New American Paintings Northeast Issue #170 by newamericanpaintings

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CONTENTS

EDITOR’S NOTE Steven Zevitas

COMMENTS Michael Wilson Writer & Critic

NOTEWORTHY Juror’s and Editor’s Picks

JUROR’S SELECTIONS Northeastern Review 2023

167

EDITOR’S SELECTIONS Northeastern Review 2023

193

PRICING GUIDE Asking prices for selected works

170

Murray p102

Feb/Mar

EDITOR’S NOTE

There are a lot of things I enjoy about publishing New American Paintings, but, if pushed, I would say that watching the careers of our alumni develop over time brings me the most satisfaction. We have been honored to feature the work of hundreds of artists in the magazine over the past thirty years. While many of these artists have built strong practices, a handful have gone on to attain critical and commercial success on an international level. The juror of this issue, Amy Sherald, is one such artist. Arguably the publication’s best-known alumna, Amy is the first artist ever to serve as juror. After repeated submissions of her work to New American Paintings for consideration––yes, we don’t always get it right the first time––it was selected for publication in 2010. At that point, she was in her thirties, still very much an emerging artist who was supplementing her income by waiting tables. Though Amy has often credited the appearance of her work in New American Paintings as a significant career milestone, bigger things were right around the corner. In 2016, Amy received the Outwin Boochever Prize from the National Portrait Gallery, which brought her added prominence. With the unveiling of her 2018 commissioned portrait of First Lady Michelle Obama, her work entered the public’s consciousness. Since then, she has continued to produce one extraordinary painting after another and to participate in exhibitions internationally. How was did Amy enjoy being on the other side of the process and serving as juror for New American Paintings? By all accounts, she relished the

opportunity. As with all of our jurors, Amy was presented with the task of sifting through the work of several hundred artists and winnowing down their numbers to forty. Perhaps not surprisingly, much of the work she gravitated toward is figure-based, and, from a technical standpoint, it often features an economy of means. We see a lot of painterly pyrotechnics in contemporary painting, but many of the artists featured in this issue take a less-is-more approach in work characterized by clarity and rigor. Their sleight of hand is to bring this no-nonsense handling to subjects who radiate the complexities of intimate connection with self and others. I want to personally thank Amy for the seriousness with which she took the project. There is a lot of strong painting in these pages. I also want to thank our favorite writer, Michael Wilson, for once again supplying us with a superlative piece of text. We have been fortunate to work with Michael for many years now, and his insights into contemporary art are always incisive. I strongly encourage you to give his essay a read. Enjoy the issue! Steven Zevitas Publisher & Editor

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MASON OWENS

COMMENTS

MICHAEL WILSON Writer & Critic

Doll Nagle Aipperspach

The art gathered in this issue of New American Paintings is as diverse as the region from which it hails, but one theme—with two conjoined parts—does emerge: the inscription of sexual and social identities into domestic and more-or-less “natural” environments. Again and again, these interlinked sites—whether recognizably of our imperfect world or made by artists out of whole cloth—provide arenas for the definition and deconstruction of human convention. And when the two realms overlap, the unpredictability of “wild” life encroaches on our own manicured and stage-managed milieux to produce a peculiar interzone in which the very notions of home and belonging, familiarity and control, break down. In her lovingly rendered paintings of figures, Michelle Doll locates the (notably positive) essence of domesticity in the patterns of human contact. Her intimate scenes of families in bed together reveal a fascination with the formal qualities of their entangled positions and an emotional sensitivity to the myriad ways in which these encode their members’ profound connection. Even the rumpled sheets and blankets that surround each casual grouping—in addition to providing an ideal and time-honored forum for painterly experimentation with abstract pattern and color—convey a familiarity that would be impossible to manufacture. Doll characterizes these paintings as “meditations,” establishing her approach as empathetic and unhurried.

p40 p106 p172

The subjects of Leland Foster’s paintings have a more outwardly contemplative tone, contrasting the comforts of the domestic realm with more uncertain, unpredictable elements. Though also portraying friends and family, Foster suggests a route away from the familiar too, and evokes nostalgia even for parts unknown. Works such as he wandered off by himself into the perfect silence of the night and western longings are suffused with melancholy, their young subjects adrift, haunted, waiting for something to happen. Foster’s use of light plays a part in this; the subject of the yellow house at the end of the street, for example, has an eerie luminosity, picked out from its nocturnal background as if about to become a backdrop in some as-yet-unscripted drama. Elizabeth Livingston’s painting Fairytale is a close relative of yellow house at the end of the street, picturing as it does the glowing exterior of an anonymous home. This image of picket-fence perfection oscillates in the viewer’s mind between welcoming and forbidding, its superficial approachability tainted by the dark cinematic visions of David Lynch and Todd Solondz, by the implication that the more conventional the outward appearance, the more wayward the hidden or interior life. Livingston’s territory overlaps with Foster’s in other works as well; ranging across the suburbs, she finds women home alone with only books or screens for company, connected remotely to the wider world but remaining physically isolated and thus potentially vulnerable. These scenes are presented with uncanny precision, their voyeuristic

“Again and again, these interlinked sites...provide arenas for the definition and deconstruction of human convention.” perspective nudging the viewer into an uncomfortable relationship with each scene. In Chris Minard’s work, by contrast, the domestic space is an arena for encounters between young men—meetings that, while outwardly quiet and still, are nonetheless ripe with the promise of intimate exchange. But there’s a tension to these situations too, a combination of harmony and dissonance cemented by such titles as A Familiar Betrayal (The Aggrieved Twins amid Their Spikes). Minard speaks of this slightly unsettled edge as bound up with his own queer sensibility, a charged fusion of “portent and optimism.” Again, the built spaces in which we live are revealed as anything but neutral; Minard’s carefully integrated allusions to the histories of architecture and design function as additional devices that bolster the complex elegance of their primary subjects. Colin Hunt embeds the mechanics of memory in landscape itself in his crystalline paintings, which make visible the passage of time and its impact on our surroundings. Each scene is composed of layers that slide past one another to reveal the lingering ghosts of forms and figures. Works such as Untitled (Gray Rocks) make loss palpable, tracing the ways in which life and death affect our experience of outwardly “neutral” sites. By deliberately confusing the roles of individuals, objects, and locations, Hunt explores a dynamic interaction between physical and the psychic realms. Julie Ann Nagle, too, teases out the

lesser-seen in her Afterglow paintings, which require the viewer to use a blacklight flashlight to reveal images of plants and animals rendered in phosphorescent paint and secreted within layered compositions assembled from the silhouettes of pressed grasses. Nathaniel Meyer’s vision of landscape is similarly inflected by human interpretation, boasting an overtly artificial cast derived from a consciously idealized notion of its subject. This is the natural world as sanitized or spectacular backdrop, the wilderness as AI might reconstruct it from an overtly utopian prompt. Meyer draws on comic books and video games—as well as other art and illustration—in reducing the messiness of geology and biology to a smooth, stylized confection, underscoring the unbridgeable gap between ideal and actuality. Finally, David Aipperspach effectively combines the selected artists’ twin foci by detailing the incursion of nature—the outdoors—into the domestic—the indoors. Fascinated by the ways in which painting records or reflects the passage of time, he layers present realities and remembered scenes in ways that prompt us to question the authenticity of both. Which of the figurative and abstracted elements in compositions such as 4–7 pm and 5–6 pm truly “belongs”? And where—if it’s possible to locate it at all—does the border between the manufactured safety of the built environment and the messy unpredictability of what lies beyond truly reside?

NOTEWORTHY

JUROR’S PICK: COLIN HUNT

p60

Evoking the somber, yet ethereal nature of Ana Mendieta’s “earth/ body” works, Hunt’s paintings push the boundaries of what landscape or portrait paintings can look like. His innovative approach to telling the story of the earth really stands out, as it profoundly challenges the notion of what we often consider as animate versus inanimate. His paintings also lead me to contemplate the current climate crises, and what sorts of imprints we are leaving behind; if we were to cease to exist on earth, how would our individual and collective memories be embedded here?

EDITOR’S PICK: CHARLES ANTHONY COOPER

p31

There is something unabashedly honest about Cooper’s work. In a time when many artists are pushing the boundaries of painting, both from technical and conceptual standpoints, it is refreshing to see work that has this level of authenticity both in terms of subject and facture. This is not to say that Cooper’s work is uncomplicated–– he is deeply interested in the extraordinarily intricate connections between personal and cultural identities––but, for me, he brings a clarity of thought and economy of means to bear that make his paintings memorable. Drawing from observation, memory and fantasy, Cooper strives to make work that, through personal exploration, addresses universal themes.

SELECTED ARTISTS: NORTHEASTERN REVIEW 2023

JUROR: AMY SHERALD, ARTIST

JUROR’S SELECTIONS: LISA ALONZO DAPHNE ARTHUR KEVIN COBB CHARLES ANTHONY COOPER SARAH DETWEILER MICHELLE DOLL LELAND FOSTER HUÊ THI HOFFMASTER NANCY HOLLINGHURST NICK HOOVER COLIN HUNT OLIVIA JIA ERIN JULIANA ZACHARY LANK ELIZABETH LIVINGSTON SANDREA LOVELOCK WILLIAMS JEFFREY MELO NATHANIEL MEYER BRITTANY MILLER CHRIS MINARD HANNAH MURRAY JULIE ANN NAGLE KIP OMOLADE ELBERT JOSEPH PEREZ LUJÁN PÉREZ HERNÁNDEZ DAVID SHROBE MORGAN SUTER KELLI THOMPSON DAVID PATRICK WALSH LI WANG LISA DELORIA WEINBLATT VIKTOR WITKOWSKI AREUM YANG FURONG ZHANG HALLEY ZIEN

EDITOR’S SELECTIONS: DAVID AIPPERSPACH MAR FIGUEROA JON KEY NINA MOLLOY MADELINE PECKENPAUGH

Walsh p140

JUROR’S SELECTIONS

Artists are presented in alphabetical order. Artist biographies have been edited to prioritize recent highlights. Pricing Guide can be found on p193.

LISA ALONZO

lisaalonzoart@gmail.com lisaalonzo.net @lisaalonzo1984

b. 1984 Auburn, CA | lives in Brunswick, ME Education

I use my unique painting technique to explore a myriad of unsavory themes and make them more palatable by rendering them as heavily frosted confections. The overarching theme connecting my body of work pertains to our culture’s consumption of information and our ability to navigate our way toward authenticity and truth. By piping acrylic gel medium onto the surface with pastry bags and tips, I create a visual and tactile experience for the viewer. The end result is a painting that looks deceptively good enough to eat: an abundance of peaks, starbursts, flowers, small rhythmic dots, and ribbons of graduated color draped over decadent mounds of paint masquerading as frosting.

