exhibition of AIA Winners, Weston Gallery, Cincinnati, OH

2016 Modes of Photographic Vision, UC Blue Ash College, Cincinnati, OH

Represented by Art Access Gallery, Columbus, OH

Pogo mixed media paintings with dimensional and UV cured printing, 45 x 45 inches

Tea Time

mixed media painting with dimensional and UV cured printing, 60 x 60 inches

ARIANA VAETH

414.732.6773 (AYZHA Fine Arts Gallery)

me@arianavaeth.com

arianavaeth.com

@arianavaeth

My paintings illustrate my autobiography. They portray the relationships between me, my family, and chosen family and the touchpoints we’ve shared. These entangled elements are the atomic units of who I am, where I’ve been, and where I am going.

My mark making considers the desires of my subjects. In depicting the people I’m most fortunate to know, I honor their vision of themselves as my loved ones. The images I use to create range from life studies, staged and candid photo shoots, drawings, and mother-approved images.

This approach to self-portraiture requires that the artist and subject negotiate boundaries and terms. The spaces are shaped by the fashion, foods, and furniture of familiar settings. The environments are vital to the cohesion of the painting; the interiors are unfolded to ensure the ground is visible, rooting figures firmly, and often barefoot, in their habitat. My compositions show contemporary life through the safety of homes and invitation-only environments. My presence guides, haunts, and contextualizes these settings and interactions by converting them into self-portraits.

b. 1995 Baltimore, MD | lives in Milwaukee, WI

Residencies

2021 The Dome House, with Miller Art Museum, Door County, WI

Solo Exhibitions

2021 Primary Characters, Miller Art Museum, Door County, WI

Selected Group Exhibitions

2022 EXPO Chicago, with AYZHA Fine Arts Gallery, Chicago, IL

Ain’t I a Woman?, Madison Museum of Contemporary Art, Madison, WI

2021 Wash & Set, Hawthorn Contemporary, Milwaukee, WI

2018 The Space We Grow Into, Woman Made Gallery, Chicago, IL

Collections

Lynden, River Hills, WI

Milwaukee Institute of Art & Design, Milwaukee, WI

Saint Kate – The Arts Hotel, Milwaukee, WI

Represented by AYZHA Fine Arts Gallery, Milwaukee, WI

Day One Detour

oil on panel, 16 x 12 inches

We Eatin’ Hell Yeah oil on canvas, 48 x 60 inches

LINDA VREDEVELD

lindakvredeveld@gmail.com

lindavart.com

@lindakvredeveld

My work is about the press of time on the female body and the wear and tear of our cultural beliefs on the contemporary female psyche. It looks back at the assumptions and fantasies of my particular era—coming of age in the ‘80s; motherhood in the ‘90s—and identifies the misogyny, both internalized and external. My work also considers how the body is measured and evaluated, and speaks of the relationship we have with our own bodies in a shifting context. Its postmenopausal and omniscient point of view brings clarity—even levity—to a dark theme that questions whether the movement of feminism’s optimism and strides are not going to be enough. Even so, there is a celebration of life force, undiminished.

The torso fills each painting; the body becomes the canvas on which the bravado of gestural, abstract painting is performed, tempered by multiple edits and layers. Scrapbook-like collaged pieces and colors create a mood of another era, but this nostalgia works hard to manage the memories and messages of a time that deserves a revengeful retelling.

b. 1962 Ann Arbor, MI | lives in Alton, IL

Education

1988 MFA, University of Illinois Urbana-Champaign (UIUC), Champaign, IL

Residencies

2011 Ragdale, Lake Forest, IL

1992 Ox-Bow School of Art, with School of the Art Institute of Chicago, Saugatuck, MI

Solo Exhibitions

2021 Spinning Straw into Gold, James K. Schmidt Gallery, Principia College, Elsah, IL

Glass Slipper and a Hot Flash, High Low, Kranzberg Arts Foundation, St. Louis, MO

