New American Paintings Northeast Issue #152 by newamericanpaintings

152

February/March

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152 February/March 2021 Volume 26, Issue 1 ISSN 1066-2235 $20

Recent Jurors: Nora Burnett Abrams

Arnold Kemp

Museum of Contemporary Art Denver

School of the Art Institute of Chicago

Bill Arning

Miranda Lash

Contemporary Arts Museum Houston

New Orleans Museum of Art

Janet Bishop

Nancy Lim

San Francisco Museum of Modern Art

San Francisco Musuem of Modern Art

Staci Boris

Al Miner

Elmhurst Art Museum

Museum of Fine Arts, Boston

Nina Bozicnik

Dominic Molon

Henry Art Gallery

RISD Museum of Art

Steven L. Bridges

René Morales

Eli and Edythe Broad Art Museum

Pérez Art Museum Miami

Dan Cameron

Barbara O’Brien

Orange County Museum of Art

Kemper Museum of Contemporary Art

Cassandra Coblentz

Valerie Cassel Oliver

Independent curator

Virginia Museum of Fine Arts

Eric Crosby

Katie Pfohl

Walker Art Center

New Orleans Museum of Art

Susan Cross

Raphaela Platow

MASS MoCA

Contemporary Arts Center, Cincinnati

Dina Deitsch

Monica Ramirez-Montagut

deCordova Sculpture Park and Museum

San Jose Museum of Art

Lisa Dorin

Veronica Roberts

Williams College Museum of Art

Blanton Museum of Art

Anne Ellegood

Michael Rooks

The Open Studios Press

Hammer Museum

High Museum of Art

450 Harrison Avenue #47

Lisa D. Freiman

Alma Ruiz

Institute for Contemporary Art,

Museum of Contemporary Art, Los Angeles

Virginia Commonwealth University

Kelly Shindler

Evan Garza

Contemporary Art Museum St. Louis

New American Paintings is distributed as a periodical by CMG

Blanton Museum of Art

Anna Stothart

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The Institute of Contemporary Art/Boston

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Museum of Contemporary Art Chicago

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Gili p158

Contents

10 12

Editor’s Note

Steven Zevitas

Noteworthy

156

Juror’s and Editor’s Picks

Juror’s Comments Liz Munsell, Lorraine and Alan Bressler Curator of Contemporary Art, Museum of Fine Arts, Boston, MA

178

Winners: Juror’s Selections Northeastern Competition 2020

Winners: Editor’s Selections Northeastern Competition 2020

Pricing Asking prices for selected works

152 February/March 2021

Editor’s Note

For better or for worse, things are starting to feel a bit more “normal”

seismic shifts occurring in cultural awareness, we find ourselves at

these days. COVID is still in the air, literally and figuratively, but for

a unique point in history, where new and different stories are needed

the most part the art world seems to be getting back on track, albeit

to help us find our bearings. Artists have always been there to help

in fits and starts. Museums are seeing healthy crowds again, as are

make sense of the world around and within us, but their collective

commercial galleries. Given the personal and economic stresses of

energy is more necessary than ever. Kerry James Marshall began

the past twelve plus months, it is somewhat of a minor miracle that

his professional artistic career with a very specific goal: he wanted

the ever-fragile ecosystem of the art world seems to be once again

to insert his work, and by extension “Blackness,” into the heart

thriving.

of our cultural system—the museum. (Touring his retrospective several years ago was simply one of the most important experiences

We are honored to have Liz Munsell, Lorraine and Alan Bressler

of my life . . . I was a changed person after seeing it.) The success

Curator of Contemporary Art at the Museum of Fine Arts, Boston,

of his subversive efforts was one of many concurrent sparks that

serve as juror for this issue. Munsell has been a presence in Boston’s

have helped push the art world to a place where not only African

art world for more than a decade now and has mounted extraordinary

Americans, but Hispanic Americans, Indigenous peoples, artists of

exhibitions, including the critically acclaimed Writing the Future:

the Asian diaspora, and others are finding an appropriate stage for

Basquiat and the Hip-Hop Generation at the MFA. Her selections make

their work. We obviously have a long way to go, but I, for one, could

for an exceptional snapshot of painting’s current state, and I am

not be more thrilled to have such a diversity of voices now helping to

particularly impressed with the diversity of the artists represented

guide the way. n

herein. Because the jurying process at New American Paintings has always been blind, our jurors have never had access to a given artist’s

Enjoy the issue!

ethnicity and gender. Yet in the past five years, it seems that much of the most potent work featured in the publication has come from

Steven Zevitas

individuals whose voices were formerly marginalized. Why is this?

Editor & Publisher

As with society and the myriad institutions that form its core structures, the art world has had to reckon with a past whose history, in large part, has been determined by a Caucasian-male perspective. Due to the disasters of our former political administration and the

PAPAY SOLOMON UNTITLED, ART Miami Beach Nov. 29—Dec. 4, 2021

Noteworthy:

Delvin Lugo

Juror’s Pick p88

Light, and its ability to recast nearly all surfaces, is at play in the paintings of Delvin Lugo. At play, in the literal sense, as light sometimes tricks the eye into believing that color is absent. It forms patterns and shapes called shadows. It highlights, it heats. Lugo’s painterly renderings of light’s effects on his subjects distinguish them from their environments yet locate them in a place—a Caribbean countryside—and even in time—via the look of 1990s–2000s–era camera flash. Celebratory, visceral, and genuine, they exude warmth and worldly self-awareness. n

Elizabeth Glaessner

Editor’s Pick p56

The figures depicted in Glaessner’s shimmering paintings are in a constant state of flux, in which the boundaries between internal and external, figure and ground, are obliterated. Her subjects are keenly aware that the picture plane is their world, and as they twist, grapple, and meld they remain ever respectful of the canvas edge. Glaessner’s formal decisions are inextricably linked with the content of her work. By working with both oils and water-based media, she is able to create a psychological space in which her “subject’s” internal and external lives directly inform the other. Glaessner’s paintings are ultimately about the fluidity of the human condition. n

Winners: Northeastern Competition 2020 Juror: Liz Munsell, Lorraine and Alan Bressler Curator of Contemporary Art, Museum of Fine Arts, Boston, MA

Editor’s Selections: Bambou Gili | Austin Harris | Erica Mao | Senem Oezdogan | James Seward aka PAJAMERZ!

Juror’s Comments

Liz Munsell Lorraine and Alan Bressler Curator of Contemporary Art, Museum of Fine Arts, Boston, MA

In the last year, much has been said, yet little has been done, about

years, allowing funds raised from the sale of works in a museum’s

the imbalanced weight of caregiving that falls so heavily on woman-

collection to support collections care and operating expenses such as

identified people, especially on women of

staff salaries. While “progressive deaccessioning”²

color. The extreme exacerbation of inequities

has ensued, successfully and unsuccessfully,

that predated the pandemic has laid bare the

conservative outlooks prioritizing art over people

ragged, razor-sharp rock bottom that lies

overlook the fact that institutions need people

underneath a lack of social safety nets in the

to care for artworks, and people to connect with

United States. Some of the most precariously

them, in order for art to subsist materially,

employed people in this country have long

hold meaning and purpose in the world. If

been artists and museum workers, and such

museums exist solely to serve their collections,

precariousness has only deepened in the last

then whom can their collections serve? Those

year, with two-thirds of jobs in the creative

who see themselves perfectly reflected in

sector eliminated in New York and a reduction

museum holdings as they exist, and those

of the cultural work force by 25 percent in Los

who are comforted by the experience of

Angeles.¹ The innately social contemporary

nineteenth-century museums in particular, are

art world has been hard hit—with the

dwindling in number. If museums will rise,

exception of its vast upper echelons, only exacerbating inequities

albeit groggily, they will do so to a new day in which their collections

that long predate “This Moment” of “now more than ever”-isms.

operate with, by, and for diverse and intersectional communities.

Most art institutions were built as places for the care of objects

Artists have always led the way forward and institutions have

in their collections, and with consideration of the ways in which

followed, however belatedly. Even those who continue to work in

episodic visitors experience their holdings. Yet few have had in place

traditional media such as painting challenge institutions through

the infrastructure, or ethics, to adequately care for the people who

the intimacy and expansiveness of the representations they unleash

frequent them most habitually—their staff and the living artists they

in two-dimensional form. Working in isolation and in struggle

intersect with. Such inequities in the application of care have been

throughout two pandemics has pushed institutions to expand their

exposed via waves of layoffs that continue to sweep art museums

own practices and expertise. When historically white-centered art

during the course of the pandemic; this, despite directives from the

institutions collect works by artists of color, traditional notions of

American Association of Museum Directors (AAMD) in the spring

“care”—the preservation and “keeping” of works in as close to their

of 2020 to relax regulations on deaccessioning for a period of two

original state as possible—must expand to include a type of care

Alazraki p17

Chen p40

Daniels p53

Lugo p88

Miller p96

Serrano p130

“For these artists, intimacy is not an indulgence, it’s a survival tactic, and museums should follow suit to humanize not just their stately appearance but their operations.” that respectfully upholds the work’s own history and connects it to

and museums should follow suit to humanize not just their stately

a public that relates to it, claims it, and thus deserves to access it.

appearance but their operations. If we are to rebuild our broken cultural institutions, we must have the tools to see ourselves entangled

A number of artists highlighted in this issue speak (paint) from the

in our own vulnerability, to see others with respect and compassion,

perspective of embeddedness in a community—whether it be their

and to see us all, together, as nothing more and nothing less than

respective families, neighborhoods, or the even larger concentric

who we will become as we learn when and where we overlap. n

circles of their ethnicity, race, immigration status, gender, or sexual orientation. The foregrounded perspectives of works by Jessica Alazraki, Susan Chen, Daryl Myntia Daniels, Delvin Lugo, and Shantel Miller refute voyeuristic windows into their worlds, demanding instead that the viewer be up-close and personal with figures that may otherwise have been unknown to them. Alazraki unfurls the surface and contents of tabletops in a near-bird’s-eye reveal for the viewer, allowing us to see not just the subjects perched at their tables, but to share in what they see; we look down as they would from their own seats. Their pizza, cake, and flowers, their joys and contemplation, become ours. Trending the edges of visibility, Miller allows for a closeness that the eye alone cannot process—she has blurred her rendering of the back of a subject’s young head as if to indicate that he is too near to be captured by any camera lens or human eye. While the intimacy between these artists and their

¹ Wallace Ludell, “Economic Reports Reveal Drastic Loss of Arts Jobs in the US,” Art

subjects may be longstanding, having a quotidian point of view that

Newspaper, posted February 26, 2021, https://www.theartnewspaper.com/news/economic-

is largely limited to a singular space, and pod, can only deepen one’s attention to one’s environment, one’s community, one’s core. For these artists, intimacy is not an indulgence, it’s a survival tactic,

reports-reveal-drastic-loss-of-arts-jobs-in-the-us. ² Glenn Adamson, “In Defence of Progressive Deaccessioning,” Apollo online, posted October 26, 2020, https://www.apollo-magazine.com/deaccessioning-and-diversity-us-museums/.

Juror’s Selections

The following section is presented in alphabetical order. Biographical information has been edited. Prices for available work may be found on p178.

Jessica Alazraki Pink Donut on Pink | oil on canvas, 42 x 52 inches

Jessica Alazraki Cats and Kids on Yellow | oil on canvas, 43 x 65 inches

Jessica Alazraki Orange Tablecloth | acrylic on tablecloth, 85 x 53 inches

Jessica Alazraki New York, NY 917.439.5775 jessicaalazraki@icloud.com / www.jessicaalazrakiart.com / @jessicaalazraki1

b. 1972 Mexico City, Mexico

Education

2019

El Taller, Creative Capital, New York, NY

Residencies

2020

Trestle Art Space Residency Program, Brooklyn, NY

2018

ARTWorks, Jamaica Center for Arts and Learning (JCAL), Queens, NY

2020

Solo Exhibition Portraits of Latino Immigrants, Community Gallery, JCAL,

As a Mexican woman living in New York, I feel it is my responsibility to open up a dialogue about immigrants. My work intends to bring Latinx life into contemporary art by celebrating the culture and highlighting family values. The narratives show lively interior domestic scenes, often including kids and pets around tables, which serve as a symbol for family unity. The theme of tables serves to remind the viewer of shared experiences and life during the 2020 pandemic. In my work, portraits are always in the foreground to bring the viewer closer to the figures. The paintings carry a pictorial narrative where color, spaces, and decorative patterns are prominent, ultimately prioritizing emotion over objective reality.

