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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cover: Kennison, p83
RECENT JURORS:
Misa Jeffereis
Michael Rooks
Contemporary Art Museum St. Louis
High Museum of Art
Ana Clara Silva Faena Art
Leila Grothe
Jenny Gheith
Baltimore Museum of Art
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
Lauren R. O’Connell
Hannah Klemm
Molly Boarati
Lauren Haynes
Liz Munsell
RISD Museum of Art
Scottsdale Museum of Contemporary Art
St. Louis Art Museum
Nasher Museum of Art, Duke University
Nasher Museum of Art, Duke University
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
Christine Y. Kim
Rebecca Matalon
New York Magazine
Los Angeles County Museum of Art
Contemporary Arts Museum, Houston
Staci Boris Elmhurst Art Museum
Michael Rooks
Amber Esseiva
Ruth Erickson
Nancy Lim
Alison Hearst
High Museum of Art
Institute for Contemporary Art at VCU
Institute of Contemporary Art/ Boston
San Francisco Museum of Modern Art
Modern Art Museum of Fort Worth
Dominic Molon RISD Museum
Katie Pfohl
Anne Ellegood
New Orleans Museum of Art
Hammer Museum
Susan Cross MASS MoCA
Rita Gonzalez
Los Angeles County Museum of Art
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The juror for this issue is Vivian Li, the Lupe Murchison Curator of Contemporary Art at the Dallas Museum of Art. I was fortunate to get to know Vivian when she was Associate Curator of Asian Art and Global Contemporary Art at the Worcester Museum of Art, just west of Boston. Since joining the DMA in 2019, she has continued to do extraordinary work. We have traditionally selected our jurors from the region in which our current review is focused. Getting the perspective of a relatively recent transplant was an exciting opportunity, and has resulted in a particularly diverse and strong issue of New American Paintings
Since my professional involvement in the art world began, it seems as if every seven to eight years some form of crisis emerges. Most often, this is triggered by macroeconomic events that affect us all in a variety of ways. The art world is a fragile place, and it does not take much outside disturbance for the cracks to appear. I was pleasantly surprised to see how resilient the ecosystem was in the midst of COVID-19, but now, as the pandemic fades into the distance, economic uncertainty and political upheaval are beginning to take their toll. As I write this, several well regarded New York City galleries have shuttered their doors and, by all accounts, the river of money that flowed into the art world over the past decade has drastically slowed.
As is always the case, it is the little guy who always gets hurt the most. In this current moment, the little guys are emerging artists and the often
times small galleries and organizations that support their creative efforts. Some of this, of course, just is what it is. There is a cyclical nature to the economy that history suggests is simply baked into the cake. And yet there are things that are well within our control that can make the art world a stronger and more resilient place.
I have written about pricing in the art world ad nauseum over the past decade, and as someone who has owned and operated a commercial gallery for twenty years, I have true skin in the game. Put simply: The aggressive nature of pricing with regard to emerging artists is shortsighted, destabilizing and, ultimately, unsustainable. As a flood of new buyers entered the market over the past decade–many of whom have a purely speculative interest in collecting–artists and galleries have been only too happy to take the money and run. It is not uncommon to see emerging artists’ work priced at what, just twenty years ago, would have been mid-career price points. When the money is flowing, everyone seems like a genius, but when it stops the damage to the careers of artists can be catastrophic.
I am speaking to my fellow gallerists here, but this message is equally meant for artists, as they should claim agency over all aspects of their careers. Price points are a decision to be taken very seriously: and, put simply, just because you can sell something for a certain price doesn’t mean you should; doing so is the definition of myopic. I don’t have an algorithm
to arrive at appropriate pricing, but I do know that the current “model” is untenable. If you are an artist, please understand that it is your right to question pricing decisions and to ask hard questions as to how a gallery arrives at pricing and what their long-term pricing strategy is. The most important thing is to give artists a viable path to having a sustainable practice. Does this potentially mean that money is left on the table in the short term? Yes, but short-term thinking causes long-term problems.
Enjoy the issue!
Steven Zevitas Publisher & Editor
VIVIAN LI
The Lupe Murchison Curator of Contemporary Art, Dallas Museum of Art, Dallas, TX
Since the country’s inception, the landscape of the West has served as a wellspring for American myths and imagination. The expansive, rugged frontier and the figure of the resilient Marlborough-man cowboy have stood as enduring symbols. Yet these age-old emblems are now being examined by artists hailing from the region. These emerging artists reject the passive inheritance of these narratives, breathing fresh vitality into old stories while creating new ones of their own.
While Grace Kennison pays homage to the legendary cowboy motif by employing its recognizable symbols, she softens the colors of the harsh terrain and introduces into this romanticized space a languid female nude avatar––seductress or worshipper. Ron Linn’s art, similarly influenced by the Western landscape, unravels the vastness and mystique of the region in overlaid line and color grids. In at least one example, the canvas sags under the weight of a found rock, reflecting a sense of humor, regret, and nostalgia toward place.
The modernist grid figures too in Sarah McKenzie’s immaculate and austere paintings. In her recent depictions of correctional facility interiors, particularly in Colorado, the artist considers the nuances of national myths. Although the images are devoid of figures, she expresses her concern with human experience in the repetitive physical structures and layout of prisons. From the intrusion of light through barred windows to the presence of institutional furniture, McKenzie asserts the tacit human subject inherent in these overwhelming complexes of confinement, surveillance, and control.
In contrast to McKenzie’s paintings of cool, calculated architecture, Alexis Hunter’s works satirize the fear and anxiety sustaining society’s myths of social conformity through monstrously large, fiery female avatars terrorizing the world. Kristen Cochran’s photo-based work leans toward the performative aspect of the translucent, tactile surface, exploring the figure through the lens of daily rituals and behaviors described in disorienting color and black ink. Grace Rosario Perkins delves into personal experiences, emphasizing the fragile beauty of contexts informed by graffiti-like signs, abstract lines, and bright colors.
With the current resurgence of surrealism, the spiritual and religious are reanimated for personal mythmaking and storytelling. Armando Sebastian’s paintings are imbued with mysticism and magical realism; a youthful figure is shown in vivid spaces––from the bathtub to the stage––daydreaming, sheltering, and interacting with the world. Rusul Emad, inspired by Middle Eastern and medieval art, portrays figures in uncanny scenes whose ritualistic intensity is heightened by the rigorously symmetrical and monumental surroundings. Phillip Frye’s work, abstract yet rooted in celestial motifs and the medieval tradition of manuscript illumination, invites the viewer to introspect, pushing them toward a journey within.
The filmic perspective—exploring the visual language of cinema—also finds champions in several of the artists in this selection. Conner O’Leary’s miseen-scènes deploy cinematic techniques, such as the point-of-view shot that guides the viewer’s gaze. Sophia Anthony’s tactical use of mirror reflections
and fashion recreates the ambiance of classic films, tapping into nostalgic moments and capturing ephemeral emotions. Dan Jian, meanwhile, crafts a dialogue between the static and moving image. Her artworks subtly hint at motion, narratives, and stories waiting to unfold, reminding the audience of the dynamic nature of seeing the everyday from multiple viewpoints.
Artists’ substitution of painterly line for the flow and drape of textiles informs many of the works. Christopher Cascio integrates the diverse world of pop culture, readymade patterns, and color field references into his collages of sewn clothing, challenging traditional notions of high and low art. Also departing from color field, as well as op art painting, Bumin Kim’s threaded creations on painted board, abstract and fluid, push the boundaries of textile painting. By applying and magnifying weaving techniques, Kim creates subtle, overlapping fields of depth, texture, and color gradations.
In Ruhee Maknojia’s fabric collages, figures enacting scenes from the everyday to the otherworldly occupy brilliantly patterned environments. The resulting fantastical, geometric landscapes inextricably merge the tactile with the visual worlds.
Besides being a site of national myths, the West is a place where the art and stories of the Americas converge and combine. Andrew Mcilvaine’s wall reliefs resemble protective talismans. Drawing on the form of the chīmalli, an Aztec shield, Mcilvaine’s circular metal plate combines Mexican, Spanish, and Euro-American influences updated with familiar contemporary materials from lowrider and sneaker culture.
“Besides being a site of national myths, the West is a place where the art and stories of the Americas converge and combine.”
As myths have always helped explain the world through the lens of the social conventions of their time, the artists in this issue reveal how essential it is that existing allegories be updated as society and its values change. There remains, clearly, plenty of room for the exciting emergence of new beliefs and forms from a wider range of perspectives.
Hunter p74
Cascio p42
Emad p52
JUROR’S PICK:
ARI BRIELLE p31
Ari Brielle’s sophisticated portraits unveil everyday worlds where strong Black female figures exude confidence and grace. The natural world’s frequent appearance in these spaces—including its ambient light and shadows—further forges an intimate connection between her selfaware subjects and their ease of presence with their surroundings. In her Altar series, lush fruits and blooms adorn the sitters, a reverential fusion. The Mexican votive candle underscores the figure’s honored status. Brielle’s artistry resonates profoundly, inspiring a critical contemplation on human ties to ourselves and home.
EDITOR’S PICK:
Robbins’s work gnaws at me and that is the best compliment I can give to an artist. (I have had the pleasure of viewing the artist’s extraordinary animations in the past, so I come to his work acquainted with the full scope of his practice.) There is a lot to unpack in Robbin’s work, as he addresses the myriad of issues that interest him from identity to sexuality to Blackness. He draws from the archive of American visual culture, so, at first, there is something disarmingly familiar about his imagery. At a deeper level though, Robbins quasinarrative paintings upend our expectations and traditional thematic readings–it is highly disruptive; he forces us to consider the complex ways in which our lives are determined by the political and social structures we exist within.