2019 Legs, The Bermuda Project, Ferguson, MO

2016 Spots and Edges, Blackburn College, Carlinville, IL

2006 Linda Vredeveld, Knox College, Galesburg, IL

2003 Painting, I space, UIUC, Chicago, IL

2001 Figurative Abstraction, Lyons Wier Gallery, Chicago, IL

Selected Group Exhibitions

2016 Exposure: 10 Years, Gallery 210, University of Missouri St. Louis, MO

Blue Pocket Alarms

oil, 1980s fabric, buttons, buckle on canvas, and electric alarm clocks, 48 x 40 inches

VREDEVELD

Last Dance oil, gel transfer, vintage buttons and trim, and upholstery tacks on canvas, 48 x 40 inches

Matching Curtain / Carpet Torso oil, jello molds, button, carpet and pad swatches, hardware on canvas, curtain, and rod, 52 x 43 inches

suv92155@gmail.com

joywade.com

I am an illustrator by profession and an artist by heart.

My mixed media paintings explore both Blackness and womanhood. Acknowledging the number of stigmas attached to each classification, I hope that my paintings will serve as a contrast to existing stereotypes by promoting their true essence, beauty, happiness, and inclusion.

I think it’s important to document our personal history, which often includes moments of poverty, prejudice, segregation, and struggle; but I also want my portraits to provide relief from those negative experiences. As Black people, we have traditionally been bombarded with images of ourselves amid intense suffering. So, my work should be a counterpoint to that to offer moments where we see ourselves uplifted and are shown with love, with care, and with the reverence that we deserve.

b. 1955 St. Louis, MO | lives in Saint Louis, MO

Education

1979 BA, Saint Louis University School of Arts & Sciences, St. Louis, MO

Solo Exhibitions

2021 The Urban Mirror, St. Louis Public Library - Buder, St. Louis, MO

2018 The Works of Joy Lalita Wade, The Ethical Society of St. Louis, St. Louis, MO

Selected Group Exhibitions

2022 Biennial Art Show, National Blues Museum, St. Louis, MO

Hagerman Art Gallery, Hannibal-LaGrange University, Hannibal, MO

2021 All Colors, Leedey-Voulkos Art Center, Kansas City, MO

Members Exhibition, St. Louis Artists’ Guild, St. Louis, MO

Collections

Saint Louis University Museum of Art, St. Louis, MO

Represented by 14th Street Artist Community, St. Louis, MO

Portfolio Gallery, St. Louis, MO

Big Sister mixed media, 16 x 20 inches

Jolly Rancher mixed media, 30 x 40 inches

My Choice mixed media, 20 x 30 inches

McEwen, 198

EDITOR’S SELECTIONS

Artists are presented in alphabetical order. Artist biographies have been edited to prioritize recent highlights. Pricing Guide can be found on p201.

KATIE BUTLER

katiebutlerstudio@gmail.com

katiebutlerstudio.com

@katiebutlerstudio

These politically charged paintings of lavish dinner scenes provide a critical commentary on the financial disparities in American society. Luxurious foods and fine china, juxtaposed with run-of-the-mill gingham tablecloths, challenge the disconnect between the wealthy, privileged individuals in power and the average citizen they claim to represent. With superficial notions of “bread and butter issues” at the center of campaigns, the dinner table becomes a metaphorical stage for political theater. Objects symbolic of wealth, greed, and political power sit amongst the ostentatious displays of food, serving as reminders of those who get a seat at the table and how the system is designed to benefit them at the expense of others. Skewed perspectives and exaggerated shifts in scale emphasize the inaccessibility of such spaces to the average working class American.

