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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 Midwest Review 2024

173

EDITOR’S SELECTIONS Midwest Review 2024

199

PRICING GUIDE Asking prices for selected works

173

Suppan p137

Aug/Sept

EDITOR’S NOTE

The juror for this issue––our annual review of artists working in the Midwest–– is Rosario Güiraldes, the newly appointed Curator of Visual Arts at the Walker Art Center. As a recent transplant to the region, Güiraldes brings a fresh perspective. It is notable that only 25 percent of the featured artists hail from Chicago, a city that has tended to dominate the New American Paintings Midwest issues over the years. Rosario’s selections are extremely diverse in terms of the artists’ backgrounds and aesthetic viewpoints. What strikes me most with this selection is the number of artists who are engaged with abstraction. Whether due to the prevailing winds of the art world, or the applicant pool, it has been a long time since an edition of New American Paintings has contained so much nonobjective work. Is this a sign of things to come? Let me start by stating the obvious: on any given day, every conceivable type of painting is being made all over the world––from abstract painting to representational painting to types of painting that defy easy categorization. The fact that there has been a glut of representational painting, or, more specifically, figurative painting in recent years says more about the art market than it does the studio practices of artists worldwide. It also says something about just how institutionalized the art world has become as a younger generation of artists, many of whom hold an MFA degree, are in place to produce the work that the market suddenly wants. For many years,

figurative painting was considered an outmoded means of expression that was given very little attention in the galleries and museums that, for all intents and purposes, serve as the art world’s main stage. That all changed in the mid-2010s, when, through a convergence of circumstances, the figure became omnipresent. The mechanisms that drove the figure’s ascent are complex, but the chaotic state of world, politics, and an overdue recognition that art history’s largely white male perspective needed a radical rethink are all contributors. For those of us who spend most of our time looking at and thinking about art, the uptick in abstract painting over the past two years is notable. Right now, much of the work gaining attention is gestural and, in many cases, being made by artists who are working through abstraction to address more topical issues. But, as is evident in these pages, artists are approaching abstraction from a number of directions. The art market has eagerly jumped on board and there are more and more gallery exhibitions, museum shows, and art fairs prominently promoting the efforts of abstract painters. There seems to be something intrinsic to the human condition that revels in binary oppositions––left/right, dark/light, good/evil, image/abstraction. I have always thought that the most interesting and useful things happen in the messy and mercurial space that exists between rigidly opposite poles. This is the crucible where good thinking can happen that pushes us all forward.

The art market has a vested interest in controlling narratives, branding moments, and anointing art stars, so it will be no surprise if abstraction is everywhere in the coming years. My hope is that artists will be producing it because they need to, not because the market demands it. Enjoy the issue! Steven Zevitas Publisher & Editor

COMMENTS

MICHAEL WILSON Writer & Critic

It’s tough to identify a definitive starting point for the idea of the everyday as a focus in art; so many moments and movements are rooted in the immediate surroundings and regular activities of artists and their subjects, on the outwardly routine and the supposedly nothing-special. From prehistoric hunting images to seventeenth-century genre painting, from Pop art’s veneration of modern consumerism to conceptual art’s focus on all-toofamiliar systems and procedures, the everyday has continued to provide both a forum for the exploration of complex formal and psychological themes, and a point of entry accessible even to viewers unfamiliar with art practice and its history. Closely linked to this notion is the exploration of belonging, of how we engage with or resist our milieus. The extent to which we mesh with our own personal everyday—the people and places around us—codifies our identity and shapes our conflicts. In this issue of New American Paintings, the everyday—and the ways in which we belong to or feel alienated from it, most often by the communities to which we (voluntarily or involuntarily) belong—come to the fore. Perhaps this has something to do with a vision of the Midwest as ground zero for American egalitarianism, as a region in which the perception of coastal elitism might give way to a different sense of possibility. In the paintings of artist and designer Martyna Alexander, that potential is modeled as a drive to escape from dominant societal configurations. Representing the

strictures of contemporary existence as grids and frameworks that suggest a gentler version of Peter Halley’s inescapable cells and conduits—and in the series Courts resemble the markings on sports playing surfaces—Alexander abstracts from the limits and directions we encounter throughout our lives, pointing toward routes away from the influence of our familial past and institutional present. In the paintings of Sara Suppan, the everyday is pictured in the form of objects and situations characterized by the artist as “plain yet contemporary,” in which the most humble subjects are infused with the greatest sense of mystery (or at least an absurdist wit). Often, this involves a clash between nature and artifice—in Fleurs, for example, a pair of nonchalantly crossed feet in flower-patterned socks nudges petals loose from a glass vase of real blooms onto the reflective tabletop beneath, while in Wild Lemons, the titular fruits have been inscribed with childlike doodles of rainclouds, ponies, and bicycles, thereby chipping away at their supposed purity. Suppan’s technique is meticulous, naturalistic, but with an edge of stylization, embodying an investment of time and effort that she regards as a critical ingredient in their shading of the everyday into the remarkable. Michon Weeks is less interested in this kind of direct observation, aiming instead to represent a mystical realm in which common experiences take

“...the everyday has continued to provide both a forum for the exploration of complex formal and psychological themes, and a point of entry accessible even to viewers unfamiliar with art practice and its history.”

their place among a broader range of events, not all of which are readily definable. In compositions that juxtapose nonrepresentational passages with recognizable imagery and symbolism, Weeks illuminates and enhances the prosaic, suggesting that we might belong to our environs more fully were we to acknowledge its unpredictability. In 99½, the titular numbers hover ominously against a lilac-gray ground while a staircase-like form hints at a higher realm. In Leg, a jointed green form flecked with black emerges from a field of yellow. The work’s title suggests a body part, but the degree of abstraction is such that any sense of scale or context is confused and the whole is rendered ambiguous, perhaps even absent of “meaning” in its conventional, indexical sense. By contrast, Fidencio Fifield-Perez has allowed his practice to grow from a very specific root, the experience that came to define his sense of belonging in relation to American governmental bureaucracy. Required, as a Dreamer, to report to US immigration services, Fifield-Perez began collecting documentation that he eventually used in paintings, prints, and collages. These works narrate his experience of relocation and of life under the threat of the Deferred Action for Childhood Arrivals program’s repeal. Envelopes from personal and official correspondence form the grounds of paintings of plants, each of which has an individual significance. These images fuse visual details of everyday life with the informational minutiae the authorities

demand. In The Garden, an array of potted plants appears bundled into a mover’s truck—an affecting summation of an environment being shifted from the place of its birth to elsewhere, to a different everyday into which it may not be readily welcomed. Finally, in his paintings and performances, Ivan David Ng also meditates on migration and belonging, pondering his identity as a member of the Hakka, a group that originated in central China more than a thousand years ago before spreading through Southeast Asia to eventually became Singaporean, its precise roots and character muddied over time. “I do not have a native land,” Ng mourns, “but I can be native to the sky.” With this in mind, he collages images of the sun, moon, clouds, and stars from print and electronic sources together with abstract components in various media. The kaleidoscopic results fuse personal history with universal experience, charting a continuity across time and place. In their long view of human history and the shared environment, these works begin to suggest that the search for any concrete “starting point” is perhaps less significant than the everyday we build for ourselves and share with others.

Alexander Fifield-Perez Ng

p17 p62 p118

NOTEWORTHY

JUROR’S PICK: MICHON WEEKS

p157

Michon Week’s artworks defy current expectations by prioritizing the notion of painting as an insistently material practice over its content or subject matter. Her attention to the interplay of brushstrokes, composition, and visual rhythm are all part of a dynamic whole, where each brushstroke intuitively builds on the previous one. It is an approach that I find refreshing and exciting. Her work reminds me that great artworks often happen when they aren’t called upon.

EDITOR’S PICK: SOUMYA NETRABILE

p111

I first became aware of Netrabile’s work on seeing her solo show with Anat Ebgi in 2023, and I have been an committed fan since. Netrabile’s core subject is the landscape, and I think it is fair to say that her paintings are part of the long and venerable tradition of landscape painting. While her paintings happen to be stunningly beautiful objects, her interests go far beyond simple observation and aesthetic pleasure. For Netrabile, the landscape is not something that we have agency over; rather, it is a generative space that we respond to. The multilayered, intuitive way in which Netrabile constructs her paintings is wholly responsive and suggests that Mother Nature is not in our possession, but we, in fact, are in hers.

SELECTED ARTISTS: MIDWEST REVIEW 2024

JUROR: ROSARIO GÜIRALDES CURATOR OF VISUAL ARTS, WALKER ART CENTER, MINNEAPOLIS, MN

JUROR’S SELECTIONS: MARTYNA ALEXANDER JUAN ARANGO PALACIOS MADELINE BRICE CHRISTOPHER BURK NIK CHO JAN CHRISTOPHER-BERKSON MATTHEW COOPER BRIA CORRANDA JACKSON DAUGHETY IAN ETTER FIDENCIO FIFIELD-PEREZ DOMINIC FINOCCHIO ANDREAS FISCHER MADELINE GALLUCCI LEA GOLDMAN ATTICUS GORDON SAMANTHA HAAN ASHLEY JANUARY MATTHEW KOLODZIEJ KIMBERLY MONTIEL ARMIN MÜHSAM SOUMYA NETRABILE IVAN DAVID NG MICHAEL PFLEGHAAR OLIVIA ISABEL ROSATO MOISES SALAZAR TLATENCHI SARA SUPPAN MADELYN TURNER KADEN VAN DE LOO SHANE WALSH MICHELLE WASSON MICHON WEEKS SARA WILLADSEN DANIELLE WINGER JONATHAN WORCESTER

EDITOR’S SELECTIONS: KIM BENSON AARON S. COLEMAN LIANG SIHENG REEHA LIM ANDREW MCILVAINE

Gordon p82

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.

MARTYNA ALEXANDER

tomartyna@gmail.com martynaalexander.art @martyna_alexander

b. 1989 Ann Arbor, MI | lives in Detroit, MI Education

Martyna Alexander works primarily in painting and design. Her large-scale works typically involve nuanced color palettes and frequently reference the rigidified aspects of culture and society. Her practice pushes back against institutional structures through self-nurturing methodologies. Through simplified shapes and organizational systems, she represents the structures that contain the daily activities or larger political systems that influence or control our lives.