Queens, NY

Group Exhibitions

2020

Southeast Queens Biennial, Fine Arts Gallery, York College,

and William P. Miller Gallery, JCAL, Queens, NY

Life in a Pressure Cooker, Young Space (yngspc) (online)

Take Home a Nude, Sotheby’s New York, New York, NY

2019

We Believe, RJD Gallery, Bridgehampton, NY

2018

Typical America, Field Projects Gallery, New York, NY

2017

We the People, Barrett Art Center, Poughkeepsie, NY

Awards

2020

New Works Grant, Queens Council for the Arts,

Queens, NY

Winner, MvVo Ad Art Show 2020, Westfield World Trade Center, New York, NY

2018

Award, Inaugural Art Competition, ARTDEX (online)

Publications

2020

Create! Magazine, no. 20

2019

Aesthetica Magazine, no. 89

PIKCHUR Magazine, no. 5

Alazraki

Jessica Alazraki | Cats and Kids on Yellow (detail)

Paul Anagnostopoulos This Empty Space You’ve Left Behind | acrylic and oil on canvas, 40 x 30 inches

Paul Anagnostopoulos This Doesn’t Have to End in Tragedy | acrylic and oil on canvas, 38 x 34 inches

Paul Anagnostopoulos Nothing Will Keep Us Together | acrylic and oil on canvas, 48 x 60 inches

Paul Anagnostopoulos New York, NY paul.anagnostopoulos@gmail.com / www.panagnos.com / @paolopablopaul

b. 1991, Merrick, NY

Education

2013

BFA, New York University, New York, NY

Residencies

2016

Vermont Studio Center, Johnson, VT

Wassaic Project, Wassaic, NY

Trestle Art Space, Brooklyn, NY

The Association of Icelandic Visual Artists (SÍM),

Reykjavík, Iceland

Solo Exhibitions

2020

We Can Be Heroes, Leslie-Lohman Project Space,

New York, NY

2018

Holding Out For A Hero, GoggleWorks Center for the Arts,

Reading, PA

Group Exhibitions

2020

In Excess, SPRING/BREAK Art Show, New York, NY

Keep for Old Memoirs, Young Space (yngsp) (online)

Celestial Opera, Human Cathedrals, Paradice

Palase (online)

Unleashing Magic, Create! Magazine and PxP

Contemporary (online)

What Is Fear?, Thessaloniki Queer Arts Festival (online)

2019

Ad Astra Per Aspera, Wassaic Project, Wassaic, NY

Chlorine Tidal Wave, Field Projects (online)

2018

Reclaiming My Pride, Metrosource and One World

Observatory, New York, NY

Publications

2020

Friend of The Artist, vol. 11

My work is an exploration of mythological desire and queer melancholy. I construct portals to an idyllic paradise. Complex layers eliminate parts of the landscape as if representing an unclear memory. They serve as postcards from a journey that may or may not have been experienced. This intricate picture plane has contradicting layers of depth and flatness to imitate electronic environments. Conceptually, the paintings celebrate intimacy and a tender masculinity. Hyper-masculine images are manipulated to appear sensitive and emotive. Vulnerability and melancholia reveal a more human side of these otherwise all-powerful bodies. This conceptual thread of longing and tragedy mirrors the melodrama of mythology. I reinterpret ancient images and unite them with visual material created between the Stonewall Riots of 1969 and the peak of the AIDS crisis of the 1980s. By combining these eras, I encourage viewers to meditate on queer history and focus on a neglected perspective. Each painting serves as a memorial to these lost generations. I examine various systems and histories in order to honor and empower queer stories.

Anagnostopoulos

John Avelluto Foogayzee | acrylic on panel, 25.5 x 21 inches

John Avelluto A Tree Grows in Bensonhurst | acrylic on panel, 25 x 21.5 inches

John Avelluto Howyoudoin | acrylic on panel, 25 x 21.5 inches

John Avelluto Brooklyn, NY j.a.avelluto@gmail.com / www.john-avelluto.com / @johnavelluto

b. 1979, Brooklyn, NY

Education

2006

Solo Exhibitions

2019

Goombarooch Resignified, John D. Calandra Italian

American Institute, New York, NY

2018

Use-a the Forza, Mamaluke, Stand4, Brooklyn, NY

2014

Disintegrator, Studio 10, Brooklyn, NY

2006

Playstation, Krampf/Pei Gallery, New York, NY

Two-Person Exhibition

2010

Marksmen and the Palimpsests, with Josh Willis, Centotto: Galleria [Simposio] Salotto, Brooklyn, NY

Group Exhibitions

2020

The Winter Show, w/Pavel Zoubok Gallery, Park Avenue

Armory, New York, NY 2018

Fake News, Tabla Rasa Gallery, Brooklyn, NY

2017

The Way We Were, Stand4, Brooklyn, NY

2015

Checkered History: The Grid in Art and Life, Outpost Artists Resources, Queens, NY

2010

Solitary Pleasures, Slought Foundation, Philadelphia, PA

2008

Emergency Room, MoMA PS1, Queens, NY

Publications

2020

Roberta Smith, “Worlds Within Worlds Mix It Up at the Winter Show,” New York Times, January 23

2019

M Cem Mengüç, “Brooklyn-born John Avelluto strikes back on empire and populist nationalism (with a side order of

calamari),” Medium, January 7 2014

“The 100 Most Influential People in Brooklyn Culture,” Brooklyn Magazine

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

My recent work engages my background as both an ItalianAmerican and native Brooklynite. This engagement via the lens of painting examines the tropes, both linguistic and visual, of these identities. Reflecting on the qualities of the acrylic medium, I aim to explore the plasticity of these phenomena. As shifts in language occur during displacement or rubbing up against new cultural entities, so do the possibilities within abstraction of the preceding visual cultures. Drawing from disparate art-historical traditions in tandem with pop-culture references, I set out to play with, undermine, and confound Italian-American culture, toying with the existing linguistic and visual repertoire of vernacular references that all too often have gone underappreciated and unexamined in painting.

Thomas Micchelli, “Nothing as It Seems: John Avelluto’s Unrelenting Emptiness,” Hyperallergic 27

Avelluto

Gregg Yupanki Bautista historias y negocios | oil on canvas, 24 x 30 inches

Gregg Yupanki Bautista el movimiento en el tiempo no es salvaje | oil on canvas, 24 x 30 inches

Gregg Yupanki Bautista entrelazando | oil on panel, 18 x 24 inches

Gregg Yupanki Bautista Skillman, NJ greggbautista@gmail.com / www.greggbautista.com / @greggbautista

b. 1987 Toms River, NJ

Education

2016

BFA, Mason Gross School of the Arts, Rutgers University, New Brunswick, NJ

Residency

2019

Vermont Studio Center, Johnson, VT

Solo Exhibition

2017

Convenient Plasticities, Gateway Project Spaces,

Newark, NJ

Group Exhibitions

2020

The Ties That Bind: Second Annual Celebration of Hispanic Heritage Month, The Gallery Space, Rahway, NJ

2019

gravity[tional], Walker House, Newark, NJ

Expresiones Latinx I, Gallery at 14 Maple, Morristown, NJ

Magic Wave, Young Space (yngsp) (online)

DRIFT, Lazy Susan Gallery, New York, NY

Born in the United States to Peruvian immigrants and growing up in a predominantly Anglo community, I gained a bilateral sense of cultural imposter syndrome. Reflecting on how I wrestled with this into adulthood and observing my parents acclimate to life in America has guided my interest in how identity is affected by the circumstances of cultural assimilation or integration, displacement, and ideological shifts that result from migration. The resulting paintings are a celebration of my Andean heritage. Using pre-Columbian culture, artifacts, textiles, and history (anthropological and oral) as a framework for my process, I attempt to place myself in the role of a weaver by interlacing/ overlaying references to modernity. With the ensuing dissonance between spaces, I challenge the structure of political borders and question what it means to “belong.” In doing so, I’m forced to explore the lasting effects of colonialism on indigenous cultures, particularly erasure, that are perpetuated in contemporary social systems. Nonetheless, the paintings also serve as tribute to the fortitude and resilience of these cultures throughout history.

Awards

2019

Artist Grant, Vermont Studio Center, Johnson, VT

2016

Visual Arts Department Award, Mason Gross School

of the Arts, New Brunswick, NJ

2015

University Merit Scholarship, Mason Gross School

of the Arts, New Brunscwick, NJ

Publication

2017

Billy Anania, “Newark Artist Transcends Genres in Latest Exhibition,” Asbury Park Press, April 20

Bautista

Gregg Yupanki Bautista | historias y negocios (detail)

Kristopher Benedict Hermit and Devil | oil on canvas, 64 x 50 inches

Kristopher Benedict Three Figures | oil and acrylic on canvas, 38 x 32 inches

Kristopher Benedict Untitled (landscape with flower and kneeling figures) | oil on canvas, 64 x 50 inches

Kristopher Benedict Philadelphia, PA kgbenedict@gmail.com / www.kristopherbenedict.com / @kristopherbenedict

b. 1978, Middletown, NY

Education

2002

MFA, Columbia University, New York, NY

2000

BFA, The Cooper Union for the Advancement of Science and Art, New York, NY

2020

Solo Exhibitions Tapestry Riff, Haas Gallery of Art, Bloomsburg University, Bloomsburg, PA

2019

Surly Puppet (collaborative paintings with Todd Arsenault), David Richard Gallery, New York, NY

2018

TREE STREETS, David Richard Gallery, New York, NY

2015

Green Piano, Paris London Hong Kong, Chicago, IL

2014

Happy Ghost, Tiger Strikes Asteroid, Philadelphia, PA

2011

Remake, Sue Scott Gallery, New York, NY

2010

Into the Mountains, Gallery Diet, Miami, FL

2009

Fake Your Death, Sue Scott Gallery, New York, NY

Two-Person Exhibitions

2012

City of Seals, with Fabienne Lasserre, David Petersen

Gallery, Minneapolis, MN

2009

Citygarden and Microscope, with Peter LaBier, Gallery Diet,

I relate the experience I am trying to create with my paintings to the sensation of driving around a new town. Moving through unfamiliar streets, neighborhoods you’ve never seen before are connecting in your mind and balancing against places you formerly inhabited. You are looking at your phone’s GPS and listening to the app give you directions as you try not to get lost. You are also listening to the radio, which elicits some kind of emotional response. You are looking out the window, forming opinions and making plans while (humorously, you realize in retrospect) ruminating on your past life and what brought you here. Meanwhile you are responsible for a host of practical things like obeying traffic laws and maintaining enough gas in the car. The complex way we move through the frames and competing foci that make up our world is in turns maddening, inspiring, and completely mundane. My work reflects that state of fractured attention and dislocation as it offers a nuanced space that is both exploratory and familiar.

Miami, FL 2018

Group Exhibitions Between the Clock and the Bed, Memorial Hall Painting Department Gallery, Rhode Island School of Design,

Providence, RI

2016

Shout, TREE, Fjord, Philadelphia, PA

2012

Take Shelter in the World, Boston University Art Gallery Annex, Boston, MA

2010

Precarity and the Butter Tower, CTRL Gallery,

Houston, TX

Benedict

Amanda Marré Brown Demilune | oil on canvas, 58 x 58 inches

Amanda Marré Brown Vented Open-Ended | oil on canvas, 58 x 58 inches

Amanda Marré Brown Backlit Inlet | oil on canvas, 52 x 65 inches

Amanda Marré Brown New York, NY www.amandamarrebrown.com / @downtownacbrown

b. 1989 Chicago, IL

Education

2018

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

New York, NY

2011

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

Residencies

2021

Jentel Artist Residency Program, Banner, WY

2019

Studio178, Cornerstone Studios, New York, NY

2014

Foundation Obras, Evoramonte, Portugal

Professional Experience

2020

Adjunct Assistant Professor, Hunter College, The City University of New York, New York, NY

Group Exhibitions

2020

November 2nd, M Street Gallery, Jersey City, NJ

Leyline of Anticipation, Puppy American, Bronx, NY

2019

In the Offing, Hercules Art Studio Program, New York, NY

2018

Your New York, Gitler &_____, New York, NY

Small Works, Bannerman Island Gallery, Beacon, NY

2017

Wet Paint, Workhouse Arts Center, Lorton, VA

2013

Contemporary Romance, Frogman Gallery, Chicago, IL

Publication

2020

In my day-to-day experience of the city, I observe moments when what I see contradicts what I expect to be true of a space. When the brightness of the sky becomes a solid, impenetrable form enclosed by two buildings, or when a receding wall jumps forward under the glow of reflected light—these are moments of disconnection and interruption. They are instances when visual sensations allow for a twofold reality to exist: the tangible alongside the intangible; the visible alongside the invisible. The impetus for my work lies in these moments of perceptual ambiguity. I attempt to recall my experience and memory of visual sensation through color, value, perspective, and scale. Spurred by the act of looking, I facilitate a perceptual encounter between the viewer and the painting. A visual experience that pushes the viewer to the fringes of their perceptual understanding of space, one that is simultaneously an experience of interiority and exteriority.