ELLIOTT JAMAL ROBBINS
p189
JUROR’S SELECTIONS:
SOPHIA ANTHONY
JEREMY BIGGERS
MOLL BRAU
ARI BRIELLE
BRIAN SCOTT CAMPBELL
CHRISTOPHER CASCIO
KRISTEN COCHRAN
RUSUL EMAD
PHILLIP FRYE
LARRY GROFF
GUADALUPE HERNANDEZ
PAULINA HO
ALEXIS HUNTER
DAN JIAN
GRACE KENNISON
BUMIN KIM
GABE LANGHOLTZ
LINDSEY LASCAUX
MARIUS LEHENE
RON LINN
CAROLINE LIU
RUHEE MAKNOJIA
ANDREW MCILVAINE
SARAH MCKENZIE
MONICA MOHNOT
CONNER O’LEARY
GRACE ROSARIO PERKINS
GL RICHARDSON
ARMANDO SEBASTIAN
ALEX STARK
FALON STUZMAN
KENNETH SUSYNSKI
CHRIS VENA
STEPHANIE J. WOODS
ANAHITA YOUNESI
EDITOR’S SELECTIONS:
DAIENY CHIN
JONATHAN FABER
JOSIAS FIGUEIRIDO
ELLIOTT JAMAL ROBBINS
MATTHEW WEIMER
JUROR’S SELECTIONS
Artists are presented in alphabetical order. Artist biographies have been edited to prioritize recent highlights. Pricing Guide can be found on p199.
214.803.9575 (Ro2 Art Gallery) sophiaanthony@me.com sophiaanthonyart.com @sophiaanthonyart
My current work depicts figures set amidst uncertain atmospheres and architectures in tightly constructed paintings. I draw upon a variety of sources, from poetry and literature to found images, film stills, observational drawing, and art history. Synthesizing these references, I construct my paintings into horizontal, mid-shot compositions that frame the figures as characters moving through fictive spaces, from quiet domestic interiors to unknown domains.
I am interested in using a variety of painting styles within a single painting to heighten the ambiguity and psychological tension of the scene and to complicate the figure–ground relationship. Painstaking details in clothing and hair will appear next to expressive marks that describe motion or atmosphere, while architectural motifs are often rendered to the point of geometric abstraction. The multiplicity of my painting practice underscores the emotions of the figures and creates a sense of spatial and psychological interiority, while also suggesting that these narratives are open to multiple interpretations.
b. 1997 Dallas, TX | lives in Dallas, TX
Education
2022 MFA, The University of Chicago, Chicago, IL
2019 BFA, Southwestern University, Georgetown, TX
Residencies
2021 ACRE Residency, Steuben, WI
Solo Exhibitions
2023 Interior Motives, Ro2 Art Gallery, Dallas, TX
2019 Garden of the Laws, Sarofim Fine Arts Gallery, Georgetown, TX
The Speaking Silence, organized by DEASIL, Bermac Arts, Houston, TX
Selected Group Exhibitions
2022 Beautiful Snail, Reva and David Logan Center for the Arts, The University of Chicago, Chicago, IL
2019 Crosscurrents, Pennsylvania Academy of the Fine Arts, Philadelphia, PA
Represented by Ro2 Art Gallery, Dallas, TX
On Empty Leaves oil on panel, 8 x 10 inches
Incomprehensibly
Interior Motives oil on linen, 18 x 24 inches
Understood
oil on canvas, 60 x 60 inches
Palo Alto
oil on linen, 22 x 48 inches
jeremybiggers.com @stemandthorn
Jeremy Biggers draws inspiration from his personal experiences and the way they shape his perspective of the world. His artwork explores themes of identity, particularly in relation to his experience as a Black man in America. Through his unique visual language, he employs his signature “hyper-red” color to convey a sense of aspiration and a rejection of complacency.
The dots that are a recurring element in Biggers’s work represent his mother and the ladybugs that visited him after her passing. These symbols hold a deep personal significance for the artist and add an additional layer of meaning to his pieces.
Through his art, Biggers seeks to establish a connection with the viewer, encouraging sincere conversation and facilitating the discovery of new perspectives. His hope is that his work will resonate with the viewer, inspiring them to explore their own identity and gain a deeper understanding of the world around them.
b. 1981 Dallas, TX | lives in Dallas, TX
Residencies
2023 EDENS Artist Exchange Residency, Denver, CO
The Bushwick Collective, Brooklyn, NY
Solo Exhibitions
2022 Defiant, Daisha Board Gallery, Dallas, TX
Selected Group Exhibitions
2023 Introducing Jeremy Biggers and Sam Lao, Turner Carroll Gallery, Santa Fe, NM
Collections
African American Museum, Dallas, TX
Represented by Daisha Board Gallery, Dallas, TX
Turner Carroll Gallery, Santa Fe, NM
Defiant 001 (Mattie) oil on stretched canvas, 96 x 72 inches
Defiant 015 (Nikolas) oil on stretched canvas, 96 x 72 inches
Presence (Killa and Celine) acrylic and oil on cradled wood panel, 60 x 48 inches
512.695.1437 (Martha’s Contemporary)
molbrau1@gmail.com
mollbrau.com
@braumoll
Moll Brau’s paintings address the feminine and the grotesque, the loss of connection to the things we consume, and how the things we consume relate to the body, specifically the female body. Brau’s paintings deal with her interior struggles: the oppression of conventional gender roles, the shame of breaking free from those norms, and the guilt associated.
Brau’s recent paintings are a collision of the real and imagined and a masterful balance of abstraction and figuration. Meticulously drafted bodies, with their muscles painterly and tactile, contrast with passages of unencumbered color and line. Carefully observed details ground scenes rooted in memory, fantasy, and nightmare. As she processes the dissolution of her previous marriage and the beginnings of new love, the image and reality of gender norms, as well as the strengths and limitations of the human body, Brau creates tableaux that combine wit, anguish, beauty, and rage.
b. 1987 Shreveport, LA | lives in Austin, TX
Education
2009 BFA, Louisiana State University, Baton Rouge, LA
Solo Exhibitions
2023 Sweet Dreams, Rusha & Co., Los Angeles, CA
Martha’s Contemporary at EXPO Chicago, Chicago, IL
Texan Artists, organized by Martha’s Contemporary, Rusha & Co., Los Angeles, CA
Martha’s Contemporary at the Dallas Art Fair, Dallas, TX
Represented by Martha’s Contemporary, Austin, TX
Calcination
acrylic, oil, clear tar gel, and matches on linen, 40 x 30 inches
Distillation
acrylic, oil, encaustic medium, clear tar gel, and distilled frankincense on linen, 40 x 30 inches
Fermentation
acrylic, oil, encaustic medium, coarse pumice, clear tar gel, wine, and powdered psilocybin on linen, 40 x 30 inches
Agape (Roux) oil, acrylic, moss, daisies, secret objects, and clear tar gel on linen, 36 x 48 inches
aribrielleart@gmail.com
aribrielle.com
@aribrielle_
My practice is an ode to the women who came before me, combining painting, photography, and research to explore Black American femme identity, and examine how the politicization of our bodies affects our experience. Through self-portraiture and installation I am processing my own experience with endometriosis and all that comes with it—losing connection to my body, hopelessness, and healing—while framing it within the broader context of the intersections between Black Americans, science, and exploitation in the United States. Materiality and installation are deeply important to my work. I’m interested in how different materials talk to each other within a space, and how the coupling of paint and silk, or sound and object, can reveal complex truths.
b. 1993 Dallas, TX | lives in Dallas, TX
Education
2023 MFA, University of Texas at Arlington, Arlington, TX
2016 BA, University of North Texas, Denton, TX
Solo Exhibitions
2023 Screaming in the Palms of My Hands, University of Texas at Arlington, Arlington, TX
2022 27, Presa House Gallery, San Antonio, TX
Resist, Conduit Gallery, Dallas, TX
Selected Group Exhibitions
2023 Frontside/Backside, Easyside, Dallas, TX
2021 Rooted, Dallas Museum of Art, Dallas, TX
Texas Biennial, McNay Art Museum, San Antonio, TX
The Space Between, Mark Arts, Wichita, KS
Tellin’ Our Own Story, {Neighborhood}, Dallas, TX
Marsha Jackson gouache and acrylic on panel, 48 x 44 inches
Altar (self) gouache and acrylic on panel, 40 x 36 inches
Altar gouache and acrylic on panel, 40 x 34 inches
Jessi
gouache, acrylic, and pencil on panel, 36 x 48 inches
brianscottcampbell.com
@brianscottcampbell
These diminutively scaled paintings combine everyday signs, symbols, and hallucinations. Drawing—an important gravitational point and central language for these paintings—accounts for the preference for flatness and varying shades of mottled grays.
These landscapes suggest leisurely scenes of distant mountains, suns, and boats but pushed through a cartoonish sieve, as though quoting directly from Mickey Mouse.
The rudimentary lines and simple geometries are employed as easily grasped building blocks. And yet each careful arrangement suggests an evolving yet fragmentary narrative. One senses that they are not perceiving any one environment or lived experience but instead touching on archetypes and conventions of looking and representation. Nature is permitted to collide with architecture and figuration, where a tree might insinuate a column, a sailboat a nose, or a field a mere outlined triangle.
Like a garden, the spaces I am interested in are both portals to a physical world and entirely artificial. As such, the imagery in my work reflects the idea of memory itself as a collection of real and fictional experience.
b. 1983 Columbus, OH | lives in Denton, TX
Education
2010 MFA, Mason Gross School of the Arts, Rutgers University, New Brunswick, NJ
2005 BFA, Columbus College of Art and Design, Columbus, OH
2018 Hurry on Trouble, Anna Zorina Gallery, New York, NY
2016 4 Artists, Fredericks & Freiser, New York, NY
Collections
Stanford University, Stanford, CA
Skip Flashe on linen, 30 x 24 inches
Blood Orange
Flashe on canvas, 20 x 16 inches
Stork
Flashe on linen, 30 x 24 inches
617.359.9643 (Bill Arning Exhibitions)
chriscascio@gmail.com
christophercascio.com
@chriscascio
Over the past decade my art has dealt with themes of obsession, compulsion, and ritual practice. The work now primarily consists of hard-edge paintings and is heavily influenced by textiles. Color and its transformative effects on the human psyche are paramount. The paintings come from a spiritual place and serve as a fount of positive energy for those who take the time to look deeply. The act of painting is curative and creates an aura of healing around the work.
