New American Paintings #150 West by newamericanpaintings

150

October/November

150 >

New American Paintings

Northeast CT, DE, MA, ME, NH, NJ, NY, PA, RI, VT

was founded

in 1993 as an experiment in art publishing. With over five thousand artists reviewed annually, it has become

MFA Annual CURRENT MASTERS OF FINE ARTS CANDIDATES

South

America’s largest and most important series of artist

AL, AR, DC, FL, GA, KY, LA, MD, MS, NC, SC, TN, VA, WV

competitions. Each competition is catalogued in a unique

Midwest

volume: Northeast, South, Midwest, West, Pacific Coast,

IA, IL, IN, MI, MN, MO, OH, WI

and MFA Annual. Featured artists are selected on the

West

basis of artistic merit and provided space for free.

AZ, CO, ID, KS, MT, ND, NE, NM, NV, OK, SD, TX, UT, WY

Pacific Coast AK, CA, HI, OR, WA

150 October/November 2020 Volume 25, Issue 5 ISSN 1066-2235 $20

Recent Jurors: Bill Arning

Toby Kamps

Contemporary Arts Museum Houston

The Menil Collection

Nora Burnett Abrams

Miranda Lash

Museum of Contemporary Art Denver

New Orleans Museum of Art

Janet Bishop

Al Miner

San Francisco Museum of Modern Art

Museum of Fine Arts, Boston

Staci Boris

Dominic Molon

Elmhurst Art Museum

RISD Museum of Art

Nina Bozicnik

Sarah Montross

Henry Art Gallery

deCordova Sculpture Park and Museum

Dan Cameron

René Morales

Orange County Museum of Art

Pérez Art Museum Miami

Cassandra Coblentz

Barbara O’Brien

Independent curator

Kemper Museum of Contemporary Art

Eric Crosby

Raphaela Platow

Walker Art Center

Contemporary Arts Center, Cincinnati

Dina Deitsch

Monica Ramirez-Montagut

deCordova Sculpture Park and Museum

San Jose Museum of Art

Apsara Diquinzio

Lawrence Rinder

UC Berkeley Art Museum and Pacific

Film Archive

Lisa Dorin

Veronica Roberts

Williams College Museum of Art

Blanton Museum of Art

Anne Ellegood

Michael Rooks

Postmaster: Send address changes to

Hammer Museum

High Museum of Art

The Open Studios Press

Lisa D. Freiman

Alma Ruiz

Institute for Contemporary Art,

The Museum of Contemporary Art,

Virginia Commonwealth University

Los Angeles

Evan Garza

Kelly Shindler

Blanton Museum of Art

Contemporary Art Museum St. Louis

Michelle Grabner

Anna Stothart

2014 Whitney Biennial, Whitney Museum

Institute of Contemporary Art/Boston

of American Art

Catherine Taft

Randi Hopkins

LAXART

Independent curator

Julie Rodriguez Widholm

may be reproduced in any way without written permission from the publisher.

Laura Hoptman

Museum of Contemporary Art Chicago

Editor/Publisher: Steven Zevitas Associate Publisher: Andrew Katz Designer/Production Manager: Alexandra Simpson Operations Manager: Alexandra Simpson Marketing Manager: Liz Morlock Copy Editor: Lucy Flint Advertising Inquiries please contact Liz Morlock: 617.778.5265 New American Paintings is published bimonthly by: The Open Studios Press, 450 Harrison Avenue #47, Boston, MA 02118 617.778.5265 / www.newamericanpaintings.com Subscriptions: $89 per year. (Canada + $50/non-North America + $100) Periodical Postage paid at Boston, MA and additional mailing offices.

450 Harrison Avenue #47 Boston, MA 02118 New American Paintings is distributed as a periodical by CMG. Retailers looking to carry New American Paintings: 888.235.2783

PRINTED IN KOREA All rights in each work of art reproduced herein are retained by the artist. Front cover: Madrigal, p172

Back cover: Yates, p154

Museum of Modern Art, New York

Online Resources THE RESOURCES YOU NEED TO BUILD A SUSTAINABLE ART CAREER

NYFA CLASSIFIEDS

#ARTISTHOTLINE

Find job listings, open calls for artists, studio spaces, and more at www.nyfa.org/Classifieds.

Artist Professional Development Day on Twitter every third Wednesday of the month from 9:30AM - 5:30PM EST.

NYFA SOURCE

BUSINESS OF ART

Explore over 12,000 resources and opportunities for artists in all disciplines on NYFA Source, the nation’s largest online arts database.

NYFA's Business of Art directory is a comprehensive archive pertaining to the practical side of artmaking.

Open doors at www.nyfa.org

New Art Dealers Alliance (NADA) newartdealers.org

Vance p140

Contents 8

Editor’s Note

Noteworthy

Steven Zevitas

Juror’s and Editor’s Picks

Juror’s Comments Suzanne Weaver, Interim Chief Curator and Brown Foundation Curator of Contemporary Art, San Antonio Museum of Art, San Antonio, TX

Western Competition 2020

157

Western Competition 2020

178

Winners: Juror’s Selections Winners: Editor’s Selections Pricing Asking prices for selected works

150 October/November 2020

Editor’s Note

It is 55 degrees in Boston as I write this—spring is in the air. After

American Paintings will continue to be a place where every voice can

a nightmarish winter, where COVID-19 continued to wreak havoc,

be heard.

on the news and in our immediate lives, it is fair to say that things are finally looking up. The past twelve months have been incredibly

Like every part of the country, the West is in a state of flux

challenging in many ways, and I wanted to take this opportunity to

demographically, politically, and culturally. I think Weaver’s

thank everyone who has helped New American Paintings continue

selections make a compelling case that some of the strongest work

to move forward, in particular my highly talented and dedicated

being made today is by individuals who do not identify as Caucasian.

co-workers, Liz Morlock and Alexandra Simpson, who have both

In particular, I am very pleased to see the inclusion of a number

been incredible.

of Hispanic American artists, each of whom has their own unique vision. Their work, the stories they tell, and the ways they help us to

We have been extremely fortunate to work with Suzanne Weaver,

conceive a richer world is more relevant than ever. n

Interim Chief Curator and Brown Foundation Curator of Modern and Contemporary Art at the San Antonio Museum of Art, on this

Enjoy the issue.

issue of New American Paintings. Suzanne has been mounting extraordinary exhibitions since the mid-1990s, when she was a

Respectfully,

curator at the Dallas Museum of Art. Suzanne has deep roots in the West and a strong understanding of the region’s cultural legacy and

Steven Zevitas

its contemporary realities.

Editor & Publisher

Over the years, I have written extensively about the art world and its relationship to minority artists. It is a complex issue. What is not complex is the fact that, to a large extent, artists of color have been marginalized by the art world for centuries, a fact that the glaring lack of diversity in most museum collections lays bare. Things are beginning to change for the better, but the art world, and the world in general, has a long way to go in terms of properly recognizing the achievements of artists of color. It is incumbent on all of us with a platform to continue steadfastly pushing for more change. New

Noteworthy:

Addie Kae Mingilton

Juror’s Pick p92

It is difficult to select one artist as outstanding from such a stellar pool. Even so, an artist whose work resonated for me throughout the selection process is Addie Kay Mingilton. Recalling the haunting portraits of British-born Lyndette Yiadom-Boakye (whose parents emigrated from Ghana in West Africa) and South African Marlene Dumas, Mingilton’s paintings, based on photographs of the African American side of her family, are a beautiful distillation of formal concerns, such as color and composition, and personal, psychological, and social concerns. Each work is like a short story or novella in an ever-expanding collection. With shades of gray achieved by mixing black and white paint, the artist explores her inner struggles and guilt with “passing for white,” and the concomitant paradox of surface appearance, perception, and reality.