2012

BFA, Stamps School of Art & Design, University of Michigan, Ann Arbor, MI Residencies

2022

Almost Perfect Tokyo, Tokyo, Japan

2015

Artfunkl, Manchester, England Solo Exhibitions

2024

Courts, Playground Detroit, Detroit, MI

2023

Dreams in the Nebula, Vault of Midnight, Detroit, MI

2022

Fields, Playground Detroit, Detroit, MI

2021

Galaxy Series, 409 Fisher, Detroit, MI Selected Group Exhibitions

2024

Foundations Art Virtual Art Fair, artsy.net

2023

Beta, Art Clvb, Detroit, MI Motion, Spotlite, Detroit, MI Reveries, Galería Azur, Madrid, Spain

2022

Geometric Gestures, dodomu gallery, Brooklyn, NY (online)

Untitled (Pink-Red Landscape) acrylic and dry pastel on cotton canvas, 26 x 20 inches

ALEXANDER

Untitled (Invisible Court) acrylic and dry pastel on cotton canvas, 50 x 35 inches Untitled (Blue Court) acrylic on cotton canvas, 50 x 35 inches

ALEXANDER

Untitled (Yellow Rhombus) acrylic on cotton canvas, 20 x 58 inches

JUAN ARANGO PALACIOS

212.381.1396 (Gaa Gallery) jarangopalacios@gmail.com jarangopalacios.com @juuuanitx

b. 1997 Pereira, CA | lives in Chicago, IL Education

As a queer body raised in a postcolonial context in Colombia, my identity was shaped in the shadows of North American normativity. My sense of self was further confounded by a series of migrations that my family undertook in search of work and a more prosperous future. Moving through varying conservative and homophobic cultures in Louisiana and Texas, I have formed a disembodied identity that is not attached to any specific homeland and has always been challenged by the general norm. My practice addresses the lived experiences of queer identities that have been marginalized within a diasporic or migratory context. Through the fluid and boundless medium of paint, I represent memories, places, people, and archetypes that I associate with the safety, survival, and endurance of queer bodies in spaces that challenge their existence. Placing emphasis on vibrant color palettes and dynamic compositions, I aim to create images glorifying joy and prosperity in the queer experience.

2020

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

2022

The Macedonia Institute, Chatham, NY

2021

Bed Stuy Art Residency, Brooklyn, NY

2019

Yale Norfolk School of Art, Norfolk, CT Solo Exhibitions

2024

Alta Montaña, Gaa Gallery, New York, NY

2023

Jardín del Deseo, Spinello Projects, Miami, FL Cortavenas, Rusha & Co., Los Angeles, CA Selected Group Exhibitions

2023

Saints and Sinners, Guts Gallery, London, England Summer Escape, Gaa Gallery, Provincetown, MA Collections The Bunker Artspace, West Palm Beach, FL Represented by Gaa Gallery, Provincetown, MA Rusha & Co., Los Angeles, CA Selenas Mountain, New York, NY

Amor nocturno oil on canvas, 40 x 30 inches

ARANGO PALACIOS

Pobre diablos oil on canvas, 40 x 30 inches Cabeza en las nubes oil on canvas, 48 x 40 inches

ARANGO PALACIOS

Barranqueros oil on canvas, 48 x 40 inches Pasasda por el guadual oil on canvas, 48 x 36 inches

MADELINE BRICE

madelinebriceart@gmail.com madelinebrice.com @madelinebrice.art

b. 1992 Springfield, MO | lives in Kansas City, MO Education

In my paintings I try to capture a feeling, or the feeling of several thoughts. Lately they’ve been related to the climate crisis, but sometimes it’s not that serious. Through introspective writing exercises, play, and exploration of train-of-thought, I look for recurring themes and intertwine them with current interests like ecofeminist ideology and cowboy culture. It should be noted that this work is not necessarily encompassed by a narrative, although perhaps a narrative could be drawn. Each piece should be considered its own moment in time––past, present, or future––a stand-alone idea. Interpretation is always encouraged. I am deeply interested in how perception shapes self-conception and the nature of reality, a fascination influenced by my experience with depersonalization/derealization disorder. Ultimately, the work serves as a reflection on the human experience, prompting viewers to engage in critical reflection and dialogue. It encourages introspection and a deeper understanding of human nature, addressing self-deception, harm, and the complexities of perception in our contemporary world.

2018

BA, Missouri State University, Springfield, MO

2015

BFA, Missouri State University, Springfield, MO Residencies

2024

Moosey Residency, Moosey, Norwich, England IUAH Residency, Interurban/Arthouse, Kansas City, KS

2023

Quarantine, Menorca, Spain Solo Exhibitions

2023

learning not to hurt others, Truman State University, Kirksville, MO

2022

forever is a feeling that takes place inside of me,

2021

okay, okay; and other lies we tell ourselves, Bunker

OH Gallery, Springfield, MO Center for the Arts, Kansas City, MO 2020

DREAMWORLD, Beco Gallery, Kansas City, MO Selected Group Exhibitions

2024

Salut!9, Nucleus Portland, Portland, OR Luminous Realms, Good Mother Gallery, Los Angeles, CA

2023

Abstract, Distortion, and Fragmentation, Li Tang Gallery, New York, NY

if i ever find a dead horse oil on canvas, 30 x 30 inches

BRICE

maybe we should apologize to the water oil on canvas, 60 x 48 inches everything is potentially your gift oil on canvas, 48 x 36 inches

CHRISTOPHER BURK

614.223.1655 (Brandt-Roberts Galleries) christopherburkartist@gmail.com christopherburk.com @christopherburk_artist

b. 1977 Columbus, OH | lives in Columbus, OH Residencies

If I were to classify my work, it would be as landscape painting. However, that description at times fluctuates between the representational and the abstract. Ultimately, the practice has become about exploration. My work as an observer is about discovering the unorthodox, often overlooked beauty seen within the landscape and presenting it to the viewer.

2022

Dresden Artist Exchange, Greater Columbus Arts Council & Columbus Museum of Art, Dresden, Germany Josef & Anni Albers Foundation, Bethany, CT

2018

Vermont Studio Center, Johnson, VT

2016

Vermont Studio Center, Johnson, VT

2023

In the Trees the Night Wind Stirs, Brandt-Roberts

Solo Exhibitions Galleries, Columbus, OH 2019

George Billis Gallery, New York, NY

2018

Illuminating the Everyday, Springfield Museum of Art, Springfield, OH Selected Group Exhibitions

2024

I Will Tell You Mine, Tyger Tyger Gallery, Asheville, NC

2023

LUSH, Hashimoto Contemporary, New York, NY

2020

Greater Columbus Arts Council Visual Arts Awards Exhibition, Columbus Museum of Art, Columbus, OH Angels in Architecture, Talon Gallery, Portland, OR Represented by Brandt-Roberts Galleries, Columbus, OH

Stone Pine 10 gouache paper, 11 x 11 inches

BURK

Pink Moon 1 gouache on paper, 12 x 12 inches

Illuminated Tree with Crescent Moon 4 gouache on paper, 10 x 10 inches

NIK CHO

hcho43@artic.edu

b. 1993 Seoul, South Korea | lives in Chicago, IL Education

Nik Cho’s palette and expressive brushstrokes contrast with his upbringing with a domineering father and in an austere Korean culture. His inspiration stems from exploring and expressing his identity and actively combating the societal Korean expectation to be reserved in regard to sexuality. Coming to the US, he has been able to create the space to “come out.” His work conveys hidden glimpses of memory and a hint of playful provocativeness. Rather than eschewing the often stigmatized topic of homosexuality in his figurative paintings, he opts to maximize the intensity of specific intimate moments by choosing unconventional colors, increasing the contrast between light and dark and interjecting minimal middle tones. This exaggeration sheds light on the corporate and media desire to focus on rainbow colors and “Pride” while hiding the darker side of queer life. His palette contrasts with and points out the underlying negative emotions that are associated with an expression of sexual identity and the everyday life of queer people.

2024

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

2022

BFA, SAIC, Chicago, IL Selected Group Exhibitions

2024

SAIC Graduate Exhibition One, SAIC, Chicago, IL Just a Perfect Day, FLXST Contemporary, Chicago, IL

2022

SAIC Undergraduate Exhibition, SAIC, Chicago, IL

Gathering acrylic, 38 x 60 inches

CHO

Big Bertha (Gathering) acrylic on canvas, 96 x 118 inches Disconnexion Part II acrylic on canvas, 72 x 120 inches

JAN CHRISTOPHER-BERKSON

jan726@comcast.net janchristopherberkson.com @christopherberkson

b. 1957 Chicago, IL | lives in Evanston, IL Education

My work is anchored in the image-making process and invested in generating relationships with and between images. My work takes on a distinct spatiality as a point of departure to bring into focus sharp-edge geometric shapes, some representational, interplayed with color. My work of the past several years has been shifting toward another existence within its boundaries. Titles may allude to fears and challenges, or reference nebulous shapes that portray fragmentary or enigmatic objects. Against an atmospheric or static background, the shapes depict a sense of floating and/ or disequilibrium speaking to an ever-changing landscape. With a long-time concern for our shifting world ecology, my greatest interest and terror is the question of how man’s impact on the environment is forcing people and nature to evolve, and what that will ultimately mean to all earthly components. It is my wish to create synthetic structures to deal with the sense of chaos and lack of control over real structures that exists in daily life; thus, having a place to compartmentalize and grapple with this reality.

2012

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

1980

BS, University of Illinois, Champaign-Urbana, Chicago, IL Residencies

2022

Vermont Studio Center, Johnson, VT

2018

Miami Exchange, Mana Contemporary Miami, Miami, FL Solo Exhibitions

2015

Inside Looking Out, State of Illinois Museum,

1985

Recent Work, Lucky Street Gallery, Key West, FL

Chicago, IL

Selected Group Exhibitions 2021

Evanston + Vicinity Biennial, Evanston Art Center, Evanston, IL Synergy, Tree Studios at the Metropolitan Capital Bank, Chicago, IL Collections JX Nippon Oil & Energy USA, Schaumburg, IL Kemper Group, Long Grove, IL

Feral Blooms acrylic on canvas, 36 x 36 inches

CHRISTOPHER-BERKSON

A Vessel for Sonia acrylic on canvas, 36 x 36 inches Water Tells Our Truth acrylic on canvas, 30 x 30 inches

MATTHEW COOPER

mcagallery1017@gmail.com matthewcooperart.squarespace.com @matthew_cooperart

b. 1991 Indianapolis, IN | lives in Indianapolis, IN Education

My work is equal parts creation and destruction. The process begins from within, where I travel to far-reaching vulnerable places in my memories from childhood and life and examine them in three dimensions on canvas. The tedious physical act of building up my pieces with layers of collected materials, paint, and cardboard mimics the emotional work I simultaneously experience as I am creating. Each work is a discovery in which I hope to unearth personal truths that also speak to the heart of the Black experience. I often repurpose old works to carve away something new from them––which is evident in the layers of miscellaneous paints and materials that are ripped away to reveal more “raw” bits of canvas. I seek to shine a light on those intricacies of the Black experience I have encountered while exposing and speaking to universal human truths and struggles we all face.