My paintings combine complex color theory and motifs based on traditional quilting patterns with geometric abstraction. While my practice typically makes use of masking tape, aerosol, and acrylic paint, the new work is made entirely of sewn clothing. This brings my practice full circle, to painting-like quilts (instead of quilt-like paintings) that are stretched onto frames. They function as paintings even though they are made entirely with fabric and thread. I use my own worn-out clothes as well as those of my wife, son, extended family, and friends.
b. 1976 New Orleans, LA | lives in Houston, TX
Education
2013 MFA, University of Houston, Houston, TX
1999 BFA, San Francisco Art Institute, San Francisco, CA
Solo Exhibitions
2023 Dead Soldiers, Pablo Cardoza Gallery, Houston, TX
I Went into a K-Hole And All I Got Was This Lousy
T-Shirt, Wrong, Marfa, TX
2022 Ascent, Ivester Contemporary, Austin, TX
2021 Portals, Pinwheels and Process Paintings: 2020–2021, Bill Arning Exhibitions, Houston, TX
2021 The Happening: Kinder High School for the Performing and Visual Arts 50th Anniversary Alumni Exhibition, DiverseWorks, Houston, TX
Represented by Bill Arning Exhibitions, Kinderhook, NY
Ivester Contemporary, Austin, TX
Reeves Art + Design, Houston, TX
Domy Worm T-shirts, acrylic and thread, 20 x 16 inches
Hang Ten
T-shirts, acrylic and thread, 60 x 48 inches
Ketaset Stalagmite
T-shirts, toner transfer on canvas and thread, 32 x 32 inches
kristen.cochran@utdallas.edu kristencochran.com
@cathedrals_of_jelly
Through sculpture, print, video, and installation my practice points to the traces and residues of humans’ best efforts, the tragicomic nature of daily laboring, and the passage of time. Socioeconomic disparities, workplace politics, and the relationship between basic needs and transcendent desires are embedded in the materials with which I work.
Fruitfulness and futility, making a living and being on the clock, are interests related to human performance, identity, perceived value, and access to resources. “Dreamtime,” body care, and self-actualization are adjacent research areas that reflect my studies in anatomy and physiology, therapeutic massage, and bodywork.
In the studio, I promote strange material encounters through experimentation and play; humor provides the framework for more serious psychospiritual and sociopolitical concerns.
My interests have materialized variously as ink-blot lounger paintings, copper plumbing “time chimes,” decrepit bake-shop displays, and faux sausages dangling in a suspended state.
2021 To Sometimes Disappear, NARS Foundation, Brooklyn, NY
After Carolee: Tender and Fierce, Artpace, San Antonio, TX
RECLININGNUDE
ink and enamel on photographic print, 4 x 6 inches
MOMTRIESZOLOFT
ink on photographic print, 4 x 6 inches
RUSUL EMAD
rusul@rusulemad.com
rusulemad.com
@rusulemad.artwork
Guided by her old soul and humbly following in the footsteps of classical Surrealist masters of the 1920s such as Remedios Varo and Leonora Carrington, Rusul Emad produces work that is both expressive and emotional. Her emphasis on storytelling via the vivid expression of dreams is central to her work, which focuses on symbolism that shows the struggle of life, hope, success, and failure.
Rusul’s work holds a mirror to the emotions through various imagined characters that can be humans, mammals, or insects, along with other objects that often come to us in dreams. Her symbolism creates a magical environment that challenges the viewer to use their imagination to interpret each painting for themselves.
Rusul appreciates antiquity in all forms and frequently merges Eastern and Western cultural concepts and mythologies, often using this as a bridge to her dreamscapes.
b. 1987 Baghdad, Iraq | lives in Scottsdale, AZ
Education
2017 BFA, Arizona State University, Tempe, AZ
Solo Exhibitions
2019 Embrace the Journey, {9} The Gallery, Phoenix, AZ
2018 Journey: Into the Unknown, {9} The Gallery, Phoenix, AZ
Selected Group Exhibitions
2020 The Master Collection, {9} The Gallery, Phoenix, AZ
2017 Coalesce, Gallery 100, Arizona State University, Tempe, AZ
Secret City oil on canvas, 60 x 48 inches
Rebirth oil on canvas, 48 x 48 inches
Le Jue oil on canvas, 48 x 48 inches
4 Phases of the Moon oil on canvas, 48 x 48 inches
@phillipedwardfrye
Raised in a religious context, I make intimate paintings that pace through the cyclical, inner dialogue of spiritual ceremonies that lodge themselves in the impressionable “other.” These processionary figures demonstrate a practiced decorum of spirituality while navigating the continuous doubt, death, and regrowth of seeking acceptance and detachment from God and His flock. A facade of reverence coats the solemn figures––stoic in their repetitive sessions as they seek to reap wilted answers from their sown questions: Why does the prodigal son return? Why does the sheep forgive the wolf? Why did God create the apple tree? My artwork plants itself firmly in the gray.
Drawing inspiration from Charlotte Salomon and illuminated manuscripts, my works are surreal diaries of self-questioning and personal experiences captured as pages from an exhumed past with veneration and trepidation of my waning religion and my waxing queerness.
2015 Flight into the Wordless: A Watercolor Exhibition, Cora Stafford Gallery, University of North Texas, Denton, TX
Appointed Grief
gouache and gold ink on handmade paper, 12 x 9 inches
Three Wise Men pigment and gold leaf on found paper, 12 x 9 inches
Eden pigment on found paper, 12 x 9 inches
646.230.0246 (Prince Street Gallery)
jlgroff@gmail.com
larrygroff.com
@grofflarry
These new paintings seek aesthetic refuge from the madness of today’s news by offering ways to show the delights of pictorial wonder in a humanistic context. Gently suggested narratives and scenes of home, workplace, and society at large can be my starting point but eventually lead to the more significant formal concerns of pictorial invention, especially those that involve the geometric divisions of space and the interactions of space, color, and shape.
My images gradually emerge from an automatic drawing process of gestural marks and erasures that then selectively refine and solidify these apparitions into a composition structure.
Recent sources of inspiration come out of a “mashup” of disparate sources, such as mixing the obsessive patterns of Édouard Vuillard with those of Paul Klee and Mark Tobey, as well as improvising on the expressive figurative powers of Max Beckmann, Paula Rego, and Stanley Spencer. Another primary source of visual delight comes from my love of Mexican folk art, ancient terracotta figurines, Indian miniatures, and early modernist sculpture.
b. 1953 Charleston, SC | lives in San Diego, CA
Education
1993 MFA, Boston University, Boston, MA
1988 BFA, Massachusetts College of Art, Boston, MA
1986 Yale Norfolk School of Art, Norfolk, CT
Residencies
2015 JSS in Civita: Master Class and Guided Residency in Italy, Civita Castellana, Italy
Solo Exhibitions
2021 Santa Ysabel Art Gallery, Santa Ysabel, CA
2019 Auguries, Prince Street Gallery, New York, NY
Selected Group Exhibitions
2022 Nocturne, Prince Street Gallery, New York, NY
2019 Artist Alliance 2019 Biennial, Oceanside Museum of Art, Oceanside, CA
Observation and Imagination, Morris Gallery of Contemporary Art, Marshall, MO
Represented by Prince Street Gallery, New York, NY
Santa Ysabel Art Gallery, Santa Ysabel, CA
Gracias a la vida oil on linen, 36 x 36 inches
Dreams of a Painter oil on linen, 36 x 36 inches
Circling a Square oil on linen, 36 x 36 inches
210.445.6997 (Presa House Gallery) ghernandezart@gmail.com
guadalupehernandezart.com
@lupehernandez_art
Painting is the medium through which I forge a connection with my cultural identity, drawing inspiration from its vibrant history, cultural traditions, and the unyielding spirit of its people. Painting serves as a vehicle to explore themes of labor, family, and the collective immigrant experience. Approaching my subjects with a sense of tenderness, intimacy, and reverence, I strive to illuminate the inherent humanity within each individual. Through this lens, I invite viewers to immerse themselves in the figurative narratives that resonate with their own stories and challenges. My choice of subject matter arises from a deep sense of admiration and gratitude for the sacrificial love of my parents. With expressive brushstrokes, I seek to capture the essence of individuals who have tirelessly toiled, aspiring to forge a better future for themselves and their loved ones. Family stands as a wellspring of inspiration, symbolizing the resilience and unity that binds us together. Ultimately, my work is a joyous celebration of our shared cultural heritage, forging connections through shared stories and contemplation of the complexities of our identities.
b. 1993 San Miguel de Allende, Mexico | lives in Houston, TX
Residencies
2023 Arts Students League of Denver, Denver, CO
Houston Center for Contemporary Craft, Houston, TX
2022 En el corazón, Beeville Art Museum, Beeville, TX
Selected Group Exhibitions
2022 Son de aquí y son de acá, South Broadway Cultural Center, Albuquerque, NM
Collections
City of San Antonio, San Antonio, TX
Tucson Museum of Art, Tucson, AZ
Mexic-Arte Museum, Austin, TX
Represented by Presa House Gallery, San Antonio, TX
Manos trabajadoras oil on linen, 60 x 40 inches
Al pastor oil on linen, 25 x 19 inches
Amor de Madre oil on linen, 60 x 40 inches
hey@paulina.pizza paulinaho.com
@paulinapizza
Paulina Ho is a designer and artist who creates graphic work that utilizes caricature as a means for introspection. By exaggerating scale and color, she immerses the viewer in a fantastical world. Her work balances literal and abstract visuals, while capturing a variety of emotions, both personal and universal.
b. 1991 Anaheim, CA | lives in Taos, NM
Education
2023 BFA, Parsons School of Design, The New School, New York, NY
2013 BFA, Parsons School of Design, The New School, New York, NY
Selected Group Exhibitions
2023 500 Below: Affordable Art Bazaar, smoke the moon, Santa Fe, NM
2022 Black Market Bodega, Plush Gallery, Dallas, TX
500 Below: Affordable Art Bazaar, smoke the moon, Santa Fe, NM
Shapeshifter, Uprise Art, New York, NY
2019 Nightshift, 172 Allen Street, New York, NY (pop-op)
2018 Girls Are Awesome group exhibition, Bright Trade Show, Berlin, Germany
2017 Girls Are Awesome group exhibition, The Growlery, San Francisco, CA
Body Language, Tictail, New York, NY
Be the Flower acrylic on canvas, 24 x 36 inches
Division
acrylic on canvas, 40 x 30 inches
Different Stories, Same Sky
acrylic on canvas, 24 x 18 inches
alexis_hunter00@hotmail.com alexishunter.work
@m00n_daddy
I use sculpture, painting, performance, and social practice to constantly push myself to my limits to deliver bodies of work in their most honest and vulnerable state. My current project, HAVEN’T I GIVEN ENOUGH???!!, challenges the policing of women’s bodies under the patriarchy and the misogynistic history of the world. HAVEN’T I GIVEN ENOUGH??!! is informed by several factors, one of them being my lifelong insecurities about my body and how I see that experience intersect with social constructs like Western beauty standards and fatphobia.