Larry Madrigal

Editor’s Pick p170

Madrigal’s chaotic paintings are contemporary genre scenes. In them, he provides the viewer with an intimate view into his and his family’s domestic life. His paintings are far from pure observation, though. What interests me is the way in which Madrigal, through deft technique and keen knowledge of art history, manages to elevate dressing, sleeping, and the other mundane activities that make up all of our days into a series of quasi-religious moments. The paintings are ultimately about how we navigate the complex and overlapping demands of contemporary existence, and they suggest that the construction of meaning is, at its core, a deeply personal enterprise that is informed by every moment, no matter how seemingly banal. n

Winners: Western Competition 2020 Juror: Suzanne Weaver, Interim Chief Curator and Brown Foundation Curator, Modern and Contemporary Art, San Antonio Museum of Art, San Antonio, TX

Editor’s Selections: Brian Scott Campbell | Heather den Uijl | Joshua Hagler | Larry Madrigal | Xi Zhang

Juror’s Comments

Suzanne Weaver

Interim Chief Curator and Brown Foundation Curator, Modern and Contemporary Art, San Antonio Museum of Art, San Antonio, TX

It is always a privilege to be a juror for an art competition. It is a

tions and in government and educational institutions. There is a

responsibility I do not take casually. My review process is a lengthy

growing demand to go beyond lip service when it comes to diver-

one and is not done in one sitting or one day.

sity, equity, and inclusivity. To be transparent

I feel I owe each artist my time and respect.

and accountable. No doubt my sense of isola-

How many people—disregarding public figures

tion has shaded and influenced my selections.

such as politicians—are willing to open them-

Along with the 3 c’s, I was drawn as well to

selves up to scrutiny and approval in such a

those works that have a sense of immediacy

public way?

and intimacy. Humanity and compassion.

Through my lengthy review process, works

Among the overlapping, interweaving themes,

begin to have conversations with each other.

the relationship between migration and iden-

Connections develop. Sure, certain artworks

tity stands out. In academic terms: diasporic

have a “wow factor” and rise immediately to

identity. Selections show how the story of

the top. Even with a few flat reproductions, an expansive imagina-

self is deeply tied to the diasporic experience and to collective

tion, ambition, and fearlessness can be sensed. Through repetitive

or community stories. Carlos Encinas, whose father and other

viewings, an exhibition forms in my head; themes gel. As a curator

family members immigrated from Mexico, combines pop art, Chi-

for nearly three decades, I have always put the artist’s vision and

cano graphics, digital imagery, video game aesthetics, and the

work first. In other words, I am art- and artist-driven. Also, I have

historical and cultural imagery of Mesoamerica—bridging the

always favored works that appear to embody the “3 c’s” (my term):

ancient and contemporary worlds—to address Latino and Mexican

clarity, content, and conviction. Works that seem to have a neces-

American identity. Through imagery culled from advertising, tele-

sity, even urgency.

vision, movies, and Internet culture, he examines the politics of the Mexico/US border. Suchitra Mattai draws on the experiences

These are not, needless to say, normal times for jurying, or indeed

of her family’s ocean migration from India as well as research on

anything else. We are a year into this unfathomable COVID-19 pan-

the period of Colonial indentured labor in Guyana, South America,

demic; in parts of the country, it is worse now—in terms of the

and the rest of the Caribbean, to “reimagine historical narratives.”

number of cases, hospitalizations, and deaths—than it was at the

Incorporating materials associated with the domestic sphere,

beginning. There have been the police killings of George Floyd,

such as embroidery, wallpaper designs, and images of strong,

Breonna Taylor, and other Black people; Black Lives Matter pro-

defiant women, she composes layered landscapes that question

tests; attacks by white supremacist groups; and a tumultuous

traditional gender roles and the suppression of women’s voices.

presidential election. Thankfully, there is a reckoning and ques-

Mitra Rahul, who was born in India, populates his colorful, sur-

tioning of systemic racism inherent in arts and cultural organiza-

real landscape with images and language based on his ongoing

Mattai p84

Moore p102

Solomon p124

Vance p141

Piwonka p113

Trosper p134

research into global cultural and racial disparities reflected in

world fraught with physical and psychological minefields, even

international news media sources. He ranks symbolic images

sociopolitical and environmental disasters.

and phrases (“pictographs”) according to their “statistical significance”—performing iconographic analysis, so to speak—and cre-

The conflation of the analog and digital, the handmade and

ates visual conversations on charged sociopolitical issues such

mechanical, and lived and mediated experiences gives rise to a

poverty and racial bias.

seductive tension in the rich paintings of Beverly Acha, Ted Kincaid, Lorraine Tady, and Liz Trosper. Each of these artists challenges

Storytelling through the physical landscape is practiced by a

ways of seeing, ways of knowing, and ways of being in this world.

number of the artists selected. In close observations of nature and

Acha’s shapes reference landscape, architecture/structures, and

their surroundings via Zen-like road trips and/or plein air painting,

embodied experiences; color references atmosphere, time of day,

Peter Ligon and Kristin Moore survey the psychological, emo-

and light in space. In the romantic, sublime landscapes of Kincaid,

tional, and poetic power of light and shadow. Much like Edward

cumulus clouds hover between earthly and spiritual worlds, the

Hopper, the greatest painter of existential isolation between the

seen and the felt. Tady’s work is characterized by a back-and-forth

world wars, these artists use economic formal means to portray

between different kinds of lines—digitally produced architectural

the soul and spirit of place. In his romantic, seemingly naïf photo-

or schematic diagrams and intuitive lines produced by the artist’s

based paintings, Mark Andrew Farrell conjures dark narratives

hand. Constructed and embodied experiences of a place or loca-

focused on politically charged landscapes in which traumatic,

tion are layered to build a mysterious scaffolding. Trosper’s digital

transformative events have occurred.

paintings on fabric and “scanner” paintings incorporate saturated, hyperreal colors from advertising and virtual worlds and sen-

Another recurrent theme is the interior landscape: the body

suous, lyrical tubular forms. They evoke both the transparency

as a repository of memories, obsessions, and anxieties. From

associated with film and the computer screen and the gestural

Papay Solomon’s photo-based portraits, infused with a light that

abstractions of Jackson Pollock and Brice Marden.

lends an atmosphere of strength and vulnerability to the sitters, to Mikey Yates’s twilit scenes of everyday family—also based on

The organic, improvisational, and process- and material-driven

photographs, as well as personal memories—and Kelli Vance’s

paintings of Mary Jolly and Matthew Choberka, while markedly dif-

sexually charged staged photographs of women in “moments in an

ferent in tone, highlight the persistence of painting as a powerful

unfolding narrative,” artists explore the relationship between the

tool to evince the mindscape of an artist. Experiments in materials

internal/invisible and the physical/public. The awkward, colorful,

and process can yield new ideas, information, and understandings.

and cartoony people and animals that populate the strange, sur-

Through the act of painting itself, an artist can explore aspects of

real landscapes of Andrew Alba, Greg Piwonka, and William Sch-

the self and belonging in the world. n

weigert seem to deal with their place, their identity, in a changing

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.