2008

BFA, Academy of Art, San Francisco, CA Solo Exhibitions

2020

Cool World, The Space, Alameda, CA

2017

Danger & Play, Claire Oliver Gallery, New York, NY

2015

Cash Is King, Claire Oliver Gallery, New York, NY

2014

Vanilla Scented Sovereignty, Claire Oliver Gallery, New York, NY Selected Group Exhibitions

2022

Compendium, George Marshall Store Gallery, York, ME Everything but the Kitchen Sink, La Luz de Jesus Gallery, Los Angeles, CA Pop Stars! Popular Culture and Contemporary Art, 21c Museum Hotels, Chicago, IL

2021

Materials Redefined, Chautauqua Institution, Chautauqua, NY

2017

PULSE Miami Beach, with Claire Oliver Gallery, Miami, FL Collections 21c Museum Hotels, Durham, NC Federal Reserve Board, Washington, DC

This Ain’t No Party, This Ain’t No Disco acrylic and molding paste on panel, 48 x 36 inches

ALONZO

Spin acrylic and molding paste on panel, 40 x 40 inches

Over Look acrylic and molding paste on panel, 36 x 36 inches

ALONZO

This Ain’t No Party, This Ain’t No Disco (detail)

DAPHNE ARTHUR

daphne.arthur84@gmail.com daphnearthur.com @daphnearthurart

b. 1984 Caracas, Venezuela | lives in Queens, NY Education

My work navigates the interconnection of experiences beyond boundaries, exploring the kinship between human relations and nature in the delicate thread that balances ecosystems of cosmic existence. Within the intersection of the personal and universal, allegories center on the role that leisure plays in Black political and racial awareness in the fight for civil rights, and its impact on shaping class consciousness among African Americans in the nineteenth and twentieth centuries. Connections between Eastern and Western perspectives, like shinrin-yoku with the ancient Greek ideas of scholé, foster and imagine a different vision as productive civil participants with the paramount disposition to fight for the right of nature. My work explores visual and cultural representations of Black and Colored bodies in resonant spaces, where the politics of leisure bridges the historical and the sacred through commemorative ideas of space and place.

2009

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

2023

Yaddo, Saratoga Springs, NY Project of Empty Space, Newark, NJ Ucross, Clearmont, WY Virginia Center for the Creative Arts, Amherst, VA Solo Exhibitions

2022

I’ve Arrived, Over the Influence Gallery,

2020

In the Eye of the World, Cedar Crest College,

Los Angeles, CA Allentown, PA Selected Group Exhibitions 2023

Boundless, Over the Influence Gallery, Hong Kong SAR

2021

From a Place Of a Place, The Meeting Point, New York, NY

Star Gazing oil and glitter on canvas, 32 x 32 inches

ARTHUR

Dahab oil on canvas, 60 x 50 x 2 inches Star of Ptah oil on canvas, 60 x 50 x 2 inches

KEVIN COBB

917.517.1359 7kevincobb@gmail.com kevin-cobb.com @forprophet

b. 1994 Baltimore, MD | lives in New York, NY Education

I play with perspective, reflection, and flatness to explore embodiment and identity, creation and imagination, illusion and truth. Most of my works with a spherical perspective are painted from observation, but I also work extensively with 3D modeling, animation, and photogrammetry to bring a heightened sense of design and hyperreality to other works. I am devoted to finding new and broader ways of seeing the world. As science and technology fractalize traditional anthropologies, and artificial minds challenge our senses of self, originality, and agency, I seek to freshly represent how it is to be a subject in the world with a careful, scientific, and enigmatic eye.

2023

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

2023

Hercules Art | Studio Program, New York, NY Selected Group Exhibitions

2023

What’s New in Still Life, Portrait, and Landscape, LaiSun Keane, Boston, MA Momentum, Center for the Study of Race and Ethnicity in America, Brown University, Providence, RI Columbia MFA Summer Exhibition Pts. 1 & 2, Storage Art Gallery, New York, NY Stand-outs: Selections from the Columbia MFA Program, Fredric Snitzer Gallery, Miami, FL The I Has to Travel, Klaus von Nichtssagend Gallery, New York, NY

2021

NEAC Annual Exhibition, New English Art Club, London, England Represented by Storage Art Gallery, New York, NY LaiSun Keane, Boston, MA

What I Was Painted to Paint oil, pastel, pencil, metallic paint, and glitter on linen, 66 x 66 inches

COBB

Orbicular Blurse oil on canvas, 20 inches in diameter

The Macrowave oil on linen, 20 inches in diameter

CHARLES ANTHONY COOPER

609.509.5801 ccooper@uarts.edu ccooperartwork.com @ccoopernj

b. 1962 Queens, NY | lives in Willingboro, NJ Education

My art delves into the intricate connection between personal and cultural identity, exploring the interplay of conscious and subconscious elements. It draws inspiration from personal experiences and my immediate surroundings, driven by a keen interest in human psychology and our pursuit of purpose and meaning. Within my work, I blur boundaries between observation, memory, dream, and fantasy, allowing enigmatic and ambiguous narratives to emerge, revealing personal mythologies and establishing fresh connections and patterns of meaning. Through this intensely personal exploration, I strive to uncover elements of universal significance, creating multifaceted narratives that invite diverse interpretations.

1995

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

1988

BFA, University of the Arts, Philadelphia, PA Selected Group Exhibitions

2023

Two by Two, Cerulean Arts, Philadelphia, PA Drawing Discourse, S. Tucker Cooke Gallery, University of North Carolina Asheville, Asheville, NC 57th Annual National Drawing and Small Sculpture Show, Joseph A. Cain Memorial Art Gallery, Del Mar College, Corpus Christi, TX

2022

Untitled group exhibition, Art at Kings Oaks,

2021

Familiar Faces, Cerulean Arts, Philadelphia, PA

2018

6th Annual Juried Exhibition, Cerulean Arts,

2017

Perpetual Subject, Hamilton & Aronson Galleries, University

Newtown, PA

Philadelphia, PA of the Arts, Philadelphia, PA Collections The Delaware Contemporary, Wilmington, DE The Newark Museum, Newark, NJ

Self-Portrait with Moonlight oil on wood panel, 12 x 11 inches

COOPER

Michael and Maggie oil on canvas, 22 x 19 inches Elegy oil on canvas, 30 x 20 inches

SARAH DETWEILER

267.278.9268 (Paradigm Gallery) sarah@sarahdetweiler.com sarahdetweiler.com @sd_artifacts

b. 1979 West Chester, PA | lives in Philadelphia, PA Education

My work is a translation of my experiences into figurative and narrative mixedmedia paintings. A consistent theme is the notion of concealing to reveal by exploring the visual clues that are exposed in the painting rather than the identity of the subject. The narrative lives in the space between the seen and unseen. Including mixed-media techniques, such as hand-embroidery, allows me to explore visual levels beyond the boundaries of traditional painting. In an age where the accessibility of art online often makes it feel oversaturated and less intimate, my work offers an advantage for those experiencing it in person.

2011

MFA, Pratt Institute, Brooklyn, NY

2001

BFA, University of Delaware, Newark, DE Solo Exhibitions

2022

Memory Palace: Down the Rabbit Hole, Paradigm,

2021

mOTHER, Paradigm, Philadelphia, PA

Philadelphia, PA

Selected Group Exhibitions 2023

Nurture, The Art Trust at Meridian Bank, West Chester, PA The Woodmere Annual: 81st Juried Exhibition, Woodmere Art Museum, Philadelphia, PA

2020

Hidden Mother, Paradigm Gallery, Philadelphia, PA TEN, Paradigm Gallery, Philadelphia, PA From the Pages 2, Paradigm Gallery, Philadelphia, PA The Ladies Room, Jen Tough Gallery, San Francisco, CA Represented by Paradigm Gallery, Philadelphia, PA

Just 5 More Minutes? oil on canvas, 31 x 25 inches

DETWEILER

The Two Childhoods oil, acrylic, pumice gel medium, and embroidery thread on canvas, 50 x 38 inches Saturday Night with the Girls oil and acrylic with cross-stitch on canvas, 32 x 26 inches

MICHELLE DOLL

michelle@michelledoll.com michelledoll.com @michellelynndoll

b. 1969 Canton, OH | lives in Hoboken, NJ Education

I’m attracted to the physical and metaphysical energy that exists between individuals who share deep connections: the touch between a couple, the closeness of a mother and child. These transient flashes of human contact hold meaning in the creases, crevices, folds, and weight of touching bodies. I experience each brushstroke as a way of recording both the physical body and the invisible mental dialogue. Scrutinizing these deep human feelings, I render the intimate fusion of the mind, body, and soul through the transitory substance of paint. These paintings are meditations for me. They enable me to be present with the positive aspects of love and connection. The models are real people who share honest feelings of union. I paint people I personally know. The purpose is to preserve significant memories hidden within the emotional dialogue of bonding individuals. I want to fill my own life with the positive energy of love, and these painted meditations on intimacy are a way to be present.

2006

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

1999

BFA, Kent State University, Kent, OH Residencies

2023 2018

Le Gallerie St. Lucia Artist Residency, Saint Lucia Ramfjord Artist Residency, Saint Barthélemy, French West Indies Solo Exhibitions

2019

As Above, So Below, Lyons Wier Gallery, New York, NY

2017

Tokens, Pontone Gallery, London, England

2015

New Works, Galleri Ramfjord, Oslo, Norway Selected Group Exhibitions

2023

Big Stories, Bo Bartlett Center, Columbus, GA

2022

Love Junk, SPRING/BREAK Art Show, New York, NY

2021

Give Me Some Skin, Sugarlift, New York, NY

Family (Miller Vargas) oil on canvas, 70 x 60 inches

DOLL

Mother and Father with Child oil on panel, 40 x 40 inches

Meadors Family oil on panel, 48 x 48 inches

LELAND FOSTER

lelandkfoster@gmail.com lelandkfoster.com @leland.foster

b. 1990 Portland, ME | lives in Providence, RI Education

Leland Foster works primarily in realism, and is interested in the concepts of solitude, liminality, nostalgia, and the sublime. In his work, Foster paints scenes that reinterpret his personal experiences and the people and places he’s encountered to create art that leaves a unique emotional imprint on each viewer. He strives to blur the boundary between the observer and the observed. “The most intriguing aspect of painting is the potential to position the viewer in front of a window, allowing them to glance into a world that evokes joy or sorrow or an inexplicable nostalgia for a place they’ve never been before. These emotions probe the subtleties of our shared human experiences, and are my motivation for making art.”