My inspiration and references range from texts like Karis Campion’s “‘You think you’re Black?’: Exploring Black mixed-race experiences of Black rejection,” in Ethnic and Racial Studies, to the technique and concepts of biracial contemporary artists making their own identity-based work, like Jennifer Ling Datchuk or Sasha Gordon.
b. 1992 Seattle, WA | lives in Austin, TX
Education
2022 BFA, Texas State University, San Marcos, TX
Residencies
2023 HOTBOX Residency, MASS Gallery, Austin, TX
2022 Small Black Museum Residency Project: Vol. II, George Washington Carver Museum, Austin, TX
The LINE Residency, Big Medium, Austin, TX
Solo Exhibitions
2022 “It’s Alive!”, The Line Austin, Austin, TX
2021 BINARY (An Exploration of the In-Between), ArtUs
Co Gallery, Austin, TX
BINARY (Who Do You Belong To?), ICOSA (Window Dressing XIV), Austin, TX
Small Black Museum Residency Project VII, George Washington Carver Museum, Austin, TX
Collective Thoughts, Antenna, New Orleans, LA
Field Order 15: And Other Broken Promises, The Long Center for the Performing Arts, Austin, TX
Marginal Man oil on panel, 30 x 24 inches
INCREDIBLE, UNSTOPPABLE TITAN OF TERROR!
“It’s Alive” oil on panel, 60 x 48 inches
oil on panel, 96 x 72 inches
214.745.1415 (Cris Worley Fine Arts) danjian5@gmail.com danjian.info
In her drawings Jian utilizes dust as her material to navigate the tension between the past and present in monochromatic landscape compositions and layers of cutout collage. Through an incremental process, she uses scissors, an X-ACTO knife, and glue to create introverted landscapes filled with imaginary narratives and symbols. The result is her interpretation of an inner world of images on the dusted ground.
In Jian’s recent work, motifs, scenes, and topographies flow ambiguously, leading the viewer to imagine a narrative in a place both familiar and distant. Mundane modern images pulled from the Texas landscape seamlessly merge with non-Western and ancient pictorial motifs, linking Jian’s interest in diverse visual traditions and their in-betweenness. A deliberate lack of grounding shrouds the floating subjects and contributes to a sense of mystery, through which the artist asks, “How is dwelling possible without a home?” In Jian’s world, the stories constantly evolve, and viewers will keep looking while contemplating the unknown.
b. 1986 Lichuan, China | lives in Fort Worth, TX
Education
2016 MFA, The Ohio State University, Columbus, OH
2012 BFA, Tyler School of Art and Architecture, Temple University, Philadelphia, PA
Residencies
2018 Ragdale Foundation, Lake Forest, IL
Solo Exhibitions
2023 The Bow Whispers to the Arrow, Women & Their Work, Austin, TX
Nascent Terrain, Cris Worley Fine Arts, Dallas, TX
Kansas City Artists Coalition, Kansas City, MI
2022 Helen DeVitt Jones Studio Gallery, Louise Hopkins Underwood Center for the Arts, Lubbock, TX
Selected Group Exhibitions
2022 More Than This . . . , Arts Fort Worth, Fort Worth, TX
2021 Contemporary Landscape 2021, Czong Institute for Contemporary Art, Gyeonggdi-do, South Korea direct messages, The Wrong Biennial (online)
Represented by Cris Worley Fine Arts, Dallas, TX
Untitled colored pencil, charcoal pencil, and tracing paper on parchment paper, 35 x 27 inches
The Gossips charcoal dust, color, charcoal pencil, and tracing paper on parchment paper, 27 x 36 inches
Edge of a Story charcoal dust, charcoal pencil, and tracing paper on parchment paper, 38 x 55 inches
575.459.1159 (The Valley) gracekennison.com @petulance_
Born and raised on the front range of the Colorado Piedmont and a resident of Colorado’s Western Slope, in her work Grace Kennison explores the relationship to land, animals, self, and iconography within the real or imagined American West. Her recent paintings articulate reflections on settler colonial history and reimagine the symbols and stories that compose our shared understanding of the West. Kennison seeks to frame “the West” as a psychological space where ideas about freedom, identity, and land threaten to eliminate or warp real histories, perceptions of self, and our relationship to the world around us. Her work often references the surreal as a way to visually relate to the grand illusions the Western genre has to offer.
b. 1995 Fort Collins, CO | lives in Ridgway, CO
Education
2018 BFA, Colorado State University (CSU), Fort Collins, CO
Solo Exhibitions
2022 Call It Heaven, Winston’s, Los Angeles, CA Baby Oracle, Monya Rowe Gallery, New York, NY (online)
2021 Lonely on the Mountain, Friend of a Friend Gallery, Denver, CO
Selected Group Exhibitions
2023 Cowboy, Museum of Contemporary Art Denver, Denver, CO
The Range, Gallery 12.26, Dallas, TX Trick Pony, The Valley, Taos, NM
2022 Un/Natural Women, Visions West Contemporary, Denver, CO
Traveling Exhibition, with Adventure Painting, Dairy Arts Center, Boulder, CO
2021 Chain Letter, Union Hall, Denver, CO
Represented by The Valley, Taos, NM
Visions West Contemporary, Denver, CO
Okay LA You Broke My Heart Again acrylic on canvas, 36 x 24 inches
Billion Year Old Carbon acrylic on canvas, 36 x 24 inches
Miss Valley acrylic on canvas, 12 x 14 inches
There Is a Life I Would Rather Be Living
acrylic on canvas, 48 x 36 inches
Like So Many Dreams
acrylic on canvas, 36 x 32 inches
buminstudio@gmail.com
buminkim.com
@buminkim
This body of work is a showcase of questions––an approach toward the idea of painting in the expanded field. Kim has repurposed the context of thread to emphasize the energy, delicacy, and grace of painting. The transformative power of materiality is at play in these works. Both the weight of line as thin and singular and the collection of lines en masse as solid form are sensitive tools found in Kim’s repertoire. Brushstrokes become thread, and the flat surface is liberated to breathe into three-dimensional space.
These works shift, undulate, and pulse into our space, promulgating themselves as entities emancipated from the confines of a flatland, and now poised, vibrating, just above the surface. Painting has been personified, and is no longer limited to the index of the hand or the illusion of the flat surface. It is an echo of a once-sorrowful song, whose voice is present, tender, and alive.
b. 1982 Seoul, South Korea | lives in Dallas, TX
Education
2015 MFA, University of North Texas, Denton, TX
Residencies
2020 Facebook, Austin, TX
Solo Exhibitions
2022 Voice of Color, Anya Tish Gallery, Houston, TX
2021 Moon Shadow, K. Imperial Fine Art, San Francisco, CA
2020 Coalescence, Ro2 Art Gallery, Dallas, TX
2019 Walk the Sky, Women & Their Work, Austin, TX
Selected Group Exhibitions
2022 Sensate Objects, Schneider Museum of Art, Ashland, OR
2021 Tree with Half a Root, Cliff Gallery, Mountain View College, Dallas, TX
2019 Shifting Parameters, Five Point Gallery, Torrington, CT
Collections
Louis Vuitton, Seoul, South Korea Facebook, Austin, TX
Represented by Ro2 Art Gallery, Dallas, TX
Voice of Color #2
thread and acrylic on wood panel, 48 x 36 inches
Landscape 21 thread and acrylic on wood panel, 40 x 40 inches
Landscape #3 thread and acrylic on wood panel, 36 x 36 inches
GABE LANGHOLTZ
512.925.0878
info@gabelangholtz.com
gabelangholtz.com
@gabelangholtzart
My work, although primarily representational, is indebted to American color field painting, focusing on color relations, pattern making, form, and line, with little concern for depth and proportion. In the tradition of folk art, I routinely employ mundane cultural objects and/or activities to establish a contemporary narrative, oftentimes drawing on humor, parody, and pastiche as tools for social commentary.
b. 1971 Okinawa, Japan | lives in Pflugerville, TX
Solo Exhibitions
2023 Untitled, Hashimoto Contemporary, New York, NY
Moments Noticed, Conduit Gallery, Dallas, TX
2022 Can You Feel When I Vandalize Your Heart?, Hashimoto Contemporary, San Francisco, CA
2018 Americholia, BravinLee Programs, New York , NY
Selected Group Exhibitions
2022 Finding a Memory, Piano Craft Gallery, Boston, MA
Break of Day, Edge of Night, The Painting Center, New York, NY
Lush II, Hashimoto Contemporary, New York, NY
2021 Multiples II, Hashimoto Contemporary, New York, NY
Common Place, Hashimoto Contemporary, New York, NY
If Tomorrow Comes, BravinLee Programs, New York, NY
Inaugural Exhibition, Hashimoto Contemporary, Los Angeles, CA
One in a Year, The Painting Center, New York, NY
Lush, Hashimoto Contemporary, New York, NY
Harry Situation acrylic and grease pencil on canvas, 36 x 36 inches
Golden Hour
acrylic on canvas, 24 x 24 inches
Deady Bear acrylic on canvas, 24 x 24 inches
Line Drawing
acrylic on canvas, 11 x 14 inches
lindseylascaux@gmail.com
lindseylascaux.com
@lindseylascaux
Lindsey Lascaux wants to decode depression. Approaching the visual world as ciphers generated by networks of symbolic power, Lascaux’s practice investigates the personal and political elements of her experiences with what doctors have diagnosed as varying mental illnesses––with the tonguein-cheek hope that creating a riddle out of existential dramas might make them solvable, and even offer us all some salvation. In her paintings, digital work, and time-based media, misremembered symbols of decades long past collide with the flames of imagined end times. Drawing on cultural-historical research at the intersection of psychiatry, spirituality, and technology, Lascaux diagrams pseudo-nostalgic motifs of fantasy and doom, juxtaposing the anodyne with the disquieting to decrypt (and re-encipher) the grandiose absurdity of terminal sadness. Lascaux begins each painting by 3D modeling impossible scenes from scratch with physically correct lighting, using these renderings as reference photos for a painstaking application of acrylic glaze, emulating styles from that of Flemish history painting to the light-dappled gouache of early Disney production backgrounds.