2014

BFA, IU Herron School of Art and Design, Indianapolis, IN

2012

ALA, Vincennes University, Vincennes, IN Solo Exhibitions

2021

Moment of Solace, Circle City Industrial Complex,

2020

Art & Soul, Gallery 924, Indianapolis, IN

Indianapolis, IN

Selected Group Exhibitions 2023

Culture Black Fine Art Expo, KBK Foundation, Columbus, OH Past Is Present: Black Artists Respond to the Complicated Histories of Slavery, IU Herron School of Art and Design, Indianapolis, IN BUTTER: A Fine Art Fair, GangGang, Indianapolis, IN

2022

Beckmann Emerging Artist Fellowship Exhibition,

2019

XpressionZ, Rapp Family Gallery, Indiana Landmarks

Gallery 924, Indianapolis, IN Center, Indianapolis, IN Collections Sidney & Lois Eskenazi Hospital, Indianapolis, IN

Go for what you know acrylic, oil, wallpaper, and mixed media on canvas, 40 x 22 inches

COOPER

Easy Like Sunday Morning acrylic, oil, and mixed media on canvas, 36 x 36 inches Family Matters acrylic, oil, wallpaper, and mixed media on canvas, 48 x 60 inches

COOPER

Only the Family acrylic, oil, wallpaper, and mixed media on canvas, 48 x 60 inches

BRIA CORRANDA

briacorranda@gmail.com briacorranda.com @briacorranda

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

My practice explores my connection to black women who go unseen and unheard. Understanding that our dichotomy is different. That we are hypervisible but still invisible. My work explores my identity as an individual as well as my identity in a wider community. It allows me to show versions of Black girl/womanhood through my gaze and own experiences. The images I paint allow me to show grace and celebration as well as frustration and confrontation. That even though sometimes our life experiences aren’t the same, we are still connected. Where there is connection, there is also disconnection. Through color and mixed media such as oil, acrylic, and handdyed watercolor paper; I build an imagery that can be felt as stillness at the same time using watercolor paper to build texture that can be felt as tension. Creating a juxtaposition and allowing the viewers to get a direct look or feel of conflict and comfort.

2017

Columbia College Chicago, Chicago, IL Selected Group Exhibitions

2023

Global Peace through Synergy, Artfully Spaced Gallery, Los Angeles, CA

2022

The Feminist Biennial, Woman Made Gallery,

2021

Nina, Norwest Gallery of Art, Detroit, MI

Chicago, IL

At Times That I Feel Discouraged oil on canvas, 30 x 30 inches

CORRANDA

Standing Alone in My Blue Teal (until I find someone to stand with me) hand-dyed watercolor paper, acrylic, modeling paste, oil, and oil stick on canvas, 36 x 24 inches Conversations with Myself oil on canvas, 22 x 28 inches

JACKSON DAUGHETY

@daughetyjack

b. 1998 Dallas, TX | lives in Kansas City, MO Education

I am interested in providing a subversive counter-discourse to the aesthetics and politics which have risen out of the dot com bubble and subsequent venture capitalist maneuverings of the late 2000s and 2010s. By reproducing and distorting images pulled from government-affiliated game developers, the “FAANG” tech companies, as well as other corporate entities, I want to allow for a more comprehensive analysis of media imagery.. Through the printing process, artifacts and idiosyncrasies become a part of the composition, providing an ironic humanity to the subject matter. This acts to undermine the depersonalized authority of the tech world and suggest a more layered perspective.

2021

BFA, Kansas City Art Institute, Kansas City, MO Solo Exhibitions

2023

iPad Baby, Ro2 Art Gallery, Dallas, TX More Authentic, Holsum Gallery, Kansas City, MO Selected Group Exhibitions

2024

DOOMSCAPES AND THE DIGITAL BEYOND,

2023

Mirroring, Dream Clinic Project Space, Columbus, OH

ARC Gallery, Chicago, IL Retrospect: Decommissioned Works, Lodger Gallery, Kansas City, MO 2022

Run, Run, Quiet, Plug Gallery, Kansas City, MO

2021

Bodies in Motion, Gallery 650, Atlanta, GA

Executive Travel Lounge ink and acrylic on stitched canvas, 48 x 78 inches

DAUGHETY

Super Car Blondie ink and acrylic on stitched canvas, 30 x 24 inches Community Access Management Controls ink and acrylic on stitched canvas, 72 x 38 inches

IAN ETTER

ian.s.etter@gmail.com ianetter.com @ianetter

b. 1979 Elmendorf, AK | lives in Columbia, MO Education

I draw inspiration from the designs adorning classical Greek vases, with their intricate patterns and minimalist palette, which find support in the mathematical underpinnings governing their design. Proportional relationships and geometric configurations serve as the guiding principles, ensuring a harmonious interplay of surface and form. Recognizing the inherent power of these principles, I harness and expand on them. I begin these drawings by combining digital sketches and AI-generated imagery, then layer, merge, and reduce them to a single image. I faithfully re-render the digital compositions on paper using colored pencil and ink. The duality of the exterior silhouette and soft interior geometry serves as a visual bridge between the fluidity of touch and the visual precision of the depicted subject. At the heart of my creative exploration lies a refined appreciation of the power of simplicity. I reduce my compositions to their essential elements through sparse yet deliberate frameworks. In my practice, I aspire to foster an engaging visual dialogue that transcends temporal boundaries and seamlessly weaves together the past and the present.

2013

MFA, University of Iowa, Iowa City, IA Residencies

2014

Mars Desert Research Station, Hanksville, UT Solo Exhibitions

2016

Blueshift, Practice Gallery, Philadelphia, PA Selected Group Exhibitions

2021

Flat File 2021, Ortega y Gasset Projects, Brooklyn, NY Flat File, Peep Space, Troy, NY

2020

Mirror Eye, Ortega y Gasset Projects, Brooklyn, NY

2019

Ad Astra Per Aspara, Wassaic Project, Wassaic, NY

2018

SPRING/BREAK Art Show, New York, NY Flat File: Year Six, Tiger Strikes Asteroid, Brooklyn, NY

2016

Seeking Space: Making the Future, David & Schweitzer Contemporary, Brooklyn, NY

Thin Aqua acrylic ink and colored pencil on paper, 18 x 15 inches

ETTER

Blush Ochre acrylic ink and colored pencil on paper, 18 x 15 inches Gold Ochre acrylic ink and colored pencil on paper, 18 x 15 inches

FIDENCIO FIFIELD-PEREZ

fidencio_martinez@live.com fidenciofperez.com @fidencio.f.perez

b. 1990 Oaxaca, Mexico | lives in Minneapolis, MN Education

I began collecting documents and envelopes out of a need to investigate and report to United States Citizenship and Immigration Services about my entry into the country in order to qualify for Deferred Action for Childhood Arrivals. They became the primary substrate of my practice, which includes painting, print, and collage. The precarious legality of existing between having or lacking a status permeates and informs my practice. Painted envelopes are configured into intimate portraits of the only home I have made for myself, which has moved across the country and been mourned for with the imminent threat of DACA’s repeal. The plant paintings are physical and metaphorical maps of personal and official correspondence: the rubber plant abandoned outside the University of Iowa’s art studios, painted on the mailer envelope of my graduate degree; the split-leaf Monstera gifted to my husband and me for our wedding ceremony; the jade plant given to me by the only other DACAmented professor I’ve met. They are hyperrealist depictions that foreground community relationships while simultaneously obscuring information deemed pertinent by the government.

2015

MFA, The University of Iowa, Johnson County, IA Residencies

2022

Dr. Harold R. Adams Fellowship, University of Minnesota, Minneapolis, MN

2021

Eliza Moore Fellowship for Artistic Excellence, Oak Spring Garden Foundation, Upperville, VA Solo Exhibitions

2023

Highpoint Center for Printmaking, Minneapolis, MN

2022

Quincy Art Center, Quincy, IL

2021

Visible Records, Charlottesville, VA Selected Group Exhibitions

2023

Tightly Knit, Loose Fit, Ortega y Gasset Projects,

2020

A Graphic Revolution: Prints and Drawings in Latin

New York, NY America, Cleveland Museum of Art, Cleveland, OH Collections Cleveland Museum of Art, Cleveland, OH Marianna Kistler Beach Museum of Art, Manhattan, KS

Legwork acrylic and oil on canvas, 12 x 9 inches

FIFIELD-PEREZ

Snake in the Grass acrylic and intaglio ink on woven paper on canvas, 30 x 24 inches The Garden acrylic on canvas, 58 x 56 inches

DOMINIC FINOCCHIO

314.361.4100 (Duane Reed Gallery) dfinocchio@sbcglobal.net dominicfinocchio.com

b. 1950 Detroit, MI | lives in St. Loius, MO Solo Exhibitions

My paintings are categorically narrative; however, they do not represent a specific idea or incident. I begin an often-lengthy preparatory process of building a composition with arbitrary choices and a focus on formal concerns. I choose the figures and their environment when all the elements cohere and develop an apparent pictorial logic. Because I do not determine beforehand what the image can, should, or will convey, it is always something unforeseen. The qualities of ambiguity and indeterminacy offer both an invitation to simply have a visual experience that need not be explained and an opportunity for exploration that can bring about a personal interpretation. This process allows me to rely on intuition so I can chance on the unexpected. My hope is that I will give viewers an image that is persuasive, purposeful, and compelling.

2022

Desire and Indifference, Duane Reed Gallery,

2018

Imaginaria, The Schmidt Art Center, Belleville, IL

2017

Lies Provide, Mildred Cox Gallery, Fulton, MO

St. Louis, MO

Selected Group Exhibitions 2022

Art of the Message, Mitchell Museum, Cedarhurst Center for the Arts, Mount Vernon, IL Mid-States Art Exhibition, Evansville Museum of Arts, History and Science, Evansville, IN

2018

Figures, Fables & Fiction, Millstone Gallery, Center of Creative Arts, St. Louis, MO

2012

National Midyear Exhibition, Butler Institute of American Art, Youngstown, OH

Collections The Santo Foundation, St. Louis, MO Evansville Museum of Arts, History & Science, Evansville, IN Marriott Corporation, Renaissance Hotel, St. Louis, MO Represented by Duane Reed Gallery, St. Louis, MO

Corresponding Parts oil on canvas, 24 x 18 inches

FINOCCHIO

Wanderlust oil on canvas, 24 x 36 inches Pleasure Seeker oil on canvas, 30 x 24 inches

ANDREAS FISCHER

708.714.0937 (Goldfinch Gallery) andreasfischer2000@gmail.com goldfinch-gallery.com @ankeny13

b. 1971 Watertown, SD | lives in Chicago, IL Residencies

It is easy for description to take over in a drawing or painting—and I think that might be true in life too. I paint so that material facts, processes, and descriptive information can bounce back and forth to form an experience that is not just a collection of mostly well-behaved actions that, no matter how expressive, ultimately deliver specific content. Instead, I hope for a range of perceptual and psychological features that create experiences based on the way these characteristics vibrate with each other. I believe vibrations are the basis for important connections with representations that our frequent battles over meanings might not always allow us to sense. Since truth does not seem to convince as many people as it used to anymore, anyway, maybe we need to consider the possibility that the energy that travels to and from representations is what matters most. Maybe examining our passions in our connections to representations is more useful. I hope my work foregrounds some of these negotiations.