Beverly Acha duplicación | oil on canvas, 17 × 16 inches

Beverly Acha duplicación azul | oil on canvas, 22 × 20 inches

Beverly Acha mirando por ahí | oil on canvas, 56 × 48 inches

Beverly Acha Austin, TX studio@beverlyacha.com / www.beverlyacha.com / @beverlyacha

b. 1987 Miami, FL

Education

2018

Skowhegan School of Painting and Sculpture,

Madison, ME

2012

MFA, Yale University, New Haven, CT

2009

BA, Williams College, Williamstown, MA

Residencies

2019

MacDowell, Peterborough, NH

2017

The Lighthouse Works, Fishers Island, NY

Observation and ways of seeing are the starting point for my paintings. Color references atmosphere, time of day, and light in space. Shapes reference landscape, architecture/structures, and embodied experiences. Abstraction lives in moments of perceptual slippage and in the space between binaries, between knowing and seeing, between experience and memory, and between the real and the imagined. I locate these unstable in-betweens, which resist stasis and being named, in sites of repetition, such as mimesis, echoes, reflections, time, and technology.

2016-17 Roswell Artist-in-Residence Program, Roswell, NM

Solo Exhibitions

2018

Warm Form, Underdonk, Brooklyn, NY

2016

Mutualities, Roswell Museum and Art Center,

Roswell, NM

Two-Person Exhibition

2019

My paintings develop intuitively in response to parameters I set. The initial ordering rules allow for chance outcomes and for an improvisational way of painting. It is through these subtle shifts in the structures and systems of repetition that I make a game of looking that reflects the game of its making.

See Also, with Kristi Cavataro, The Lighthouse Works, Fishers Island, NY

Group Exhibitions

2020

Fanfare, Ildiko Butler Gallery, Fordham University,

New York, NY

2019

Three, DC Moore Gallery, New York, NY

Award

2018

Aon-CUE Artist Empowerment Award, CUE Art Foundation, New York, NY

Collections

Allen Memorial Art Museum, Oberlin College, Oberlin, OH

Anderson Museum of Contemporary Art, Roswell, NM

Acha

Andrew Alba Running (34-22) | oil on panel, 36 x 36 inches

Andrew Alba Dead Mexican | oil on canvas, 58 x 58 inches

Andrew Alba Negro Matapacos | oil on panel, 36 x 36 inches

Andrew Alba Salt Lake City, UT andrewalba.art@gmail.com / @andrew.alba

b. 1986 Salt Lake City, UT

Residencies

2020

Modern West Fine Art, Salt Lake City, UT

2018-19 Utah Museum of Contemporary Art, Salt Lake City, UT

Solo Exhibitions

2020

Everyone Sucios, Finch Lane Gallery, Salt Lake City, UT

2019

Gas Station Honey Dew, Utah Museum of Contemporary Art, Salt Lake City, UT

2018 2017

Spring and All, Chapman Library, Salt Lake City, UT Rainbow Variance with Mestizo, Institute of Culture and Arts, Salt Lake City, UT

Group Exhibitions

2019

Looking for America: Salt Lake City, The City Library,

Salt Lake City, UT

2017

Utah Ties, Central Utah Art Center, Salt Lake City, UT

2013

Acclimatized, Center on Contemporary Art, Seattle, WA

My work communicates plainly and depicts the experience of being brown in white spaces, while emphasizing how people live their heritage. Borrowing techniques of abstraction from neoexpressionists, my work aims to evoke an emotional response while commenting on our wildly complex sociopolitical present. As a self-taught artist, I create work without the theoretical constraints and critical expectations of the academy. I sculpt using everyday materials from my day job in construction. I like to juxtapose the clean white walls of the gallery against the rough-hewn, everyday materials of the worker. While drop cloths, drywall mud, concrete, and lumber aren’t of archival quality, I am interested in how these materials will enact the inescapable slow decay of blue-collar bodies. My work is for tired working people.

Divining Meaning: Meditations on Gender and Religion, Lewis & Clark College, Portland, OR

2020

Awards Visual Arts Fellowship, Utah Division of Arts and Museums, Salt Lake City, UT

2017

Honorarium, Central Utah Art Center, Salt Lake City, UT

2013

Honorarium, Center on Contemporary Arts, Seattle, WA

Represented by

Honorarium, Center on Contemporary Arts, Seattle, WA

Alba

Andrew Alba | Running (36-22) (detail)

Barber Dead or in Jail | mixed media on paper, 72 x 132 inches

Barber Bill and Stacia | mixed media on paper, 24 x 36 inches

Barber Selfie: #womansmarch #stopslaveryinlibya | mixed media on paper, 48 x 42 inches

Barber Omaha, NE ltb_11@hotmail.com / www.barberpaintspeople.com / @uniteusone

b. 1982 Detroit, MI

Education

2016

MFA, University of Iowa, Iowa City, IA

Residencies

2021

Sam Fox Island Press, Washington University,

St. Louis, MO

2018

The Union for Contemporary Art, Omaha, NE

Awards

2020

Grant, USArtists International, Mid Atlantic Arts

Foundation

2019

Grant, MAP Fund (for artist collective Propelled Animals)

Grace Lee Boggs, an American revolutionary, defined true wealth as the ability to relate to other human beings. In the pursuit of such wealth in 2004, I reframed my figurative paintings in a matrix of nonidentity to address the fluidity of personhood and the oneness of humanity. I assign to David W. Carbado’s belief, in his essay concerning male and heterosexual privilege, that “we cannot change the macro effect of discrimination without ameliorating the power effects of our identities.” By allowing viewers to personify the figure and thereby erect a personal narrative, I am hoping to reform the scope of perception. My two-dimensional work is my contribution toward cultural shifts that move individuals beyond the constraints of race and gender into a society that is free from the consequences of social categorizing.

Barber

Mick Burson Cheers to all the land stars | colored gesso, oil stick, and pencil on paper, 30 x 22 inches

Mick Burson >((>)(>) | colored pencil and oil stick on paper, 30 x 22 inches

Mick Burson Watering yourself | colored gesso, oil, 44 x 70 inches

Mick Burson Albuquerque, NM 254.495.5491 micklosburson@gmail.com / www.mickburson.com / @mickburson

b. 1990 Waco, TX

Education

2019

MFA, University of New Mexico, Albuquerque, NM

2015

BFA, University of North Texas, Denton, TX

Professional Experience

2019

Muralist, Walls Festival, Jerusalem, Israel

Muralist, Mural Fest, Albuquerque, NM

Solo Exhibitions

2020

Five reasons to stay in one place, Cultivate 7Twelve,

Waco, TX

2019

Wend, Richard Levy Gallery, Albuquerque, NM

2018

I grew up in Waco in a train yard, where I developed a sense of nonpermanence toward objects and paintings I made. I work between large paintings outdoors on the sides of buildings and smaller objects indoors derived from an impulsive need to touch surfaces and pick things up. I trust my instincts and allow myself to play.

The Importance of Packing a Lunch, Richard Levy Gallery, Albuquerque, NM

Group Exhibitions

2020

Waco Hayride, Fort Worth Community Art Center,

Fort Worth, TX

2019

Made of Shapes, Mis en Place Gallery, Oakland, CA

2018

Glenn Downing vs. Mick Burson One-Night Wrestling Event, John Sommers Gallery, University of New Mexico,

Albuquerque, NM

2017

After the Circus, Tamarind Institute, Albuquerque, NM

Collections

WeWork, Salt Lake City, UT

Fidelity Investments Corporate Art Collection

Polsinelli Corporate Art Collection, Houston, TX

Represented by

Richard Levy Gallery, Albuquerque, NM

Burson

Eliseo Angel Casiano Leather Hands | acrylic on canvas, 24 x 24 inches

Eliseo Angel Casiano Cycle | acrylic on canvas, 24 x 24 inches

Eliseo Angel Casiano Starlight | acrylic on unstretched canvas with grommets, 26 x 20 inches