2013

BFA, Binghamton University, Binghamton, NY

the yellow house at the end of the street oil on canvas, 36 x 24 inches

FOSTER

he wandered off by himself into the perfect silence of the night oil on canvas, 48 x 36 inches

western longings oil on canvas, 48 x 36 inches

HUÊ THI HOFFMASTER

hello@huethistudio.com huethistudio.com @huethihoffmaster

b. 1982 Lancaster, PA | lives in Weston, CT Education

As I search for the mystery that may or may not exist within me, I test the limits of my ignorance and pursue what may be entirely useless. Like life itself, my paintings are rife with inconsistency: bright, moody, abrupt, and whole—precise as they materialize in the moment of their conception. I straddle a thin line between an objective and nonobjective way of working, drawing from both Eastern and Western conventions of image making. My aesthetic variations are vessels for emotion—a byproduct of whatever game I’m playing inside the picture plane. Lately, I’ve been captivated by flowers, which have taken me to places that slip out of my imagination and off of my fingertips. I occasionally personify these flowers, and in them my internal chatter makes a home. In these works, there is an underlying dialogue with family, familiar and alien, who continue to enchant me as I rekindle the past and unearth memories for the first time.

2005

Certificate of Fine Arts, Pennsylvania Academy of Fine Arts, Philadelphia, PA Solo Exhibitions

2023

Your Presence/Presents, Samek Art Museum, Bucknell University, Lewisburg, PA

2022

The Summer Show, Carrie Haddad Gallery, Hudson, NY Selected Group Exhibitions

2023

(Mostly) Woman (Mostly) Abstract, Eric Firestone Gallery, East Hampton, NY Freaky Flowers, September Gallery, Kinderhook, NY Untitled Art, with September Gallery, Miami, FL Delphian Open Call, Unit 1 Gallery, London, England 2023 Mohawk-Hudson Regional Invitational, Albany Center Gallery, Albany, NY

2021

2021 Mohawk-Hudson Regional, Albany Center Gallery, Albany, NY Invitational Exhibit, Carrie Haddad Gallery, Hudson, NY The Hudson Eye, 400 State Street, Hudson, NY Collections Bucknell University, Lewisburg, PA

Joy I Can’t Hide oil on canvas, 36 x 30 inches

HOFFMASTER

Joy I Can’t Hide, No. 3 oil on canvas, 60 x 60 inches

Coming up Roses oil on canvas, 60 x 60 inches

NANCY HOLLINGHURST

nancy@pratorhurststudios.com pratorhurststudios.com @pratorhurst

b. 1978 Atlanta, GA | lives in Hoboken, NJ Education

As a greater artistic theme, I’m exploring memory and its relationship to reality and fantasy. As both subject and observer, I’m particularly interested in the behavior of collecting and the emotional involvement in the pursuit of objects tied to memory. As an artist, my livelihood relies on collectors, so I’m deeply curious about the hierarchy of assigned, or imagined, value and power. Collectors assign these properties to the objects and people they pursue because they provide joy, beauty, and relief while facilitating an escape into the magical world of their design. As primarily a figurative painter, flowers pose me a new challenge. I enjoy the conversations that arise when contemplating the emotional duality that old objects innately project while witnessing the fleeting life and beauty of freshcut flowers. The vases are small enough to fit in the palm of your hand, so I began playing with scale, painting on canvas five to ten feet high, placing the viewer eye to eye with the head vase, and inviting a conversation about time and reality.

2008

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

2002

BFA, School of Visual Arts, New York, NY Selected Group Exhibitions

2023

Enchanted Forest, New York Academy of Art,

2020

Thirty-Seven, Edward Hopper House Museum & Study

New York, NY Center, Nyack, NY 2019

Damaged Art, 98 Orchard Street, New York, NY

2018

Reclamation, Helen Day Art Center, Stowe, VT Full Sun: Women Artists Illuminate the Haggin Museum, Haggin Museum, Stockton, CA

2017

Women Painting Women: In Earnest, Customs House Museum, Clarksville, TN

2016

Lions and Tigers and Bears, Vendue Charleston Art Hotel, with Robert Lange Gallery, Charleston, SC Picturing the Unprintable, Flux Factory, Long Island City, NY American Women Artists Association National Juried Exhibition, Bennington Center for Arts, Bennington, VT

2015

Portrait Society of Atlanta National Juried Exhibition, Marietta Cobb Museum of Art, Atlanta, GA Annual Juried Non-Members Exhibition, Salmagundi Club, New York, NY

No Man Is a Failure Who Has Friends oil on canvas, 16 x 12 inches

HOLLINGHURST

He Loves Me, He Loves Me Not oil on canvas, 14 x 11 inches The Things We Brought with Us, The Things We Carried Away oil on canvas, 36 x 48 inches

NICK HOOVER

nickolas.hoover@gmail.com @nickolashoover

b. 1991 Colorado Springs, CO | lives in New York, NY Education

Grow your child up! He’s fine, he gets like this sometimes. It’ll pass. I’m from the ocean! I shout back. I grew up in the cold, in the waiting room of a jail. Did you hear that? You’re just being paranoid, baby, I told you I’m not going anywhere. Please, just sit down. Grow your child up! Stop screaming! People will hear. Please don’t make me say it again. Are you really gonna take his side? The body wants what it wants. I’m sorry, can I start over? I’m disassociating again. Starting over isn’t the same as letting go. I know, I say. I know. All I’m asking for is a little help. Was I not clear before? Grow your child up!—Stop! Please! Am I moving forward? Someone press the button, something’s off. I worry the words aren’t working. Are you seeing this? Can you tell I’m regressing? Am I making my point? I’m sorry, let me start over.

2014

BA, New York University, New York, NY Solo Exhibitions

2022

Auto Body, Taymour Grahne Projects, London, England

2021

Burning Red Sky, Taymour Grahne Projects, London, England Selected Group Exhibitions

2022

Intimacy: A Group Show, Taymour Grahne Projects, London, England

2021

Double Gaze, Andrea Festa Fine Art, Rome, Italy Collections Beth Rudin DeWoody Pete Scantland

Navel gaze oil on linen, 48 x 40 inches

HOOVER

Untitled (mud) oil on linen, 20 x 16 inches Snowman oil on linen, 14 x 11 inches

COLIN HUNT

212.535.8810 (Hirschl & Adler Modern) colinhunt03@gmail.com colin-hunt.com @colinhunt03

b. 1973 New York, NY | lives in Brooklyn, NY Education

Colin Hunt’s paintings sit at the crossroads of memory, loss, and ecology. By examining the physical and spatial dynamics of temporality, his paintings grapple with ways in which the residue of experience can animate and recast the natural world. Hunt considers how death reorders existence for all who are left in its wake, forever reshaping reality around the void of the missing. By recognizing that environments also experience memory and loss, the works not only point to the uncertainty of life following great change, but to the impossibility of physical bodies containing all of anything, and the ways these states inhabit our present.

1998

MFA, Columbia University, New York, NY

1995

BFA, Cooper Union, New York, NY Residencies

2011

Galveston Artist Residency, Galveston, TX Solo Exhibitions

2021 2019

So Much Remains to Be, Hirschl & Adler, New York, NY Keeping Things Whole, Galveston Artist Residency, Galveston, TX Selected Group Exhibitions

2022

Art Basel, Hirschl & Adler, Miami, FL EXPO Chicago, with Hirschl & Adler, Chicago, IL A Likeness, Hirschl & Adler, New York, NY

2021

Art Basel, with Hirschl & Adler, New York, NY

2020

Every Truth to Lie, Hirschl & Adler, New York, NY

2019

NADA, with MOTHER Gallery, Miami, FL In the Garden of Forking Paths, MOTHER Gallery, Beacon, NY Represented by Hirschl & Adler Modern, New York, NY

Untitled (Gray Rocks) egg tempera on panel, 48 x 36 inches

HUNT

Untitled (Cloud) egg tempera on panel, 32 x 32 inches

Untitled (Dead Low) egg tempera on panel, 32 x 32 inches

HUNT

Untitled (Fallen Spruce) egg tempera on panel, 54 x 72 inches

OLIVIA JIA

212.597.2747 (Margot Samel) oliviacjia@gmail.com oliviajia.com @oliviacjia

b. 1994 Chicago, IL | lives in Philadelphia, PA Education

Painted with what she describes as a “nocturnal” palette, Olivia Jia’s works have a somnambulant quality, as if presenting scenes encountered in a state between sleep and waking. Frequently depicting imagined books and ephemera, each painting is constructed around a tableau that the artist has arranged, incorporating material collected by herself or in the possession of family members, alongside references to American and Chinese art histories. Informed by Jia’s own diasporic identity as the child of Chinese immigrants to the United States, ideas of kinship, heritage, longing and belonging are negotiated through the constellations of elements she gathers together in her compositions. Staged in a studio workspace, depicted either late at night or in an imagined facsimile of that location, her paintings act as tools with which a greater degree of self-recognition might be arrived at. The somberly lit surfaces depicted are at once tabletops or pinboards upon which objects might be placed and psychic spaces onto which desire might be projected.

2017

BFA, University of the Arts, Philadelphia, PA Residencies

2023

Fountainhead, Miami, FL

2015

Yale Norfolk School of Art, Norfolk, CT Solo Exhibitions

2023

Nine Motifs, Fleisher/Ollman, Philadelphia, PA Perimeter, Margot Samel, New York, NY

2022

Ex Libris, Workplace, London, England Collections Palm Springs Art Museum, Palm Springs, CA The Bunker Artspace, Beth Rudin DeWoody Collection, West Palm Beach, FL Zuzeum Art Centre, Riga, Latvia Huamao Museum of Art Education, Suzhou, China Represented by Margot Samel, New York, NY Workplace, London, England

Night reading (garden path, a pear halved, portrait of my mother, two birds) oil on panel, 16 x 20 inches

JIA

Night reading (crane, pitcher, with interlaced flowers) oil on panel, 12 x 16 inches Night reading (moonscapes, garden window) oil on panel, 9 x 12 inches

ERIN JULIANA

erinjuliana.com @erinjulianaart

b. 1985 Trenton, NY | lives in Brooklyn, NY Education

I create paintings, weavings, and sculptures that portray organic forms, interconnected fibers, and geometric structures. I’m interested in the opposition of two divergent forces, specifically how the structure of the grid and the fluidity of textiles are a metaphor for the imperfect nature of the human body. These concepts are derived from my own experience with spinal deformity and my fascination with the history of symmetry in decorative arts. Creating work through this lens has allowed me to connect my interests in ornamentation and the tension between the natural and manmade that exists within my own body. My process begins with drawing and watercolor painting before I turn an image into something more structured and systematic. My sculptures are informed by my painting background and serve as abstracted self-portraits that play with ambiguity and enticement. I use materials and imagery metaphorically, from combining soft fibers with rigid metal wire to portraying the coexisting dualities of sinuous curves supported by lattice. My work explores the potential of creating new forms through combining contrasting elements.