2015

International Studio & Curatorial Program, Brooklyn, NY

2012

Ox-Bow School of Art, Saugatuck, MI Solo Exhibitions

2024

Sky Hole, Goldfinch Gallery, Chicago, IL

2015

The Ghost in Your Shoe, Andrew Rafacz Gallery,

2009

Until the Moss Had Reached Our Lips and Covered Up

Chicago, IL Our Names, Hudson Family Gallery, New York, NY 2003

12 x 12 New Artists / New Work, Museum of Contemporary Art, Chicago, IL Selected Group Exhibitions

2017

American Genre: Contemporary Painting, ICA at Maine College of Art, Portland, ME

2016

Boys and Girls Can Still Draw, Nathalie Karg Gallery, New York, NY

2004

Site Specific, Museum of Contemporary Art, Chicago, IL Represented by Goldfinch Gallery, Chicago, IL

Rest acrylic on canvas, 23 x 26 inches

FISCHER

Reconsolidation acrylic on canvas, 23 x 22 inches Runner acrylic on canvas, 21 x 18 inches

MADELINE GALLUCCI

madelinegallucci.com @madelinegallucci

b. 1990 Greensboro, NC | lives in Chicago, IL Education

My work explores the psychological relationship we have with mirrors and the questions they pose about image-making, illusion, and our construction of self. My interest began through studying melodrama film, specifically the ways in which reflective surfaces are utilized by directors Douglas Sirk and Rainer Werner Fassbinder to compress space and illuminate points of personal discovery. What happens when our reflection is false or fabricated? What if our vision of ourselves is not aligned with what we see in the mirror?

2020

MFA, University of Chicago, Chicago, IL

2012

BFA, Kansas City Art Institute, Kansas City, MO Residencies

2022

LATITUDE, Chicago, IL

2021

ACRE, Steuben, WI

2023

sound of my father singing, Goldfinch, Chicago, IL

2021

i am flowering, Space & Time, Chicago, IL

Solo Exhibitions

Selected Group Exhibitions 2024

The Weatherproof Anniversarial, Weatherproof,

2022

Pushing Paper, Nerman Museum of Contemporary Art,

Chicago, IL Overland Park, KS 2021

Night Swim, Produce Model, Chicago, IL

2019

Good Looks Aren’t the Only Thing That Matters, Below Grand, New York, NY Collections Nerman Museum of Contemporary Art, Overland Park, KS Good Chaos, Chicago, IL

Loss acrylic and oil on canvas, 40 x 30 inches

GALLUCCI

Champagne on the rocks acrylic and oil on canvas, 40 x 30 inches Fallover acrylic and oil on canvas, 40 x 30 inches

LEA GOLDMAN

574.218.3588 goldmanlea7@gmail.com artistleagoldman.com

b. 1938 Constanța, Romania | lives in South Bend, IN Education

Painter and printmaker Lea Goldman is a Holocaust survivor born in Romania who was raised in Russia, Mongolia, and Israel before emigrating in 1975 to the US. Her work is narrative, with close attention to abstract elements such as composition, texture, and form, often resembling large storybook pages. As a nomad, Lea developed a deep interest in multicultural traditions, legends, and folklore, which evolved into a personal mythology, constantly developing and expressed in an array of art images and materials. According to the art historian Elyse Speaks, “Lea has developed a visual language of translation on the uses of folklore and fairy tale, to communicate a deep investment in reverie and its possibilities . . . Her forms suggest a folk style intended less for an elite than for the folks outside the palace gates.”

2002

MFA, California State University, Los Angeles, CA

1980

MA, Columbia University Teachers College, New York, NY Solo Exhibitions

2022

In the Spot, Midwest Museum of American Art, Elkhart, IN In Search of Meaning, Buchanan Art Center, Buchanan, MI

Selected Group Exhibitions 2024

Around the Bend 2024, South Bend Museum of Art, South Bend, IN

2023

The 80th Annual Salon Show, South Shore Arts, Munster, IN Art and Social Justice, Colfax Gallery, South Bend Heritage Foundation, South Bend, IN 99th Hoosier Art Salon, Indiana State Museum and Historic Sites, Indianapolis, IN Collections The Lerner Theater, Elkhart, IN Midwest Museum of American Art, Elkhart, IN

Political Debate oil on canvas, 48 x 36 inches

GOLDMAN

Maker oil on canvas, 60 x 48 inches My Inner Guide oil on canvas, 60 x 48 inches

ATTICUS GORDON

613.800.1641 (Studio Sixty Six) atticus.c.gordon@gmail.com atticusgordon.com @art_ticus

b. 1995 Ottawa, Canada | lives in Chicago, IL Education

Atticus Gordon is a Canadian painter based in Chicago. Gordon’s practice engages with painting in the present, asking how the medium shifts and exists under the current conditions of capital, technology, and culture. In Gordon’s practice, painting is a site of discourse where conceptual thinking meets the bodily process of mark-making, spontaneity, and feeling. The works are constellations, combining imagery from diverse sources, including sketches, internet imagery, iPhone photographs, and art history. This pool of imagery is the point of departure for Gordon’s paintings, allowing him to fashion new logic where images bleed into one another, context is altered, and space is destabilized. Gordon’s paintings flirt with different forms of meaning, using a variety of painterly idioms and approaches, such as symbolism, narrative, and abstraction. The artist presents a wide frame of ideas that resist easy categorization, seeking in their complexity an attempt, inevitably fallible, to reach toward the conditions of human experience.

2024

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

2023

Living Within the Play, Poor Farm, Little Wolf, WI Solo Exhibitions

2022

Space and Matter, SomoS, Berlin, Germany Selected Group Exhibitions

2024

A Glimmering Feel Towards the Now, City Hall Art

2023

New Work, SAIC, Chicago, IL

Gallery, Ottawa, Canada Constructed Truths, Studio Sixty Six, Ottawa, Canada The Body Is Work, Stasias Gallery, Chicago, IL 2022

Turf Wars, Hamilton Artists Inc., Hamilton, Canada Collections City of Ottawa Art Collection, Ottawa, Canada Represented by Studio Sixty Six, Ottawa, Canada

Untitled (Frivolous Painting) oil on linen, 30 x 26 inches

GORDON

‘Round About Midnight oil on canvas, 60 x 48 inches Untitled (Cosmology Painting) oil on canvas, 60 x 48 inches

GORDON

Networked Sublime oil on canvas, two parts, 60 x 98 inches overall

SAMANTHA HAAN

contact@samanthahaan.com samanthahaan.com @sam__haan

b. 1997 Sandpoint, ID | lives in Kansas City, MO Education

Drawing from C. E. Shannon’s A Mathematical Theory of Communication and translated narratives, Haan explores the foundation of languages. By developing her own analog system, the symbols in Haan’s paintings are arranged by probability. Through this process, she finds gaps between meaning and interpretation. Her symbols are semasiographic, signs that don’t directly reflect speech, though their sequence relates to the order of construction in written language.

2019

BFA, Kansas City Art Institute, Kansas City, MO Solo Exhibitions

2023

An Echo of an Echo, Kiosk Gallery, Kansas City, MO Monolingual, The Front, New Orleans, LA Selected Group Exhibitions

2024

Mountain Plains Biennial, Salina Art Center, Salina, KS

2023

2023 Kansas City Flatfile + Digital File, H&R Block Artspace at the Kansas City Art Institute, Kansas City, MO

2022

MdW Fair, with Plug, Chicago, IL

Fragment (Bloom) Flashe and enamel on aluminum composite panel, 12 x 10 inches

HAAN

Fragment 11 (After Sappho) Flashe and acrylic on canvas, 40 x 30 inches Fragment 30 (After Sappho) Flashe and acrylic on canvas, 40 x 30 inches

ASHLEY JANUARY

773.600.7719 (Cynthia Corbett Gallery) art@ashleyjan.com ashleyjan.com @ashleyjanart

b. 1987 Rantoul, IL | lives in Chicago, IL Education

I address the Black maternal mortality and morbidity crisis in America through painting and multimedia. Influenced by my own traumatic pregnancy and survival, the imagery centers the experiences of Black mothers, birthing people, and children who have suffered adverse birth outcomes but challenge the institutional modes in finding solutions. Confronting themes through quiet, often heavy motifs, the environments articulate the imposed health effects disproportionately experienced. All familial perspectives are considered after a tangential birth trauma survival. Continuing the delicately layered conversation surrounding Black maternal health, the images serve as a global call to action for more awareness, research, and the eradication of unnecessary maternal and infant deaths.

2017

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

2009

BS, Bradley University, Peoria, IL

2008

Istituto Lorenzo de’ Medici, Florence, Italy Solo Exhibitions

2024

Human / Mother / Black, Western Illinois University, Macomb, IL Selected Group Exhibitions

2023

Fruits of Labor—Reframing Motherhood and Artmaking, Apex Art, New York, NY Voices-Naissance / Re-Naissance, Unit London (online) London Art Fair, Business Design Center, London, England

2021

The Balm: Art for Black Women’s Wellness, South Side Community Art Center, Chicago, IL Collections Tufts University School of Medicine, Boston, MA Roseland Community Hospital, Chicago, IL Represented by Cynthia Corbett Gallery, London, England

In memory of Baby Roland oil and oil stick on unstitched linen, 86 x 70 inches

JANUARY

Kelli, Kendra, and their daughters oil and oil stick on linen, 72 x 96 inches Exhaling to remember oil on linen, 24 x 30 inches

JANUARY

Preeclampsia affects 1 in 25 pregnancies in the US oil on linen, 30 x 48 inches

MATTHEW KOLODZIEJ

mattk@uakron.edu mattpaint.com @matthewkolodziej

b. 1967 Charlottesville, VA | lives in Akron, OH Education

What lies between observation and abstraction opens possibilities for seeing what would otherwise be unknown. My work explores themes of time, memory, and translation. My experience from working on archaeological sites and building theater sets guides this curiosity in the temporary aspects—artifacts, gestures, and structures—of what we make and what we leave behind. The process of making the work begins with observation: exploring, walking, and collecting images from in and around construction and demolition sites. I construct collages of the visual material by translating this built environment, through a combination of drawing and computer filters. The result is a handmade and digital space that is full of glitches, missing pieces, and fragmentary information. These collages are the foundation for each painting. The paintings exist in a state of flux, between conflicting states of dissolution and emergence.