b. 1991 Plano, TX | lives in Austin, TX
Education
2019 MA, School of the Art Institute of Chicago (SAIC), Chicago, IL
2013 BA, Lewis & Clark, Portland, OR
Solo Exhibitions
2018 Five Prayers for Infobahn Babies, SAIC, Chicago, IL
Selected Group Exhibitions
2022 NADA Miami, with Loyal, Stockholm, Sweden
Psychic Distance: Powers of Observing Relationships, Loyal, Stockholm, Sweden
Represented by Loyal, Stockholm, Sweden
Martha’s Contemporary, Austin, TX
The Last Relevant B’ak’tun acrylic on canvas, 48 x 36 inches
Buzzard
acrylic on canvas, 36 x 48 inches
for the love of god!!!!! SUICIDE is NOT a Selfish Option *Gigi’s Great Idea*
Situations get interesting, in life as in painting, when inconsistencies appear. I have a sense of identity because I adopt certain positions relative to incongruent aspects of the outer world. These positions are similar to those one adopts vis-à-vis the virtual elements of a painting. An essence––let’s call it identity––itself virtual, must first appear somehow. Inconsistencies are the ones that imply its possibility; something not deeper but merely different. A slip, a split, a slide that turns me into a witness to myself and opens a space for thinking. This newly discovered difference then, somewhat disappointingly, allows yet another one, and so on. Such inconsistent representations situate a viewer, simultaneously, in multiple (virtually endless) positions. Like the paths in Feynman sum over histories, my histories are many. They weave Eastern European strains with North American and South Indian ones: the story of all of us today. By using transfer techniques, I work both from the front and from behind the painting’s surface. Work and self become each other’s slip, split, and slide.
1998 BFA, University of Art and Design, Cluj, Romania
1996 BA, Babeș-Bolyai University, Cluj, Romania
Residencies
2020 Centre for Studies in Social Sciences, Kolkata, India
Solo Exhibitions
2022 Untitled, Viewing Room 17, Cluj, Romania
2021 To draw lines between one thing and another, PPL_ Projects, Fort Collins, CO
2018 Provisional, Galeria Casa Matei, University of Art and Design, Cluj, Romania
2016 Variance, Whitney Center for the Arts, Sheridan, WY
Selected Group Exhibitions
2023 RAD Art Fair Bucharest, with Viewing Room 17 Bucharest, Romania
Rocky Mountain Triennial, Museum of Art, Fort Collins, CO
Represented by Viewing Room 17, Cluj, Romania
acrylic on canvas, 46 x 64 inches
Under the Wire
acrylic on canvas, 46 x 64 inches
Public Space
acrylic on canvas, 46 x 64 inches
ronlinn87@gmail.com
ronlinnportfolio.com
@ronlinn87
My work deals with the connection between human and nonhuman nature through an examination of memory, myth, and both personal and imagined histories. I am drawn to the spaces (and non-spaces) we create for ourselves, and the stories about them that we tell and inhabit. The particular space in which I currently live is defined by a specific set of cultural myths: cowboys and wagon trains, prophets and pioneers. My own history has been written by these stories. My Mormon ancestors settled these lands, following Manifest Destiny and the religious impulse to flee to the desert. As a painter dealing with themes of landscape, I am implicated in the failure of these same histories about the American West as much as I am as an inheritor of pioneer myth. In the wilderness I am torn between the desire to lose myself in the romantic sublime and a simultaneous desire to bear witness to the systems that order it even while they hold invisible the underlying violent history which claimed and made it what it is.
b. 1987 Portland, OR | lives in Orem, UT
Education
2017 MFA, University of Oregon, Eugene, OR
Solo Exhibitions
2022 gridding the west, Finch Lane Gallery, Salt Lake City, UT followed fire, Bountiful Davis Art Center, Bountiful, UT
2018 these two things exist: drawings, South Santiam Art Gallery, Linn-Benton Community College, Albany, OR
Selected Group Exhibitions
2023 Between Life and Land: Identity, Kimball Art Center, Park City, UT
2022 Along these lines, Well Well Projects, Portland, OR
2021 Great Awakening: Vision & Synthesis in Latter-day Saint Contemporary Art, Center Gallery, New York, NY Art
2020 From Before to Now, Utah Museum of Contemporary Art, Salt Lake City, UT
2019 On the Tip of My Tongue, Carnation Contemporary, Portland, OR
dis/place, PARC Collective, Portland, OR
2017 Dislocation, PDX CONTEMPORARY ART, Portland, OR
Collections
State of Utah Alice Merrill Horne Collection, Salt Lake City, UT
the burden of place (sidewinders) oil and water-soluble graphite on canvas, found stone, and survey flag, 48 x 60 inches
gridded west (canyon net)
oil on canvas, 24 x 21 inches
make straight the way
oil on canvas, 24 x 21 inches
carolineliu.com @catsandart
My work reimagines the stages of grief and the delicate interplay between life, death, anger, love, and loss. Despite my best efforts to remain vigilant in my vulnerability, there are multilayered universes within me, oozing at my seams and waiting to be unveiled. My exploration of these themes begins with parts of my own life journey, battling challenge after challenge, while also loving so fully I may burst at any time.
With these experiences in mind, I create fantastical narratives that bind together magic and realism, allowing for a more nuanced look at how I move through grief and joy within my own subconscious dreamscapes and the reality in front of me. I use bright pops of color and texture to loudly hold space for my multitudes and shine light on these complicated feelings.
b. 1987 Chicago, IL | lives in Albuquerque, NM
Education
2011 BFA, University of New Mexico, Albuquerque, NM
Solo Exhibitions
2023 Stages of Grief, Thinkspace Projects, Los Angeles, CA
2018 A Hollow Shell of Elastic Skin, Elastic Arts Foundation, Chicago, IL
2017 The Year of the Moths, Slate Arts, Chicago, IL
Selected Group Exhibitions
2023 Perhaps, and Nevermore, Pie Projects Contemporary Art, Santa Fe, NM
2022 As Above, So Below, Arch Enemy Arts, Philadelphia, PA
2020 Forget Me Not, Forgive Me Not, Roots and Culture, Chicago, IL
2018 Fugitive Narratives, Hyde Park Art Center, Chicago, IL
2017 Of Memory and Forgetfulness, Chicago Artists Coalition, Chicago, IL
Collections
Rainbow Rainbow, Meow Wolf, Santa Fe, NM
Represented by
Pie Projects Contemporary Art, Santa Fe, NM
Thunder acrylic on canvas, 16 inches in diameter
Whenever You Breathe In, I Breathe Out oil and acrylic on canvas, 54 x 42 inches
When Fire and the Ocean Floor Collide acrylic on canvas, 54 x 42 inches
ruhee@ruheemaknojia.com
ruheemaknojia.com
@ruheemaknojia
I am a South Asian American painter, installation, and animation artist whose art practice developed around the colorful heritage of textiles and patterning and how they can act as a base to connect mundane moments of contemporary life with rich layers of thought inspired from magical realism, philosophy, history, and storytelling.
In anthropology, clothing is one of the early indicators distinguishing humans in the animal kingdom. From prehistory to the present day, textile, to some degree, holds a language of universality that binds the human condition. For me, painting and creating patterns that derive from the print-in-textile tradition can make visible intricate historical constructs that are embedded in contemporary life.
I study how different individuals, groups, and cultures have used pattern-filled fabrics to shield their bodies from the elements, express their identity, and give philosophical meaning to their lives. I derive these historical rich patterns into new forms and shapes, placing various motifs with the contextual understanding of history to redefine the “decorative” as an active participant in the storytelling process.
b. 1993 Houston, TX | lives in Houston, TX
Education
2019 MFA, Columbia University, New York, NY
2016 BA, University of Texas at Austin, Austin, TX
Residencies
2022 Asia Society Texas Center, Houston, TX
Solo Exhibitions
2023 Majority Rule, Sanman Studios, Houston, TX
2022 Land and Body, Asia Society Texas Center, Houston, TX
2021 Time Won’t Tell, Project Gallery V, New York, NY
2019 The Happiness Curriculum: Art from the South Asian Diaspora, Eastern Connecticut State University, Windham, CT
2018 42/18, LeRoy Neiman Gallery, Columbia University, New York, NY
Collections
Comcast, Philadelphia, PA
Eastern Connecticut State University, Willimantic, CT
The Case of the Animals versus Man before the King of Jinn acrylic on canvas, 48 x 36 inches
Fantastical Beast and Ritual
acrylic on canvas, 20 x 16 inches
Entangled
acrylic on canvas, 20 x 16 inches
andrewmcilvaine.com @andrewmcilvaine
As a Mexican American interdisciplinary artist, my work explores the relationship trauma has with shaping personal and cultural memory of the South and southwestern regions of the United States. Through narrative-based work I create images and objects that are rooted in myth and spirituality yet reflect the memories, histories, and heritage of my family. The work speaks about the displacement and replacement of culture, language, and nationality, and poses questions about home, loss, authenticity, and assimilation due to settlers’ colonialism.
b. 1993 San Antonio, TX | lives in Overland Park, KS
Education
2018 MFA, Washington University in St. Louis, St. Louis, MO
2016 BA, University of Missouri-Kansas City, Kansas City, MO
Solo Exhibitions
2023 Threshold, Vulpes Bastille, Kansas City, MO
Resilience Story, Nerman Museum of Contemporary Art, Overland Park, KS
2022 Collision, H&R Block Artspace, Kansas City Art Institute, Kansas City, MO
Mixed Feelings, Goppert Gallery, Leavenworth, KS
2021 Tender Thoughts in Sweet Solitude, Martha’s Contemporary, Austin, TX Movement, Habitat Contemporary Gallery, Kansas City, MO
Given Ground, Curiouser & Curiouser, Kansas City, KS
2019 With Liberty and Justice, Charlotte Street Foundation, Kansas City, MO
Temporālis Rite, Beco Gallery, Kansas City, MO
2018 MFA 2018, Mildred Lane Kemper Art Museum, Washington University, St. Louis, MO
All Soul, No Rest (shield me)
Nikes, feathers, and chain attached to lowrider rim, 24 x 20 inches
Always Running (and leaping) leather, silver pins, acrylic, and wood grounded on concrete, 24 x 24 inches
Always Running (and trotting)
leather, silver pins, acrylic, and wood grounded on concrete, 24 x 24 inches
SARAH MCKENZIE
303.893.4234 (David B. Smith Gallery)
sarah@sarahmckenzie.com
sarahmckenzie.com
@sarahmckenzieart
I view architecture as a lens for understanding our society and the cultural/ political shifts that have shaped it over time. What we build tells us a lot about who we are as a people and what we value, versus what (and who) we cast aside. Nowhere is our architecture more revealing than in our institutional buildings—massive structures designed to communicate our collective ideals and mythologies.