Eliseo Angel Casiano Tucson, AZ eliacasiano@gmail.com / www.eliseocasiano.com / @eliseocasiano

b. 1989 Clinton, OK

Education

2018

MFA, Louisiana State University, Baton Rouge, LA

2013

BFA, East Central University, Ada, OK

Solo Exhibitions

2018

Yes We Can-Can, Glassell Gallery, Baton Rouge, LA

2017

The Queen of Texas, Resonator Institute, Norman, OK

Two-Person Exhibitions

2019

Collective Likeness, with Suzy González, Texas A&M

University–Corpus Christi, Corpus Christi, TX

Cholo Jackson, with Justin Tyler Bryant, Arkansas State

University–Beebe, Beebe, AR 2016

Collective Autonomy, with John Alleyne, Firehouse Gallery, Baton Rouge, LA

2014

No Self, with Colin Frangicetto, Campfire Gallery, San

Francisco, CA

Group Exhibitions

2020

Distant Future, Vermont Studio Center, Johnson, VT

2019

where we came from & where we are going, Transformer, Washington, DC

2017

Louisiana Contemporary, Odgen Museum of Southern Art, New Orleans, LA

2019

Awards Artist Opportunity Grant, Arizona Community Foundation, Phoenix, AZ

2018

National Endowment for the Arts Creative Equity

Fellowship, Vermont Studio Center, Johnson, VT

Graduate Dean’s Medal, College of Art and Design,

Louisiana State University, Baton Rouge, LA

2017

I reinterpret familial and biographical history, recontextualizing figures and space into tableaus with fixed information and indefinite resolution. My paintings function by deconstructing the past to understand the present.

Second Place, Louisiana Contemporary, Odgen Museum of Southern Art, New Orleans, LA

Casiano

Eliseo Angel Casiano | Leather Hands (detail)

Holly Cerna Anticipating | oil on canvas, 60 x 36 inches

Holly Cerna His Glow | oil on canvas, 36 x 36 inches

Holly Cerna Orange Trees | oil on canvas, 16 x 20 inches

Holly Cerna Austin, TX 512.965.2993 holly.cerna@gmail.com / www.hcerna.wixsite.com/mysite / @hollycerna_

b. 1998 Austin, TX

Education

2020

BFA, Maryland Institute College of Art, Baltimore, MD

2016

Academy of Fine Arts, McCallum High School, Austin, TX

Group Exhibitions

2020

Serving the People BFA Show, stp.world (online)

Senior Exhibition I, Fred Lazarus Center, Baltimore, MD

2019

Permanent Display, Jules Maidoff Gallery, Studio Arts

College International, Florence, Italy

Mixed Salad, Jules Maidoff Gallery, Studio Arts College

Through color theory, saturation, contrast, and perspective, my work expresses my fascination with the human condition. I explore how color relates to emotion, and light as a representation of the soul or consciousness. My works explore the relationship between the temporary, tangible physical body and the intangible, eternal metaphysical body (spirit or mind) set in mundane contemporary contexts.

International, Florence, Italy 2017,18 Juried Undergraduate Show, Fox Gallery, Baltimore, MD 2017

Permanent Display, Office of Diversity, Maryland Institute College of Art, Baltimore, MD Karen Warshall Portrait Show, Fox 2 Gallery,

Baltimore, MD

Karen Warshall Anatomy Show, Main Building, Maryland Institute College of Art, Baltimore, MD

Cerna

Matthew Choberka Dark Forest I | oil, enamel, and acrylic on canvas, 88 x 74 inches

Matthew Choberka The Royal Treatment | oil and acrylic on canvas, 96 x 67 inches

Matthew Choberka Animals, Dear | oil on canvas, 52 x 40 inches

Matthew Choberka Ogden, UT 801.583.4800 (A Gallery/Allen+Alan Fine Art) matthew.choberka@gmail.com / www.choberka.art / @matthewchoberka / @matthewchoberka

b. 1969 Peoria, IL

Education

2005

MFA, Henry Radford Hope School of Fine Arts, Indiana University, Bloomington, IN

Professional Experience

2005-

Professor of Art, Weber State University, Ogden, UT

Solo Exhibitions

2016

A Beautiful Wall, Central Utah Art Center,

Salt Lake City, UT

It’s What’s on the outside that Counts, Beaux-arts des

To live in these times is in a lot of ways scary, and in all of my recent works I’m working to acknowledge that, and to overcome it. At times, in essence it feels like I’m making monsters. Maybe it’s a way of trying to “fight fire with fire.” My recent practice has coincided, surprisingly for me, with a return to figuration. I’m not sure just how to explain the relationship between the immateriality of the painted space and this desire to embody and come to terms with our physical and psychic predicaments. But it feels right. There’s a truth in there for me somewhere. My painting addresses the instability and complexity of the contemporary world. The images are autonomous, whole on their own terms (I hope), but interrelated in an ongoing argument with myself about the knowability of the other, and even of the self.

Amériques, Montreal, Canada 2012

Departure: New Work by Matthew Choberka, Beaux-arts des Amériques, Montreal, Canada

2020

Two-Person Exhibition Matthew Choberka and Brian Christensen, A Gallery/ Allen+Alan Fine Art, Salt Lake City, UT

Group Exhibitions

2020

New Optics, The Painting Center, New York, NY

2019

Abstraction is just a word (but I use it)., Utah Museum of Contemporary Art, Salt Lake City, UT

New York Studio School Alumni Invitational, New York Studio School, New York, NY

Plugged-in Paintings, SITE131, Dallas, TX

2017

(un)tacit, The Provincial, Kaleva, MI

2013

Paradox Maintenance Technicians, Torrance Art Museum, Torrance, CA

2011

Transient Landscape, galleryELL, New York, NY

Represented by

A Gallery/Allen+Alan Fine Art, Salt Lake City, UT

Choberka

Colby Currie Painting 7 | oil, spray paint, and acrylic on canvas, 60 x 52 inches

Colby Currie Painting 5 | oil, spray paint, and acrylic on canvas, 60 x 52 inches

Colby Currie Painting 15 | oil, acrylic, and spray paint on canvas, 26 x 22 inches

Colby Currie Dallas, TX colbycurriestudio@gmail.com / www.colbycurrie.com / @colbycurrie_studio

b. 1982 Amarillo, TX

Education

2014

MFA, University of North Texas, Denton, TX

Professional Experience

2018-20 Head of Art Services, Martin & Martin Design, Dallas, TX

Solo Exhibition

2020

Paintings, Gray Contemporary, Houston, TX

Group Exhibition

2020

Work from Home, 12.26, Dallas, TX

Currie’s paintings come about through iterations of process and material. These iterations as seen through mereological thinking and self-rules create series of paintings that can be seen as parts and wholes. Each part is a study of its individuality and its relationship to the whole and a sort of versioning of painting itself. Using traditional materials such as oil paint, rabbit-skin glue, linen, canvas, and stretchers, these components are the tools and the process themselves. Mark-making occurs through combinations of stains, smears, and inversions with a variety of paints, primers, and glues. Each completed piece then enhances the larger conversation of contextual relationships.