2010

MFA, Brooklyn College, Brooklyn, NY

2008

MA, Maryland Institute College of Art, Baltimore, MD

2007

BFA, Maryland Institute College of Art, Baltimore, MD Solo Exhibitions

2023

Soft Spots, Marathon Gallery, Ellenville, NY

2017

Marginalia, VisArts, Rockville, MD Selected Group Exhibitions

2023

Permutations: Tegan Brozyna Roberts + Erin Juliana, Textile Arts Center, Brooklyn, NY Used: A National Juried Exhibition, Attleboro Arts Museum, Attleboro, MA

2022

Sensing Women, C24 Gallery, New York, NY Fiber Options: Material Explorations 2022, Maryland Federation of Art, Annapolis, MD Contemporary Color, Site:Brooklyn Gallery, Brooklyn, NY

2021

New Directions, Barrett Art Center, Poughkeepsie, NY

2019

Tether, Little Berlin, Philadelphia, PA Reimaging Otherness: Juried Exhibition, Design Gallery, Pratt Institute, Brooklyn, NY 1st Annual Juried Exhibition, Hudson Valley Museum of Contemporary Art, Peekskill, NY

Tumescent fabric and Poly-fil on a metal grid frame, 26 x 18 inches

JULIANA

Contexture fabric, Poly-fil, and armature wire, 10 x 9 inches Ravel fabric, Poly-fil, and armature wire, 10 x 9 inches

ZACHARY LANK

410.279.8264 zacharylankart@gmail.com zacharylank.com @zacharylankart

b. 1989 Annapolis, MD | lives in Brooklyn, NY Education

My work is concerned with a kind of circularity. With goes-around-comesaround, with frustration and folly and fallout from run-ins on the road to Thebes.

2018

This current body of work explores the hubris of American machismo, ridicules the arch-myths of masculine conquest, and picks at the stupid knot at the heart of empire. I wanted to take this heavily freighted imagery––the Cowboy and all its attendant associations––and put it into these tortured, impossible situations. They’re like a memento mori for anyone fool enough to think trying to run Rome 2.0 was a good idea. Call them an imprint of comingof-age in a very conservative community in the Bush II years, and the kind of gallows humor that’ll give you.

2023

At the heart of it, I think these are about myths and ideas that mean one thing at one time and come to mean their opposite. It’s dialectical: every idea implies its inverse, and that’s a fascinating property to explore in the stories a nation tells itself.

MFA, New York Academy of Art, New York, NY Residencies Henry Clews Award Residency, La Napoule Art Foundation, Mandelieu-La Napoule, Alpes-Maritimes, France

2022

Chubb Postgraduate Fellowship, New York Academy of Art, New York, NY Solo Exhibitions

2021

The New Doctrine, Hawk and Hive, Andes, NY

Selected Group Exhibitions 2022

Art Basel Miami Beach, Miami Beach, FL

2020

SPRING/BREAK Art Show, New York, NY

Will They Won’t They oil on canvas, 48 x 44 inches

LANK

Long Road Home oil on canvas, 54 x 54 inches What Goes Up oil on canvas, 45 x 60 inches

ELIZABETH LIVINGSTON

617.536.4465 (Alpha Gallery) liz_livingston@hotmail.com elizabethlivingston.com @elizabethlivingstonstudio

b. 1979 Miami, FL | lives in Pelham, NY Education

I primarily paint lone women in domestic environments in an effort to express my ideas about human isolation and vulnerability in our modern world. I work from photographs that I stage and shoot myself, and some elements, such an intricately patterned garment, are painted from life. To give the image a charge of disturbance, the viewpoint is often that of an outsider looking in, throwing the viewer into the position of voyeur. I am interested in using portraiture and narrative threads as a means of exploring how fragile we are despite the ways we buffer ourselves from the outside world, with soft quilts, richly patterned wallpaper, or by leaving a light on at night while we sleep. More recently, my work is pulling in the natural world to depict how tiny we are in our universe, surrounded by an otherworldly landscape. Curtains of whispering leaves, a tiny plane soaring overhead at dusk, and suburban nightscapes with their cozy houses lit like jewels, highlight the fragility of these delicate constructed spaces below the treetops.

2006

MFA, Boston University, Boston, MA

2001

BA, Yale University, New Haven, CT Residencies

2006

Ucross, Clearmont, WY Vermont Studio Center, Johnson, VT Solo Exhibitions

2023

Understory, Alpha Gallery, Boston, MA

2015

Night Fell, The Lodge Gallery, New York, NY Dark Houses, University of Maine Museum of Art, Bangor, ME Selected Group Exhibitions

2023

Wilderness IV, Antler Gallery, Portland, OR

2021

Studio Jamz, 46-55 Metropolitan Avenue, Ridgewood, NY (pop-up) Represented by Alpha Gallery, Boston, MA

In and Out of Weeks and Through a Day oil on canvas, 15 x 11 inches

LIVINGSTON

Fairytale oil on canvas, 24 x 34 inches False Moon oil on canvas, 36 x 41 inches

SANDREA LOVELOCK WILLIAMS

lovelock451@gmail.com sandrealovelockwilliamsart.com @sandielovelock

b. 1972 Portland, Jamaica | lives in Milton, MA Education

My work abides in this deeply personal space in which others can relate. It is about family, community, and connections, without being any of those things. I have always been interested in diversity, people, and societal constructs. Yet it never occurred to me that those interests were compatible until I was faced with creating my own narrative through making. As a painter, printmaker, and sculptor, I have strived not just to capture the sitter’s likeness, but their essence. This has always been my goal, and I believe that I have accomplished that end. For the most part, I paint people I know. My family. At first, it started out as an exercise of convenience, but slowly it took on a life of its own, and it emerged with its own life. Knowing them so well has allowed me to insert that thing that makes them unique. In a way, it transcends the real and the external. The image then begins to render the internal self.

2023

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

2017

BFA, Massachusetts College of Art and Design, Boston, MA Solo Exhibitions

2020

Wotiz Gallery, Milton Public Library, Milton, MA Selected Group Exhibitions

2022

National Prize Show, Cambridge Art Association, Cambridge, MA Heirlooms and Stories, Gallery 1822 | LabCentral, Cambridge, MA

2020

2020 Emerging Artists Exhibit, Cambridge Art

2019

Faye Chandler Emerging Art Exhibition,

Association, Cambridge, MA Boston City Hall, Boston, MA

Ahmad in Orange Sweater oil on canvas, 60 x 48 inches

LOVELOCK WILLIAMS

Turmoil oil on canvas, 24 x 20 inches New Reality oil on canvas, 50 x 60 inches

JEFFREY MELO

melo@jaemelo.com jaemelo.com @jaemelo

b. 1990 Bronx, NY | lives in New York, NY Education

I’m an artist dedicated to unearthing concealed narratives in history, music, and culture. My artistic expression spans various forms, from painting to sculpture and murals, each serving as a conduit to honor, commemorate, and shine a light on overlooked stories of historical figures. My mission is to equip viewers with tools for curiosity, inquiry, and accountability, particularly when familiar stories are reframed through unfamiliar perspectives. I strive to deepen our appreciation for the complex tapestry of human experience and history, bridging past and present. I encourage exploration, reflection, and connection with the stories I bring to life, inspiring a profound engagement with history, art, and culture. My art aims to foster empathy and understanding that transcends time and borders. It is a transformative journey tht promises a meaningful experience for all who embrace.

2012

BFA, University of the Arts, Philadelphia, PA Residencies

2022

Arsenal Contemporary, Montreal, Canada Solo Exhibitions

2023

Expo Chicago, with Arsenal Contemporary Art, Chicago, IL This is not a self-portrait, Blouin | Division, in association with Arsenal Contemporary Art, Montreal, Canada

2021

Least of These, BWS Gallery, New York, NY Selected Group Exhibitions

2023

The Watchlist, Rema Hort Mann Foundation, Ashbury, NJ Let’s Grow!, Alpha Arts Alliance, New York, NY Collections Susan and Michael Hort Collection Weissman Family Collection Beth Rudin DeWoody Collection

New Love (Benzo) oil on canvas, 72 x 60 inches

MELO

La jeune femme oil on canvas, 60 x 84 inches Rolo’s oil on canvas, 84 x 60 inches

NATHANIEL MEYER

nathaniel-meyer.com @nathaniel_meyer

b. 1975 Weymouth, MA | lives in South Portland, ME Education

Landscape painting is the embodiment of an idealized, Romantic notion of nature that has very little to do with reality. The painting of landscape, both in subject and execution, is about making manifest that unattainable ideal. Nathaniel Meyer embraces this search for the ideal––the worlds he depicts are fictions, but are also possessed of their own inner logic: a storybook logic, with a storybook’s sense of grandeur. His paintings are an amalgam of recollected memory, nostalgia, direct observation, art-historical research, and pure invention. Drawing inspiration from such disparate elements as Golden Age illustration, 8-bit video games, and comic-book splash pages, Meyer uses unambiguous, hard-edged specificity to create an idealized and consciously artificial representation of the complexity of the natural world. Less interested in the accurate hues of a landscape, Meyer’s rendering is believable but not realistic. These paintings depict unattainable utopias, evoking a sense of hope and yearning.