b. 1995 North Canton, OH | lives in Akron, OH

Education

2021 MFA, Kent State University, Kent, OH

2017 BFA, University of Akron, Akron, OH

Residencies

Alfred University, Düsseldorf, Germany

Solo Exhibitions

2023 Pomp and Circumstance, HESSE FLATOW, New York, NY

State of the State, Abattoir Gallery, Cleveland, OH

2022 Prix Fixe, SPRING/BREAK Art Show, New York, NY

Selected Group Exhibitions

2023 La Grande Bouffe, TUESDAY TO FRIDAY, Valencia, Spain

Potluck, Hashimoto Contemporary, Los Angeles, CA

2022 Nafas, The Invisible Dog Art Center, Brooklyn, NY

À la Carte, tchotchke gallery, Brookyln, NY

YOU HAD ME AT HELLO, Steven Zevitas Gallery, Boston, MA

Represented by HESSE FLATOW, New York, NY

Abattoir Gallery, Cleveland, OH

Images courtesy of the artist and HESSE FLATOW, New York

Your Table is Ready oil and acrylic on canvas, 60 x 50 inches

BUTLER

The Elephant in the Room oil on canvas, 48 x 72 inches

The Food Chain oil on canvas, 48 x 72 inches

MAIYA LEA HARTMAN

415.987.3037 (HAIR + NAILS)

maiyaleaart@gmail.com

maiyaleaartist.com

@maiyaleaart

I am interested in how memory intersects with place, and how it shapes the Black experience.

By placing figures in undefined landscapes, I question how attachment to land, home, culture, and community has impacted personal and collective Black histories. Drawing from my own history and an extensive archive of family photos, I create visual representations that explore the complex interplay between Black people, the places we inhabit, and our sense of belonging. Through the merging and distorting of family photos from various locations and timelines, I create a world where the figures are not bound to their environment. This process highlights how time and perspective can manipulate memory. The resulting artworks reflect idealized representations of childhood memories, and utilize materials and motifs intended to evoke nostalgia and celebrate Black resilience and beauty, while also challenging traditionally represented norms.

b. 1996 Minneapolis, MN | lives in Minneapolis, MN

Residencies

2023 Grand Marais Art Colony, with Public Functionary, Grand Marais, MN

2022 ALVERA Apartments, St. Paul, MN

Caldera Arts, Portland, OR

Solo Exhibitions

2022 That Which Does Not Burn, Minnesota African American Heritage Museum, Minneapolis, MN

Selected Group Exhibitions

2023 Untitled 17, Soo Visual Arts Center, Minneapolis, MN

2022 Painting Show, HAIR + NAILS, Minneapolis, MN

Smoke and Ground, Public Functionary, Minneapolis, MN

Weaving Fragments, Form + Content Gallery, Minneapolis, MN

Winter Into Spring, HAIR + NAILS, Minneapolis, MN

Collections

The Kennedy Center, Washington, DC

Minnesota Museum of American Art, St. Paul, MN

Represented by HAIR + NAILS, Minneapolis, MN

Housing Big Feelings

oil, acrylic, fabric, shoe laces, and carpet on canvas, 48 x 36 inches

HARTMAN

Pete and Repeat

acrylic, oil, paper, and synthetic braiding hair on canvas, 60 x 40 inches

So Fly acrylic, oil, synthetic braiding hair, and hair beads on wood panel, 60 x 48 inches

KEVIN HOPKINS

kevinhopkinsart@gmail.com

@kevinhopkinsart

My work uses portraiture and self-portraiture to visualize retellings of playful conversations that I’ve had with friends and family. These stories often include inside jokes that can only be fully deciphered by those within the narrative. With that in mind, I am interested in allowing others to create personas—to form their own inside jokes—and use them to create a world of characters to compose fun action scenes. This collaboration expands upon the concept of “dreaming,” an invention of my brother’s and my imagination; we would reserve a room in our house and pretend to be our favorite characters, play fighting with our eyes closed. Opening this whimsical play to others is a love letter to my childhood, family, and community.