Currie

Carlos Encinas TACOS OF EDEN | acrylic on aluminum, 38 x 48 inches

Carlos Encinas JOKER | acrylic and paint marker on birchwood, 32 x 42 inches

Carlos Encinas FIGHT THE POWER | acrylic and paint marker on birchwood, 42 x 32 inches

Carlos Encinas Tucson, AZ 520.447.6117 encinas6@cox.net / www.encinas6.wixsite.com/paintings / @arcadiaboy6

b. 1951 Tucson, AZ

Education

1994

MFA, University of Arizona, Tucson, AZ

1982

BSED, University of Arizona, Tucson, AZ

Professional Experience

1982-

Educator, Tucson Unified School District, Tucson, AZ

2011

Solo Exhibitions

2020

Burton Barr Central Library, Phoenix, AZ

2019

Juvencio Jimenez-Valdez Contemporary Gallery,

Los Angeles, CA

Group Exhibitions

2020

The New West, Sangre de Cristo Arts Center, Pueblo, CO

2019

New Works, Arizona Latino Arts and Cultural Center,

Phoenix, AZ

My current series of paintings is about Mexican/American border issues, the popular culture of advertising, television, movies, Internet culture, Latino or Mexican American identity, border politics, art and political history, and current events. My father (and other ancestors) was born in Mexico, immigrated legally to the US before the 1924 Immigration Act created the notion of “illegals.” He served in World War II combat in Europe and was awarded the Purple Heart for war wounds suffered. He later worked for the railroad in Tucson for thirty-two years, married my Tucson-born mother, and helped raise our family. He was successful and fulfilled his version of the American Dream. I feel most immigrants are much like my father; they deserve a chance to contribute constructively to American society and enrich our country, the USA.

Encinas

Mike Erickson Death’s Deaf Dance Orchid | acrylic on canvas, 40 x 30 inches

Mike Erickson Emerald Halls | acrylic on canvas, 20 x 16 inches

Mike Erickson Older Bouquet | acrylic on canvas, 24 x 30 inches

Mike Erickson Santa Fe, NM sunshinemitchnasty@gmail.com / @sunshinemitchnasty

b. 1976 St. Louis, MO

Education

2007

MFA, Virginia Commonwealth University, Richmond, VA

1999

BFA, Kansas City Art Institute, Kansas City, MO

Award

2013

Charlotte Street Visual Artist Award, Kansas City, MO

I really enjoy fishing and have been doing it much more lately. I have noticed that often when I am fishing, Mike seems to disappear for a time. He, Mike, me, becomes more of a thought that one can occupy among the countless permutations of thought all around—river thought, fish thought, tree thought, sky thought—and it becomes easier to slip into other states of mind and being. Disappearing/transforming whilst fishing, Mike (or non-Mike I guess) is very similar to the Mike that seems to disappear/ transform when painting, when things are more perceived, and not necessarily thought. This has been a source of inspiration, challenge, and fun—to try to inhabit the slightly different disappearing Mikes within each other’s activities. The painting Mike fishes, the fishing Mike paints.

Erickson

Mark Andrew Farrell Boxcar Coven | oil on canvas, 48 x 60 inches

Mark Andrew Farrell 10th and Osage | oil on canvas, 48 x 60 inches

Mark Andrew Farrell Fuck the NRA | oil on canvas, 48 x 60 inches

Mark Andrew Farrell Centennial, CO markfarrellart@gmail.com / www.markfarrellart.com / @markandrewfarrell

b. 1989 Littleton, CO

Education

2015

MFA, Boston University, Boston, MA

2013

Certificate, Post-Baccalaureate Program in Studio Art, Brandeis University, Waltham, MA

2012

BA, Knox College, Galesburg, IL

Residencies

2017

Vermont Studio Center, Johnson, VT

2016

Beijing Inside-Out Art Museum, Beijing, China

2015

League Residency at VYT, Sparkhill, NY

Two-Person Exhibition

2016

Looking Out: Paintings by Grace Colletta and Mark Farrell, Beijing Inside-Out Art Museum, Beijing, China

Group Exhibitions

2019

RedLine Annual Juried Show, RedLine Contemporary Art

Ever since I was a kid, I’ve been drawn to Halloween, not only because my birthday is the day before, but also because it’s the only time of year when every suburban lawn can be turned into an art installation without being sentimental. I’m inspired by what the horror genre and Halloween evoke—heavy metal music, gothic castles, the devil, and the supernatural. I combine these impressions, as well as politics, landscape, and sense of touch, with past experiences to build my own kind of romanticism in painting. My use of romanticism is balanced with progressive attitudes about today’s issues, and my paintings are often difficult to accept as pretty postcards. The paintings are based on photographs of scenes from daily life that are then embellished, and sometimes subverted, until the familiar is combined with the absurd in a way that fits my vision.

Center, Denver, CO

On Edge, Edge Contemporary Gallery, Lakewood, CO

2018

27th Annual Juried Show, Bowery Gallery, New York, NY

Awards

2019

Juror’s Choice Award, On Edge

2015

Arts Project Initiative Award

MFA Painting and Sculpture Alumni Award in Honor of John Walker, Boston University College of Fine Arts,

Boston, MA

Farrell

Mark Andrew Farrell | Fuck the NRA (detail)

Joe Ramiro Garcia Efficiency | oil and alkyd on canvas over panel, 42 x 42 inches

Joe Ramiro Garcia Ready | oil and alkyd on canvas over panel, 60 x 60 inches

Joe Ramiro Garcia Canto | oil and alkyd on canvas over panel, 40 x 36 inches

Joe Ramiro Garcia Santa Fe, NM 816.527.0823 (Blue Gallery) joeramirogarcia@yahoo.com / www.joeramirogarcia.com / @joeramirogarcia

Education

1985

School of the Art Institute of Chicago, Chicago, IL

Solo Exhibitions

2019

Pictures, Things, and Living Arrangements, Blue Gallery, Kansas City, MO

2016

Optimist, LewAllen Galleries, Santa Fe, NM

2014

Transference, LewAllen Galleries, Santa Fe, NM

2005

Paintings and Monotypes, The University of Tennessee at

I never really planned to become a representational painter; in fact, some of my favorite artists are abstractionists. It was the work of the pop artists, more specifically the fringe artists of the movement, that started me on my path. Artists like Ed Kienholz, Marisol, and Peter Blake caught my eye with their creations of everyday people, places, and things. To date, I have not found a way of painting the human figure in my art that I feel satisfied with. Toys and cartoons have become my stand-ins. Photos of loved ones, newspaper clippings, and even grocery store ads all recall what being human is. Careful placement of these images is how I conjure the human spirit in my art.

Chattanooga, Chattanooga, TN

Group Exhibitions

2020

12 New Mexico Artists to Know Now, Southwest

Contemporary, Santa Fe, NM

2019

New Ancient, Fritz + Kouri, Santa Fe, NM

2004

Modes and Methods, Amarillo Museum of Art,

Amarillo, TX

2003

The Show, Museum of Fine Arts, Santa Fe, NM

Exhibition for the United States Chief of Mission to Cuba, Art in Embassies Program, Havana, Cuba

Awards

2005

Grant, Joan Mitchell Foundation, New York, NY

1984

Honorable Merit, National Foundation for Advancement in the Arts, Washington, DC

Publication

Douglas Bullis, 100 Artists of the Southwest (Schiffer

Publishing)

Collections

The University of Tennessee at Chattanooga,

Chattanooga, TN

Enturia, Kansas City, MO

Represented by

Blue Gallery, Kansas City, MO

Garcia

Marilyn Jolly Spring Turbulence | mixed media on panel, 20 x 20 inches

Marilyn Jolly Leaving It Behind | mixed media on panel, 22 x 22 x 4.5 inches

Marilyn Jolly Facing Monkey Mind | mixed media on panel, 23.75 x 20 inches

Marilyn Jolly Dallas, TX 214.760.1155 (Erin Cluley Gallery) www.marilynjolly.com / @marilynjolly7381

b. 1951 Albuquerque, NM

Education

1983

MFA, The University of Oklahoma, Norman, OK

1972

University of Science and Arts of Oklahoma,

Chickasha, OK

Professional Experience

1999-

Associate Professor, Area Head for Painting, University

2018

of Texas at Arlington, Arlington, TX

Solo Exhibitions

2020

Weather Report, Erin Cluley Gallery, Dallas, TX

2018

Big Empty Head, Arlington Museum of Art, Arlington, TX

2016

Sincerely Awkward, Circuit 12 Contemporary, Dallas, TX

2005

Centro Cultural Paraguayo Americano, Asunción,

Paraguay

2004

Small Works, Centro Cultural Paraguayo Americano,

Asunción, Paraguay

Two-Person Exhibition

2019

I watch the weather, the time passing—increasingly limited time, the seasons changing—shifting light, my thoughts. So much internal dialogue: old conversations, to-do lists, theories of thought, new ideas/old ideas. I try to pay attention to what my mind thinks and also the way it thinks. These things interest me and are integrated into my studio practice. My practice of meditation, my observation of nature and the nature of growth and change, and my interest in the way ordering and structure affect my day-to-day activities all come into play in my work. I respond to materials that reflect a sense of history, use, personal mark, and I aspire to communicate ideas with economy, when possible. It is an ongoing process that I am still refining. I think and think and then I hope to lose myself in the process of making, the details, the surface, color, materials, the thing coming into itself and the letting go of other possibilities, and doubt. Internal chatter opens up to make space for quiet concentration.