Talia Levitt with Amanda Brown, “The Dual Life of Painting: On and Off Screen,” Hesse Flatow website

Collection

David H. Koch Center for Cancer Care, Memorial Sloan

Kettering, New York, NY

Brown

Susan Chen Arnie’s | oil on canvas, 40 x 50 inches

Susan Chen Yang Gang | oil on canvas, 76 x 96 inches

Susan Chen About Face | oil on canvas, 74 x 54 inches

Susan Chen New York, NY www.susanmbchen.com / @susanmbchen

b. 1992 Hong Kong, SAR

Education

2020

MFA, Columbia University, New York, NY

2015

BA, Brown University, Providence, RI

Solo Exhibition

2020

On Longing, Meredith Rosen Gallery, New York, NY

My current paintings respond to the lack of Asian American representation in portraiture within modern and contemporary Western art institutions. I question the idea of visibility, or invisibility—who is remembered in history, and who is forgotten. Believing that figurative work has the ability to empower one’s sense of self-worth, and with Asian Americans living in a society that rarely shows their faces in everyday media, I set out to paint these portraits as efforts to help a community feel like they belong to a greater social conversation. The sitters from my portraits are usually strangers I find on various Asian American social media groups on the Internet. Through painting, I am able to informally survey members of my community to better understand the psychology of race, and the varying viewpoints my sitters have on ideas of home, immigration, prejudice, identity, family, longing, love, and loss.

Chen

Matthew Cuschieri Untitled | sheetboard, foam, rock, plastic, wood, and iron, 11 x 8.5 inches

Matthew Cuschieri My Home is Framed by Rocks | plastic, wood, rock, cat toy, iron, and sheetrock, 16 x 7.5 inches

Matthew Cuschieri The houses in a row are actually all my house | oil paint, wood, foam, pencil, rock, iron, drywall, and paper, 9 x 10.5 inches

Matthew Cuschieri Providence, RI mcuschie@risd.edu / www.matthewcuschieri.com / @mattcoosh / @matt.coosh

b. 1999 Norwood, NJ

Education

2022

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

Professional Experience

2020

Artist Assistant to Ben La Rocco, Brooklyn, NY

Teaching Assistant to Clement Valla, RISD, Providence, RI

2019

Papermaking Studio Monitor, RISD, Providence, RI

Group Exhibitions

2020

Love Is in the Air, @onlineplayroom (online)

2019

Drawing Marathon, Waterman Gallery, RISD,

Providence, RI

Currently, Matthew Cuschieri is exploring unintrusive modes of making work, trying to become dissociated from the imagemaking process. Cuschieri is creating work using objects found in his surroundings. These materials and items then determine the corresponding work. Loss of ego in the work is informed by the materials used. Paintings serve as tools to continue dissecting ideas.

Cuschieri

Theresa Daddezio Blue Ribbon | oil on linen, 50 x 38 inches

Theresa Daddezio Blume | oil on linen on panel, 48 x 31.5 inches

Theresa Daddezio Lime | oil on linen, 48 x 36 inches

Theresa Daddezio Brooklyn, NY www.tmdaddezio.com / @theresadaddezio

b. 1988 Binghamton, NY

Solo Exhibition

2018

Carbonara Sunrise, Transmitter, Brooklyn, NY

Group Exhibitions

2020

Zip City, Left Field Gallery, Los Osos, CA

Luminous: Painting in the Interface, Nightingale Gallery, Eastern Oregon University, La Grande, OR

2019

A Mind of Their Own, Pentimenti Gallery, Philadelphia, PA

2018

Three, DC Moore Gallery, New York, NY

Known: Unknown, New York Studio School, New York, NY

Mnēmonikos, Tiger Strikes Asteroid Los Angeles,

Los Angeles, CA

Eyes in the Heat, George Gallery, Brooklyn, NY

Hunter College MFA Thesis Exhibition, 205 Hudson Gallery, Hunter College, New York, NY

Through the metaphor of the body as container, I explore notions of consciousness, fragility, and sexuality within a painting language indebted to the history of abstraction. I explore these spaces through an embodied concept of time and place to create an optical undulation between flatness and depth, vibrancy and subtlety. The paintings share a compressed visual environment where shapes take near-identifiable forms in a fleeting taxonomy of spatial and textural obfuscation that transforms marks into resemblances of flora, bodily vessels, and strata of earth. These forms relate to interior physiological space, as areas of texture and flat color overlap to heighten a visual sensation of disassociation. Warm earth tones contrast with more artificial palettes to aid in creating a dialogue between a natural and artificial physicality. Focusing on these spatial negations, I seek to create an emergent and psychological site where my paintings become manifestations of sensual experience, where the tangibility of the present interlocks within layers of memory.

Color We’ll, Barney Savage Gallery, New York, NY New, New York: Abstract Painting in the 21st Century, Curator Gallery, New York, NY

2017

Summer Anagram, NURTUREart, Brooklyn, NY

Represented by

DC Moore Gallery, New York, NY

Daddezio

Theresa Daddezio | Blume (detail)

Daryl Myntia Daniels Butterflies | acrylic and oil on canvas, 36 x 36 inches

Daryl Myntia Daniels Far from Home | acrylic and oil on canvas, 50 x 48 inches

Daryl Myntia Daniels Lean on Me | acrylic and oil on canvas, 60 x 48 inches

Daryl Myntia Daniels Bronx, NY d.myntiadaniels@gmail.com / www.dmyntiad.com / @darylmyntiastudioart

b. 1991 Cincinnati, OH

Education

2016

MFA, School of Visual Arts, New York, NY

2013

BFA, Ohio University, Athens, OH

Residency

2019

DreamFest, Bronx, NY

Professional Experience

2019-

Teaching artist, DreamYard Project, Bronx, NY

Group Exhibitions

2020

Black Excellence in Zone 15, w/ ArtWorks, Serenity Park,

Lincoln Heights, OH

Black & Brown Faces, Cincinnati Art Museum,

Cincinnati, OH

Art4Equality x Life, Liberty, and the Pursuit of Happiness,

I use abstraction to depict the soul or consciousness of my figures through drawing and painting as I tell narratives about human experiences within the African Diaspora. Energy and frequency are recurring themes within my work as I think about humans’ reflection of nature and grasp an understanding of what life really is. The engraved markings within my subjects become a representation of our cells and memory. I use many coats within my painting process to signal the multiple layers of a person and their experiences while also revealing those layers through a sgraffito technique that calls on beauty tools like combs and afro picks. My process speaks to the idea of our hair being an extension of our nervous system and draws a comparison between brain waves, curl patterns, and light as a means to uplift and celebrate Black beauty and discuss topics around mental health, humanity, and life.

Untitled Space, New York, NY

Living Life Fearless, All of the Above, New York, NY,

(online)

Covid-19/Black Lives Matter Exhibition, Kente Royal

Gallery, New York, NY

Memorias en Arte, BronxArtSpace, Bronx, NY

2019

Live painting performance, ChaShaMa Gala, New York, NY

Every Woman Biennial, La MaMa Galleria, New York, NY

2018

Endless Editions Biennial: Optimism, Elizabeth Foundation for the Arts, New York, NY

2016

One Year of Resistance, Untitled Space, New York, NY Popular Culture Is Where the Pedagogy Is: Explorations of Provocation and Praxis, The Hole, New York, NY

Collection

Paloozanoire, Cincinnati, OH

Daniels

Elizabeth Glaessner Eating the Moon | oil on canvas, 60 x 48 inches

Elizabeth Glaessner Horse Carrot | oil on canvas, 60 x 72 inches

Elizabeth Glaessner Crawling | oil and water-dispersed pigments with binders on canvas, 40 x 36 inches

Elizabeth Glaessner Brooklyn, NY elizabethglaessner@gmail.com / @eglaessn

b. 1984 Palo Alto, CA

Education

2013

BA, Trinity University, San Antonio, TX

Residencies

2019-20 Galveston Artist Residency, Galveston, TX 2013

GlogauAIR Art Residency, Berlin, Germany

Solo Exhibitions

2018

Mother Tongue, P·P·O·W, New York, NY

2014

P·P·O·W, New York, NY

Two-Person Exhibitions

2019

Power Walking, with Rose Nestler, PUBLIC Gallery,

London, England

Red Clover, with David Mramor, Lane Meyer Projects,

My paintings are fluid in both material and content. Shifting between water-based pigments and oils, I pour paint onto the surface and work wet-into-wet to create a psychological space where amorphous forms and figures merge with each other and their environment. The blurred edges and boundaries form a judgment-free zone where figures are emboldened to explore their interior lives outwardly. Their evocative poses are formed by merging observations from my everyday reality with references to historical art and popular culture. By conflating time and reinterpreting context, my work expresses the tension encoded in the body as it navigates a pluralistic world where multiple truths and experiences coexist.

Denver, CO 2017

Doron Langberg (+ Elizabeth Glaessner), 1969,

New York, NY

Group Exhibitions

2020

Tell Them About Me, 1969, New York, NY

2020 Vision, Southampton Arts Center, Southampton, NY

Nerve: The Female Body in Women’s Art, Wilder,

Nashville, TN

2019

Drinking the Reflection, Russo Lee Gallery, Portland, OR

Award

2014

Postgraduate Fellowship, New York Academy of Art,

New York, NY

Publication

2018

Eric Sutphin, review, Art in America, April

Represented by

P·P·O·W, New York, NY 59

Glaessner

Mateo Gutierrez The Nightmares (Jakelin Caal Maquin, Guatemala) | embroidery thread, acrylic paint, pastel, pencil, and marker on tear-away stabilizer, 18 x 24 inches

Mateo Gutierrez The Nightmares (US–Mexico border II) | embroidery thread, acrylic paint, pastel, pencil, and marker on tear-away stabilizer, 18 x 24 inches

Mateo Gutierrez The Nightmares (Yemen I) | embroidery thread, acrylic paint, pastel, pencil, and marker on tear-away stabilizer, 18 x 24 inches

Mateo Gutierrez Brooklyn, NY 646.520.7472 mgofearth@gmail.com / www.mateogutierrez.net / @mgutierrez0_0

b. 1968 Geneva, Switzerland

Education

2000

MFA, University of Texas, Austin, TX

1992

BA, University of California, Berkeley, CA

Group Exhibitions

2020

New Visions, organized by MoCA L.I.ghts, MoCA Long

Island, Patchogue, NY

Rituals of Resistance, organized by Nasty Women

Connecticut, The Urban Collective, New Haven, CT

Hoarders House, Field Projects Gallery, New York, NY

2003

Young Latino Artists, Mexic-Arte Museum, Austin, TX

2002

Group Show, Lawndale Art Center, Houston, TX

2001

New American Talent, Jones Center, The Contemporary Austin, Austin, TX

2000

22 to Watch, Austin Museum of Art, Austin, TX

Awards

1999

Merit Award, The University of Texas at Austin, Austin, TX

1997

I explore the lies of empire, in particular the American empire, and I do that specifically through the context of trauma that is cached within and expressed through the body, transferred down generation to generation. I am seeking the underlying brutality and violence that afflict the participants in modern-day extreme capitalism and globalism. I focus on the physical gestures and the bodily shapes that we express, the ones that are similar and yet come from different circumstances. I am interested in how arms, legs, torsos, hand gestures, and facial expressions are similarly positioned, all of these shapes and forms expressing the emotional truth of the contemporary human condition. I sample my images from mass media like a hip-hop musician plucks sounds from the sources around them, images that inundate our everyday lives. I juxtapose these images so that we may see what lies behind them. I am focusing on these moments as a way to think about and understand, purely emotionally, who we are and what we endure at our own hands.