2014

MFA, College of Art and Design, Lesley University, Cambridge, MA

1997

BFA, College of Fine Arts, Boston University, Boston, MA Residencies

2023

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

2015

Monhegan Artists’ Residency, Monhegan, ME Solo Exhibitions

2023

Eternal Return, Spring/BREAK Art Show, New York, NY

2022

Straight on til Morning, Page Gallery, Camden, ME Selected Group Exhibitions

2023

Eternal Return, Spring/BREAK Art Show, New York, NY Landscape, Page Gallery, Camden, ME Re-Emergence: The 2022 University of Southern Maine Art Department Exhibition, Art Gallery, University of Southern Maine, Gorham, ME Represented by Elizabeth Moss Gallery, Falmouth, ME Page Gallery, Camden, ME

Summer Squall oil on canvas, 36 x 48 inches

MEYER

Argent Moon oil on canvas, 36 x 48 inches

Aestival oil on canvas, 36 x 48 inches

BRITTANY MILLER

323.460.6830 (Steve Turner) brittanyjmillerinc@gmail.com bjmiller.nyc @brittanyjmiller

b. 1990 Utica, NY | lives in Bronx, NY Education

My paintings show scenes of people at rest in spaces that feel at once real and unreal, safe and unsafe. The curtains show that one should have a heightened awareness, that something is happening or about to happen, making us wonder if what we are seeing is real or a performance. The books hold secret knowledge, offering the figures the information they need for what is ahead and in front of them. The chairs and beds are containers, wombs, objects that protect from the dangers that threaten the space on the same plane. The exterior threats are the natural disasters that have always haunted humans— the threats that appear over and over in Bible stories and in our nightmares— storms, fires, floods. Sometimes God’s hands or an angel appear, though it is uncertain if help will be given.

2023

MA, Columbia University, New York, NY

2013

BFA/MS, Pratt Institute, Brooklyn, NY

Solo Exhibitions 2023

Before I Entered the Room, What Was I?, Steve Turner, Los Angeles, CA

2022

And I Was a Stranger, Scott Miller Projects, Birmingham, AL Selected Group Exhibitions

2023

Untold Stories, G/ART/EN, Como, Italy

2022

Figuring, Steve Turner, Los Angeles, CA

Reverie, Steve Turner, New York, NY

Represented by Steve Turner, Los Angeles, CA

Self-Portrait as Catherine oil on canvas, 60 x 48 inches

MILLER

The Seventh Elegy oil on canvas, 72 x 80 inches Self-Portrait with Shadow Self oil on canvas, 40 x 48 inches

CHRIS MINARD

chrisminardart@gmail.com chrisminard.com @chrisminardart

b. 1985 Sedona, AZ | lives in New York, NY Education

I keep returning to scenes of quiet moments between actions: awareness, reflection, voyeurism, allusive intimacy. Each series of paintings grows first from a title, individual works developed in unison around an evocation of place and conflict. The young men centered in this inherent narrative structure, often alone and lost in thought, exist in environments whose character imparts both detailed history and uncertainty to the figures they surround. In the idiosyncrasies of each friend and acquaintance who sits for my paintings I find fresh nuance in this late adolescent figure who is, for me, a key into the weighted emotion surrounding a tenuous future. I am drawn to themes of ambiguity, intimacy, and opportunity––foundational piers of my early queer sensibility. What goes unseen? What expectations are created by context? What comes next? What does realization look like? Who will notice? My work celebrates the unmediated, vulnerable softness found in this reckoning of portent and optimism.

2008

BFA, Savannah College of Art and Design, Savannah, GA Selected Group Exhibitions

2023 2022

Last Call, LIC Arts Open, Long Island City, NY (pop-up) 26th Annual No Dead Artists, Jonathan Ferrara Gallery, New Orleans, LA The Rise of Inside, Eve Liebe Gallery, London, England

The Dying Tulips (Private Lamentation) oil on linen, 20 x 18 inches

MINARD

A Familiar Betrayal (The Aggrieved Twins amid Their Spikes) oil on linen, 40 x 36 inches

The Moonlight Oracle (This Does Not Change My Love for You) oil on linen, 36 x 30 inches

HANNAH MURRAY

212.989.7700 (Marinaro Gallery) hannahmurray94@hotmail.com hannahmurray-art.com @hannah_murray_artist

b. 1994 London, England | lives in Brooklyn, NY Education

My paintings explore the tension between being seen as both traditionally feminine and having modern aspirations, in a world that often associates power with more masculine traits. Leaning into a “girliness” that society may find frivolous or inconsequential, I have created glamorous paintings of friends and couples I know. These women relish in their own beauty and power, whilst being aware of the nuanced implications that surround such embodiment.

2021

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

2015

BA, Leeds School of Art, Leeds, England Residencies

2022

Chubb Postgraduate Fellowship, New York Academy of Art, New York, NY Solo Exhibitions

2023

Armory Show, with Marinaro Gallery, New York, NY

2022

Dawn to Decadence, Marinaro Gallery, New York, NY Selected Group Exhibitions

2023

Togetherness: For Better or Worse, Green Family ArtFoundation, Dallas, TX Who is your master?, 1969 Gallery, New York, NY

2022

NADA, with Marinaro Gallery, Miami, FL Collections Institute of Contemporary Art Miami, Miami, FL Ruth Borchard Collection, London, England Represented by Marinaro Gallery, New York, NY

In the Resort oil on linen, 36 x 32 inches

100

MURRAY

The Girl Pianist oil on linen, 45 x 35 inches The Dealer oil on linen, 46 x 40 inches

101

102

MURRAY

103

The Highlands Couple oil on linen, 54 x 76 inches

104

JULIE ANN NAGLE

jn@julieannnagle.com julieannnagle.com @julieannnagle_studio

b. 1981 Zelienople, PA | lives in Warwick, NY Education

In my Afterglow series, layers of phosphorescent paint flicker as viewers seek out hidden aspects of the paintings with blacklight flashlights illuminating plants, insects, root systems, and things that exist at the margins of our ability to perceive them because they are invisible, delicate, or small. Made using the silhouettes of pressed grasses and forbs foraged from sites like the Prairie of the American Midwest, I combine the literal and fantastical in one image. This panoramic landscape immerses the viewer in a vast terrain. I think of myself as an “unarchaeologist,” creating and accumulating layers of narrative and materials for viewers to disassemble. My process has two parts: Field Work and Poetic Output. I may research for months––foraging for plants, filming groundhog tunnels with arthroscopic cameras, gathering intricate histories––before constructing installations for the viewer to explore. I invite viewers to play the role of investigator as if the experience itself was “fieldwork” for them in the gallery, partaking in my process and making discoveries of their own.

2009

MFA, Virginia Commonwealth University, Richmond, VA

2004

BFA, The Cooper Union, New York, NY Residencies

2020

Swale, Governors Island, NY

2019

International Studio and Curatorial Program, Brooklyn, NY

2017

Gallery Aferro, Newark, NJ Solo Exhibitions

2022 2019

Critters, Weeds ’n’ Teeth, BAU Gallery, Beacon, NY At Daybreak, McLanahan Gallery, Penn State Altoona, Altoona, PA Selected Group Exhibitions

2023

Invisible Prairie, Tinworks Art, Bozeman, MT From Alchemy to Numinosity, Kresge and Pascal Galleries, Ramapo College of New Jersey, Mahwah, NJ

2021

If You Lived Here You’d Be Home By Now, Wassaic Project, Wassaic, NY Collective Health, Collar Works, Troy, NY

Smolder (detail) acrylic and phosphorescent paint on canvas, 96 x 108 inches

106

NAGLE

107

Fallow Field acrylic and phosphorescent paint on canvas, 84 x 192 inches

108

KIP OMOLADE

kipomolade.com @kipomolade

b. 1969 New York, NY | lives in Bordentown, NJ Education

My portraits historically connect to ancient realistic African sculptures such as Benin ivory masks and Ife bronze heads. The oil paintings are psychological studies that investigate immortality, the universal masks we all wear, and contemporary notions of beauty and luxury. The labor-intensive process involves making a mold of each model’s face, reworking the plaster cast, producing a version in resin, and adding a chrome layer with artificial eyelashes. The final sculpture then serves as a model for the hyperrealistic oil portrait. This technique maintains the likeness qualities of portraiture while re-presenting a mask that serves as a conduit between the spiritual and natural world.

1991

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

2020

Masks: Portraits of Times Square and Luxury Graffiti, Jonathan LeVine Projects, Jersey City, NJ

2017

Diovadiova Chrome, Jonathan LeVine Projects, Jersey City, NJ Diovadiova Chrome, Art at Viacom, New York, NY Selected Group Exhibitions

2023

Figuratively Speaking, Harman Projects, New York, NY

2021

METAMORPHOSIS, Jonathan LeVine Projects,

2017

Versailles Now, Joseph Gross Gallery, San Francisco, CA

Asbury Park, NJ

Collections Viacom, New York, NY Hallmark Cards, Kansas City, MO

Diovadiova Chrome Kitty Cash V (Times Square) oil on canvas, 48 x 36 inches

110

OMOLADE

111

Diovadiova Chrome Karyn XVII oil on canvas, 48 x 48 inches Diovadiova Chrome Kitty Cash XX (The Ruby Girl) oil on canvas, 24 x 18 inches

112

ELBERT JOSEPH PEREZ

212.274.0064 (Rachel Uffner Gallery) elbertjosephperez.com @elbertonline

b. 1991 Brooklyn, NY | lives in Catskill, NY Solo Exhibitions

Primarily through the medium of oil painting, I produce images that function as speculations on a particular idea. Often reflecting on the absurd and stochastic nature of the human experience, I find there are more questions than solutions, the images ultimately composed so as to function as surreal allegories and conjecture. To counterpoise the equivocal nature of imagery, I try to infuse the shared experience of apprehension, moments of humor and subtle optimism, to extend an invitation to anyone who wants to participate in these quiet investigations. Drawing on a personal vernacular that includes animals with symbolic significance, objects such as tools and porcelain figurines, and references from art history, philosophy, and literature, I construct images that function as allegory. I am heavily inspired by the function of idioms, information rabbit holes, and the stochastic nature of life events, trying to find ways in which they connect to develop my own aphorisms.

2021

Living the Dream, Rachel Uffner Gallery, New York, NY The Enemy of My Enemy, Jupiter Contemporary, Miami, FL Selected Group Exhibitions

2022

Tamo aquí, Embajada, San Juan, Puerto Rico

2021

A Very Anxious Feeling, Taubman Museum of Art, Roanoke, VA Represented by Rachel Uffner Gallery, New York, NY

My Little Omelette Master oil on canvas, 34 x 28 inches

114

PEREZ

115

Purpose of Dust (Return to Sender) oil on canvas, 40 x 32 inches Backseat Drivers in the Trojan Horse oil on canvas, 34 x 32 inches

116

LUJÁN PÉREZ HERNÁNDEZ

347.930.8841 (Swivel Gallery) lujanperezstudio@gmail.com lujanperez.com @lujanperez

b. 1991 Madrid, Spain | lives in Old Chatham, NY Education

My work explores the relationship between earth and spirit while tackling the eternally plaguing questions of love, death, rebirth, and belonging. Myths about healthy things growing, growing things changing, changing things challenging, and being challenged to move forward and continue to honor the adaptable. Printmaking has become a big part of my visual language over the years, the material process of the physical act of leaving a lasting impression, the idea that matrix means “mother,” or, in late English, “womb,” and because of the choices you have for reproduction or lack thereof.