In 2020, after several years making paintings of museum interiors, I became interested in US prison architecture. Because we incarcerate more people per capita than any other country in the world, our prisons are inextricably bound up in our national identity, despite our claim to be the “Land of the Free.”
In 2021 I received a generous grant, the Marion Fellowship, to support this project. I also began teaching drawing in Colorado state facilities through the University of Denver Prison Arts Initiative. This experience has been life-changing, enabling me to collaborate with incarcerated artists who have shared their experiences with me and influenced future directions for this work.
b. 1971 Greenwich, CT | lives in Boulder, CO
Education
1998 MFA, University of Michigan, Ann Arbor, MI
1993 BA, Yale University, New Haven, CT
Residencies
2023 MacDowell, Peterborough, NH
2021 Ucross Foundation, Clearmont, WY
Marion International Fellowship, Fredonia College Foundation, Fredonia, NY
Solo Exhibitions
2021 Interim, David B. Smith Gallery, Denver, CO
2020 Sanctum, David B. Smith Gallery, Denver, CO
2019 Rutsch Award Winner: Sarah McKenzie, Pelham Art Center, Pelham, NY
Selected Group Exhibitions
2022 To See Inside: Examining Prison Architecture, State University of New York at Fredonia, Fredonia, NY
Time, Mark, Memory, Ucross Foundation, Clearmont, WY
2020 Rocky Mountain Triennial, Museum of Art Fort Collins, Fort Collins, CO
Represented by David B. Smith Gallery, Denver, CO
The Persistence of the Grid (Workroom Windows, Alcatraz) oil and acrylic on canvas, 30 x 30 inches
Corridor (Closed Facility, San Diego Youth Campus) oil and acrylic on canvas, 48 x 48 inches
When the Frame Is a Cage (Common Room, Denver Women’s Correctional) oil and acrylic on canvas, 48 x 48 inches
View from the Second Tier (Alcatraz) oil and acrylic on canvas, 48 x 72 inches
monica.mohnot12@gmail.com
monicamohnot.com
@monica.mohnot
Through my artwork, I aim to create a visual language that communicates identity’s complex and fluid nature and the universal human experiences of otherness, movement, change, and growth. Combining, recontextualizing, and reconfiguring disparate materials is a way of making sense of the world around me and reconciling the multiple cultural spheres I inhabit as an Indian American woman. Having immigrated to the US twenty years ago, and as a mother, daughter, spouse, and spiritual being, my work reflects a desire to harmonize the diverse elements that make up my identity. As a result, I am constantly navigating both countries, my past and present, and seeking unity while trying to find personal clarity. By breathing new life into a complicated past by employing practices and materials associated with the domestic sphere, such as embroidery, weaving various fiber elements, and painting, my work is an ongoing exploration of my place in the world. I hope that viewers can connect with my work personally, finding their meaning and resonance within the overlapping arrangements of abstract forms and colors.
b. 1982 Kolkata, India | lives in Austin, TX
Education
2023 MFA, School of the Art Institute of Chicago (SAIC), Chicago, IL
2019 BFA, Texas State University, San Marcos, TX
Residencies
2023 Poor Farm Residency, Poor Farm Experiment, Manawa, WI
Solo Exhibitions
2023 Where Do We Go from Here, Texas State Galleries FLEX Space, San Marcos, TX
Selected Group Exhibitions
2023 Unwind/Unwound, The Research House for Asian Arts, Chicago, IL
Me in a(ME)rica, Root Division, San Francisco, CA
MFA Thesis Show, SAIC, Chicago, IL
2022 101, SAIC, Chicago, IL
Open Studios, SAIC, Chicago, IL
2021 Untitled exhibition, Creative Arts Society, Topaz, Austin, TX
Conner O’Leary’s paintings can best be described as uneasy still lifes or quiet chaos. The work typically takes place in liminal spaces flooded by light and shadows. Liminality comes from the Latin word limen, which means “threshold.” These thresholds feel familiar yet distant. Objects float, paintings hang inside paintings, and another dimension altogether is created. O’Leary’s paintings take stock of the melancholic mundanity and quiet tension that color our moments (or years) of seclusion and brings these into focus.
b. 1990 Dallas, TX | lives in Austin, TX
Solo Exhibitions
2023 Peering In, Martha’s Contemporary, Austin, TX
2021 New Paintings, Martha’s Contemporary, Austin, TX
2018 End Times in Babylon, MASS Gallery, Austin, TX
Selected Group Exhibitions
2023 Dallas Art Fair, with Martha’s Contemporary, Dallas, TX
2022 Texan Artists, organized by Martha’s Contemporary, Rusha & Co, Los Angeles, CA
Dallas Art Fair, with Martha’s Contemporary, Dallas, TX
Represented by Martha’s Contemporary, Austin, TX
Self-Portrait acrylic on canvas stretched over panel, 40 x 30 inches
Painting and Glass acrylic on canvas, 40 x 30 inches
A Healthy Winter acrylic on canvas, 30 x 40 inches
Grace Rosario Perkins is a self-taught Diné / Akimel O’odham painter who disassembles her personal narrative through layered words, objects, colors, and signs.
b. 1986 Santa Fe, NM | lives in Albuquerque, NM
Education
2009 BA, Mills College, Oakland, CA
Residencies
2023 Skowhegan School of Painting & Sculpture, Skowhegan, ME
Solo Exhibitions
2023 Let Me Clear My Throat, Best Western, Santa Fe, NM
2022 Hermit’s Lamp, Cushion Works, San Francisco, CA
The Relevance of Your Data, Museum of Contemporary Art, Tucson, AZ
Selected Group Exhibitions
2023 a place above the water, The Valley, Taos, NM
What’s That About, Anthony Meier, Mill Valley, CA
Now You See It, Now You Don’t, Bockley Gallery, Minneapolis, MN
Collections
San Francisco Museum of Modern Art, San Francisco, CA
Represented by Cushion Works, San Francisco, CA
Let’s Go Back to That Magic Place That Only You and I Have Seen (Illuminations) acrylic, spray paint, paper, and transparencies on canvas, 72 x 55 inches
Cheii Knew We Were in the White World acrylic, spray paint, photograph, and necklace, 89 x 78 inches
Now I’m Makin Money and It’s Good to Be Single, to Mingle with the Ladies While their Earrings Jingle acrylic, spray paint, and mixed media on canvas, 67 x 67 inches
Marking a line between figurative expressionism and Western pop, GL Richardson’s work finds its footing in a unique ground of conceptualism and pure emotion. With identifying human truths as perhaps the only tenuous ligament connecting his past life in advertising and ranching, he uses this muscle to distill life’s complexities into base analogies.
Compositionally, scale and isolation have emerged as overarching acts in his work. Subjects seemingly face their implicit and unavoidable cosmic insignificance. There is a melancholic yet liberating truth here.
The West and the world of ranching have proven to be productive wells that he draws his observations from. He attributes this to their simultaneous simplicity and immense depth. The work often plays out on rich color fields where detail and obscurity push and pull. This visual juxtaposition informs a keen interest in life’s natural order. For Richardson, trials are unavoidable and harmoniously ideal, marking conflict as his true subject.
b. 1993 Richmond, VA | lives in Santa Fe, NM
Education
2018 MSB, Brandcenter at Virginia Commonwealth University, Richmond, VA
2016 BJ, University of Missouri, Columbia, MO
Solo Exhibitions
2023 Twin Window, Blue Rain, Santa Fe, NM
2022 22 Fables, smoke the moon, Santa Fe, NM
Selected Group Exhibitions
2023 LA Art Show, Blue Rain Gallery, Los Angeles, CA
After the Gold Rush, Western Gallery, Austin, TX
Ascension, Blue Rain Gallery, Santa Fe, NM
Flower Shop, smoke the moon, Santa Fe, NM
New Western Talent, Western Gallery (online)
2021 Planes! Trains! & Automobiles, smoke the moon, Santa Fe, NM
Represented by Blue Rain Gallery, Santa Fe, NM
Bread Maker (Sublime in the Refrain) oil on aluminum panel, 32 x 26 inches
Wade Through It
oil on panel, 20 x 16 inches
See Through oil on wood panel, 18 x 24 inches
The Bather oil on wood panel, 16 x 20 inches
armandosebastian_art@live.com
armandosebastian.com
@armandosebastian
My work is mainly inspired by life experiences, rooted in autobiographical details from my childhood and adolescence. I use media to tell stories through my art and explore questions of identity and gender. With reference to poets, music icons, and symbols amid vibrant landscapes, you’ll find yourself delving into an atmosphere of human pain and vulnerability reminiscent of the exvoto paintings. I celebrate my Mexican heritage using bright colors inspired by folk art. I often depict themes of love and spirituality in my paintings, hoping that my work can transcend time, language, and cultural boundaries.
b. 1977 Monterrey, Mexico | lives in Dallas, TX
Solo Exhibitions
2023 Reclaiming My World, Norman Brown Gallery, Goldmark Cultural Center, Dallas, TX
2022 Mas allá de los sueños, AT&T Showcase, Dallas, TX
2021 Serenade, Cluley Projects Gallery, Dallas, TX Mexicanismo, Norman Brown Gallery, Goldmark Cultural Center, Dallas, TX
2020 Parallel Universe, Arts Fort Worth, Fort Worth, TX The Dreamer, Latino Cultural Center, Dallas, TX
2019 The Garden of Good & Evil, Louise Hopkins Underwood Art Center, Lubbock, TX
Rosa Mexicano, Business Council for the Arts, Dallas, TX
2018 The Garden of Good & Evil, Lillian Bradshaw Gallery, Dallas Central Library, Dallas, TX
Selected Group Exhibitions
2023 We Are Here, Artspace 111 Gallery at Love Texas Art, Fort Worth, TX
2020 Our Faces, Our Voices, Fort Worth Community Arts Center, Fort Worth, TX
2019 Chaos 7, Ro2Art Gallery, Dallas, TX
2018 New Texas Talent XXV, Craighead Green Gallery, Dallas, TX
You Did Not Protect Me acrylic, oil, and oil stick on canvas, 40 x 30 inches
Deep Ellum Dreaming acrylic and oil on canvas, 30 x 24 inches
Boy from Mars oil on canvas, 40 x 30 inches
alexstark1321@gmail.com
alexmstark.com
@alexstarkpaints
My paintings and ceramics are often filled with figures, birds, and representations of landscapes with which I’m most familiar. They represent an amalgamation of observed and dreamlike imagery. The figures relate to the idea of self, and act as an avatar or spiritual self-representation. They are posed in awkward and unnatural positions, creating a sense of vulnerability, and their nudity relates to their Edenic surroundings. Through symmetry created by means of composition, duality is addressed through mirroring. Bright colors, visible brushstrokes, and drawing create a world combining imagination and reality.