1993

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

2024

Comet, William Busta Projects, Cleveland, OH

2022

Open Storage, McDonough Museum of Art,

2016

Patch Work, Carl Solway Gallery, Cincinnati, OH

2015

Lost on a Straight Line, The Painting Center,

Youngstown, OH

New York, NY Selected Group Exhibitions 2023

Headspace, Abattoir Gallery, Cleveland, OH

2018

Frameworks, Akron Art Museum, Akron, OH

2017

Artists and Architecture: Projection/Convergence/ Intersection, Moss Arts Center at Virginia Tech, Blacksburg, VA

2013

Unhinged, Pierogi Gallery, Brooklyn, NY Collections Akron Art Museum, Akron, OH Sheldon Museum of Art, University of Nebraska, Lincoln, NE Krannert Art Museum, University of Illinois, Champaign, IL

Waning acrylic on canvas, 49 x 42 inches

KOLODZIEJ

Ali acrylic on canvas, 42 x 49 inches

Exchange acrylic on canvas, 42 x 49 inches

100

KIMBERLY MONTIEL

kimberlymontiel.com @amorouscoils

b. 1983 Chicago, IL | lives in Chicago, IL Education

Painting is my language and most authentic mode of communication. I have an ever-growing body of smaller work on an assortment of wood species. My mixed-media paintings are floral-vegetal-biological-mineral-synthetic efflorescence: the play of nature and artifice. Attached and embedded into the hollows and nooks of my paintings are specifically collected objects, vernacular as well as magical. Solitary Beings ruled by Eros inhabit my paintings/phantasms in settings of electric bursts of energy and scenery. These Beings are in the company of ineffable symbols and gatherings of plants, creatures, and flowers.

2007

BFA, University of Illinois at Chicago, Chicago, IL Selected Group Exhibitions

2022

Eseosa Edebiri: Simulated Rainbow & Kimberly Montiel: Veins Darken with Nectar, Roots & Culture Contemporary Art Center, Chicago, IL

Senses float on blood to the heart, transmuted into images, and then are intercepted on earthly materials selectively revealed.

Nightfall acrylic, gouache, felt, and apple seeds on oak, 8 x 10 inches

102

MONTIEL

Birthday Wish acrylic, gouache, paper, and vintage cabochon on walnut, 7 x 9 inches Crystallization acrylic, gouache, beads, abalone fragments, and dried petals on maple, 8 x 10.5 inches

103

104

MONTIEL

105

Hearth acrylic, gouache, shell, felt, and dried cladonia cristella on salvaged redwood, 5 x 10.5 inches

106

ARMIN MÜHSAM

816.842.5877 (Haw Contemporary) arminmuhsam.1229@gmail.com arminmuhsam.com

b. 1968 Cluj, Romania | lives in Kansas City, MO Solo Exhibitions

As with all art that I admire, mine emerges from a conversation of the present with the past––my images are drawn from a broad repertoire of historical references that have been distilled into a private iconography. My current practice could be compared to that of a stage designer building environments for plays that are written in reaction to the props being built. In this sense, I paint scenes on an imaginary stage, rehearsals of shape and color configurations in which the abstract forms are not so much actors in an unfolding plot but more like semaphores that only give signals, leaving viewers to draw their own conclusions. My compositions convey meaning but they do not offer up a cohesive narrative, because I want them to be simultaneously read as constructions, visible discourses on the business of painting, the quest for solutions to formal problems.

2024

Oana Ionel Contemporary Hub, Bucharest, Romania

2023

Haw Contemporary, Kansas City, MO

2022

Harvester Arts, Wichita, KS

2021

Kunsthaus 7B, Cisnădioara, Romania

2019

Ambacher Contemporary, Munich, Germany Selected Group Exhibitions

2024

Saxon Contemporary, Kunsthaus 7B,

2023

Presence as Object, Webster University, St. Louis, MO

Cisnădioara, Romania 2022

Parallel Vienna, with Kunsthaus 7B, Vienna, Austria

2020

Art Matters 2, Galerie Biesenback, Cologne, Germany Edge / Cut / Play, Haw Contemporary, Kansas City, MO

Collections Missouri Bank, Kansas City, MO Sprint Art Collection, Overland Park, KS Museum Angerlehner, Wels, Austria Muzel Național de Artă, Cluj, Romania Represented by Haw Contemporary, Kansas City, MO

Compensatory Enigma oil on canvas, 48 x 37 inches

108

MÜHSAM

109

Condensed Configuration oil on canvas, 72 x 52 inches Hypnotic Monolith oil on canvas, 60 x 44 inches

110

SOUMYA NETRABILE

312.404.9188 (Andrew Rafacz Gallery) soumyanetrabile.com @netrabile

b. 1966 Bangalore, India | lives in Oak Park, IL Education

Soumya Netrabile’s paintings are documents of her deep and evolving relationship to the natural world. Her compositions are built up from layers of paint that are directly related to the layers of her own memory, retrieved and shaped by the painting process. Her paintings have a being-like energy and are as much about us in the world as the world itself. They are visual records of what Heidegger calls the Dasein. Her vibrant, charged paintings are part of the long history of landscape painting, but they also embody a very contemporary relationship to their subject and firmly exist in our time. For the artist, the ubiquitous landscape remains the primary figure, the preeminent protagonist. There is an ever-present notion that Mother Nature is not our possession, but we hers. Netrabile’s paintings capture the irreducible hum of the world, and for her, we should be fundamentally grateful to be in it.

1996

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

1988

BSEE, College of Engineering, Rutgers University, New Brunswick, NJ Residencies

2022

She CURAtes: The Residency, Cura Art, Tuscany, Italy Solo Exhibitions

2024

Andrew Rafacz Gallery, Chicago, IL Rachel Uffner Gallery, New York, NY

2023

Gana Art, Seoul, South Korea

2024

Between Past and Present, Between Appearance and

Selected Group Exhibitions Memory, Anat Ebgi, New York, NY Collections University Club of Chicago, Chicago, IL Orange County Museum of Art, Costa Mesa, CA Represented by Andrew Rafacz Gallery, Chicago, IL Anat Ebgi, Los Angeles, CA

Scamperers oil on canvas, 48 x 60 inches

112

NETRABILE

113

House on the Hill oil on canvas, 84 x 72 inches The Descending Sun oil on canvas, 60 x 72 inches

114

NETRABILE

115

Mothership oil on canvas, four parts, 84 x 288 inches overall

116

IVAN DAVID NG

info@ivandavidng.com ivandavidng.com @ivandavidng

b. 1991 Columbus, OH | lives in Columbus, OH Education

My family is from a people group called the Hakka (“guest”), fanning out from central China after 800 AD. Some settled in Southeast Asia and later became Singaporean. But the ancestral homeland is lost, swallowed up by the passage of time. Much of my Hakka identity has also been lost in an unrelayed oral history and denatured by the construction of “Singaporean.” Painting and performance have become vehicles to explore what is irretrievable in me. My lived experience in the twenty-first century is so different from that of the Hakka living a millennium ago. But the same sun and moon preside over our existence. I work with their images and light, hoping to coax a connection backward in time. I do not have a native land to claim, but I can be native to the sky. It is yours as much as mine. If our story of land is marked by exploitation, conquest, and pillage, then what is our corresponding story of the sky?

2025

MFA, The Ohio State University, Columbus, OH

2016

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

2023

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

2023

Light in Perpetual, SEA Focus, Richard Koh Fine Art, Singapore

2022

Roads Around a Mountain, Chan + Hori Contemporary, Singapore Collections Louis Vuitton, Singapore United Overseas Bank, Singapore

Opposing Conditions found photographs, archival digital print, laser print, acrylic, PVA, and Kozo paper on canvas and linen, 59 x 48 inches

118

Knowing at the End found reproductions, archival digital print, thread, Kozo paper, acrylic, and PVA on wood panel, 55 x 40 inches

119

Launching Pads oil, archival digital print, laser print, handmade paper, cyanotype, tracing-paper tempera, acrylic, Kozo paper, crayons, alkyd, and resin on wood panel, 66 x 43 inches

120

I Bury the Sun found photographs, archival digital print on silk and Kozo paper, laser print, acrylic, Kozo paper, and PVA on canvas, 59 x 48 inches

121

Its Light and Likeness found photographs, archival digital print, laser print, acrylic, PVA, and Kozo paper on canvas and linen, 55 x 48 inches

122

MICHAEL PFLEGHAAR

mpfleghaar@gmail.com pfleghaar.com @pfleghaar

b. 1965 Toledo, OH | lives in Grand Rapids, MI Education

My artistic focus is on the theme of relationships, both in form and concept. In terms of form, my paintings embody a balance between reality and abstractness, achieved through exaggerated color, flattened space, and defined edges that allude to the artwork as an entity. From a conceptual standpoint, I find inspiration in my environment, using it as a reflection of the inner self. The essence of my creative practice lies in documenting the queer identity and its connections. Inanimate objects such as modern furniture and houseplants not only serve as a record of my personal experiences but also act as substitutes for human figures. To create a contrast to my discomfort with reality, I employ flamboyant, expressive objects and dramatic compositions in my paintings. Though my aim is to convey a personal narrative through an ongoing conversation, the work remains universally relatable through its recognizable depictions.

2011

MFA, College of Art & Design, Lesley University, Cambridge, MA Residencies

2016

Spread Art Residency, Spread Art, Detroit, MI

2013

Ox-Bow School of Art, Saugatuck, MI Solo Exhibitions

2023

Mid-Career Showcase, Cultivate, Grand Rapids, MI Nature/Nurture, Eastend Studio & Gallery, Marshall, MI

2016

Detroit Improvisations, Spread Art, Detroit, MI Selected Group Exhibitions

2023

94th Michigan Contemporary Art Exhibition, Muskegon Museum of Art, Muskegon, MI Hatchback 17, Hatch Art, Hamtramck, MI

2020

2020 West Michigan Area Show, Kalamazoo Institute of Arts, Kalamazoo, MI Collections Frederick Meijer Gardens & Sculpture Park, Grand Rapids, MI

Ètagère Flashe and acrylic on canvas, 36 x 36 inches

124

PFLEGHAAR

The Healing Room Flashe and acrylic on canvas, 48 x 48 inches

125

Indoor Outdoor Flashe and acrylic on canvas, 48 x 48 inches

126

OLIVIA ISABEL ROSATO

818.383.2715 olivia.isabel.rosato@gmail.com oliviaisabelrosato.com @oliviarosato

b. 1995 Los Angeles, CA | lives in Chicago, IL Education

In my work I employ pictorial space as a threshold to explore the emotional resonance of liminality, memory, grief, and the interior within constructed space. As a silent character, I dissolve into the transformative armature of painting and drawing, navigating the vulnerable questions of loss without the requirement of a clear answer. My subjects are transitional spaces: a stairwell, a tunnel, the passageway under a bridge, the bend of the highway, a tornado in unlikely stasis. I offer these fleeting images without regard for their destination, evoking movement through the lens of a disorienting pause. In reimagining an image, details serve as leverage to obscure the line between representation and abstraction in each scene. These fragmented moments behave like ominous portals. In my investigation of these elusive moments of forced stillness, I often question what needs to be intact in order for something to be recognizable. I draw attention to these delicate, ephemeral thresholds that elicit anticipation for the unknown, call for surrender to discomfort, and ask, what is lost when reimagined?