When They Appear, with Larry Graeber, grayDuck Gallery, Austin, TX

Group Exhibitions

2017

Builders, Circuit 12 Contemporary, Dallas, TX

Small, Erin Cluley Gallery, Dallas, TX

Big Idea, The Painting Center, New York, NY

2010

Wall, SRISA Gallery, Santa Reparata International School of Art, Florence, Italy

Award

1986

Fellowship Award, Mid-America Arts Alliance/National

Endowment for the Arts

Collections

Capital One, Richmond, VA

San Angelo Museum of Fine Arts, San Angelo, TX 67

Represented by

Erin Cluley Gallery, Dallas, TX

Jolly

Kay Juricek After hours western Dakotas | oil on board, 23 x 32 inches

Kay Juricek Café on the eastern Plains | oil on board, 23 x 32 inches

Kay Juricek Late night ice cream stop near Pine Ridge | oil on board, 23 x 32 inches

Kay Juricek Denver, CO kayjuricek01@comcast.net / www.kayjuricek.com

b. 1956 Crete, NE

Education

1984

MS, Columbia University, New York, NY

1980

BFA, University of Nebraska, Lincoln, NE

Group Exhibitions

2020-21 Coors Western Art Exhibit & Sale, Denver, CO (online) 2013-18 Western Spirit Art Show & Sale, Old West Museum,

Cheyenne, WY

2017

Annual Contemporary Art Survey, Fort Collins Lincoln

My work reflects the experience of road trips throughout the American West: driving the long highway that stretches to the horizon and beyond, the expansive vistas, roadside meals, sudden storms, small towns with people leading different lives, the flash of a scene as it goes by, distant lights that slowly grow near and quickly disappear, the wide open quiet in the long light of dusk in a country that is never lonely but instead beautiful and full. My work is about the West as we see it now, not the idealized epic landscapes we see in museums but as it is in our time, with all its transcendent beauty, jarring intrusions, and apparent contradictions.

Center, Fort Collins, CO

Awards

2018

Best of Show, Western Spirit Art Show & Sale

2017

Best Oil Painting, Western Spirit Art Show & Sale

2014

Second Place, Landscape Painting, Artists Magazine

Annual Art Competition

Juricek

Ted Kincaid Fantasia on George Inness’s Delaware Water Gap | varnished pigment on canvas, 65 x 50 inches

Ted Kincaid Fantasia on a Dutch Landscape 221 | varnished pigment on canvas, 72 x 54 inches

Ted Kincaid Thunderhead over Thomas Cole’s Oxbow | varnished pigment on canvas, 54 x 54 inches

Ted Kincaid Dallas, TX 214.521.9898 (Talley Dunn Gallery) www.tedkincaid.com / @tedkincaid

b. 1966 Chattanooga, TN

Education

1991

MFA, University of Kentucky, Lexington, KY

Solo Exhibitions

2018-19 Ted Kincaid: Even If I Lose Everything, Georgia Museum of

Art, University of Georgia, Athens, GA 2006

Ted Kincaid: Ten Years, McKinney Avenue Contemporary, Dallas, TX

Group Exhibitions

2020

Daydreaming: Sharon Core, Ted Kincaid, and Rachel Perry,

Talley Dunn Gallery, Dallas, TX (online) 2015

Elemental ’Scapes, University of Texas at San Antonio Art Gallery, San Antonio, TX

Light is locality. This particular body of work had its genesis a number of years ago, when I was in the Kimbell Museum, in front of Christ’s Blessing by Giovanni Bellini. Having just returned from Italy, I was hit most profoundly by the realization that the palette of unbelievably brilliant colors I had previously assumed to be an invention of sheer imagination and artistic brilliance was one I had actually viewed outside my window in Venice. In my years as an art history geek, it had never occurred to me that these gloriously inventive color palettes of the Venetian Renaissance, the Northern Renaissance, and the Hudson River School—all of these disparate movements that had so passionately guided me throughout my career—were direct aesthetic reflections of what these artists observed, and where they observed it. That moment connected my training both as a painter and a photographer instantly, in a manner I could not have accomplished solely through my education. I needed to be hit over the head.

Collections

Art Museum of Southeast Texas, Beaumont, TX

The Columbus Museum, Columbus, GA

Dallas Museum of Art, Dallas, TX

Georgia Museum of Art, Athens, GA

Human Rights Campaign Foundation, Washington, DC

Museum of Fine Arts, Houston, TX

Museum of Texas Tech University, Lubbock, TX

San Antonio Museum of Art, San Antonio, TX

City of Seattle, WA

US State Department, Washington, DC

Represented by

Talley Dunn Gallery, Dallas, TX

Kincaid

Peter Ligon Garage Door | oil on panel, 11 x 14 inches

Peter Ligon Pickup on Turtle Creek | oil on panel, 9 x 12 inches

Peter Ligon Dairyette | oil on canvas, 20 x 24 inches

Peter Ligon Dallas, TX 214.939.0242 (Barry Whistler Gallery) ligonpa@yahoo.com / www.peterligon.com / @instalig

b. 1953 Birmingham, AL

Education

1976

BFA, University of North Texas, Denton, TX

Residency

2016

Vermont Studio Center, Johnson, VT

Professional Experience

2003-20 Adjunct Lecturer, Eastfield College, Mesquite, TX

Solo Exhibitions

2019

Peter Ligon / New Paintings, Barry Whistler Gallery,

Dallas, TX

2014

Handmade Artworks by Peter Ligon, RE gallery,

Dallas, TX

Peter Ligon: It’s Gettin’ Dark, Too Dark to See, The Safe

For the past several years, I have been exploring plein air landscape painting on small panels, interpreting subjects and spaces selected from arbitrary locations. I search for a subject that combines vernacular built structures set against the flora, sky, ground, and light of the location. I also look out, unfocused, at nothing specific, to catch a sense of interesting color relationships. Once I see what might work well in a composition, I block out on the panel the main areas of light and dark, then mix and lay in paint as quickly as my overly careful instinct will allow. I paint in my hometown of Dallas as well as on frequent trips to Taos, Maine, and Vermont.