Minority Fellowship Award, The University of Texas at Austin, Austin, TX

2020

Publications Elisa Wouk Almino, “A View From the Easel During Times of Quarantine,” Hyperallergic, October 9

Susan Dunne, “Nasty Women Exhibit in New Haven Studies ‘Rituals of Resistance,’” Hartford Courant, February 29

Lucy Gellman, “In Year Four, Nasty Women Returns To Its Roots,” Arts Council Greater New Haven, March 3

2000

“22 to Watch,” Austin American Statesman

“Behind the Storage Unit Door,” Austin Chronicle

Gutierrez

Mateo Gutierrez | The Nightmares (Jakelin Caal Maquin, Guatemala) (detail)

Stephen Hamilton Joseph Lewis as Eze Nri | acrylic and natural dyes/pigments on wood and handwoven cotton cloth, 72 x 60 inches

Stephen Hamilton Owners of the Earth | acrylic and natural dyes on cotton cloth, 72 x 96 inches

Stephen Hamilton Ndoli Jowei and Nyaha | acrylic and natural dyes/pigments on wood and resist dyed cloth, 72 x 60 inches

Stephen Hamilton Boston, MA stephen.hamilton82@gmail.com / www.itanproject.com / @theartofstephenhamilton

b. 1987 Boston, MA

Education

2009

BFA, Massachusetts College of Art and Design,

Boston, MA

Residencies

2017

Polly Thayer Starr Visiting Artist Series, Isabella Stewart Gardner Museum, Boston, MA

2015-16 Arts Connect International Artists in Residence, Nike

Center for Art and Culture, Osogbo, Nigeria

Professional Experience

2018-

Associate Professor of Illustration, Massachusetts College of Art and Design, Boston, MA

2018

Now+There Public Art Accelerator

Solo Exhibitions

2020

Heirloom, collaborative works with Stacey S. Hamilton,

MW Productions/SPOKE, Boston, MA

2018

The Founders Project, Bruce C. Bolling Municipal Building,

I identify simultaneously as an artist, educator, and researcher. My work incorporates both Western and African techniques, blending figurative painting and drawing with resist-dyeing, weaving, and woodcarving. Each image is a marriage between the aesthetics and artistry of both traditions. As a Black American trained in traditional West African art forms, I treat weaving, dyeing, and woodcarving as ritualized acts of reclamation. I use traditional techniques and materials native to West Africa to reclaim ancestral knowledge dissociated from Africans in the Americas during the transatlantic slave trade. I use these time-intensive techniques as a way to honor and reclaim Black labor. The work heavily references the Black body in precolonial African art history, creating visual connections between the past and the present by glossing African symbolism and iconography. This forms a body of work that serves as a conceptual and visual bridge between the ancient and modern worlds. Through this, I explore elements of Black identity through time and space on its own terms.

Roxbury, MA 2016

Black Gods Live, The Museum, The National Center of

Afro-American Artists, Boston, MA

Group Exhibition

2017

Stitched into Memory, Waterfront Square, Boston, MA

Awards

2019

Artist Activist Award, Medicine Wheel

2017

Creative City Boston Artist Grant, New England Foundation for the Arts, Boston, MA

Brother Thomas Fellowship Award, The Boston Foundation, Boston, MA

Publications

2018

“Making Connections With Donna Dodson, Artscope

Magazine, November/December

2017

“The Color of Life: Stephen Hamilton Revives African

Textile Traditions,” Bay State Banner, August 17

Hamilton

Will Hutnick Mistaking Clouds for Mountains, 2020 | acrylic, crayon, and spray paint on canvas, 28 x 22 inches

Will Hutnick Slow Like Honey, 2020 | acrylic, crayon, ink, and spray paint on canvas, 28 x 22 inches

Will Hutnick Back of the Skull Eyes, 2020 | acrylic, colored pencil, and spray paint on canvas, 60 x 50 inches

Will Hutnick Wassaic, NY whutnick@gmail.com / www.willhutnick.com / @willhutnick

b. 1985 Manhasset, NY

Education

2011

MFA, Pratt Institute, Brooklyn, NY

2007

BA, Providence College, Providence, RI

Residencies

2019

Hambidge Center for the Creative Arts and Sciences,

Rabun Gap, GA

Elizabeth Murray Artist Residency by Collar Works,

Granville, NY

2018

DNA Gallery, Provincetown, MA

2015

Yaddo, Saratoga Springs, NY

2014

Vermont Studio Center, Johnson, VT

Wassaic Project, Wassaic, NY

Solo Exhibitions

2019

I typically begin my work by creating rubbings from various personal, found, and/or discarded objects. Some of those objects include old milk crates from my late father’s car, heating vents in my home, the wood grain from my studio floor. I’m continually fascinated by the rubbings because of their unpredictability, indexical nature, and strong allusions to topography. The ghostly imprints that the rubbings generate are ultimately jammed together—and in concert—with other patterns and passages in order to suspend different moments in/of time. Ultimately, these combinations conjure environments that enable me to process, organize, and navigate my lived experiences and daily negotiations as a queer person.

Sparkill, NY

Applause Between Movements, Standard Space,

Sharon, CT

2016

But We’re Getting Off the Subject, Providence College

Galleries, Providence, RI

2015

YOU’RE A GHOST, The Java Project, Brooklyn, NY

Two-Person Exhibition

2016

Excavators, with Mark Joshua Epstein, DEMO Project, Springfield, IL

Group Exhibitions

2020

Summer Stock, Craven Contemporary, Kent, CT

Northern Lights, Collar Works, Troy, NY

In the shape that chance and wind give the clouds, Azarian McCullough Art Gallery, St. Thomas Aquinas College,

My current body of work attempts to queer the landscape through the use of self-similar patterns, awkward shapes, and vibrant color relationships. I want to create moments of disorientation and disruption, where the assumed logic, expectation, and assumption of space, slowly—or not so slowly—unravels. Or implodes. And explodes.

Gay Guerrilla: New Conversations in Queer Abstraction, Arcade Project Curatorial (online)

Hutnick

Yongjae Kim A Woman on the Subway Station | resin oil on wood panel, 16 x 12 inches

Yongjae Kim Tony (5:20) | resin oil on panel, 16 x 20 inches

Yongjae Kim The Light of the Day | resin oil on panel, 24 x 24 inches

Yongjae Kim Brooklyn, NY kim@yongjaestudio.com / www.yongjaestudio.com / @yongjaestudio

b. 1985 Seoul, South Korea

Education

2014

MFA, Pratt Institute, Brooklyn, NY

Residency

2013

Joshua Tree Highlands Artists Residency Program,

Joshua Tree, CA

Solo Exhibitions

2019

George Billis Gallery, New York, NY

2018

For:Ground, New York, NY

2017

VOLTA NY, Pier 90, New York, NY

2015

drift, AHL Foundation, New York, NY

2014

Silent Neighbors, DeKalb Hall, Pratt Institute,

Brooklyn, NY

Two-Person Exhibition

2016

Urban Landscape, with Fabiana Viso, Muriel Guépin

Gallery, New York, NY

Group Exhibitions

2019

The Flâneur in New York, Maggi Peyton Gallery, Manhattan

I explore an inexplicable melancholy that floods me daily. My psychological landscape represents mundane surroundings in unsettled and deficient conditions with a toned-down mood. While my painting shows many elaborative details, the atmosphere feels empty. The inner or outer deconstructed states of the subject matter evoke a sense of loss and solitude. In the stillness that creates its own space and time on the canvas, I scumble the subtle shape of undepicted existence in scenery, portraying traces of ephemeral and disappearing presence.

Borough President’s Office, New York, NY 2017

Reality Check, Sotheby’s Institute of Art, New York, NY

Awards

2018

First Place Award, City, Art Room Gallery (online)

2015

Membership, The Elizabeth Foundation for the Arts,

New York, NY

2014

Best Color Work Award, KSCS International Invitation

Exhibition of Color Works, Korea Society of Color Studies, Seoul, South Korea

Publication

2015

Interview, Art Reveal Magazine, no. 5

Kim

Yongjae Kim | Tony (5:20) (detail)

Anya Kotler The Introduction | oil and latex paint on canvas, 90 x 64 inches

Anya Kotler Opening Of The Mouth And Burning Of The Feet | oil, glue, paint tube fragments, fibers, and rags on linen, 64 x 90 inches

Anya Kotler Home | oil, acrylic, gold leaf, fabrics, concrete, plaster, yarn, silicone, plastic, and crayon on wood and canvas, 88 x 74 x 18 inches

Anya Kotler Hoboken, NJ anyakotler@gmail.com / www.anyakotler.com / @anyakotler

b. 1989 Odessa, Ukraine

Education

2015

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

Residency

2014

Artist Residency, University of Shanghai, Shanghai, China

Professional Experience

2020

Adjunct Assistant Professor, Hofstra University,

Hempstead, NY

My work absorbs into itself both figuration and abstraction, clarity and ambiguity, flatness and sculpture. Each piece develops intuitively from some aspect of experience that is repeatedly on my mind—an essential unease, a memory I am attempting to come to grips with, a question I’m struggling with, or a concept that I am unable to define. I dive into the work by building up what I know about the piece, experimenting with materials, and trusting a loose vision, fragments of thoughts, or a sense of how matter, shapes, colors, or textures may interact. I try to listen to the work and see where it takes me, which feels very much like playing—a way for me to think out loud.

2015-19 Instructor and Leader of Painting and Drawing Summer

Study Abroad Program in Dingle, Ireland, State University

of New York at Cortland, NY

Solo Exhibitions

2019

Excavation Sites, North Charleston City Gallery,

Charleston, SC

2016

A Few Uncertainties, Circle Centre for the Arts,

Wilkes-Barre, PA

Group Exhibitions

2020

70th A•ONE Exhibition, Silvermine Arts Center,

New Canaan, CT

Us: What divides us and what unites us?, Touchstone

Gallery, Washington, DC (online)

2018

Angst and Contempt: New Painting, Pen + Brush Gallery,

The work usually wants to possess some space of ambiguity, a sense of not having certainty about how the image is supposed to be understood. I want to provide the viewer with freedom of interpretation, and a space to impose their own visceral logic, associations, and meanings upon the work.

New York, NY

Awards

2019

Mary Blair Award for Art, Reed Magazine

2018

Elizabeth Greenshields Foundation Grant

Publications

2020

Art Maze Magazine, no. 16

Featured artist, Reed Magazine, no. 153

2019

Interview with Mary Young, SD Voyager Magazine

2016

Interview with Matt Mattei, Times Leader

(Wilkes-Barre, PA)

Kotler

Ryosuke Kumakura Towels | oil on canvas and wood stain on stretcher, 11 x 18 inches

Ryosuke Kumakura Towel | oil on canvas and wood stain on stretcher, 12 x 12 inches

Ryosuke Kumakura Barrington, NH www.ryosukekumakura.com

b. 1981 Niigata, Japan

Education

2009-11 National Academy School of Fine Arts, New York, NY 2004

BFA, Tama Art University, Tokyo, Japan

Solo Exhibitions

2020

Hold, PATRON Gallery, Chicago, IL

2017

Belongings, PATRON Gallery, Chicago, IL

Two-Person Exhibition

2017

Andrej Dúbravský and Ryosuke Kumakura, Mining

Museum, Rožňava, Slovakia

Group Exhibitions

2019

Remnants of Things Left Behind, Band of Vices,

Los Angeles, CA

Small Painting, Corbett v. Dempsey, Chicago, IL

2016

Half Away From Home: The Alumni Association of Tama Art

My work grapples with basic tasks, customs, and behaviors that we commit to habit over time. For instance, stretching a canvas or hanging a towel in your bathroom are common practices, though everybody tends to have their own methods for these things. I play with this within the structure of my paintings and explore the peculiarity of the way we organize our lives. While the paintings have detailed textures on the surface, the sculptural characteristics of the canvas are emphasized. These pieces are, in part, about the strange similarities that can be found between canvas and towels—not only their structure but also the potential of their emotional purpose. To me, paintings are at the same time illusory and physical, emotional and observational.