2017

BA, University of California Los Angeles (UCLA), Los Angeles, CA Selected Group Exhibitions

2023

Semi Annual Juried Exhibition, Oak Park Art League,

2022

Sequences, Iterations, and Permutations, Hyde Park

2020

Time Flies, Dog Days (online)

2019

Playlist for Apocalypse, Los Angeles, CA (pop-up)

2017

Senior Introspective, New Wight Gallery, UCLA,

Oak Park, IL Art Center, Chicago, IL

Los Angeles, CA 2016

Undergraduate Juried Exhibition, New Wight Gallery, UCLA, Los Angeles, CA

Tornado 4 oil on panel, 14 x 11 inches

128

ROSATO

Bridge 2 oil on panel, 18 x 14 inches Winding Road oil on panel, 20 x 16 inches

129

130

MOISES SALAZAR TLATENCHI

786.953.6917 (Mindy Solomon Gallery) moisessalazar0@gmail.com moisessalazar.com @moises.salazar.tlatenchi

b. 1996 Chicago, IL | lives in Chicago, IL Education

As a non-binary, first-generation Mexican American artist, I am heavily influenced by my lived experiences, cultural upbringing, and the Chicago queer community. Growing up in a traditionally Catholic household, I repressed parts of my identity for the sake of appeasing my family and assuring my survival. As an adult, I have found sisterhood within the queer community. My work is now a place where I can be boldly colorful and loud. My interest lies in fashion, archiving queer nightlife and drag performance, learning traditional Mexican handicrafts, practicing immigration activism, and researching colonial histories. My paintings act as a visual exploration of my concerns as I highlight immigrant and LGTBQIA+ narratives. Through the medium of glitter, a material often stigmatized, I create depictions of queer and immigrant bodies; using my own as a template, I create faceless figures serving as stand-ins for any queer Latinx youth. Using a myriad of embellishments, fabrics, and yarn, the bodies I paint are proudly defiant and become immortalized to combat the erasure of these communities and transform that pain into healing and restorative energy.

2020

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

2023

Leslie-Lohman Museum of Art, New York, NY

2022

Fire Island Artist Residency, Cherry Grove, NY Solo Exhibitions

2024

En La Guarida De Las Monstras Divinas, LatchKey

2023

A Quién le Importa, John Michael Kohler Arts Center,

Gallery, New York, NY Sheboygan, WI 2021

SPRING/BREAK Art Show, with Filo Sofi Arts, New York, NY Puto el último, Mindy Solomon Gallery, Miami, FL Selected Group Exhibitions

2020

The Long Dream, Museum of Contemporary Art Chicago, Chicago, IL Represented by

2020

Mindy Solomon Gallery, Miami, FL Folo Sofi Arts, New York, NY Red Arrow Gallery, Nashville, TN

Kiss Me More glitter on board, sequins, and faux fur, 26 x 22 inches

132

TLATENCHI

133

Santuario glitter and acrylic on canvas, yarn, sequins, faux fur, and wood, 15 x 14 x 4 inches Niñx: Chamacos paint and glitter on wood, each 48 x 21 x 18 inches

134

SARA SUPPAN

sara.suppan@gmail.com sarasuppan.com @sarasuppan

b. 1994 Minneapolis, MN | lives in Minneapolis, MN Education

My paintings are light and strange and sometimes sweet. I love ordinary objects, drawings within paintings, and when goofiness undercuts beauty. I try to paint scenes so plain and yet contemporary that they spark immediate recognition: fingers dusty from Cheetos, a frowny face keyed into a car, butterfly socks fluttering on a clothesline. These are the stuff of my life–– but heightened and made wonderful in the lusciousness of oil. Each painting employs all of my patience and skill. The most ambitious take hundreds of hours, and this seems to be an important thing; for only through the work of making-beautiful can these paintings skate the edge of serious and funny, their humble subjects turning mysterious and deserving of new consideration.

2015

BFA, Minneapolis College of Art and Design, Minneapolis, MN Residencies

2023

Moosey, Norwich, England

2019

Salzburger Kunstverein, Salzburg, Austria Solo Exhibitions

2024

Rubber Tree, Moosey, London, England

2023

Sweet Potato, Micki Meng, San Francisco, CA Selected Group Exhibitions

2024

Potluck, Hashimoto Contemporary, Los Angeles, CA Together to Gather, Weinstein Hammons Gallery, Minneapolis, MN

2023

On Longing (or, Modern Objects Volume II), Huxley-Parlour, London, England CAN Art Fair, with Moosey (UK), Ibiza, Spain I Am American, Kutlesa, Goldau, Switzerland

Fleurs oil on canvas, 50 x 40 inches

136

SUPPAN

Dusty oil on canvas over panel, 24 x 18 inches

137

Wild Lemons oil on canvas, 60 x 72 inches

138

MADELYN TURNER

madelynturner.art @madelynirene

b. 1998 Galesburg, IL | lives in Peoria, IL Education

The process of painting allows me to feel the discomfort of corporeal (dis)embodiment. Indexing conversations that I have with my body into the painting is a way for me to understand my body and create an experience of what I feel when language fails.

2025

MFA, Illinois State University, Bloomington, IL

My approach to painting becomes a mediation with the canvas as I discover and give shape to the physical experiences of my skin: how it feels when my skin folds into itself, bodily urges, and the soft texture of my fatty tissue. I embody the duality of beauty and the grotesque.

2023

My Body and Me, Rachel Cooper Gallery at Illinois

2022

Flesh and Flinch, Knox College, Galesburg, IL

Flesh becomes material. The bodily texture of oil paint and cold wax opens an exploration into the body cavity of the work and me. Fleshy entanglements and conversations become buried within the folds of the painting. The painting struggles to remember the differences between aggression and tenderness.

MFA candidate, Illinois State University, Bloomington, IL Solo Exhibitions

State University, Normal, IL

Selected Group Exhibitions 2024

GALEX 57, Galesburg Community Arts Center,

2023

a cut ting, inci sion, Wonsook Kim College of Fine Arts,

Galesburg, IL Illinois State University, Bloomington, IL Indrani Nayar-Gall and Madelyn Turner: A Two-Woman Show, Woman Made Gallery, Chicago, IL 2022

The Feminist Biennial, Woman Made Gallery, Chicago, IL

lay me down tender-hearted oil on canvas, 60 x 58 inches

140

TURNER

Interrupting Daily Life oil on canvas, 60 x 60 inches intersect me, bellied and distorted oil, cold wax, charcoal, and oil pastel on canvas, 80 x 72 inches

141

142

TURNER

143

sever me love me there’s mud in my veins circling like an infection depollute me depollute me your warm body makes it bearable warm bodies warm bodies bodies warm body body body body warm nauseous body feels like a feral animal in my chest clawing cutting cutting cutting let me sleep oil, cold wax, oil pastel, charcoal, pencil, collage, blade, and string on canvas, 66 x 100 inches

144

KADEN VAN DE LOO

kadenvdl@gmail.com kadenvandelooart.com @kadenvandelooart

b. 2002 Appleton, WI | lives in Milwaukee, WI Education

My paintings explore formal relationships through recurring geometric forms bound to a system of constraints. The reappearance of the same geometric forms across the body of work allows them to become familiar to the viewer, but their endless material manifestations and relationships mean constant reconsideration. Forms exist in a flexible, single-colored space that they may sink into, emerge from, or sit on top of. Space ends at the surface’s edges, containing forms within those bounds and making each painting an isolated ecology within which forms materialize and disappear. Formal qualities and material handling amplify or obfuscate the forms’ legibility and complicate their presence within the compositional space. Each form occupies an individualized locale, distinguished from the next and without overlapping. Their placement and relationships to each other (and the ground) create environments that allow viewers to consider the familiar and the unfamiliar, and ultimately how significance can emerge out of something inconclusive.

2004

BFA, University of Wisconsin–Milwaukee, Milwaukee, WI Selected Group Exhibitions

2023

Yes, Yeh, Uh, Oh, Oy, Al, Portrait Society Gallery, Milwaukee, WI Climate of the Mountain: Memories of the Past, Crises of the Present, Portal to the Future, Aylward Gallery, University of Wisconsin Oshkosh, Menasha, WI

2022

TMA Contemporary 2022, Trout Museum of Art, Appleton, WI Collections Union Art Gallery, University of Wisconsin–Milwaukee, Milwaukee, WI

Apollo oil on canvas, 59 x 48 inches

146

VAN DE LOO

Skate oil on canvas, 45 x 44 inches

147

Butterfly oil on canvas, 44 x 44 inches

148

SHANE WALSH

212.675.7525 (Asya Geisberg Gallery) shane@shanewalshpaintings.com shanewalshpaintings.com @shanewalshpaintings

b. 1977 Oshkosh, WI | lives in Milwaukee, WI Education

Shane Walsh makes paintings that borrow from historical abstraction and graphic imagery. Approaching painting as a form of collage, he playfully dissects and then reconstructs visual languages to arrive at a form of abstract painting that is both autobiographical and historically aware. This cut-andpaste ethos is a direct result of his involvement with various subcultures of the 1990s. His omnivorous appetite for visual culture results in a wide array of references, quotations, techniques, and materials that ultimately fuse into Frankenstein-like compositions, melded but never seamless.

2006

MFA, University of Washington, Seattle, WA Residencies

2024

Summer Artist Residency, Alfred/Düsseldorf, Düsseldorf, Germany Solo Exhibitions

2024

Nights and Weekends, The Alice Wilds, Milwaukee, WI

2023

The Flat File Index (Drawer 16), Real Tinsel,

2022

Psychoalphadiscobeta, Asya Geisberg Gallery,

Milwaukee, WI New York, NY Selected Group Exhibitions 2023

Alchemical Thresholds, Greenpoint Open Studios, New York, NY

2022

Wisconsin Artists Biennial 2022, Museum of Wisconsin Art, West Bend, WI Collections Marcus Corporation, Milwaukee, WI Represented by Asya Geisberg Gallery, New York, NY

Prank Call acrylic and oil on canvas, 62 x 48 inches

150

WALSH

Caboose acrylic and oil on canvas, 80 x 72 inches

151

Nerve Twin acrylic and oil on canvas, 80 x 72 inches

152

MICHELLE WASSON

michelle@michellewasson.com michellewasson.com @michelle.wasson

b. 1974 Arlington Heights, IL | lives in Chicago, IL Education

Michelle Wasson’s paintings offer a sensual refuge from reality. Created intuitively from memory and imagination, layers of color and light portray surreal planes. Flowing between landscape, still life, and the figurative, Wasson’s canvases reflect our shared humanity in the natural world. In glowing scenes, divine vessels spring forth life and evoke Mother Nature’s power to create and destroy—and create yet again.