2020

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

2021

The Macedonia Institute, Chatham, NY Chubb Fellowship, New York Academy of Art,

New York, NY

2019

Leipzig International Art Programme, Leipzig, Germany

Solo Exhibitions 2023

Salón ACME 2023: Featuring Lújan Pérez, Swivel

2022

With Our Roots Entwined, Kapp Kapp, New York, NY

2021

Your Nostalgia Created a Non-existent Country,

Gallery, Mexico City, Mexico

Swivel Gallery, Brooklyn, NY Selected Group Exhibitions 2023

Garden Delights, Galerie LJ, Paris, France Weekenders, with Rusha & Co, Intersect Art Fair, Palm Springs, CA Memory Garden, Swivel Gallery, Brooklyn, NY

2022

Selfie, Galería MPA, Madrid, Spain Represented by Swivel Gallery, Brooklyn, NY

Pero el dos no ha sido nunca Número, porque es una Angustia y su Sombra acrylic and oil paint, handmade oil-based ink, cold wax medium, water-soluble crayon, and oil stick on Mylar mounted on hand-carved birch plywood, 47 x 26 inches

118

PÉREZ HERNÁNDEZ

The Flower you Hold in your hands was born today, and is as old as You are oil paint, handmade oil-based ink, and oil stick on Mylar mounted on hand-carved birch plywood, dried chickweed, nettle lead, and dandelion, 66 x 46 inches

119

A place of Comfort for You and I oil, handmade oil-based ink, and oil stick on Mylar, mounted on hand-carved birch plywood, 68 x 38 inches

120

DAVID SHROBE

daveshrobe@gmail.com davidshrobe.com @daveshrobe

b. 1974 New York, NY | lives in New York, NY Education

David Shrobe creates multilayered portraits and assemblage paintings made in part from everyday materials that he finds in multiple geographies. He disassembles pieces of furniture, especially from around his familial home in Harlem, separating wood from fabric, and recombines them as supports for collage, painting, and drawing. What manifests are figures assembled by signaled body parts. Fragments depict each figure to offer an uncanny outline that exerts a presence of being. Traversing different approaches, his work brings notions of identity, history, and memory into question while challenging conventions of classical portraiture. Shrobe produces new narratives, fragmented and nonlinear, that feel intimate and personal without being anchored to a specific time or place.

2013

MFA, Hunter College, The City University of New York, New York, NY

2009

BFA, Hunter College, New York, NY Residencies

2017

AIM, Bronx Museum of the Arts, Bronx, NY

2021

Riding the Wind’s Back, Monique Meloche, Chicago, IL

2020

Walk the Air, Steve Turner, Los Angeles, CA

Solo Exhibitions

Selected Group Exhibitions 2023

Multiplicity: Blackness in Contemporary American

2022

The Vault Show, University of Arizona Museum of Art,

Collage, Frist Art Museum, Nashville, TN Tucson, AZ Collections Brooklyn Museum, New York, NY Studio Museum in Harlem, New York, NY Represented by Monique Meloche, Chicago, IL

At a Crossroads oil, acrylic, and graphite on paper and canvas, steel, wood, flocking, fabric, and vinyl mounted on carved wood panel, 77 x 55 inches

122

SHROBE

In Devil’s Claw oil, acrylic, charcoal, painted paper, fabric, and flocking on joined carved wood panel, 68 x 48.5 inches

123

Riding the Wind’s Back oil, acrylic, charcoal, colored pencil, fabric, wood, and floorboard mounted on joined carved wood panels, 77 x 60 inches

124

SHROBE

Petite Maroonage oil, acrylic, graphite, pencil, charcoal, fabric, flocking, paper, and sandpaper on joined wood panels, 66 x 48 inches

125

Surveyors of Stars oil and acrylic on canvas, wood, flocking, linoleum floor tile, fabric, vinyl, and wood mounted on joined carved wood panels, 72 x 55 x 1.5 inches

126

MORGAN SUTER

morganjsuter@gmail.com morgansuter.com @_morgansuter

b. 1998 Poughkeepsie, NY | lives in Rhinebeck, NY Education

Fat Venus is the primary subject of the paintings. I am only using my own form and portrait to embody this figure, who is unrepressed and unafraid, to overcome the formidable trope of insecurity. So, these are not self-portraits, but an exploration of a dreamt world, and a fabricated self. Divinity is determined by size in this universe, because greater surface area catches more light. Venus’s ample, puffy belly calls you to the action of looking. The paintings heavily reject realism, embrace naturalism, and build upon a fantastical, imagined universe. The figures in these paintings exist fully and unabashedly; they are liberated from the voyeur, and bask in their own hedonism. There is a recurring motif of flight and lightness in the paintings, contrasted with weight and heaviness. What these paintings fundamentally represent is the instinctual obligation to express feeling, in all of its forms, using my own fleshy form as a catalyst and as the primary subject. These paintings are actively evolving, and ultimately, becoming.

2020

BFA, Maryland Institute College of Art, Baltimore, MD Selected Group Exhibitions

2023

Color Theory, Site:Brooklyn, Brooklyn, NY

2022

Wonderland International Juried Exhibition, Trolley Barn Gallery, Poughkeepsie, NY Radius 50, Woodstock Artists Association & Museum, Woodstock, NY

2021

Figures on Vibrating Ground, Studio 89, Highland, NY

Soul of a Woman oil on canvas, 44 x 34 inches

128

SUTER

129

Floral Self-Portrait oil on canvas, 48 x 38 inches Hug from the Sun oil on canvas, 40 x 30 inches

130

SUTER

131

Red Lemons oil on canvas,36 x 60 inches

132

KELLI THOMPSON

kellithompsonart.com @kelli__thompson

b. 1982 Monroe, LA | lives in New York, NY Education

My work explores the ways in which a woman’s body is often delineated into parts based on purpose and function. Pairing distinctly feminine anatomy with the sexual organs of flora, I explore aspects of my own physical existence as a woman. In separating parts of the female body and then isolating them, I point to the way in which treating the body based on definitive female functions often serves to define the woman as a whole. With this work, I intend to address the guilt, fear, anxiety, and profound unknown when confronted with the limitations of physicality. Recalling popular color palettes from my childhood, I create painted gradients on which to display my figures. Through the pristine level of finish in my subject matter, I am able to participate in the historical tradition of realistic portraiture and still-life painting, while the juxtaposition of these objects against abstracted formal elements situates them firmly in an artificial space. Using this combination of painting styles, I am able to both highlight and recontextualize realism.

2009

MFA, School of the Museum of Fine Arts at Tufts University, Boston, MA

2006

BA, University of New Orleans, New Orleans, LA Residencies

2019

Wassaic Project, Wassaic, NY

2013

Vermont Studio Center, Johnson, VT Solo Exhibitions

2023

Full Bloom, Shelter Gallery, New York, NY

2010

Good Children Gallery, New Orleans, LA Selected Group Exhibitions

2023

The Ecology of the Self, Miles McEnery Gallery, New York, NY What’s the Point of Precision?, Ortega y Gasset Projects, New York, NY

2021

Ouroboros, The Royal Society of American Art,

2019

Pool Party, C24 Gallery, New York, NY

Brooklyn, NY Courtesy Of, Transmitter Gallery, Brooklyn, NY

Quiet Time oil on panel, 42 x 36 inches

134

THOMPSON

In Waiting oil on panel, 42 x 36 inches

135

The Loneliest Number oil on panel, 38 x 44 inches

136

DAVID PATRICK WALSH

david@davidpatrickwalsh.com davidpatrickwalsh.com @davidpatrickwalsh

b. 1998 Worcester, MA | lives in Brooklyn, NY Education

Walsh’s paintings are an allegorical analysis exploring the ways in which queerness acts as a catalyst for the reconstruction of perceived social structures. Each painting takes figurative interactions derived from resonant memories, and recontextualizes them amongst each other and allusions to art history. These individual interactions serve as linguistic elements which, through diagrammed gazes and their proximity to the overarching invented architecture, form a visual language that elucidates underlying tensions and conflicting ideas within a larger narrative. This architecture is created in a 3D modeling program. It is constructed using a similar strategy, amalgamating architectural elements from autobiographical and art-historical references to reify a capriccio-like interior landscape.

2020

BFA, Rhode Island School of Design, Providence, RI Residencies

2021 2019

STAR Residency, Eagle Hill School, Hardwick, MA European Honors Program, Rhode Island School of Design, Rome, Italy Selected Group Exhibitions

2023

Untitled group exhibition, Dustin Yellin Studio,

2022

Eat Dog Eat, Major Conflict Collective,

2019

Basta Così: The Lemon Has Been Squeezed, Beatrice

Brooklyn, NY Brooklyn, NY (pop-up) Cenci Gallery, Rome, Italy Interaction, Translation, and Pieces, Bibliothè, Rome, Italy

The Portraitist oil on canvas, 60 x 40 inches

138

WALSH

The Cyclist oil on canvas, 96 x 72 inches

139

The Gardener oil on canvas, 48 x 48 inches

140

LI WANG

lw2937@columbia.edu @liwang_leo

b. 1995 Beijing, China | lives in Harrison, NJ Education

As an immigrant from China and a gay man, I hope my works can share the life and emotional landscape of my community. We immigrants leave our homes and our countries behind, and experience intense culture shock upon arrival in our new environment. Aside from logistical difficulties and visa limitations, we experience intense feelings of deep loneliness, unmet desire, and spiritual discomfort. Despite these challenges, going back home is not a good choice; in China, queer people have no legal protections. Discrimination and differential treatment happen as a matter of course. The still lifes in my paintings also play a very important role. The white socks, shorts, underwear, and sneakers are private kink signifiers for the Chinese gay community. I also paint cute toys, flowers, crowns, fashion clothing, perfume, and gay photography catalogs. Through arranging them with models in my paintings, I reveal these gay men’s personalities and style of living.