University, Fort Lee Public Library, Fort Lee, NJ 2014

Exchange Rates: Arts in Bushwick, Brooklyn Fire Proof, Brooklyn, NY

Small Works, Main Street Arts, Clifton Springs, NY

2012

2012 National Juried Exhibition, First Street Gallery,

New York, NY

Sweet, Studio Place Arts, Barre, VT

Award

2010

Valerie Delacorte Scholarship

2008

Scholarship, Lucrezia Bori Foundation Fund

Represented by

PATRON, Chicago, IL

Kumakura

Rebecca Levitan counting down the days | acrylic and paper on canvas, 40 x 32 inches

Rebecca Levitan jazz hands | acrylic and colored pencil on canvas, 20 x 24 inches

Rebecca Levitan have a nice day! | acrylic and oil on canvas, 30 x 40 inches

Rebecca Levitan Brooklyn, NY www.rebeccalevitan.com / @rebecca.levitan

b. 1990 Brooklyn, NY

Education

2018

MFA, Rhode Island School of Design, Providence, RI

2012

BA, Harvard College, Cambridge, MA

Residency

2020

Triangle Arts Association, Brooklyn, NY

Group Exhibitions

2020

Open House, Elegran Real Estate, New York, NY

Art Off-Screen, organized by Eileen Jeng Lynch,

various locations

2019

Reading Painting, Treasure Town, Brooklyn, NY

Currency, BAIT 15, Abu Dhabi, United Arab Emirates

2018

My paintings are a recurring attempt to transmute the flotsam of the world—moldy strawberries, curls of yellow flypaper, and jars of pickles—into larger stories. My work embraces a multiplicity of forms of image-making without judging their status. I am equally interested in Dutch still life, Indian miniature painting, and Chinese restaurant menus. I believe any honest accounting of our world includes all three, shows each equal care, and therefore isn’t limited to a singular style or mode of making. Thus, each work requires new techniques, approaches, and journeys down rabbit holes. Together, my pieces form a body of work as disparate as the world that informs them, but linked by an interest in everyday moments and the vernacular image.

Counter Narratives: Geographies of the Unfamiliar, Asya Geisberg Gallery, New York, NY

Cool and Collected ’18, Kenise Barnes Fine Art,

Larchmont, NY

New Contemporaries 2018, Gelman Gallery,

Providence, RI

2017

Dismantled, Sol Koffler Gallery, Providence, RI

Home Is the Strongest Conjuration, Morgan Lehman

Gallery, New York, NY

2016

Threaded Archetypes, NARS Foundation, Brooklyn, NY

Awards

2016-18 RISD Fellowships 2012-13 Benjamin A. Trustman Fellowship, Harvard College,

Cambridge, MA

Levitan

Delvin Lugo Sunday Best | oil on canvas, 40 x 30 inches

Delvin Lugo Chickens for Sale | oil on canvas, 40 x 30 inches

Delvin Lugo Boy with Broach | oil and acrylic on canvas, 44 x 48 inches

Delvin Lugo Providence, RI delvin.lugo@gmail.com / www.delvinlugo.com / @delvinlugo

b. 1977 Monción, Dominican Republic

Education

2001

School of Visual Arts, New York, NY

Solo Exhibition

2018

Personal Public, TBG Gallery, New York, NY

In the series of paintings Early Life in Neon, I revisit memories from my hometown, Monción, Dominican Republic. In these vibrant works, I highlight positive, nurturing, and comic aspects of the rural life my family lived prior to their emigration to the United States when I was twelve years old. Resourcefulness and improvisation were intertwined with my earliest expressions of identity as a gay boy interested in fashion and the fabulous, so I celebrate wearing one of my mother’s earrings or having a homemade Barbie doll in these paintings. Highlighting the retrospectively humorous elements of these early expressions is also essential here. Years before I learned to speak English my favorite T-shirt bore the slogan “Bitch, Bitch, Bitch!” and I proudly showcase it in the series. This bold approach to life is manifested and amplified through my use of vibrant and fluorescent colors. To accentuate the spirit of playfulness, these paintings can also be viewed in black light. In any light, though, they are full of delight, resilience, and a tenacious joy.

Lugo

Delvin Lugo | Sunday Best (detail)

Geoffrey Masland Matinees at the Dewey-Diaz Theater | paper collage, gouache, and graphite on panel, 48 x 48 inches

Geoffrey Masland Still life (over at Perfidy’s) | paper collage and acrylic on panel, 48 x 48 inches

Geoffrey Masland In the pasture of dead horses | paper collage, acrylic, and pastel on panel, 24 x 48 inches

Geoffrey Masland Yarmouth, ME www.geoffreymasland.com

b. 1981 Concord, NH

Education

2004

BA, Colorado College, Colorado Springs, CO

Solo Exhibitions

2014

Odd Numbers, Gallery 49, Portland, ME

2013

Recent Works, Frontier Gallery, Brunswick, ME

Publication

2020

“Art in the time of pandemic and quarantine,” Maine Arts

Journal, Fall

Using paper I collect from damaged and discarded books, I make collage paintings that are stylized or enhanced with gouache, acrylic, and graphite. I am interested in the singular pursuit of the imagery, narrative, and pleasure I find in the American short story as an art form. I’m drawn to the papers and books presumably cast off during a move or after the death of a family member. The spectral characters and forms born of the inscriptions and marginal notes of the dead books inhabit my process. They help narrate my shadow memories, deconstruct inherited trauma, and render the visual clarity that emerges from recovery. Each piece captures the indifference of the universe as it imparts a moment in which everything changes.

Masland

Shantel Miller Coming Out | oil on wood, 12 x 9 inches

Shantel Miller In Hidden Places | oil on canvas, 20 x 18 inches

Shantel Miller Suffering | oil on canvas, 10 x 8 inches

Shantel Miller Boston, MA shantel.miller@gmail.com / www.shantel-miller.format.com / @shantelmillerart

b. 1991 Toronto, Canada

Education

2021

MFA, Boston University, Boston, MA

2013

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

Residencies

2018

Artist-in-Residence Program, Nia Centre for the Arts, Toronto, Canada

Cuttyhunk Island Artists’ Residency, Cuttyhunk Island, MA

Solo Exhibitions

2020

What Grounds You Weighs You Down, Commonwealth

Gallery, Boston, MA

2016

The Side Profile Series, Xpace Cultural Centre,

Toronto, Canada

Group Exhibitions

2020

As the snail takes the shape of its shell, the plumb,

Toronto, Canada

FOOD NATURE, Rad Hourani, Montreal, Canada

2019

From the Ground Up, Nia Centre for the Arts,

Toronto, Canada

2018

NADA Miami, w/ Half Gallery, Miami, FL

Art Aqua Miami, w/ Uncommon Beauty Gallery, Miami, FL

Bombay Sapphire Artisan Series, Artscape Sandbox,

Toronto, Canada

BIG on Bloor Festival, Toronto, Canada

2017

Skin Glowing in the Moonlight, Latitude 53,

Edmonton, Canada

Publication

2016

Diana Hamm, “Face Value,” House & Home, November

The Side Profile Series (Xpace Cultural Centre)

Shantel Miller’s figurative paintings create visual languages to describe lived and imagined experiences beyond her inner world. Using a collage-like approach to image-making, Miller represents the body as a site for reflecting on broader social realities as she pulls from personal experiences of isolation, suffering, surrender, joy, endurance, and transformation. At the core of her practice lies a questioning of representational models of meaning that influence perception and identity, with a focus on ideas relevant to Black existentialism and spirituality. Her multidisciplinary practice oscillates between painting, drawing, photography, and printmaking and is deeply rooted in oppositional thinking and research. What arises is uncommon imagery sometimes depicted with photographic precision, unique perspectives, and bold colors to evoke connectedness and relationship with oneself and others. Ranging in scale from small to large, each painting reads allegorically through a language of symbolism, reinforcing human resilience and life beyond death.

Miller

Zoë-Elena Moldenhauer Roadside Codex 1 | acrylic on canvas, 29 x 22 inches

100

Zoë-Elena Moldenhauer Roadside Codex 2 | acrylic on canvas, 29 x 22 inches

101

Zoë-Elena Moldenhauer Roadside Codex 3 | acrylic on panel, 24 x 18 inches

102

Zoë-Elena Moldenhauer Brooklyn, NY zoeelenastudios@gmail.com / www.zoeelena.net / @_zoeelena_

b. 1996, Amatitlán, Guatemala

Education

2022

MA candidate, New York University, New York, NY

2019

BFA, Maryland Institute College of Art (MICA),

Baltimore, MD

Professional Experience

2019-

Founder and Curator, The Aerogramme Center for Arts and

Under the umbrella of an invented alphabet, Zoë-Elena Moldenhauer explores sentence structures, syntax, linguistics, and more to create a world that coexists with a modern reality while remaining fictional. Her process of communication rescripts language in code via visual translation to detail conversations, thoughts, and writings. These meticulous paintings and drawings evolve from Moldenhauer’s research, manifesting mapmaking, text, and philosophy as abstractions that are as elusive and whimsical as language.

Culture, New York, NY 2019-20 Events and Community Outreach Coordinator, Code in the

Schools, Baltimore, MD 2018

Gallery Assistant, Invisible Dog Art Center, Brooklyn, NY

2016-17 Education and Public Programs Coordinator, Maryland Art

Place, Baltimore, MD

Solo Exhibition

2019

The Enigma of Language, 2nd Floor Fox Gallery, MICA,

Baltimore, MD

Group Exhibitions

2020

Artscape Network: Into the Void, Center for the Arts

Gallery, Towson, MD

2016

Perpetually In Between, Middendorf Gallery,

Baltimore, MD

2015

Speaking Sites, Dust Town Studios, Baltimore, MD

Awards

2020

Segal AmeriCorps Education Award, AmeriCorps

2019

Leadership Honor Award, MICA, Baltimore, MD

2015-19 Scholarships, U.S. Presidential Scholars Program, U.S.

Department of Education 2015

New York City Scholastic Art & Writing Award

103

Moldenhauer

Samantha Nye Island In The Stream | oil on paper, 11 x 14 inches

104

Samantha Nye Attractive People Doing Attractive Things In Attractive Places—Are You Happy Baby? | oil on canvas, 50 x 50 inches

105

Samantha Nye Attractive People Doing Attractive Things In Attractive Places—Pool Party 1 | oil on canvas, 60 x 94.5 inches

106

Samantha Nye Philadelphia, PA www.samanthanye.com / @samantha_nye_studio

b. 1980 Hollywood, FL

Education

2018

MFA, Columbia University, New York, NY

2010

BFA, School of the Museum of Fine Arts, Boston, MA

Residency

2014

Queer|Art Mentorship Fellow, New York, NY

Solo Exhibition

2021

Museum of Fine Arts, Boston, MA

Group Exhibition

2020

Craft School, Shelter In Place Gallery, Boston, MA

2018

The Unspeakable: A Dark Show, Pfizer Building,

Brooklyn, NY

Intimacy, Yossi Milo Gallery, New York, NY

Awards

2017

Attractive People Doing Attractive Things in Attractive Places is a series of paintings that reimagine Slim Aarons’s lifestyle/leisure photographs of the 1960s as sexual utopias for aging lesbians. The title of the series playfully recontextulizes a quote by Aarons about the content of his photography. In my paintings, I repopulate Aarons’s poolsides with queered visions of “attractive people” and subvert the “attractive things” they might do. These paintings envision fantasy histories of age, race, and trans-inclusive lesbian spaces by casting queer elders age sixty to ninety-five from digital archives and personal photos of family and friends. By refusing Slim Aarons’s preoccupation with youth, I ask: What if the image of queer sex, pleasure, and joy between aging bodies was itself a system for generating wealth? Alternatively, I sometimes consider these paintings scenes of celebration after a queer takeover of leisure landscapes.

Traveling Fellowship, School of the Museum of Fine Arts, Boston, MA

Collection

2021

Museum of Fine Arts, Boston, MA

107

Nye

Samantha Nye | Attractive People Doing Attractive Things In Attractive Places—Pool Party 1 (detail)

Africanus Okokon everywhere you go | burn marks and image transfer on paper, with acetate print, 60 x 48 inches

108

Africanus Okokon Birthday Function | found vinyl billboard, custom-printed vinyl signage, and acetate, 113 x 126 inches

109

Africanus Okokon Verbatim 1 | burn marks, silkscreen, and image transfer on paper, with acetate and embossed paper, 23 x 30 x 1.5 inches

110

Africanus Okokon New Haven, CT www.africanusokokon.com

b. 1989 Saint Paul, MN

Education

2020

MFA, Yale School of Art, New Haven, CT

2013

Rhode Island School of Design, Providence, RI

Residency

2020-21 Artspace, New Haven, CT

Group Exhibitions

2020

Living in America Act III and Act IV, International Print

Center New York (IPCNY), New York, NY

Blackstar Film Festival

Yale Painting and Printmaking MFA, 2020, Perrotin Gallery

Viewing Salon (online) 2019

My work is an intimate investigation into how cultural, familial, ancestral, and personal memory is remembered, remediated, and forgotten. Working with painting, performance, film, video, animation, sound, assemblage, and collage as concurrent approaches, the work is concerned with loss, the assumed truth of the recorded document, and the moral function of memory. I’m interested in the deterioration and disintegration of moving and still images as they relate to the future, the past, and the deterioration and disintegration of memory itself. I mine archives and collections, approaching them as nonhierarchical, nonauthoritative, and incomplete time capsules. Thinking through print, moving, and recorded media as things with the potential to be haptic while holding time, I am also interested their potential to be transformed.