2001

MFA, Washington University, St. Louis, MO Solo Exhibitions

2023

Aurea Nova, Riverside Arts Center, Riverside, IL

2022

Proto Grove, Galleri Urbane, Dallas, TX

2021

On Feronia, Epiphany Center for the Arts, Chicago, IL Selected Group Exhibitions

2024

Nocturne, Andrew Rafacz Gallery, Chicago, IL I Cast to Earth a Seed, Galleri Urbane, Dallas, TX

2022

Open Window, Racecar Factory, Indianapolis, IN Breathing Spaces, Real Tinsel, Milwaukee, WI

2021

RIPE, Galleri Urbane, Dallas, TX As Clean as We’ve Been, Cleaner Gallery & Projects, Chicago, IL

2020

Artist Run Chicago 2.0, Hyde Park Art Center,

2019

With a Capital P, Elmhurst Art Museum, Elmhurst, IL

2018

Gold, Aspect/Ratio, Chicago, IL

Chicago, IL

Golden Lacuna oil on canvas, 26 x 20 inches

154

WASSON

Whispering Eye oil on canvas, 26 x 20 inches Veritas oil on canvas, 26 x 20 inches

155

156

MICHON WEEKS

michonweeks.com @michonweeks

b. 1961 Washburn, IA | lives in Northfield, MN Education

In my studio practice, I engage in mystical contemplation; each artwork is a gateway to unseen realms and unexpected encounters. Painting transcends regular perception, offering a path toward understanding that goes beyond the intellect. I paint in silence, attuned to the whispers in my heart and the fleeting visions in my mind’s eye. Inspiration is unpredictable and often perplexing. Every brushstroke and form is an embrace of uncertainty. I view the artistic experience as mystical, visceral, and immediate. Some pieces begin without a predetermined subject, while others are ignited by snippets of poetry, historical artworks, or everyday encounters. I desire to approach each artwork with humility, open to the mysteries it might unveil. At the core of my exploration is the relevance of mysticism in today’s world. How can engaging in mystical contemplation illuminate present-day challenges and broaden our consciousness to perceive more expansively, deeply, wisely, and compassionately?

1990

MFA, University of Minnesota, Minneapolis, MN Solo Exhibitions

2024

Crossing the Visible, Carnegie Art Center, Mankato, MN

2019

Airplane, Boombox, Car, Rochester Art Center,

2016

I Saw a Wheel on the Earth, Northfield Arts Guild,

2015

Behold, Kiehle Visual Arts Center, St. Cloud State

2014

Wheel within a Wheel, University of Minnesota–Morris,

Rochester, MN Northfield, MN University, St. Cloud, MN Morris, MN Selected Group Exhibitions 2023

Imperfect Geometry, Craig Krull Gallery, Santa Monica, CA Build on this Gesture, Flaten Art Museum, St. Olaf College, Northfield, MN

2021 2017

Contempo Tempo, CasketArts, Minneapolis, MN Rural American Artists, The Edward J. & Helen Jane Morrison Gallery, University of Minnesota–Morris, Morris, MN

2014

Minnesota Biennial, Minnesota Museum of American Art, Saint Paul, MN

99 ½ oil on canvas covered panel, 14 x 18 inches

158

WEEKS

Iowa oil on canvas covered panel, 18 x 14 inches Leg oil on canvas covered panel, 18 x 14 inches

159

160

SARA WILLADSEN

saraewilladsen@gmail.com sarawilladsen.com @saraewilladsen

b. 1987 Sheboygan, WI | lives in Sheboygan, WI Education

I make pictures that satisfy my curiosity in aesthetics and found materials. Combining these articles with reappropriations of my own work allows me to employ past patterns and marks as prompts for new structures and environments. The aggressive process used to construct these secretive spaces is kept in balance with the consciousness of knowing when to stop. By using site-specific components––laser-cut paper and collage elements made with acrylic paint, ink, and tissue paper––each piece delves further into an introspective setting influenced by my immediate surroundings and is a means to process and cope with external forces. While working, I shift from piece to piece at a frenetic pace, adding paper, paint, or other materials to create unity or break up a space. Every work is an act of expression: a quick burst of energy that ultimately culminates in a strange but familiar place. This practice has been invaluable for maintaining an overall stability and sense of control, particularly during the Covid-19 pandemic.

2014

MFA, Northern Illinois University, DeKalb, IL Residencies

2023

Social STUDIO Residency, John Michael Kohler Arts Center, Sheboygan, WI Vermont Studio Center, Johnson, VT Peninsula School of Art, Fish Creek, WI Solo Exhibitions

2018

Boundaries, Frank Juarez Gallery, Milwaukee, WI Selected Group Exhibitions

2023

Yes, Yeh, Uh, Oh, Oy, Al, Portrait Society Gallery,

2022

Breathing Spaces, Real Tinsel, Milwaukee, WI

Milwaukee, WI

Collections Saint Kate–The Arts Hotel, Milwaukee, WI

Bottom of Fine laser-cut paper, found materials, gel pen, and acrylic on paper, 11 x 7.75 inches

162

WILLADSEN

Duplex graphite, ink, pumice, found materials, colored pencil, gel pen, paper, and acrylic on canvas, 14 x 14 inches Fade Out graphite, ink, laser-cut paper, found materials, fabric, and acrylic on canvas, 22 x 20 inches

163

164

DANIELLE WINGER

danielle@sevigny.org daniellewinger.com @danielle_winger

b. 1986 Reno, NV | lives in La Fontaine, IN Education

In my paintings I honor the landscape as both itself and a metaphor. Mountains become places of ascension, inwardness, and grace. Historically, in both spirituality and mythology, mountain imagery is seen as dark terrain, feral, deserted, holy, and stripped of self. Untamed and wild landscape, in all its apathy, elicits a primal pull to enter it, to be joined with it, and to know it intimately. Seeking the solace of empty places, I create intensely personal portraits of quiet, meditative spaces that encourage contemplation and investigation of self, sublimity, and the divine.

2015

MFA, East Tennessee State University, Johnson City, TN

2010

BS, Middle Tennessee State University, Murfreesboro, TN Solo Exhibitions

2024

Half the Day Is the Night, Visions West Contemporary, Denver, CO The Shape of Water, Seizan Gallery, Tokyo, Japan

2021

Between Two Gardens, Red Gallery , Nashville, TN Selected Group Exhibitions

2023 2022

Momentary, Red Arrow Gallery, Nashville, TN SPRING/BREAK Art Show, New York, NY Works on Paper 4, Blue Shop Cottage, London, England

2021

I Like the West and the West Likes Me, Visions West Contemporary, Bozeman, MT Represented by Visions West Contemporary, Denver, CO Red Arrow Gallery, Nashville, TN OTOMYS, Melbourne, Australia

The great silence of snow oil on cradled wood, 16 x 12 inches

166

WINGER

Cathedrals oil on canvas, 20 x 16 inches Sheltered Vale oil on canvas, 20 x 16 inches

167

168

JONATHAN WORCESTER

jonathan.worcester1@gmail.com jonathanworcester.com @deathpuddle

b. 1992 Milwaukee, WI | lives in Chicago, IL Education

By balancing discordant colors and textures, Worcester harnesses dissonance and creates paintings that challenge the limitations of the human eye. His compositions reference the body and technology in an attempt to crystallize the inherent struggle between the two. The work transforms according to the proximity and position of the viewer, producing an experience specific to the lens of their body. Like estuaries feeding into a body of water, the paintings intimate divergent meanings through a network of connections that link discrete elements into a cohesive whole.

2024

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

2015

BFA, Sarah Lawrence College, Bronxville, NY Residencies

2024

Ox-bow School of Art, Saugatuck, MI

2023

The Poor Farm, Manawa, WI Solo Exhibitions

2024

University Club of Chicago, Chicago, IL Tempers, Cleaner Gallery + Projects, Chicago, IL

2023

Jonathan Worcester in the Hole, The Hole @

2022

Distance Stations, Belong Gallery, Chicago, IL

Weatherproof, Chicago, IL

Selected Group Exhibitions 2024

Doomscapes and the Digital Beyond, Arc Gallery, Chicago, IL The Weatherproof Anniversarial, Weatherproof, Chicago, IL

2023

Luminarts Cultural Foundation 2023 Visual Arts Exhibition, John David Mooney Foundation, Chicago, IL

Ogive acrylic on panel, 118 x 46 x 3 inches

170

WORCESTER

Untitled (Diptych) acrylic on canvas, on panel, two parts,, 48 x 67 x 3 inches overall Untitled acrylic on canvas, 85 x 72 x 3 inches

171

172

Lim p192

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.

KIM BENSON

kimbensonart.cargo.site @pippyclarke

b. 1986 Denver, CO | lives in Minneapolis, MN Education

My paintings are about complexity. Richly dense, abstract surfaces created through an ouroboric process of sanding, stenciling, and extruding, as well as the more traditional application by brush. References to Renaissance paintings—whether in image or color palette—populate the recent work, establishing a ground for exploration and excavation. The resultant density becomes paradoxically responsible for imbuing the compositions with vibrating luminosity, even as it roots their presence in the material world. Potentially seen as hallucinogenic abstractions, my work can appear solid and sculptural like a stucco wall and at other instances like a gossamer curtain undulating in a soft breeze. A mysterious equation between stone, flesh, façade, and air. Time emerges as a conceit, built through processes of repetition and erasure, suggesting both the ancient and contemporary. I am interested in engaging with the European canon to further understand my own place in its complex history. It is my hope that the paintings metaphorically and materially suggest instability, uncertainty, and a continual desire to discover.