2023

MFA, Columbia University, New York, NY Residencies

2023

Monira Foundation, Jersey City, NJ Solo Exhibitions

2023

Fiends and Friends, Fragment Gallery, New York, NY NADA, with Fragment Gallery, New York, NY Selected Group Exhibitions

2023

So Red It Looks Black, COMA Gallery, Sydney, Australia New American Paintings 2023 Review, Steven Zevitas Gallery, Boston, MA A Happy Beginning, Latitude Gallery, New York, NY

Collections X Museum, Beijing, China

Tao in My Studio II oil on canvas, 60 x 46 inches

142

WANG

First Day Morning in San Francisco oil on canvas, 42 x 46 inches Touching oil on canvas, 50 x 62 inches

143

144

LISA DELORIA WEINBLATT

ldweinblatt@gmail.com lisadeloriaweinblatt.com @ldweinblatt

b. 1970 New York, NY | lives in Queens, NY Education

The SCHOOL LUNCH series is a visual essay on contemporary student life, created by on-site drawing, in real educational settings. The paintings present images concerning the nature of human relationships. My goal is to create humanistic awareness in a framework that is universally recognized. Each individual in my paintings is an actual person, drawn in the moment. These are quick sketches/likenesses; often the student is in conversation with myself or others. These drawings are the genesis of my paintings. Current crosscultural, political, gender, and social issues and their emotional attitudes are explored in the shared experience of school lunch. SCHOOL LUNCH underlines perceptions that affirm cultural identity and brings together ideas espousing contemporary concerns, while encouraging a belief in the quality of human spirit.

1991

MFA, School of Visual Arts, New York, NY

1987

BFA, Queens College | CUNY, Queens, NY Residencies

2012

LABA: A Laboratory for Jewish Culture Artist Collaborative, 14th Street Y, New York, NY

2009

ABACA/In-Between, Lower Manhattan Cultural Council, New York, NY Solo Exhibitions

2023

SCHOOL LUNCH, GoogleWorks Center for the Arts, Reading, PA SCHOOL LUNCH, Oxford Arts Alliance, Oxford, PA

2022

SCHOOL LUNCH, Levine and Cato Galleries, Central Piedmont College, Charlotte, NC Selected Group Exhibitions

2023

New Jersey Highlands, Morris Museum, Morristown, NJ Reviving Inner Rhythms, Flinn Gallery, Greenwich, CT 77th Regional Exhibition, Arnot Art Museum, Elmira, NY 43rd Annual National Exhibition, Monmouth Museum, Lincroft, NJ

SCHOOL LUNCH 11 oil on canvas, 48 x 62 inches

146

WEINBLATT

SCHOOL LUNCH 10 oil on canvas, 40 x 60 inches SCHOOL LUNCH 9 oil on canvas, 40 x 60 inches

147

148

VIKTOR WITKOWSKI

viktorwitkowski.com @viktor.witkowski

b. 1979 Kłodzko, Poland | lives in Norwich, VT Education

My paintings and films address the representation of history––domestic as well as global conflicts and the impact these have on the individual. At the same time, I ask what the possibilities of painting and film are in the face of unsettling yet socially relevant topics. Is there a space for poetics when dealing with the darker issues in life? My work is driven by a deeply personal agenda: after martial law had been lifted in Poland in 1983, my parents decided to flee to what used to be West Germany in order to escape uncertainty and oppression. Ultimately, my work shows that politics and history are anything but theoretical constructs. On the contrary, these conditions affect people’s minds, hearts, and everyday lives.

2010

MFA, Mason Gross School of the Arts at Rutgers, The State University of New Jersey, New Brunswick, NJ

2006

MA, Hochschule für Bildende Künste Braunschweig, Braunschweig, Germany MA, Technische Universität Braunschweig, Braunschweig, Germany Solo Exhibitions

2022

On Skin, Metal, and Water, Stroboskop, Warsaw, Poland Landfall, Bund Bildender Künstlerinnen und Künstler Leipzig, Leipzig, Germany

2016

Our Histories, The Carroll House Art Gallery, Keene State College, Keene, NH Selected Group Exhibitions

2023

The Summer Disaster Show, Private Public Gallery,

2020

Pantalla Rota (Broken Screen), El Blanco,

2019

Diving and Digging, LIA Leipzig International Art

2018

Aesthetica Art Prize Exhibition, York Art Gallery,

Hudson, NY Buenos Aires, Argentina Programme, Spinnerei, Leipzig, Germany York, England

Lasgin (Espelkamp) oil on canvas, 60 x 48 inches

150

WITKOWSKI

Where I Laid My Mom’s Ashes to Rest oil on raw linen, 24 x 20 inches An Image of My Mom on My Dad’s Living Room Wall oil on raw linen, 24 x 20 inches

151

152

AREUM YANG

212.206.6411 (Derek Eller Gallery) didchzh94@gmail.com areumyang.com @areumyanga

b. 1994 Seoul, South Korea | lives in New York, NY Education

Through my painting, I create elaborate realms where objects and subjects are immersed in a dynamic of self-reflection. These worlds become spaces where the subjects see themselves as both the observers and embodiments of diverse perspectives or characters. Drawing inspiration from Korean traditional paintings, I delve into the complexities of psychological perspectives and their connections to the concept of social equity and freedom. Within this process, I’ve discovered an in-between realm where imagination, dreams, and reality converge—a place I call home. In this space, I observe not only the art but also myself observing the artwork. This realization reveals that the idea of home is deeply connected to our perspectives. My paintings feature metamorphic entities, representing the ongoing dialogue between humans and their surroundings. Trees, houses, and shadows become communicative elements, reflecting the world’s self-observation through diverse forms. Collage materials play a vital role in my work, symbolizing the interconnectedness of everything. Diverse materials, even from different sources, unite when they engage in conversation, emphasizing relatability and promoting social equity.

2021

MFA, Hunter College, The City University of New York, New York, NY

2017

BFA, Hongik University, Seoul, South Korea Residencies

2021

Skowhegan School of Painting and Sculpture, Madison, ME Solo Exhibitions

2023

Liminal Sojourns, Derek Eller Gallery, New York, NY

2022

Trees in Me, Derek Eller Gallery, New York, NY Selected Group Exhibitions

2023

Bigger Portraits, Long Story Short, Los Angeles, CA Nocturne of Symbiose, F2T Gallery, Milan, Italy

2022

To be a giant and keep quiet about it, Margot Samel, New York, NY Some Kind of Monster Roster, Analog Diary, Beacon, NY Of Foxes and Ghosts, MAMOTH, London, England Last Call, Bradley Ertaskiran, Montreal, Canada Represented by Derek Eller Gallery, New York, NY

Pinto Mopping Blue acrylic, oil pastel, and pencil on canvas, 72 x 54 inches

154

YANG

Locking Myself Out acrylic, oil, collage, oil pastel, charcoal, and pencil on canvas, 74 x 68 inches Faraway Land oil, acrylic, pencil, charcoal, and oil pastel on canvas, 70 x 60 inches

155

156

FURONG ZHANG

furongz@yahoo.com furongzhang.com @furongzhangart

b. 1956 Shanghai, China | lives in State College, PA Education

My paintings deal with personal and collective emotions of being a firstgeneration immigrant in America, revolving around themes of alienation, displacement, and self-contradiction. I use a deconstructed and allegorical approach to create my painted scenes, incorporating my memories and experiences of my native country, China, as well as my current residence in America. My past experience during the Cultural Revolution in China, a time of social unrest, widespread propaganda, violence, and expected obedience to authority, has informed the underlying mood of my paintings and my questions on the place of the individual self in relation to its society. In my work I am interested in dualisms and tensions between the preservation of history and erasure, belonging and alienation, and material body and soul. I juxtapose symbols of construction, detritus, ritual, and ambivalence to reference my Chinese American immigrant experience and personal emotions that are in flux alongside historical and contemporary social environments.

1987

MFA, Central Academy of Fine Arts, Beijing, China

1982

BFA, Shanghai Normal University, Shanghai, China Residencies

2023

Fountainhead Residency, Miami, FL

2021

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

2023

Land of the Peach Blossoms, Kravets Wehby Gallery, New York, NY

2022

Crossing the Dry Sea, Gallery 456, New York, NY Selected Group Exhibitions

2023

All you can eat, Kravets Wehby Gallery and New

2022

Into the Light, Bellefonte Art Museum, Bellefonte, PA

Collector’s Gallery, New York, NY

Collections Living National Treasure Museum, Kanagawa, Japan National Art Museum of China, Beijing, China

Small Fires oil on canvas, 62 x 52 inches

158

ZHANG

159

Backstage oil on canvas, 56 x 64 inches Behind the Scenes oil on canvas, 56 x 68 inches

160

HALLEY ZIEN

halleyzien.com

b. 1980 New York, NY | lives in Brooklyn, NY Education

My paintings depict claustrophobic interiors that contemplate tense juxtapositions between surface appearance and internal experience. Inspired by traditions that use performative masks to plumb the depths of humanity, exaggerated figures use their distortion to telegraph hidden emotional truths. Images taken from interior design magazines are populated with feverishly uninhibited characters to explore this clash between idealized representations of home and what actually plays out interpersonally while life is being lived. Collaged elements often alter the painted image to offer multiple perspectives on the same object, suggesting the variability of perception and shifting psychological states. Pieces of fabric from cast-off clothing are the residues of fashion fads and reflect lifetimes spent constructing our public personas. Stitched back together in new configurations, they become the raw essence of the bodies they once housed. The union of all these disparate mediums is meant to create a dizzying celebratory snapshot of life, both grotesque and glorious.

2002

BA, Vassar College, Poughkeepsie, NY Solo Exhibitions

2014 2013

We’re All in Here, BravinLee programs, New York, NY This Often Happens When People Get Together, Goose Barnacle Gallery, Brooklyn, NY

2010

The Little People, Chashama Time Square Art Space, New York, NY Selected Group Exhibitions

2022

Intimate Immensity, The Empty Circle, Brooklyn, NY

2015

Untitled Art, with BravinLee programs, Miami Beach, FL Long Story Short, Trestle Gallery, Brooklyn, NY

2013

Space Invaders, Lehman Art Gallery, Bronx, NY

2010

Seven Art Fair, with BravinLee programs, Miami Beach, FL The Hendersons Will All Be There, BravinLee programs, New York, NY

Even I was in the bed that day oil, collage, and fabric on panel, 18 x 20 inches

162

ZIEN

Baby won’t sleep oil, collage, and fabric on panel, 48 x 60 inches Daybed/Deathbed oil, collage, and fabric on panel, 48 x 60 inches

163

164

ZIEN

165

Posturepedic quicksand oil, collage, and fabric on panel, 14 x 23 inches

166

Key p180

EDITOR’S SELECTIONS

Artists are presented in alphabetical order. Artist biographies have been edited to prioritize recent highlights. Pricing Guide can be found on p193.