The LABs, screening and panel discussion, CHALE WOTE Street Art Festival, Accra, Ghana

Award

2019

Alice Kimball Traveling Fellowship, Yale School of Art

111

Okokon

Jeremy Olson dawn of aloning | oil on panel, 30 x 24 inches

112

Jeremy Olson a hole in the arc of night | oil on panel, 46 x 38 inches

113

Jeremy Olson housesitter | oil on panel, 24 x 20 inches

114

Jeremy Olson Brooklyn, NY www.jeremyolson.com / @jjjjeeerremy

b. 1976 Ojai, CA

Education

2009

MFA, New York University, New York, NY

2000

BFA, University of Arizona, Tucson, AZ

Residencies

2017

Praksis, Oslo, Norway

2014

Atlantic Center for the Arts, New Smyrna Beach, FL

2013

Bemis Center, Omaha, NE

2012

Ox-Bow Fall Artist Residency, Saugatuck, MI

Solo Exhibitions

2021

Unit London, London, England

2020

to scale: friends & neighbors, SPRING/BREAK Art Show,

My recent paintings feature anthropomorphic creatures, plants, and objects—figures often on the boundary between one state of being and another. Many have an obvious relationship to children’s book characters or Muppets, but I’ve also been thinking of them in terms of digital avatars, stand-ins that can mask one type of subjectivity to allow for another. Inhabiting spaces that are dreamlike and apocalyptic, they grasp for hope in the face of environmental catastrophe and a canceled future, looking for shoots of new life among the ruins.

New York, NY 2018

proxies, surrogates of decoys, 42 Social Club, Lyme, CT

2013

it looked like you but it wasn’t, Nellie Castan Gallery,

Melbourne, Australia

Group Exhibitions

2020

IRL, Unit London, London, England

2019

The Unspeakable: A Dark Show, RE: Art Show,

Brooklyn, NY

2018

From the Cradle to the Boat, C24 Gallery, New York, NY

Summer Fling—The Barn Show, Johannes Vogt Gallery, East Hampton, NY

2017

Let’s Make a Deal, CCS Bard Hessel Museum, Bard College, Annandale-on-Hudson, NY

Fictive Universe, SPRING/BREAK Art Show, New York, NY

115

Olson

Lindsay Gwinn Parker Heirlooms | acrylic on canvas, 36 x 36 inches

116

Lindsay Gwinn Parker In Retrograde | acrylic on canvas, 20 x 24 inches

117

Lindsay Gwinn Parker Still Life with Tourists | acrylic on canvas, 18 x 24 inches

118

Lindsay Gwinn Parker Rochester, NH info@lindsaygwinnparker.com / www.lindsaygwinnparker.com / @artandfavor

b. 1983 Exeter, NH

Group Exhibitions

2020

Art Collector Starter Kit, Corey Helford Gallery,

Los Angeles, CA

Wish You Were Here, Cambridge Art Association,

Cambridge, MA

ArtPM, BUOY Gallery, Kittery, ME

Fe*Mail* Art: 2020 Postcard Exhibition, A.I.R. Gallery, Brooklyn, NY

2019

Small Works, The S.P.A.C.E. Gallery, Burlington, VT

2016

The Art of Composing, The Sharpe Gallery,

Kennebunk, ME

Publications

2020

Create! Magazine, no. 23

Pikchur Magazine, no. 8

Creative Guts Zine, Spring

In my work, I strive to convey the experience of time passing and the effect it has on individuals and their environment—the obvious impermanence of everything that we so often choose to ignore. With each piece, I focus on the absurdity of a moment that has been stripped of context or suspended between impressions of the past and intimations of the future; a moment that has no meaning outside of that which is projected onto it. Though I occasionally use watercolor on paper, I’ve found that the versatility of acrylic paint on canvas allows me to achieve visual effects like blurring and transparency while still being able to create defined layers of detail, if desired. When painting, I often focus more on the saturation or contrast of color than on the specific traits of identifiable forms and locations. I’m most inspired by scenes and subjects that are in a general state of flux or transition: dawn, dusk, passing storms, or people in motion.

119

Parker

Jon Rappleye Waddleback | acrylic and spray paint on canvas, 21 x 14 inches

120

Jon Rappleye Pocket full of Posies | oil and acrylic on canvas, 52 x 40 inches

121

Jon Rappleye Variations on Ginger Follies | oil and acrylic on canvas, 54 x 42 inches

122

Jon Rappleye Jersey City, NJ 201.877.3962 jdrappleye@aol.com / www.jonrappleye.com / @jonrappleye

b. 1967, Provo, UT

Education

1999

Skowhegan School of Painting and Sculpture,

Skowhegan, ME

1998

MFA, University of Wisconsin, Madison, WI

Solo Exhibitions

2014

In Tangled Splendor, Visual Arts Center of New Jersey,

Summit, NJ 2011

Jersey City, NJ

2010

New/Now, New Britain Museum of American Art,

New Britain, CT

2008

Forgotten Planet, Jeff Bailey Gallery, New York, NY

In the Quiver of the Kingdom, Rhodes College,

Memphis, TN

End of Nature, John Michael Kohler Art Center,

Sheboygan, WI

Group Exhibitions

2020

The Winter Show, w/ Pavel Zoubok Gallery, Park Avenue

My process involves first making sketches on paper. I then cut up the sketches and reconfigure them, forming a new, disjointed character. Each composition exhibits a central figure, one that has no specific gender, questioning both sexual orientation and gender identity. Living in these times of absurdity, we question our own reality. Decayed layers of information reveal or conceal an image’s identity. Decorative, decadent, and satirical, my paintings draw upon a historically rich vocabulary combined with popular culture. I use humor to irreverently dissect established hierarchies and deconstruct identity. Old Masters, decorative pastiche, media, and cartoons are all treated with equal consideration.

Armory, New York, NY 2017

Supernature, Pavel Zoubok Gallery, New York, NY A Dark Wood, Noyes Museum of Art, Stockton University, Atlantic City, NJ

2009

Awards Printmaking Fellowship, Rutgers Center for Innovative Prints and Paper, New Brunswick, NJ

2008

Grant, New Jersey State Council on the Arts

Samuel Golden Fellowship, Golden Artist Colors, Inc.

Publications

2010

Frank Rizzo, “Odd Views of Nature,” Hartford Courant, August 19

2008

Land of Promise, New Jersey City University,

In my current work, Pink Elephants, I combine the sublime with the ridiculous. A constructed reality is presented, with abstract and representational modes forming a fractured narrative dealing with issues of identity. My work confronts social constructs of masculinity, questioning traditional “male” roles through the use of decorative motifs and patterns. Childlike images are viewed through an adult lens. My paintings create visually profuse fields imbued with metaphorical allusions to tradition and culture.

Christopher Knight, “Wonderful and Bleak Knowledge,” Los Angeles Times, June 13 123

Rappleye

Carlos Rosales-Silva Fuego en el Cielo | dyed stones and acrylic paint on custom panel, 26 x 27 inches

124

Carlos Rosales-Silva Public Pool | sand in acrylic paint, acrylic paint, and acrylic plastic on custom panel, 25 x 20 inches

125

Carlos Rosales-Silva Casa Asimilada | acrylic paint and acrylic plastic on custom panel, 37 x 29 inches

126

Carlos Rosales-Silva New York, NY www.carlosrosalessilva.com / @loloafterdark

b. 1982 El Paso, TX

Education

2020

MFA, School of Visual Arts, New York, NY

2017

BFA, University of Texas, Austin, TX

Residencies

2020

Visual Artist AIRspace Residency, Abrons Art Center,

New York, NY

NYC-Based Artist Residency, Residency Unlimited,

New York, NY

2018

International Artist-in-Residence Program, Artpace,

San Antonio, TX

2017

Residency, Pioneer Works, Brooklyn, NY

Solo Exhibitions

2020

Border Exchange, HUB-Robeson Galleries, Penn State University, University Park, PA

My studio is a place for research and meditation on the everexpanding histories of Brown peoples in the United States. My works consider the histories of the vernacular cultures of the American Southwest, the Western canon of art history, and the political and cultural connections and disparities between them. I find abstraction to be a useful tool for navigating the tense states that Brownness often finds itself in, states where we attempt to preserve cultural tradition while assimilating for survival purposes. I believe art-making to be an expansive field where visual communication can attempt to untether from contextual spoken or written language. Spoken and written Eurocentric language, as a system of knowledge, has been historically weaponized against Brown communities. While I do believe it is important to adapt to, invoke, and reimagine the weapons of colonization, I also believe in art-making as a way to reconnect with and create innovative methods of non-Western communication untethered from written or spoken language.

2019 Norteña, Sadie Halie Projects, Minneapolis, MN

Two-Person Exhibitions

2020

Las Ventanitas, with Eric Santoscoy-Mckillip, LatchKey

Gallery, New York, NY

2019

Place, Color y Sand, with Eric Santoscoy-Mckillip,

Lawndale Art Center, Houston, TX

Group Exhibitions

2020

Taking with the Left Hand, SPRING/BREAK Art Show,

New York, NY

Material Art Fair, w/ Beverly’s, Mexico City, Mexico

This Side or the Other, Cuchifritos Gallery + Project Space, New York, NY

2019

These Lessons, MASS Gallery, Austin, TX

Summer School, LatchKey Gallery, New York, NY

2018

Furthering Sight, Gloria’s, New York, NY

127

Rosales-Silva

Edgar Serrano Encyclopedia on Invisibility | oil, gouache, leather, and wood on canvas, 30 x 24 inches

128

Edgar Serrano Chamber of Reflection | oil, gouache, leather, and wood on canvas, 30 x 26 inches

129

Edgar Serrano Intruder IV | oil on canvas, 36 x 36 inches

130

Edgar Serrano New Haven, CT siempreserrano@gmail.com / www.edgarserrano.com / @siempreserrano

b. 1979 Chicago, IL

Education

2010

MFA, Yale School of Art, New Haven, CT

2007

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

Solo Exhibitions

2018

Dirty Puzzle, Massachusetts College of Art and Design,

We live in a hybrid reality—part physical, part virtual. These two worlds are different but not entirely separate; their borders are continually dissolving and reforming. I know this borderland well. I am the child of undocumented Mexican immigrants, and I have lived my entire life along unseen but ever-present borders. Likewise, my paintings negotiate literal and figurative divisions and situate the viewer on unlikely boundaries between the digital and the real, the alien and the familiar.

Boston, MA

The Unseen, Art & Zimt, Shanghai, China

Group Exhibitions

2019

Signs Taken for Wonders, Jonas Mekas Visual Arts Center,

My quest—personal and artistic—is to unearth invisible states and identities. Fixed categories of identity can be used to marginalize, but they can also be used by the marginalized to gain visibility and political power. This paradox is the central focus of my practice.

Vilnius, Lithuania

Waiting for the Garden of Eden, White Box, New York, NY

2016

Under a Black Sun, Bergen Kjøtt Gallery, Bergen, Norway

We’re Talking About Practice, Visual Arts Center, San

Antonio College, San Antonio, TX

2014

Maspeth World of Wheels, Knockdown Center,

Queens, NY

How to Explain Pictures to a Dead Hare, Pristine Galerie,

Monterrey, Mexico 2013

La Bienal: Here Is Where We Jump, El Museo del Barrio, New York, NY

2019

Publications Christopher Joy and Zachary Keeting, “Edgar Serrano,” interview, Gorky’s Granddaughter, February 21

2018

Benjamin Donaldson, “Edgar Serrano,”

zingmagazine, no. 25

Sara Maria Salamone and Tyler Lafreniere, “Curated

Selection of Works: Edgar Serrano,”

ArtMaze Magazine, no. 8

Stephen Feather, “Edgar Serrano Interview,” Floorr

Magazine, July 10

131

Serrano

Tom Smith Jerk | strips of painted paper on panel, 18 x 15.5 inches

132

Tom Smith Peek | strips of painted paper on panel, 12 x 11 inches

133

Tom Smith Blue Pinocchio | strips of painted paper on panel, 12 x 11 inches

134

Tom Smith New York, NY tomsmithart@gmail.com / www.tomsmithart.com / @instatomsmith

b. 1984 Upland, PA

Education

2008

MFA, School of Visual Arts, New York, NY

2006

BFA, Maryland Institute College of Art, Baltimore, MD

Solo Exhibitions

2020

STRIP, Untitled Gallery, New York, NY

2017

Swimming in My Head, Olsen Gruin Gallery, New York, NY

2016

Making Strange, SPRING/BREAK Art Show, New York, NY

Lost & Found, Palmer Art Projects, Sydney, Australia

I Want, Bluerider ART, Taipei, Taiwan

2015

William Wright Artist Projects, Sydney, Australia

2014

Atlantic Center for the Arts, New Smyrna Beach, FL

Largo das Artes, Rio de Janeiro, Brazil

2013

Delusions, ROX Gallery, New York, NY

Wish Meme, IDEAS CITY Festival, organized by the New Museum, Old School, New York, NY

Publications

2016

“Gallery Highlights,” Taipei Times, June

2015

“The Knot,” Sydney Morning Herald, February 28

Neha Kale, “Tying the Knot,” Broadsheet (Sydney),

February 23

2014

My paintings are about how we view life through the filters of our beliefs, where we come from, and how we see ourselves. Recently, I’ve taken these filters and applied them to the body and sexuality. I explore these subjects by creating two paintings in opposing colors. The two images are sliced into tiny strips and combined on a panel. This technique results in a vibrating distortion of the image and appears like a digital screen. Through pictures, I’m exploring how we understand and relate to our realities and our fantasies. For me, the paintings transform privacy, perversity, and shame into something playful and beautiful.