Room, Dallas, TX 2018

Two-Person Exhibitions Dwelling: Paintings by Peter Ligon + Layla Luna, Beatrice M. Haggerty Gallery, University of Dallas, Irving, TX

2016

Cedars Open Studios, with Margaret Meehan, Tin Ranch, Dallas, TX

Group Exhibitions

2015

Place / Non-Place, RE gallery, Dallas, TX

Texas Somewhere in Denmark, Galleri Rødhusgaarden, Pandrup, Denmark

2011

Bliss, Barry Whistler Gallery, Dallas, TX

Big Paper, 333 Montezuma Annex, Santa Fe, NM

Publications

2011

Michael Abatemarco, “Paper View,” Pasatiempo, May 27

2007

Charissa Terranova, “Gallery Gourmet,” Dallas Morning

News, October 4

Represented by

Barry Whistler Gallery, Dallas, TX

Ligon

Klaire A. Lockheart Brolympia | oil on canvas, 24 x 36 inches

Klaire A. Lockheart Brodalisca | oil on canvas, 24 x 36 inches

Klaire A. Lockheart Brodalisque Couchée en Westfalia | oil on canvas, 18 x 24 inches

Klaire A. Lockheart Vermillion, SD www.klairelockheart.com / @klairelockheart

b. 1984 Walla Walla, WA

Education

2016

MFA, University of South Dakota, Vermillion, SD

2007

BS, South Dakota State University, Brookings, SD

Residency

2018-20 Vermillion Area Arts Council, Vermillion, SD 2018

Professional Experience Adjunct Graduate Instructor, University of South Dakota, Vermillion, SD

2014-16 Instructor of Record, University of South Dakota,

Vermillion, SD

Solo Exhibitions

2019

Feminine Attempts, Sioux City Art Center, Sioux City, IA

Ladylike Representations, Gallery 120, Inver Grove

Heights, MN

2018

A Is for Apron, Ritz Gallery, South Dakota State University,

Flipping the binary doesn’t solve all the problems of the objectification of women in art, but it does provide an entertaining start. I use humor to inspire viewers to consider that passive representations of women for the heteronormative male gaze are neither natural nor universal. In response to the abundance of dehumanizing imagery I am expected to appreciate for art’s sake, I invented the brodalisque. These oil paintings feature masculine men who recreate the poses and passivity of historical odalisques. Western orientalist painters typically portrayed odalisques within the harem, a place where unrelated men were not allowed. To update the trope of creating a “realistic” painting in a prohibited space, I place my subjects within the hidden mysteries of what is known as the man cave. I render these forbidden environments representationally to persuade the viewers that these compositions are factual and not at all fictitious. If the original odalisque paintings that I reference really truly are about form and aesthetics, not sex and ownership, then these paintings are completely serious and not remotely silly.

Brookings, SD 2017

Sioux Falls Arts Council, Sioux Falls, SD

2016

Domestic Sarcasm, The Garage, Rapid City, SD

Group Exhibitions

2020

Embodiment, Hopkins Center for the Arts, Hopkins, MN

Persistence, Ramsey County Historical Society,

Saint Paul, MN

2018

Women’s Work, Cyrus M. Running Gallery, Concordia

College, Moorhead, MN

2017

Figuring It Out: Five Female Artists Exploring the Female

Idea, Buena Vista University Art Gallery, Storm Lake, IA 2016

Real People, Old Courthouse Arts Center, Woodstock, IL

2015

Gendered Perspectives: An Investigation into

Contemporary Identities, Hartmann Center Gallery,

Bradley University, Peoria, IL

Lockheart

Suchitra Mattai Foreigner | acrylic and found fabric, 40 x 48 inches

Suchitra Mattai Wedded Bliss | acrylic and embroidery floss on found fabric, 40 x 48 inches

Suchitra Mattai We Are I | acrylic, gouache, found bindis, and oil on linen, 80 x 120 inches

Suchitra Mattai Denver, CO 303.590.9800 (K Contemporary) suchitramattai@hotmail.com / www.suchitramattaiart.com / @suchitramattaiart

b. 1973 Georgetown, Guyana

Education

2003

MFA, University of Pennsylvania, Philadelphia, PA

2001

MA, University of Pennsylvania, Philadelphia, PA

Solo Exhibitions

2019

Fugue, K Contemporary, Denver, CO

Imperfect Isometry II, Denver Art Museum/Biennial of the Americas, Denver, CO

2018

Sugar Bound, Center for Visual Art, Metropolitan State University of Denver, Denver, CO

LandFall, grayDuck Gallery, Austin, TX

Two-Person Exhibition

2020

History Reclaimed, with Adrienne Elise Tarver, Hollis

Taggart, New York, NY

Group Exhibitions

2020

State of the Art 2020, Crystal Bridges Museum of American

I am interested in how memory allows us to unravel and reimagine historical narratives. My primary pursuit is to give voice to people whose voices were once quieted. Using both my own family’s ocean migrations and research on the period of colonial indentured labor during the nineteenth century, I seek to expand our sense of “history.” Rewriting this colonial history contributes to contemporary dialogue by making visible the struggles and perseverance of those who lived it. I often focus on women and employ practices and materials associated with the domestic sphere, such as embroidery, weaving, or various fiber elements. I reimagine vintage and found materials that have a rich past as a way of creating a dialogue with the original makers and the time periods in which they were cherished, as well as a means of navigating my own personal narrative. Thinking about colonization in Guyana and the rest of the Caribbean is a way of tracing my family’s migration from India and of fostering discussion around contemporary issues surrounding gender and labor.

Art and The Momentary, Bentonville, AK 2019

Sharjah Biennial, Sharjah, United Arab Emirates

Women’s Work, Pen and Brush, New York, NY

Pulse Art Fair, Miami, FL

2018

Octopus Initiative, Museum of Contemporary Art Denver,

Denver, CO

RedLine Annual Juried Show, RedLine Contemporary Art Center, Denver, CO

Collections

Crystal Bridges Museum of American Art, Bentonville, AK

Taylor Art Collection, Denver, CO

Represented by

K Contemporary, Denver, CO

Hollis Taggart, New York, NY

grayDuck Gallery, Austin, TX 87

Mattai

Suchitra Mattai | Foreigner (detail)

Sarah McKenzie Inner Circle (Guggenheim Museum with Hilma af Klint) | oil and acrylic on canvas, 30 x 30 inches

Sarah McKenzie Windows (Nathalie Karg with Seth Cameron) | oil and acrylic on canvas, 30 x 30 inches

Sarah McKenzie Exhibition Space (Whitney Museum with Laura Owens) | oil and acrylic on canvas, 48 x 72 inches

Sarah McKenzie Boulder, CO 720.334.1088 sarah@sarahmckenzie.com / www.sarahmckenzie.com / @sarahmckenzieart

b. 1971 Greenwich, CT

Solo Exhibitions

2020

Sanctum, David B. Smith Gallery, Denver, CO

2019

2019 Alexander Rutsch Award Winner: Sarah McKenzie, Pelham Art Center, Pelham, NY

2016

White Walls, David B. Smith Gallery, Denver, CO

White Walls, Indianapolis Contemporary, Indianapolis, IN

2014

Transitional, David B. Smith Gallery, Denver, CO

Group Exhibitions

2020

Rocky Mountain Biennial, Museum of Art Fort Collins,

Fort Collins, CO

2018

Summer Mixer, Joshua Liner Gallery, New York, NY

Elsewhere, Joseph Gross Gallery, University of Arizona, Tucson, AZ

2015

Art on the Edge, New Mexico Museum of Art,

Santa Fe, NM

2012

Continental Drift, Aspen Museum of Art, Aspen, CO

My paintings examine the architecture of exhibition space and the role it plays in framing and orienting our experience of art. The rooms I depict are at once austere and opulent; makeshift and highly controlled; impersonal and sacred. I celebrate these pristine rooms and the works of art they feature, but my paintings also raise issues of access and inclusion. While exhibition spaces may offer a sense of sanctuary to some, others may feel marginalized or shut out. Historically, these rooms have been highly exclusive, promoting a narrow, dominant art narrative while omitting alternative perspectives. Although the art world has begun to reconsider that narrative, as demonstrated by the 2019 Hilma af Klint exhibition at the Guggenheim, captured in my painting Inner Circle, the sense of exclusivity persists. As my paintings reveal, these spaces have the power to confer status and meaning on the art contained within and the individuals who gain entry.