As a disabled queer person, I’m always thinking about how my experiences relate to the work I’m making. The way that something is seen or experienced is central to me. I’m thinking about the manifestation and idea of belonging in a place. Though vulnerable, the figures I paint are expressive of an optimistic sense of joy or freedom as they explore and connect with their imagined environments.
b. 1994 Boulder, CO | lives in Boulder, CO
Education
2016 BFA, School of the Art Institute of Chicago, Chicago, IL
Residencies
2018 Vermont Studio Center, Johnson, VT
Selected Group Exhibitions
2023 Pure Fantasy, LV3, Chicago, IL (two-person)
Madeleine Leplae, Ricardo Partida, Alex Stark, Ingress Gallery at Soho House, Chicago, IL
2021 ARTMIX 2021, Boulder Museum of Contemporary Art, Boulder, CO
2019 The Storytellers, Carrie Secrist Gallery, Chicago, IL Double Exposure, Roots & Culture Contemporary Art Center, Chicago, IL
Regarding the Wild, ChaShaMa, New York, NY
Merge acrylic on panel, 24 x 24 inches
From Beginning to End
acrylic and colored pencil on panel, two parts, 30 x 48 inches overall
Night Angles acrylic on panel, two parts, 30 x 48 inches overall
Upward Axis
acrylic on panel, three parts, 24 x 56 inches overall
falon@falonstutzman.com
falonstutzman.com
@falon_studio
I would like for my work to reflect a kind of longing and escapism. There’s quite a bit of drawing in my paintings and within that line is a certain flamboyance. It’s buried in placid, flat pastels, but it’s there. There’s a softness and calculated saturation of color in Technicolor and French New Wave cinema that informs a great deal of my work. I like for there to be activity on the edges of forms, which is very common in offset printing/lithography. It’s my hope that painting continues to be as challenging as it is for me right now. I’ve never loved, and wrestled with, painting more.
b. 1984 Silver Spring, MD | lives in Omaha, NE
Education
2009 BFA, Columbus College of Art and Design, Columbus, OH
Solo Exhibitions
2019 Works on Paper, The Door: Punk Alley, Brooklyn, NY
Frontman oil on canvas board, 16 x 20 inches
Sex on the edge of the woods oil, gesso, and Flashe on canvas board, 36 x 24 inches
Dancer in Vegas oil, gesso, and Flashe on canvas board, 18 x 14 inches
My work is a hybrid of figurative expressionism blended with the abstract, with distinctively narrative compositions that examine and interpret contemporary and historical themes.
Having been raised primarily in Germany, yet also in Turkey and Korea, the influence of experiencing culture and custom combined with countless visits to many of the world’s great museums and cultural institutions as a child formed my appreciation of art and, specifically, the figure.
A lifelong interest in historical and contemporary black-and-white photography shapes my rendering of the human form. I am a self-taught painter working in oils, and my ultimate goal with each piece is to create a vibrant work that is lastingly meaningful, timely, and timeless, and evokes my spirit.
b. 1965 Fort Knox, NY | lives in Santa Fe, NM
Education
1985 BA, University of Massachusetts, Amherst, MA
Solo Exhibitions
2023 A Fire Racing under the Skin, Aurelia Gallery, Santa Fe, NM
2022 Of Master and Myth, Aurelia Gallery, Santa Fe, NM
2019 Summer Daydreams, Chase Gallery, Spokane, WA
Selected Group Exhibitions
2021 Spot One #2, D’Art Gallery, Denver, CO
The Painted Moment, The Art Guild, Manhasset, NY
2020 Fresh Art 2020, Marian Society of Artists, San Raphael, CA
2019 Motherland, Center on Contemporary Art, Seattle, WA
2015 Bienniale Internazionale d’Arte di Palermo, Palermo, Italy
Collections
Seattle Science Foundation, Seattle, WA
Eastern New Mexico University, Roswell, NM
Represented by Aurelia Gallery, Santa Fe, NM
The Penitent Magdalene oil on canvas, 36 x 42 inches
Leda and the Swan oil and canvas, 40 x 30 inches
Narcissus mon amour oil on canvas, 38 x 30 inches
206.388.7740
chris.b.vena@gmail.com
chrisvenaart.com
@chrisvena.art
Until recently, my work was concerned with the volatile political climate in the US, Arizona in particular. But in 2020, COVID and the BLM movement finally drew the attention of the country to the problems I had been trying to raise awareness of for most of the last decade. The idea of continuing in that vein suddenly felt exploitative.
As a result, I’ve focused my attention on the loneliness and unease of pandemic life and its aftermath. I spent most of 2020–22 alone at home with my pets, wrestling with this ubiquitous dread. My most recent work reflects my attempt at reconciliation with these events through a series of small selfportraits based on my life in our plague years.
More recently, I have begun a parallel body of work involving collaborative portraits of creative colleagues. The concept is still fluid at the moment but I am beginning to see the work as allegorical and feminist.
b. 1977 Manassas, VA | lives in Tempe, AZ
Education
2017 MFA, Arizona State University, Tempe, AZ
2003 BFA, San Francisco Art Institute, San Francisco, CA
Residencies
Mano y Mente, Tularosa, NM
Solo Exhibitions
2017 Bodies upon the Gears, Arizona State University, Tempe, AZ
2006 Gallery 1412, Seattle, WA
Selected Group Exhibitions
2023 Lehmann Emerging Artist Awards, Phoenix Art Museum, Phoenix, AZ
2020 Homage, Manifest Creative Research Gallery, Cincinnati, OH
2002 Material World, South La Brea Gallery, Los Angeles, CA
Collections
Phoenix Airport Museum, Phoenix, AZ
Mesa Contemporary Arts Museum, Mesa, AZ
Self-Portrait on Zoom oil on canvas, 8 x 10 inches
Self-Portrait on Couch oil on canvas, 8 x 10 inches
Self-Portrait by Binge Light oil on canvas, 8 x 10 inches
My artwork fuses a relationship between fiber and photography to examine performative behavior and the cognitive effects of forced cultural assimilation. My research surveys the psychological impact of intergenerational trauma and the politicization of Black-American culture.
Material language plays an essential part in my visual language, such as the use of furniture vinyl, afro hair, handmade textiles, sweet tea, and much more. My use of material language combined with iconography examines domestic spaces and alternative realities that reference Black culture and my experiences growing up in the American South.
b. 1990 Charlotte, NC | lives in Albuquerque, NM
Education
2015 MFA, University of North Carolina at Greensboro, Greensboro, NC
Residencies
2021 Black Rock Senegal, Dakar, Senegal
2019 Fine Arts Work Center, Provincetown, MA
Solo Exhibitiona
2023 my papa used to play checkers, Sarasota Art Museum, Sarasota, FL
where the sun shines, Harvey B. Gantt Center for African-American Arts+Culture, Charlotte, NC
Selected Group Exhibitions
2023 Artists as Knowledge Carriers, 516 Arts, Albuquerque, NM
2022 Black Rock 40, Maison de la Culture Douta Seck, Biennale de Dakar, Dakar, Senegal
Depth of Identity, Green Space Miami, Miami, FL
Identity Politics, A.I.R Gallery, Brooklyn, NY
Collections
Virginia Museum of Fine Arts, Richmond, VA
Gibbes Museum of Art, Charleston, SC
What Glitters Ain’t Always Gold photo transfers, handmade quilts, Sharpie, textile paint, and furniture vinyl, 72 x 108 x 120 inches
Bruce Hill BLVD
photo transfers, handmade quilts, Sharpie, textile paint, and furniture vinyl, 72 x 84 inches
My Brother and Me
photo transfers, handmade quilts, Sharpie, textile paint, and furniture vinyl, 50 x 40 inches
anahita.younesi@yahoo.com @ani__painter
Anahita Younesi is a multidisciplinary artist mixing painting, craft, video, installation, and performance, with a focus on women’s and gender rights. Cultural references and Persian symbols are evident in her contemporary artworks. She calls on the viewer to participate, share feelings, and raise awareness about the current situation of women and their rights, especially in the Middle East. Sewn fabric is her primary material.
b. 1991 Esfahan, Iran | lives in San Antonio, TX
Education
2023 MFA, University of Texas at San Antonio, San Antonio, TX
2018 MFA, Alzahra University, Tehran, Iran
Residencies
2023 Anderson Ranch, Anderson Ranch Arts Center, Snowmass, CO
Solo Exhibitions
2023 Her, Flight Gallery, San Antonio, TX
2018 Osten Biennial of Drawing, Skopje, Macedonia
2015 Sacred animals and herbs, Farshchian Cultural and Art Complex, Esfahān, Iran
2011 Dream and Fiction, The Asaar Gallery, Tehran, Iran
Selected Group Exhibitions
2023 Artovation Student Show 2023, Texas Association of Schools of Art, TX (online)
Anatomy Drawing, University of Texas at San Antonio, San Antonio, TX
2022 NYFA Immigrant Artist Mentoring Program Exhibition, Centro de Artes, San Antonio, TX
Being Human Beings, Collin College, Plano, TX
Heehaw tree mixed media on fabric, 62 x 35 inches
Forbidden mixed media on watercolor paper, 39 x 27 inches
EDITOR’S SELECTIONS
Artists are presented in alphabetical order. Artist biographies have been edited to prioritize recent highlights. Pricing Guide can be found on p199.
daienychin@gmail.com
daienychin.com
@daienychin
Daieny So Won Chin’s works explore various aspects of the Korean diaspora and delve into themes such as Korean culture, shamanism, mythology, intergenerational trauma, and the representation of matriarchs within their own family.