DAVID AIPPERSPACH

david.aipperspach@gmail.com davidaipperspach.com @daippers

b. 1987 Des Moines, IA | lives in Philadelphia, PA Education

My paintings from the past several years depict familiar landscape and domestic vignettes at 1:1 scale, illuminated by saturated light conditions that evoke distinct times of day. Varied processes throughout the works elicit a range of approaches to mark-making and spatial construction, at times representing credible physical realities and in other instances simulating the perceptual slippage of memory, distraction, and unease. I’m fascinated by the ways in which time gets recorded and encoded in painting. It’s fundamental to the medium—paintings are like visual batteries that are charged with the duration of their making. They turn that visual energy back to viewers when they are observed. This timecharge distinguishes paintings from other types of images, lending a contemplative weight to both their making and apprehension. I make slow paintings based on direct observational studies to emphasize this time attribute and record and embody the act of attentive looking.

2014

MFA, Rhode Island School of Design, Providence, RI

2010

BA, University of California, Berkeley, CA Residencies

2021

Soaring Gardens Artists Retreat, Laceyville, PA

2015

Anderson Ranch Arts Center, Snowmass, CO

2022

Prologue to a garden dark, CHART, New York, NY

Solo Exhibitions

Selected Group Exhibitions 2023

Labor’s Luster, Commonweal, Philadelphia, PA Bellyache, CHART, New York, NY

2022

Book and Things, Helen J Gallery, Los Angeles, CA Shadow Work, A.P.E., Northampton, MA

2019

Woodmere Annua:78th Juried Exhibition, Woodmere Art Museum, Philadelphia, PA

2018

The Midnight Sun, Pilot+Projects, Philadelphia, PA

6–9 pm oil on canvas, 84 x 72 inches

170

AIPPERSPACH

4–7 pm oil on canvas, 84 x 72 inches 8–11 pm oil on canvas, 84 x 72 inches

171

172

MAR FIGUEROA

@bymarfigueroa

b. 1993 Guayaquil, Ecuador | lives in New York, NY Education

In my paintings, I explore the multiplicity of my identities as an Ecuadorian immigrant raised in my mother’s traditional Andean cuisine restaurant in the US. My practice is shaped by this restaurant, which served as a beacon for cultural continuity within my Andean community. The narratives within my artwork recount personal stories, shedding light on my immigrant journey, my heritage, ancestral wisdom, and spirituality. Using traditional Andean geometric design, Latin American folk art, and my environment as the foundation, I create the space for my characters to live within and partake in daily rituals like cooking, praying, or engaging in shamanism. Through my artistic practice, I engage in a profound dialogue with all my identities, especially those that have long been silenced.

2015

BFA, Rhode Island School of Design, Providence, RI

Into the Smoke, Into the Smoke acrylic on canvas, 39 x 28 inches

174

FIGUEROA

Memories Find Your Washing acrylic on canvas, 39 x 28 inches On a planting moon, I release what broke me acrylic on canvas, 48 x 36 inches

175

176

JON KEY

323.460.6830 (Steve Turner) jonathangkey@gmail.com jonkeyart.co @jkey13

b. 1990 Seale, AL | lives in Brooklyn, NY Education

Jon Key is a queer Black man originally from the small rural town of Seale, Alabama, now living and working in Bushwick, NY. A writer, designer, and painter, his work excavates the lineage and history of his identity through intersecting themes: Southernness, Blackness, queerness, and family. Borrowing from design history and principles, Key’s contorted hard-lined figures are brushed with family histories reflected in polka dots and plaids across the surface of his works. In opaque interior and exterior environments that conceal American histories of pain and oppression, Key layers stories of queer ancestry. Through archival ephemera and artifacts he offers glimpses of strength, support, and resilience.

2021

MA, School of Visual Arts, New York, NY

2013

BA, Rhode Island School of Design, Providence, RI Solo Exhibitions

2023

Second Goodbyes, Steve Turner, New York, NY

2022

I too, Carl Freedman Gallery, Margate, England Suits Me, Steve Turner, Los Angeles, CA

2021

Lean On Me, Steve Turner, Los Angeles, CA Selected Group Exhibitions

2023

Armory Show, with Carl Freedman Gallery, New York, NY

2022

Frieze London, with Carl Freedman Gallery,

2021

Breakfast under the Tree, Carl Freedman Gallery,

2020

Black Voices/Black Microcosm, CFHILL,

London, England Margate, England Stockholm, Sweden Represented by Steve Turner, Los Angeles, CA Carl Freedman Gallery, Margate, England

Three of Us (The Hosts) acrylic and oil on panel, 60 x 48 inches

178

KEY

The Man in the Violet Suit at Home acrylic on panel, 60 x 48 inches Langston in Violet acrylic on panel, 72 x 48 inches

179

180

KEY

181

Tender Times acrylic and oil on panel, 72 x 96 inches

182

NINA MOLLOY

213.369.0646 (Micki Meng) @ninamolloy9

b. 1999 Bangkok, Thailand | lives in New York, NY Education

The things I paint are things that I’ve encountered and would like to experience again––in my hands and in my body so that I can be carried in it. I want to get inside of it. For it to usurp me and this very room that I am in. Not to be told something––to impart information or knowledge––but to get rid of something. I’d like to abandon myself and plunge into it.

2022

BFA, New York University, New York, NY Residencies

2021

Yale Norfolk School of Art, Norfolk, CT Solo Exhibitions

2023

SHRINE, Micki Meng Gallery, San Francisco, CA Selected Group Exhibitions

2023

NADA, with Micki Meng, Miami, FL The Descendants, K11 MUSEA, Hong Kong SAR Walk Against the Wind, Micki Meng and Parker Gallery, New York, NY

2022

Wonder Women, Jeffrey Deitch, Los Angeles, CA Collections Cantor Arts Center, Stanford University, Stanford, CA Institute of Contemporary Art Miami, Miami, FL Museu Inimá de Paula, Belo Horizonte, Brazil Represented by Micki Meng, San Francisco, CA

Seated Figure oil on linen, 16 x 12 inches

184

MOLLOY

Shrine oil on canvas, 65 x 97 inches Myra oil on linen, 79 x 112 inches

185

186

MOLLOY

187

Nang Ta-khian oil on canvas, 44 x 64 inches

188

MADELINE PECKENPAUGH

madelinepeckenpaugh.com @madelinepeckenpaugh

b. 1991 Milwaukee, WI | lives in Queens, NY Education

Madeline Peckenpaugh renders depth through iterations of adding and subtracting paint, creating a semblance of deep and flat space simultaneously. Peckenpaugh shifts the scale of everyday elements, interlaces components, and depicts forms in both single tones and fluctuating textures. The resulting optical illusions often resemble imagined, otherworldly landscapes.

2020 2015

MFA, Rhode Island School of Design, Providence, RI BFA, Pennsylvania Academy of the Fine Arts, Philadelphia, PA Residencies

2022

Adventure Painting, Banff National Park, Canada Solo Exhibitions

2023

Farsight, Alexander Berggruen, New York, NY

2022

Unit London, London, England

2021

Neither Night nor Day, 1969 Gallery, New York, NY Selected Group Exhibitions

2023

Josh Meier and Madeleine Peckenpaugh, Towards, Toronto, Canada So Red It Looks Black, COMA, Sydney, Australia What Now?, PM/AM, London, England Collections Institute of Contemporary Art Miami, Miami, FL Brown University, Providence, RI Represented by Alexander Berggruen, New York, NY

Downpour oil on canvas, 64 x 58 inches

190

PECKENPAUGH

191

Convergence oil and acrylic on canvas, 64 x 61.5 inches Migration oil on canvas, 50 x 48 inches

192

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

193

LISA ALONZO

COLIN HUNT

HANNAH MURRAY

LISA DELORIA WEINBLATT

p15–20 $875–$12,000

p57–62 NFS

p99–104 NFS

p145–148 $15,000–$17,000

DAPHNE ARTHUR

OLIVIA JIA

JULIE ANN NAGLE

VIKTOR WITKOWSKI

p21–24 $8,000–$16,000

p63–66 NFS

p105–108 $8,000–$24,000

p149–152 $1,200–$6,000

KEVIN COBB

ERIN JULIANA

KIP OMOLADE

AREUM YANG

p25–28 $6,000–$25,000

p67–70 $650–$1,500

p109–112 NFS

p153–156 $4,000–$16,000

CHARLES ANTHONY COOPER

ZACHARY LANK

ELBERT JOSEPH PEREZ

FURONG ZHANG

p29–32 $350–$2,500

p71–74 $2,000–$8,000

p113–116 NFS

p157–160 POR

SARAH DETWEILER

ELIZABETH LIVINGSTON

LUJÁN PÉREZ HERNÁNDEZ

HALLEY ZIEN

p33–36 $3,500–$8,500

p75–78 $1,500–$9,000

p117–120 $3,000–$8,000

p161–166 NFS

MICHELLE DOLL

SANDREA LOVELOCK WILLIAMS

DAVID SHROBE

DAVID AIPPERSPACH

p37–40 $10,000–$40,000

p79–82 $200–$25,000

p121–126 NFS

p169–172 NFS

LELAND FOSTER

JEFFREY MELO

MORGAN SUTER

MAR FIGUEROA

p41–44 $8,000–$40,000

p83–86 NFS

p127–132 $450–$5,000

p173–176 NFS

HUÊ THI HOFFMASTER

NATHANIEL MEYER

KELLI THOMPSON

JON KEY

p45-48 $3,000–$40,000

p87–90 $7,000–$8,000

p133–136 NFS

p177–182 $7,000–$48,000

NANCY HOLLINGHURST

BRITTANY MILLER

DAVID PATRICK WALSH

NINA MOLLOY

p49–52 $1,875–$13,000

p91–94 $8,000–$18,000

p137–140 NFS

p183–188 NFS

NICK HOOVER

CHRIS MINARD

LI WANG

MADELINE PECKENPAUGH

p53–56 NFS

p95–98 $3,000–$9,000

p141–144 NFS

p189–192 NFS

194

$25