2015

MFA, University of Wisconsin–Madison, Madison, WI

2014

MA, University of Wisconsin–Madison, Madison, WI

2008

BFA, College of Visual Arts, Saint Paul, MN Residencies

2022

La Macina di San Cresci, Greve in Chianti, Italy Solo Exhibitions

2022

TOA Presents, with Hair+Nails, Minneapolis, MN Hell Daisy, Hair+Nails, Minneapolis, MN

2019

Echo, All Star, Minneapolis, MN Selected Group Exhibitions

2024

Recent Acquisitions, North Dakota Museum of Art, Grand Forks, ND

2023

Femmenology, Jessica Silverman Gallery, San Francisco, CA Collections Walker Art Center, Minneapolis, MN

Your Joy Shall Be Complete oil and enamel on canvas, 64 x 48 inches

176

BENSON

Tintamarre oil and enamel on canvas, 77 x 62 inches Wall Flower oil and enamel on canvas, 77 x 62 inches

177

178

AARON S. COLEMAN

momenttom@yahoo.com aaroncolemanprintmaking.com @aaron_s_coleman

b. 1985 Washington, DC | lives in Indianapolis, IN Education

After more than a decade away, returning to the Midwest has injected my research with a renewed specificity. I source materials and inspiration from various historical locations in Indianapolis and my backyard. The repossessed house next to my studio, an abandoned playground on my property, and local businesses that have “gone under” in historically Black neighborhoods have become sites for my studio production which functions as a praxis of revision and reclamation. I operate in the fissure between the often-myopic systems of (mis)information and the conversely, multifarious complexity of lived experience. I place historical research in direct comparison to current events, anecdotes, and an exploration into the milieu of the universe in which these stories take place. My multidisciplinary practice analyzes and reimagines these stories through printmaking, painting, sculpture, and installation. Incorporating inherently charged, found objects and non-traditional materials which bear proof of untold, ignored or denied sociopolitical narratives, I create works that address how mundane and seemingly anodyne artifacts embody the complex and pervasive history of race/racism and class/classism in the United States.

2013

MFA, Northern Illinois University, DeKalb, IL Solo Exhibitions

2024

Delicate and Filled with Dynamite, Northeastern

2019

True and Livin’, Mesa Arts Center, Mesa, AZ

Illinois University, Chicago, IL

Selected Group Exhibitions 2023

New Voices 2023, Print Center New York, New York, NY Just Cause, Mesa Arts Center, Mesa, AZ SPRING/BREAK Art Show, Skylight Culver City, Culver City, CA Collections Chazen Museum of Art, Madison, WI Janet Turner Print Museum, California State University Chico, Chico, CA Bibliothèque nationale de France, Paris, France

Gateway for Evasion crumb rubber, turf, enamel, screenprint, and found gate on panel, 72 x 48 inches

180

COLEMAN

Gateway for Premonition crumb rubber, turf, acrylic, enamel, screenprint, and found gate on panel, 72 x 48 inches

181

Gateway Forgetting crumb rubber, turf, acrylic, enamel, turf, and found gate on panel, 72 x 48 inches

182

COLEMAN

Naptown Fall crumb rubber, turf, and acrylic on panel, 48 x 48 inches

183

Naptown Spring crumb rubber, turf, and acrylic on panel, 48 x 48 inches

184

LIANG SIHENG

liangsiheng.art@gmail.com liangsiheng.art @liangsiheng

b. 1982 Chongqing, China | lives in Owatonna, MN Education

Through an intricate painting process with a maximalist tendency, my work transfers energy into images, which awakens the potential of perception hidden in the mind’s depths. It reflects my relationship to common human experiences related to spirit, unconsciousness, and fear. I apply wax in fine lines and dots, layered and scraped away along the shapes formed. Some elements pass away and others stay within the painting’s entanglement, becoming something new that multiplies to form a new image. With fire I seal and archive the painted work, the traces of its process becoming translucent and superimposed, then chiseled away. The intensive labor becomes material, like amber over time.

2005

BFA, Sichuan Fine Arts Institute, Chongqing, China Residencies

2024

Yaddo, Saratoga Springs, NY Solo Exhibitions

2015

Hi Art, Beijing, China

2012

Hi Art, Beijing, China Selected Group Exhibitions

2015

Art Beijing, Beijing, China Art Taipei, Taipei, Taiwan ART021 Shanghai, Shanghai, China

2014

Chinese New Painting Award 10th Anniversary

2011

Merry Go Round Chinese New Painting Award, Beijing

Invitation Exhibition, Hi Art, Beijing, China Times Art Museum, Beijing, China

We Finally Together encaustic on board, 16 x 19.5 inches

186

LIANG

An Appearance encaustic on board, 40 x 37 inches Entwine egg tempera on wood panel, 47 x 47 inches

187

188

LIANG

189

Eden encaustic on wood panel, 47 x 87 inches

190

REEHA LIM

reehalim@gmail.com reeha.art @r_eeha

b. 1994 Seoul, South Korea | lives in Bloomfield Hills, MI Education

Raised Korean in China, and currently living in the American Midwest, my practice has been deeply influenced by diasporic memories. I explore ambiguities inherent in what is often taken for granted as an externally focused sense of possibilities, lack of common sense, and confrontation with the heavy, naked face of another, primarily in the realm of painting. Self-portrait yet not, the work beckons for a transversal sensorium. Through ghostly double-sided paintings, I blur the thresholds across space, between objects, and within sensory perceptions. Thin yet multilayered paintings blend impressions with dreamlike scenery that oscillates between reality and Atopia––a place unmoored. Vivid sensations suddenly emerge, certain moments, certain impressions–– it’s unclear whether they stem from reality or dreams. I don’t strive to differentiate between them, nor do I crave an exhaustive understanding. Neither knowledge nor judgment captivates me. In a sense, I shun familiarity. I’m not a learner; I am a witness.

2024

MFA, Cranbrook Academy of Art, Bloomfield Hills, MI

2021

BFA, Hongik University, Seoul, South Korea Residencies

2016

Cité internationale des arts, Paris, France Solo Exhibitions

2022

UI-LUNG-DDUNG-DDANG, TYA, Seoul, South Korea Selected Group Exhibitions

2023

Space, Chillie Art Projects, London, England Convergence, Centric Place, Farmington Hills, MI Mold Making, Forum Gallery, Bloomfield Hills, MI

2021

OFFON, Gallery 100_0, Seoul, South Korea Hatred against P, Gallery Euljiro OF, Seoul, South Korea

2018

Yit-ta, Haenghwatang Art Space, Seoul, South Korea

2015

ARTIVAL, Gallery H, Seoul, South Korea

2013

Adieu, Xin Complex Cultural Space, Shenyang, China

Take Off the Shoes, Please acrylic and Lego on silk, 36 x 51 inches

192

LIM

Front acrylic, graphite pencil, and magnet on canvas, 35 x 35 inches Dear Kyeong-sook acrylic and colored pencil on muslin, 52 x 68 inches

193

194

ANDREW MCILVAINE

andrewgmcilvaine@gmail.com andrewmcilvaine.com @andrewmcilvaine

b. 1993 San Antonio, TX | lives in Kansas City, MO Education

As an interdisciplinary artist, I explore the intersection between cultural, collective, and personal identity, and how these reflections on the self shape the southern and southwestern regions of the United States. In 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 is situated between cultural borders and discusses the exchange of influences that are accumulated through generational movement. Prominent themes include the displacement and replacement of culture, language, nationality, and questions about what family, home, loss, authenticity, and assimilation mean and look like in a postcolonial society.

2018

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

2016

BA, University of Missouri–Kansas City, Kansas City, MO Solo Exhibitions

2023

Resilience Story, Nerman Museum of Contemporary Art, Overland Park, KS

2022

Collision, H&R Block Artspace, Kansas City Art

2021

Tender Thoughts in Sweet Solitude, Martha’s

Institute, Kansas City, MO Contemporary, Austin, TX Solid Poetry, Plug Gallery, Kansas City, MO Selected Group Exhibitions 2024

Threshold II: Migration Patterns, Bogart Gallery,

2023

Threshold, Vulpes Bastille, Kansas City, MO

Kansas City, MO Sacred Spaces: Reflections Unseen, Studio Channel Islands, Camarillo, CA Inspired by MAYA: Indigenous and Latino Art Experience, Bank of America Gallery, Union Station, Kansas City, MO Dance like a Rodeo Tornado, Arts Fort Worth, Fort Worth, TX

Adiós acrylic on canvas, 12 x 12 inches

196

MCILVAINE

La Bamba acrylic on canvas, 24 x 24 inches

197

La Raza acrylic on canvas, 24 x 24 inches

198

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.

199

MARTYNA ALEXANDER

FIDENCIO FIFIELD-PEREZ

ARMIN MÜHSAM

MICHELLE WASSON

p15–20 $1,200–$11,000

p61-64 NFS

p107–110 $3,500–$11,500

p153–156 $750–$15,000

JUAN ARANGO PALACIOS

DOMINIC FINOCCHIO

SOUMYA NETRABILE

MICHON WEEKS

p21–26 $5,000–$10,000

p65–68 $1,000–$4,500

p111–116 $25,000–$180,000

p157–160 $1,500–$1,750

MADELINE BRICE

ANDREAS FISCHER

IVAN DAVID NG

SARA WILLADSEN

p27–30 $3,800–$8,500

p69–72 $2,500–$5,000

p117–122 $6,000–$7,000

p161–164 NFS

CHRISTOPHER BURK

MADELINE GALLUCCI

MICHAEL PFLEGHAAR

DANIELLE WINGER

p31–34 $950–$15,000

p73–76 $2,400–$5,000

p123–126 $4,000–$6,000

p165–168 $2,000–$10,000

NIK CHO

LEA GOLDMAN

OLIVIA ISABEL ROSATO

JONATHAN WORCESTER

p35–38 $3,000–$12,000

p77–80 $8,000–$20,000

p127–130 $800–$1,200

p169–172 $1,000–$12,000

JAN CHRISTOPHER-BERKSON

ATTICUS GORDON

MOISES SALAZAR TLATENCHI

KIM BENSON

p39–42 POR

p81–86 $2,400–$5,000

p131–134 $3,500–$14,000

p175–178 NFS

MATTHEW COOPER

SAMANTHA HAAN

SARA SUPPAN

AARON S. COLEMAN

p43–48 $800–$12,500

p87–90 NFS

p135–138 NFS

p179–184 $7,500–$10,000

BRIA CORRANDA

ASHLEY JANUARY

MADELYN TURNER

LIANG SIHENG

p49–52 $900–$12,000

p91–96 $1,000–$15,000

p139–144 $800–$10,000

p185–190 NFS

JACKSON DAUGHETY

MATTHEW KOLODZIEJ

KADEN VAN DE LOO

REEHA LIM

p53–56 $500–$3,000

p97–100 POR

p145–148 $1,000–$2,000

p191–194 $6,300–$15,000

IAN ETTER

KIMBERLY MONTIEL

SHANE WALSH

ANDREW MCILVAINE

p57–60 $750–$1,000

p101–106 $1,000–$1,750

p149–152 $5,000–$15,000

p195–198 $5,000–$20,000

$25