DJ Pangburn, “Digital and Interstellar Worlds Abound in Tom Smith’s Paintings,” VICE, November 6

135

Smith

Tom Smith | Jerk (detail)

Audrey Stone Close to Close | Flashe on canvas, 40 x 40 inches

136

Audrey Stone Come Close | Flashe on canvas, 40 x 40 inches

137

Audrey Stone Shadow Valley 3 | acrylic on canvas, 20 x 16 inches

138

Audrey Stone Brooklyn, NY 212.268.6699 (Morgan Lehman Gallery) amadstone64@gmail.com / www.audreystone.net / @audrey_stone_studio

b. 1964 New York, NY

Education

1993

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

New York, NY

1986

BFA, Pratt Institute, Brooklyn, NY

Solo Exhibitions

2021

Kenise Barnes Fine Art, Kent, CT

2020

By Fire, Morgan Lehman Gallery, New York, NY

Two-Person Exhibition

2015

Treasure Frey and Audrey Stone, Muriel Guepin Gallery, New York, NY

Group Exhibitions

2019

Radiant, ODETTA Gallery, New York, NY

Abstraction, Kenise Barnes Fine Art, Kent, CT

Observing shifting color and light in nature is an ecstatic experience for me. I find myself simultaneously excited and calm, a dynamic opposition I seek to generate in my work through the interplay of line and subtle gradients of color. In my current paintings, I use the boundaries between broad and narrow bands of adjacent colors to generate visual vibration. I am intrigued by the way the eye and brain process these transitions, informing the viewer’s emotional and physical responses. Beyond color and composition, underlying themes tie the paintings together into series: the giving and receiving of information; concepts of infinity and containment; equality; relationship of self to others; and more recently, death, loss, and absence. Although these subjects are not meant to be absolute in the work, they play a part in both the conception and the process of making.

The Twenty by Sixteen Biennial, Morgan Lehman Gallery, New York, NY

Colored Pencil, McKenzie Fine Art, New York, NY

2018

Mesmerize, ODETTA Gallery, Brooklyn, NY

2017

Squared x 2 (The Joy of Being Square), Geoffrey Young

Gallery, Great Barrington, MA

2016

Let There Be Art, Columbus Museum, Columbus, GA

Mapping Spaces: Carte Blanche, Kentler International Drawing Space, Brooklyn, NY

2015

47th Annual Collectors Show, Arkansas Art Center,

Little Rock, AK

Represented by

Morgan Lehman Gallery, New York, NY

Kenise Barnes Fine Art, Kent, CT

139

Stone

Alison Elizabeth Taylor Sam’s Town | marquetry hybrid on panel, 47 x 59 inches

140

Alison Elizabeth Taylor Sketch for a Still Life | marquetry hybrid on panel, 50 x 63 inches

141

Alison Elizabeth Taylor The Sum of It | marquetry hybrid on panel, 72 x 52 inches

142

Alison Elizabeth Taylor Brooklyn, NY studio@alisonelizabethtaylor.com / www.alisonelizabethtaylor.com / @alisonelizabethtaylor

b. 1972 Selma, AL

Education

2005

MFA, Columbia University, New York, NY

2001

BFA, Art Center College of Design, Pasadena, CA

Solo Exhibitions

2019

The Needle’s Eye, Zidoun Bossuyt, Luxembourg

2017

The Backwards Forward, James Cohan Gallery,

New York, NY

Reclamation, permanent installation, Cornell Tech,

New York, NY

2015

Savage Root, Le Château de Nyon, Nyon, Switzerland

Group Exhibitions

2020

Expanding the Narrative: Recent Acquisitions, Addison

Gallery of American Art, Andover, MA

2018

Personal Space, Crystal Bridges Museum of American Art,

Bentonville, AR 2016

Instead of drawing directly from either a photo or life, my works come together in a process I call “Frankensteining.” I combine drawing from memory, photo references I shot in the moment with invented elements, and occasionally a pose recreated by a friend. I’ll rethink parts of a scene sketched from observation, turning it into something else. I like to reconstruct what I’ve witnessed in person. After I’m done drawing, I work in a medium I developed called marquetry hybrid. It is a synthesis of collage, painting, and marquetry (wood inlay); the disparate mediums become part of the same visual conversation. I create these works in my studio using a variety of techniques I’ve cobbled together from various fields—printmaking, surfboard construction, and plywood manufacturing. The tension between my subjects and the delicate surface is what compels me. I use the beauty of these materials to draw attention to what is overlooked. Incorporating marquetry into my work collapses the conventional distinctions between painting, craft, and fine art.

See Myself in You: Selections from the Collection, Brooklyn Museum, Brooklyn, NY

Awards

2020

NYSCA/NYFA Artist Fellowship

2011

Publishing Residency, Lower Eastside Printshop,

New York, NY

2009

Smithsonian Artist Research Fellowship

Biennial Competition Award, Louis Comfort Tiffany

Foundation

Publication

2019

Barry Schwabsky, Landscape Painting Now (D.A.P)

Harper’s Magazine, June

Represented by

James Cohan Gallery, New York, NY

143

Taylor

Alison Elizabeth Taylor | The Sum of It (detail)

Jose D. Torres What’s More Important, the Flower or the Soil That Grows It? | mixed media and found wood, 16 x 18 inches

144

Jose D. Torres Chick Does What Chick Sees | mixed media on hardboard panel, 24 x 18 inches

145

Jose D. Torres Big Brother, Little Brother | acrylic, oil, and artificial grass on canvas, 60 x 96 inches

146

Jose D. Torres Stamford, CT jtorres13@sva.edu / @jdtstudio

b. 1996 MedellÍn, Columbia

Education

2020

School of Visual Arts, New York, NY

2017

Norwalk Community College, Norwalk, CT

Professional Experience

2020

Studio Assistant, La Mano Pottery, New York, NY

Group Exhibitions

2019

Fall Open Studios, School of Visual Arts, New York, NY

2018

DERMA. An Exhibition, The Living Gallery Outpost,

New York, NY

2015

NCC Art Show, Norwalk Community College, Norwalk, CT

Publication

2020

MSKF, no. 008

Though identity, family hierarchy, and nostalgia play a factor in the outcome of my paintings, the time in which I know someone plays only a small role in my process of creating the work. Painting gives me the ability to feel and think simultaneously, to move and seduce without words. The development and intuition comes from the long private and meditative moments of me being in the studio analyzing and painting these photos. I add found materials and colors, layers of physical information that I could also relate to the subject, showing the relationship of everyday objects to one another. I think a painting is more like the real world when it’s made out of real-world stuff. The world is no longer depicted but becomes part of the artwork. The process of making it is at the same time introspection into the self and evidence of my perception. With no explanation needed, I sometimes just allow the sacrosanct or ritualistic power in the materials to speak for itself.

147

Torres

Lily Wong Spell | acrylic on stretched paper, 12 x 16 inches

148

Lily Wong Transmission | acrylic on stretched paper, 16 x 20 inches

149

Lily Wong Pinched | acrylic on paper, 12 x 16 inches

150

Lily Wong Brooklyn, NY www.lilylilywongwong.com

b. 1989 Seattle, WA

Education

2020

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

New York, NY

2011

BFA, Rhode Island School of Design, Providence, RI

Represented by

Kapp Kapp, New York, NY, and Philadelphia, PA

Pulling from the hyperbolic vernacular of cartooning and illustration, my work engages with the digestibility of representational images and the way they can be subverted and redirected towards a pliable, psychological interiority. Elements of drama and fantasy are woven into improbable vignettes that offer a glimpse into a constantly fluctuating emotional landscape shaped by a sense of displacement, loss, and yearning. Often engaged in acts of close looking and intimate contact, the figures in my work occupy narratives that invoke a sense of anxiety around the constructs that structure, inscribe, and erase bodies. Centered around a reimagination of personhood at the moment it becomes undone, the subjects probe the way literal and metaphorical fracturing influences the body’s relationship to pain, intimacy, desire, and structures of power. In contrast to the gentleness of their touch, the figures’ balloon-like bodies act as overstuffed containers that are on the edge of bursting and potential destruction, articulating a disconnect between external presentation and private experience.

151

Wong

Anthony Peyton Young They Have Names I: Tamir Rice 12 Trayvon Martin 17 Mike Brown 18 Christian Taylor 19 Rumain Brisbon 34 | oil on linen, 30 x 24 inches

152

Anthony Peyton Young They Have Names II: Emmett Till 14, Mike Brown 18, Sean Bell 23, Jon Ferrell 24, Rumain Brisbon 34, Terence Crutcher 40 | bleach and oil on canvas, 30 x 24 inches

153

Anthony Peyton Young Candlelight Vigil | oil on canvas, 48 x 32 inches

154

Anthony Peyton Young Dorchester, MA artist_young88@yahoo.com / www.anthonyyoungartist.com / @anthonypeytonyoung

b. 1988 Charleston, WV

Education

2017

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

2014

BA, West Virginia State University, Institute, WV

Professional Experience

2017

Post-Graduate Teaching Fellow, SMFA/Tufts, Boston, MA

Solo Exhibitions

2019

Passage: A Space Between Too Much and Never Enough,

Employing a hybrid of painting and drawing in collage, I focus on the methods of memorialization to deal with trauma and the spaces we use to activate these actions. Combining images of contemptible collectible memorabilia, historical photographs, as well as Black archetypes from literature and film, the work investigates fabrications and false conceptions, and honors the many men, women, and children who were murdered due to white supremacy, police brutality, and discrimination. Through a destructive process, I create my imagery by cutting images apart, carving away blackness by painting and bleaching, and reconnecting the pieces together in a gesture that symbolizes our shared unity and resilience against that violence.

AREA Gallery, Boston, MA

Two-Person Exhibition

2017

Doppelgänger, with Jordan “SHEP” Burnham, ÁREA

Gallery, Boston, MA

Group Exhibitions

2019

National Prize Show, University Place Gallery and Kathryn

Schultz Gallery, Cambridge, MA

Above and Beyond, ÁREA Gallery, Boston, MA

2018

Cosmik Debris, VSOP Projects, Greenport, NY

Awards

2020

Nellie Taft Emerging Artist Award, St. Botolph Club

Foundation

Traveling Fellowship, SMFA/Tufts

2019

Walter Feldman Fellowship for Emerging Artists, Arts & Business Council of Greater Boston, Boston, MA

Publications

2020

Cate McQuaid, “Drawing from black experiences with

caricature, portraiture,” Boston Globe, January 8

Cate McQuaid, “3 Boston artists with long careers of calling out racism,” Boston Globe, June 4

2017

Jeffery Renard Allen, “Urgently Visible Why Black Lives Matter,” Evergreen Review, Winter 155

Collection

Museum of Fine Arts, Boston, MA

Young

Anthony Peyton Young | They Have Names I: Tamir Rice 12 Trayvon Martin 17 Mike Brown 18 Christian Taylor 19 Rumain Brisbon 34 (detail)

Editor’s Selections

The following section is presented in alphabetical order. Biographical information has been edited. Prices for available work may be found on p178.