b. 2000 Beaufort, SC | lives in Kansas City, MO

Education

2023 BFA, Kansas City Art Institute, Kansas City, MO

Residencies

2022 Yale University, Norfolk, CT

2021 Nelson Atkins Museum of Art, Kansas City, MO

Solo Exhibitions

2023 Unlearning to Hush, Haw Contemporary, Kansas City, MO

Selected Group Exhibitions

2023 Watch, The Venue at Willow Creek, Kansas City, KS

2022 Like Wildflowers, NYC Culture Club, New York, NY

SAFEKEEPING, Habitat Contemporary, Kansas City, MO

2021 Reclaim, Vulpes Bastille, Kansas City, MO

Collections

Nerman Museum of Contemporary Art, Kansas City, MO

Kevin [Vegeta] On Planet Namek oil, oil pastel, citrasolv transfer, chain, and spray paint on pillow case, 40 x 40 inches

New Again oil, shellac, tape, silk screen, and pastel on paper, 22 x 28 inches

HOPKINS

Asheli the Ninja Turtle Spars with an Awakened Kevin! oil, oil pastel, and gemstones on panel, 32 x 47 inches

ROBERT MARTIN

575.459.1159 (The Valley) robertmartinstudio.com @robertmartinstudio

The figurative work I create is a layered combination of rural aesthetics, queer historical references, inherited ephemera, and personal imagery. Painting allows me to tangibly imagine queer futures while honoring a queer past by permitting these stories to coexist within one plane. As I ruminate on the interplay between these employed elements, I am cementing endangered histories and generating utopias.

My upbringing was largely bedecked by iconic Americana artists, such as Norman Rockwell and Terry Redlin, who inform my visual predilections. I look to artists like Grant Wood and J.C. Leyendecker as primary historical influences, and I consider my work to be in conversation with contemporaries such as Jacob Todd Broussard, Jordan Ramsey Ismaiel, Matt Lifson, and Pacifico Silano. Research into my uncle and namesake, Martin Ross McRoberts, has become a primary contextual influence, as well as a direct link to an increasingly fading queer past.

b. 1994 Marshfield, WI | lives in Appleton, WI

Education

2021 MFA, University of Colorado Boulder, Boulder, CO

2017 BFA, University of Wisconsin-Stout, Menomonie, WI

Solo Exhibitiona

2023 Purple Martin, The Valley, Taos, NM

2022 Flamboyant Beckoning, 1969 Gallery, New York, NY

Selected Group Exhibitions

2023 Prismatic, Dairy Arts Center, Boulder, CO

Enigmas of Identity, EDJI Gallery, Brussels, Belgium

2022 Birds in Art 2022, Leigh Yawkey Woodson Art Museum, Wausau, WI

Untitled: Creative Fusions, Denver Art Museum, Denver, CO

Under My Skin, Campeche Gallería, Mexico City, Mexico

After Dark, RULE Gallery, Denver, CO

Represented by The Valley, Taos, NM

Justin (forget your troubles)

oil on linen, 75 x 36 inches

MARTIN

oil

Yesterday’s Utopia (on ghosts, dreams, and joy)

oil and colored pencil on linen, 60 x 36 inches

Purple Martin (Exterior)

and colored pencil on linen, 60 x 36 inches

TRAVIS MCEWEN

travisjohnmcewen@gmail.com

cargocollective.com/travismcewen

I make paintings inspired by themes of isolation, queerness, and worldbuilding. My practice borrows from the visual aesthetics and motifs of science fiction, which has long been a site and space to imagine other ways of being and other possibilities for this world. I am interested in how queer subjects face and share an experience of isolation, and how this can drive acts of world-building. My work depicts isolated figures, singly or in groups, in desert and steppe-like landscapes. Increasingly, these landscapes include flora in an effort to move away from bleakness and toward something more hopeful. Even environments in apparent collapse or abandonment still have care to be given and things to be tended to. I have no interest in bleak dystopias or post-apocalypses. Semiarid, arid, and other similarly harsh landscapes are not devoid of life, but rather places containing great biodiversity and a remarkable variety of means for adaptation.