Through the use of shamanism and Korean mythology, they link the connections between myth, spirituality, and reality. This allows them to create fantastical narratives that reflect both personal and collective experiences of the Korean diaspora, while illuminating the complexities of identity and heritage.
They largely draw inspiration from the impact of historical and intergenerational trauma through the narrative of their own family history. With the depictions of the matriarchs in their family, Daieny explores the power dynamics, resilience, and the emotional terrain of their experiences. Daieny creates introspective works that bridge the gaps of identity, culture, personal narratives, and human connection within the Korean diaspora.
b. 1994 São Paulo, Brazil | lives in Los Angeles, CA
Education
2018 BFA, San Francisco Art Institute, San Francisco, CA
Solo Exhibitions
2023 Half Gallery Annex, New York, NY
2022 Don’t Let Me Be Lonely, One Trick Pony Gallery, Los Angeles, CA
Selected Group Exhibitions
2023 Flowers and Thorns, Eve Leibe Gallery, Turin, Italy
2022 Wonder Women, Jeffrey Deitch Gallery, Los Angeles, CA
Salt Fish, New Image Art Gallery, Los Angeles, CA
Straight Ahead and Pose to Pose, Japanese American Cultural & Community Center, Los Angeles, CA
Forbidden Borders, Marfa Open, Marfa, TX
Harmonious Arrangement, Half Gallery, Los Angeles, CA
Room with a View, Sow and Tailor, Los Angeles, CA
The Sent-down Girl acrylic and oil pastel on canvas, 44 x 44 inches
The Mess I Made, I Made with Love acrylic on canvas, 72 x 72 inches
Don’t Let Me Be Lonely acrylic on canvas, 60 x 60 inches
Coyote Ugly acrylic on canvas, 32 x 46 inches
jfaberj@gmail.com
jonathanfaber.net
@jfaberj
To me, painting is a dedication of time to an experiment or a problem with an unknown conclusion. The best thing a painting can do is to come up with something new visually that offers a peculiar way of looking at the world.
I am engaged in creating works that are in essence abstract but are also connected to a lexicon of real-world imagery. In each picture, content is referential to subjects in the world, such as an object, event, idea, place––something familiar, mysterious, domestic, important, or banal.
In the studio, paintings undergo a continual process of editing and refining, retaining something of their past through the variety of built-up layers. Work sessions enable new details to ferment, creating an accumulation of stacked content. Paradoxically, instinct contributes as a physical thinking process––a way of being involved in a kind of internal dialogue. In each painting every question is different, every problem is different, so every painting is different.
b. 1970 New Orleans, LA | lives in Austin, TX
Education
2003 MFA, University of Texas at Austin, Austin, TX
1994 BFA, Alfred University, Alfred, NY
Residencies
2018 Jentel Foundation, Banner, WY
2011 Vermont Studio Center, Johnson, VT
Solo Exhibitions
2023 Alluvial Plane, David Shelton Gallery, Houston, TX
2022 Idyll Currents, Cohen Gallery, Alfred University, Alfred, NY
2018 Ideal Fadez, Southwest School of Art, San Antonio, TX
2016 Material, Big Medium, Austin, TX
Volume, David Shelton Gallery, Houston, TX
Selected Group Exhibitions
2021 Hydroponics, Real Tinsel Gallery, Milwaukee, WI
2018 Ikebana Ziggurat, Cohen Gallery, Alfred University, Alfred, NY
2016 Traded, Lawndale Art Center, Houston, TX
Represented by David Shelton Gallery, Houston, TX
Ceremony oil on canvas, 16 x 15 inches
Illumination oil on canvas, 15 x 16 inches
Night Reading oil on canvas, 15 x 17 inches
josiasfigueirido@gmail.com
josiasfigueirido.com
@josiasfigueirido
In 2022, Josias Figueirido started to create a fictional world in 3D modeling that would channel his personal experiences and reflections on topics related to immigration. He is inspired by biographical events and life at the MexicoUS border. In his ever-growing world, there is currently one main space, called the Garden, which is a safe and idyllic place. The Garden’s main inhabitants are two friends, Piri the Dreamer and Flying Coyote, who playfully engage with the space, with one another, and with other characters they encounter. The story of Piri the Dreamer and Flying Coyote is primarily one of universal friendship and the unexpected bond that grows between people who were never intended to meet or get along but are united by the same desire for a new beginning far from their places of origin. Their story speaks of turning disadvantages into advantages, new beginnings, and never giving up on dreams. Combining digital and analog processes, the narrative is unfolded and presented to the viewer primarily through airbrushed paintings.
b. 1983 Ribeira, Spain | lives in Laredo, TX
Education
2017 MFA, Pennsylvania Academy of Fine Arts, Philadelphia, PA
2010 Postgraduate diploma, Royal Drawing School, London, England
2008 BA, London Metropolitan University, London, England
Residencies
2022 Wassaic Project, Wassaic, NY
2019 Vermont Studio Center, Johnson, VT
Solo Exhibitions
2023 Our Place, 19 Karen Contemporary Artspace, Mermaid Beach, Australia
Piri the Dreamer and Flying Coyote in Good Company, K Space Contemporary, Corpus Christi, TX
Selected Group Exhibitions
2022 Kawaii Seoul 2022, presented by FNG-Art and APPort
folio, The Hyundai Seoul, Seoul, South Korea
That Wilderness Within, PRIOR Art Space, Barcelona, Spain
Collections
The Fabric Workshop and Museum, Philadelphia, PA
Piri the Dreamer and Flying Coyote among Friends #38 acrylic on canvas, 39 x 39 inches
Piri the Dreamer and Flying Coyote in Good Company #29 acrylic on canvas, 72 x 84 inches
Piri the Dreamer and Flying Coyote in Good Company #30 acrylic on canvas, 72 x 84 inches
617.678.4440 (Kai Matsumiya) erobbins88@gmail.com @elliott.robbins.3
My work engages with the archive of American visual culture through the act of subjunction. It projects a complex subjectivity into the pictures and moving images that are disseminated through mass media, culture, and drawing, painting, text (both written by me and appropriated), and recurrent filmic and artistic motifs as mediums for my personal storytelling. This creates a commingling of polarities, a collision between introspection and observations of the material world around me. The result of this practice is a disjointed narrative. In producing this, I reinscribe my body, specificity, contradictions, and the completeness of my lived experience into a visual field that was developed with the intention of silencing it.
b. 1988 Oklahoma City, OK | lives in Muskogee, OK
Education
2017 MFA, University of Arizona, Tucson, AZ
2014 BFA, University of Oklahoma, Norman, OK
Solo Exhibitions
2023 The Affected Image, Galerie Nagel Draxler, Munich, Germany
2022 Where do I put myself, if public life’s destroyed?, Weiss Falk, Basel, Switzerland
2021 A marker, or maybe more., Park View/Paul Soto, Los Angeles, CA
2020 The Immaterial and the Flesh, Galerie Nagel Draxler, Berlin, DE
Selected Group Exhibitions
2023 Hellish Gags, Square Street Gallery, Hong Kong
Weathering, Kai Matsumiya, New York, NY
2022 Capture Captures, Universitätsgalerie der Angewandten im Heiligenkreuzerhof, Vienna, Austria
. . . o autoengaño, Aguirre, Mexico City, Mexico
Represented by Kai Matsumiya, New York, NY
Galerie Nagel Draxler, Berlin, Germany
Paul Soto, Los Angeles, CA
Cinema/Where do I put myself, if public life’s destroyed? ink, Mod Podge, glitter, metallic leaf, gum wrappers, plastic gems, and metal tacks on paper, 9 x 12 inches
Three American types looking on graphite, acrylic, glitter, and metal tacks on paper, 26 x 59 inches
Walk-Cycle Series
watercolor on paper, eight parts, each 15 x 11 inches
matthew.weimer.art@gmail.com
matthewweimerart.com
@matthew.weimer.art
I love the intimacy of the male form and its interactions. Intimacy is not inherently sexual; there are several types. Intimacy piques my interest as a man, while as a Demisexual I crave it. I focus on homosocial and physical intimacy more than the sexual. I am interested in the queerness—ambiguity in sexualization, intimacy, and cravings/desires of the flesh. I use them with sexual tension and situations, while distancing myself from stereotypical Gay Art with its unrealistic expectations and sometimes excessive vulgar nature.
My work consists of Pink Boys (depictions of pink male figures), with the occasional other color boys mixed in. I think of pink invoking sensuality of tenderness in the Queer Homoeroticism world that the Pink Boys exist in; they are proud to be tender and to be intimate with one another in any form or situation.
The Pink Boy is a tender vessel of intimacy and queerness, combining elements of sensuality, reclamation, and ambiguity into the vessel of the pink boys’ world, shaped by a deliberate process of balance with explicit expression.
b. 1996 Arlington, TX | lives in Arlington, TX
Education
2021 BFA, The University of Texas at Arlington, Arlington, TX
Solo Exhibitions
2023 Intimacy and Ambiguity, BRB, Dallas, TX
2022 Pink Boys II, PRP, Dallas, TX
2021 Pink Boys, Gallery West, University of Texas at Arlington, Arlington, TX
Texas Now: Online Showcase 2020, Artspace111, Fort Worth, TX (online)
2019 About Painting, Gallery West, University of Texas at Arlington, Arlington, TX
Table View oil on canvas, 14 x 11 inches
Embrace oil on canvas, 48 x 26 inches
Natural Elation oil on canvas, 24 x 18 inches
Given that many of our readers are collectors, it has been a tradition at New American Paintings 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 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.