Bambou Gili Neighborhood Sleep Paralysis | oil on linen, 56 x 70 inches

158

Bambou Gili Ophelia in the Tub | oil on linen, 52 x 72 inches

159

Bambou Gili When will my eyebrows grow in | oil on linen, 40 x 30 inches

160

Bambou Gili Brooklyn, NY www.bambougili.com / @bambou.gili

b. 1996 New York, NY

Education

2018

BA, New York University, New York, NY

Group Exhibitions

2021

Iώ, Cassina Projects, Milan, Italy

Outside Touch, Monya Rowe Gallery, New York, NY

2020

No Time like the Present, PUBLIC Gallery, London,

England

This Sacred Vessel (pt.2), Arsenal Contemporary,

New York, NY

Publication

2020

Emily Gosling, “The Female Painters Exploring Our

Relationships to the Bodies of Others,” Elephant

Bambou Gili’s art practice stems from observation, specific memory, and historical references in real and imagined spaces to explore subjectivity. Drawing from historical references in art, Gili plays with and against notions of figuration to address themes of anxiety and dread in contemporary life. Her eerie color palette appeals to the imagination of the beholder as figures sway between conflicting states of vulnerability and authority.

Magazine

161

Gili

Austin Harris Unchained | oil on linen with artist-made poplar frame, 78 x 78 inches

162

Austin Harris Can You Teach an Old Dog New Tricks? | oil on linen with artist-made poplar frame, 78 x 78 inches

163

Austin Harris It Keeps on Burning | oil paint on linen with artist-made poplar frame, 54 x 59 inches

164

Austin Harris Brooklyn, NY austin95harris@gmail.com / @austin_harris_art

b. 1995 Seattle, WA

Education

2020

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

2018

BFA, Central Washington University (CWU),

Ellensburg, WA

Residency

2019

Kylemore Abbey Global Centre, Connemara, Ireland

Solo Exhibition

2020

It Keeps on Burning, Over the Influence, Los Angeles, CA

Group Exhibitions

2020

OTI LA, Art Fair 201, Shanghai, China

2018

With my paintings I am investigating my own background, both at a young age and during my formative teenage years. Growing up in a rural community, I was surrounded by hyper-masculine behavior, drugs, alcohol, violence, right-wing political views, and misogyny from both my peers and my father. It seemed to be a trend for young men, including myself, to follow their parents’ every footstep. Rather than empathy, I was taught how to fight. Rather than loving my friends, we drank. I never felt like my true self. I was a reproduction of my surroundings. Growing older, I have seen many flaws in the way I and other men are raised. I grew up poor and my parents frequented both prison and county jail. Rather than crying, humor became a way for me to cope. Between comedy and my sense of form, I am recreating the aggressive, violent, infectious, and artificial nature that surrounded both me and others.

XL Catlin Art Prize Exhibition, San Francisco Art Institute,

CA; Linda Warren Projects, Chicago, IL; New York Academy

of Art, New York, NY

Awards

2019

Elizabeth Greenshields Foundation Grant

Buddy Taub Scholarship

New York Academy of Art Scholarship

2018

Dean’s Award for Studio Art, CWU

The George Stillman Award for Achievement in Art, CWU

165

Harris

Austin Harris | Can You Teach an Old Dog New Tricks? (detail)

Erica Mao Fountain of Knowledge | oil on panel, 16 x 20 inches

166

Erica Mao Green Man | oil on panel, 16 x 20 inches

167

Erica Mao Hidden House | oil on panel, 11 x 14 inches

168

Erica Mao Ridgewood, NY erica.mao21@gmail.com / www.ericamaoart.com / @erica.mao

b. 1994 Columbia, MD

Education

2020

MFA, Columbia University, New York, NY

2016

BFA, Parsons School of Design, New York, NY

Residency

2017

Keyholder Residency, Lower East Side Printshop,

New York, NY

Group Exhibitions

2020

Minorly Magical, K and P Gallery, New York, NY

Alone Together, Steve Turner Gallery, Los Angeles, CA

2019

Aesthetically Functional Only, 1675 Broadway,

New York, NY

MFA First Year Show, Wallach Gallery, Columbia University,

Coming from a sterile planned community in the middle-ofnowhere Maryland presented me with a town so nondescript that I could project my darkest imaginings and fears onto the blank walls of each cookie-cutter house. Before long, these imagined realities became wild, atmospheric landscapes that told a story driven by fear and survival. Situated within these landscapes arose the protagonists of my story, humans moving through my land on a mythic journey. They are in search of respite, running from the catastrophes that often befall frail beings such as us: death, famine, disease. The characters are the vehicles for my narrative as they simultaneously blend in to become a part of the landscape itself.

New York, NY 2018

Studio Apartment, Madison Park Gallery, New York, NY

2017

Filtergeist, Open House Gallery, Brooklyn, NY

Melted City 4 @RISD, ISB Gallery, Rhode Island School of Design, Providence, RI

Sun Screen, Lower East Side Printshop, New York, NY Just Under 100: New Prints 2017/Summer, International Print Center New York, New York, NY

Allow Me to Interject, Lower East Side Printshop,

New York, NY

Awards

2019

Leroy and Janet Neiman Gift Scholarship, Columbia

University

Glasier Fellowship, Columbia University

169

Mao

Erica Mao | Fountain of Knowledge (detail)

Senem Oezdogan Blue Horse | acrylic on canvas, 50 x 40 inches

170

Senem Oezdogan Blue Cover | acrylic on canvas, 38 x 30 inches

171

Senem Oezdogan Tenders | acrylic on canvas, 46 x 40 inches

172

Senem Oezdogan Brooklyn, NY mail@senemoezdogan.com / www.senemoezdogan.com / @senem_oezdogan_studio

b. 1980 Rottweil, Germany

Education

2010

AAS, Fashion Institute of Technology, State University of New York, New York, NY

2007

MA, Ludwigs-Maximilians-Universität, Munich, Germany

Solo Exhibitions

2019

Gradient Works, Gotham West, New York, NY

2018

Surface Tension, Cooler Gallery, Brooklyn, NY

Group Exhibitions

2020

Structure & Space, Court Tree Gallery, Brooklyn, NY

Homebody: New Prints 2020/Winter, International Print

I am a Brooklyn-based painter whose practice includes painting, drawing, and fiber art. My work focuses on the transformation of paint into light and the creation of three-dimensional reality on a flat surface through strong contrasts. Composed of geometric shapes with convex and concave elements, the gradient color combinations are used to create sculpture-like elements. My practice combines concepts of structure and form with observations of content and emotion by turning shape into form, form into volume, and volume into emotion. Playing with the juxtaposition of what the mind knows and the eye sees, these independent forms are perceived as three-dimensional objects and create an anthropomorphic and biomorphic system of relationships that refer to the human body and nature as well as architecture.

Center New York (IPCNY), New York, NY 2019

Editions / Artists’ Book Fair (E/AB Fair), New York, NY

New York Is Now, Platform Projects, Athens, Greece

2018

Mixed Media, Site:Brooklyn Gallery, Brooklyn, NY

Lif /Lines, Gowanus Print Lab, Brooklyn, NY

2017

PULSE Contemporary Art Fair, w/ Uprise Art, Miami, FL

Color Perspective, The Curator Gallery, New York, NY

Natural Selection, Galerie Protégé, New York, NY

Art Platform–Los Angeles, Los Angeles, CA

Award

2019

Artist Development Program, IPCNY, New York, NY

Publication

2020

ArtMaze Magazine, no. 16

173

Oezdogan

James Seward aka PAJAMERZ! “You’re coming with me” | oil on canvas, 51 x 58 inches

174

James Seward aka PAJAMERZ! “You broke my heart” | oil on canvas, 60 x 54 inches

175

James Seward aka PAJAMERZ! “Don’t cry” | oil on canvas, 51 x 58 inches

176

James Seward aka PAJAMERZ! Brooklyn, NY seward.james@gmail.com / www.jameslseward.com / @pajamerz

b. 1979, El Paso, TX

Education

2002

BFA, Savannah College of Art and Design, Savannah, GA

Professional Experience

2013

Artist assistant at Jeff Koons Studio

Group Exhibitions

2019

Familiar Unreal, ARCIS Art Storage, New York, NY

2018

Soft Pretzel, Vacation, New York, NY

2016

Cat Art Show LA 2: The Sequel, Think Tank Gallery,

Los Angeles, CA

2015

Performing Whiteness, Performing Blackness, Allegheny

College, Meadville, PA 2014

Good Job Everybody, Tiger Strikes Android, Brooklyn, NY

Awards

2006

People’s Choice Award, Outwin Boochever Portrait

Competition, Smithsonian National Portrait Gallery,

Washington, DC

2005

Honorable Mention, The Neo Show, Cleveland Museum of

Several years ago, I began collecting screenshots of hugging scenes from movies. I was drawn to the visual performance of embracing—how the human figure can transform into a puzzle piece that seeks completion. Painting the scenes with a white backgrounds recontextualizes the empty space surrounding the subjects, removing them from the original narrative. In 2020, after the first piece was completed, the world was suddenly in the grip of the COVID-19 pandemic. Over four billion people were sheltered at home, isolated and suddenly deprived of connection. While in quarantine, I was doing research for the series and came across the book Exclusion and Embrace by the theologian Mirosloav Volf, which poignantly describes the drama of embrace as four acts. “Act one is the opening of one’s arms, which means of an openness of oneself to the other. Act two is waiting. . . . Act three is closing the arms in which each makes space for the other while maintaining one’s own self. Act four is opening the arms once again, preserving the difference of the other.”

Art, Cleveland, OH 2002

Scholarship, Portrait Society of America

Publications

2019

Newsweek, August 9

2017

Cover, Newsweek, October 5

2014

American Art Collector, no. 103

177

Seward aka PAJAMERZ!

Pricing

Prices published here, for the most part, represent the current price for a work established by the artist or their gallery. If a work has been sold prior to publication and a price is shown here, it represents the price the work would command if it were available at the time this book is produced.

Jessica Alazraki p16 $3,200 p17 $3,200 p18 NFS

Yongjae Kim p72 NFS p73 POR p74 NFS

Edgar Serrano p128 POR p129 POR p130 POR

Paul Anagnostopoulos p20 POR p21 POR p22 POR

Anya Kotler p76 $13,000 p77 $13,000 p78 $14,500

Tom Smith p132 POR p133 POR p134 POR

John Avelluto p24 $3,500 p25 $3,500 p26 $3,750

Ryosuke Kumakura p80 NFS p81 NFS p82 $2,500

Audrey Stone p136 NFS p137 $7,000 p138 $2,800

Gregg Yupanki Bautista p28 $1,500 p29 $1,500 p30 $900

Rebecca Levitan p84 NFS p85 NFS p86 NFS

Alison Elizabeth Taylor p140 NFS p141 NFS p142 NFS

Kristopher Benedict p32 $10,000 p33 $6,500 p34 $10,000

Delvin Lugo p88 POR p89 POR p90 POR

Jose D. Torres p144 POR p145 POR p146 POR

Amanda Marré Brown p36 POR p37 POR p38 POR

Geoffrey Masland p92 $11,000 p93 $11,000 p94 $12,000

Lily Wong p148 NFS p149 NFS p150 NFS

Susan Chen p40 NFS p41 NFS p42 NFS

Shantel Miller p96 $16,000 p97 $3,000 p98 $1,300

Anthony Peyton Young p152 NFS p153 NFS p154 NFS

Matthew Cuschieri p44 NFS p45 NFS p46 NFS

Zoë-Elena Moldenhauer p100 NFS p101 NFS p102 NFS

Theresa Daddezio p48 NFS p49 NFS p50 NFS

Samantha Nye p104 NFS p105 NFS p106 NFS

Daryl Myntia Daniels p52 $4,200 p53 $4,800 p54 $5,400

Africanus Okokon p108 NFS p109 $29,000 p110 NFS

Elizabeth Glaessner p56 NFS p57 NFS p58 NFS

Jeremy Olson p112 NFS p113 NFS p114 NFS

Mateo Gutierrez p60 NFS p61 NFS p62 NFS

Lindsay Gwinn Parker p116 NFS p117 NFS p118 NFS

Stephen Hamilton p64 NFS p65 NFS p66 $10,000

Jon Rappleye p120 $3,500 p121 $18,000 p122 $18,000

Will Hutnick p68 $3,000 p69 $3,000 p70 $8,000

Carlos Rosales-Silva p124 $4,000 p125 $3,000 p126 NFS

178

Bambou Gili p158 NFS p159 NFS p160 NFS Austin Harris p162 NFS p163 NFS p164 NFS Erica Mao p166 $2,000 p167 $2,000 p168 $1,200 Senem Oezdogan p170 $5,500 p171 NFS p172 $5,500 James Seward aka PAJAMERZ! p174 $30,000 p175 $35,000 p176 $30,000

$20