b. 1985 Edmonton, Canada | lives in Minneapolis, MN

Education

2014 MFA, Concordia University, Montreal, Canada

Solo Exhibitions

2017 The Arch: Plans For A Heterotopic Space Opera, dc3 Art Projects, Edmonton, Canada

2014 Bowl Cuts and Rat Tails: A Radiant Heterotopia, La Centrale, Montreal, Canada

Selected Group Exhibitions

2020 After Hours, Quarter Gallery, Regis Center for Art, Minneapolis, MN

HUMA-I-N, Rad Hourani Gallery, Montreal, Canada

2019 Queer Forms, Katherine E. Nash Gallery, University of Minnesota, Minneapolis, MN

2018 Simply Paint, dc3 Art Projects, Edmonton, Canada

2015 Future Station: 2015 Alberta Biennial, Art Gallery of Alberta, Edmonton, Canada

Collections

Rad Hourani Foundation, Montreal, Canada

Senvest Collection, Montreal, Canada

Small Yellow Daisies oil on canvas, 20 x 16 inches

Desert Gardeners oil on canvas, 15

Millefleur at Dusk oil on canvas, 15 x 18 inches

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 held; and an artist’s educational background. Layered on top of these factors is the subjective notion of an artwork’s perceived “quality.” All of these elements will ultimately determine the demand for a given artist’s work and help inform pricing.

MUYIWA ADEYANJU p15–20 $2,000-$12,000

MADDIE AUNGER p21–24 NFS

CINDY BERNHARD p25–30 NFS

LASHAE BOYD p31–34 $1,900-$4,800

JUSTIN BRENNAN p35–38 POR

QUINN ANTONIO BRICEÑO p39–44 $1,200-$4,000

MARCUS CAIN p45–48 $350-$12,000

JESSICA CAMPBELL p49–52 NFS

SU A CHAE p53–56 POR

RACHEL COLLIER p57–60 $5,000-$8,500

JAMES COLLINS p61–64 NFS

CELINA CURRY p65–68 $500-$3,000

JULIA GARCIA p69–74 $6,000-$10,000

GORGEN + BURKE p75–78 $1,250-$8,650

STEVE HOUGH p79–82 $5,000-$16,000

CHRIS HYNDMAN p83–86 POR

ANDY N LI p87–90 NFS

KNYAME MAISON (NANA EKOW) p91–96 $500-$25,000

ISABELLE MCCORMICK p97–100 $1,200-$8,500

IVAN MONTOYA-VAZQUEZ p101–106 $1,600-$5,500

DANA OLDFATHER p107–110 $2,400-$9,000

MISATO PANG p111–114 $300-$3,500

HANNAH PARRETT p115–118 $3,000-$6,000

MICHAEL POLAKOWSKI p119–124 $3,600-$6,000

SHAWN POWELL p125–128 $6,000-$12,000

JORGE RIOS p129–132 $3,000-$10,000

LAUREN DELA ROCHE p133–138 $5,000-$10,000

EDO ROSENBLITH p139–144 $100-$7,000

JEFFREY SANDERSON p145–148 $7,000-$12,000

WILLIAM SCHAEUBLE p149–154 $2,500-$7,500

NICK SCHLEICHER p155–158 $800-$3,000

JOHN SOUSA p159–162 $7,000-12,000

ARIANA VAETH p163–166 $3,000-$12,000

LINDA VREDEVELD p167–170 $2,000-$3,000

JOY LALITA WADE p171–174 NFS

KATIE BUTLER p177–180 $4,500-$8,500

MAIYA LEA HARTMAN p181–184 $3,000-$8,000

KEVIN HOPKINS p185–190 $1,200-$4,800

ROBERT MARTIN p191–194 $8,600-$9,600

TRAVIS MCEWEN p195–200 NFS