Continental Drift, Museum of Contemporary Art Denver, Denver, CO

Represented by

David B. Smith Gallery, Denver, CO

McKenzie

Addie Kae Mingilton Last Illness | acrylic on canvas, 48 x 48 inches

Addie Kae Mingilton Mulatto Kids | acrylic on canvas, 18 x 24 inches

Addie Kae Mingilton Mulatto Trailways | acrylic on canvas, 48 x 72 inches

Addie Kae Mingilton Denver, CO 720.252.2928 addiekaeart@gmail.com / www.addiekae.com / @addiekaeart / @addie_kae_art

b. 1997 Denver, CO

Education

2019

BFA, Colorado Mesa University, Grand Junction, CO

Solo Exhibition

2019

Not Black Enough Not White Enough, Triangle Gallery, Grand Junction, CO

Group Exhibitions

2020

30 Under 30, Viridian Artists, New York, NY

10th Annual International Juried Show, Gallery 110,

Seattle, WA

Portraits: Identity and Expression, Site:Brooklyn Gallery,

Brooklyn, NY

Colorado Juried Exhibition, Red Brick Center for the Arts, Aspen, CO

2019

I work primarily with acrylic paint; it can be moved and maneuvered smoothly, it doesn’t blend easily, and it allows me to work between thick and translucent strokes. Color is extremely meaningful in my works, along with my figurative forms; it is how I express interpreted emotions from photos into my paintings. My works are primarily based on photos of my African American side of the family. Being of mixed race, I struggle to find my place of belonging between my two cultures. I am ashamed of my light skin, and that I am considered “passing” as a white person. Attempting to fit into either category of black or white I find myself in a gray paint stroke overlapping the two, not completely blending into one color or the other. My paintings explore the complicated and controversial relationship our country has developed between black people and white people. Through my imagery I aim to educate others on the minority figure as beautiful, relatable, powerful, and belonging in art just as much as the white figure.

Embodiment, BFA exhibition, 437CO Gallery, Colorado Mesa University, Grand Junction, CO

Figureworks 2019, Saint Brigid’s Centre for the Arts,

Ottawa, Canada

Was it Worth It?, RedLine Contemporary Art Center,

Denver, CO

Open Call, Georgia Art Space, Denver, CO (pop-up)

2018

Small Matters, 437CO Gallery, Colorado Mesa University, Grand Junction, CO

Critique Night, Western Colorado Center for the Arts, Grand Junction, CO

Colorado Mesa University Juried Student Show, Western Colorado Center for the Arts, Grand Junction, CO

2017

Colorado Mesa University Juried Student Show, Western Colorado Center for the Arts, Grand Junction, CO

Publication

2019

Featured artist, Pollux Zine, vol. 6

Collection

2015

Overland High School, Aurora, CO 95

Mingilton

Rahul Mitra Recollections of Future Events | acrylic paint and India ink on canvas, 48 x 36 inches

Rahul Mitra Deccan Dream | acrylic paint on canvas, 48 x 36 inches

Rahul Mitra You see everything around me except me_2 | acrylic paint and India ink on canvas, 36 x 36 inches

Rahul Mitra Pearland, TX +33 1 58 89 05 56 (Galerie Vincent Tiercin) mitraDNA@gmail.com / www.rahulmitra.com / @mitraDNA

b. 1967 Hyderabad, India

Residencies

2015

Box City installation, Juxtopoz Studios, Marseille, France

2014

Box City installation, Michelle Grabner’s Poor Farm, Manawa, WI

2013

Box City installation, Artist Round 38, Project Row Houses, Houston, TX

Solo Exhibitions

2019

Your saviors killed your people to build the city of your

dreams, G Spot Gallery, Houston, TX 2017

You see everything around me, except me, Galerie Art & Craft, Paris, France

2016

I bury the past so I can repeat it, G Spot Gallery,

Houston, TX

2015

Box City installation, collaboration w/ Centre Pompidou and

I bring visual and cultural language drawn from the media to the streets in order to interpret personal, sociopolitical dialogues exploring poverty, ennui, custom, love, strangeness, technology, linguistics, and science. My art is based on research on global cultural disparities that I extract from the words and phrases found in the current news media across the globe, on which I perform statistical analyses to rank them based on their significance and transform them into “pictographs” in my drawings and paintings, using acrylics, oils, and inks. I also collaborate with marginalized communities in cities across the world and invite them to paint on thrown-away cardboard boxes, collected in situ, and install the collectively painted boxes onsite as an ephemeral art installation called Box City. In addition, I make linocut prints and sculptures based on my drawings.

9ème Concept, Paris, France

Box City installation, collaboration w/ Sylvia Estes and Bard College Berlin, Berlin, Germany

2013

Box City installation, Texas Biennial, Blue Star

Contemporary Art Museum, San Antonio, TX

2012

Box City installation, Station Museum of Contemporary Art,

Houston, TX

Group Exhibitions

2020

More Is More, Contemporary Art Museum, Plainview, TX

2014

Houston 65, Contemporary Arts Museum Houston,

Houston, TX

2011

Texas Biennial, Austin, TX

2010

Texas!, Museo de Arte Moderno, Trujillo, Peru

Awards

2013

Artist in Residence, 2013 Portland Museum of Art Biennial, Portland Museum of Art, Portland, ME

2012

Invited artist, First International Printmaking Triennial, Ulus Gallery, Belgrade, Serbia

Represented by

Galerie Vincent Tiercin, Paris, France

G Spot Gallery, Houston, TX

Mitra

Kristin Moore Thunderbird Motel | acrylic on wood panel, 40 x 40 x 2 inches

100

Kristin Moore Pure Joy (Marfa) | acrylic on wood panel, 30 x 30 x 2 inches

101

Kristin Moore Union Pacific Railroad (Marfa) | acrylic on panel, 40 x 40 x 2 inches

102

Kristin Moore Dallas, TX kristinmooreart@gmail.com / www.kristinmooreart.com / @kristinmooreart

b. 1990 Houston, TX

Education

2016

MFA, Otis College of Art and Design, Los Angeles, CA

2013

BA, St. Edward’s University, Austin, TX

Solo Exhibitions

2020

Commerce Gallery, Lockhart, TX

2017

Ceremony, Fine Arts Gallery, St. Edward’s University,

Austin, TX

2016

Rear Window, Bolsky Gallery, Los Angeles, CA

Group Exhibitions

2020

SHOWFIELDS x The Jealous Curator, SHOWFIELDS,

New York, NY

New Western Talent, Western Gallery, Dallas, TX

2019

The Other Art Fair, Dallas Market Center, Dallas, TX

No Dead Artists, Jonathan Ferrara Gallery,

New Orleans, LA

2018

Expressions of the City: Re-Imagining the Local, Aether

My paintings explore the landscapes of Texas, California, and the highways in between. Growing up in Texas and living outof-state in California generated an appreciation for the visual transition that we see between cities when in a car or an airplane. I reference signage, architecture, and the natural landscape to oscillate between themes of memory and nostalgia. My subject matter is often isolated against a big sky to illuminate a sense of scale and isolation for the viewer. I love to take the everyday elements in a surrounding landscape and add an ethereal layer to it through painting.

Space Gallery, Houston, TX 2017 2016

Turbulent Landscape, modified/arts, Phoenix, AZ Now What?, Bolsky Gallery, Otis College of Art and Design, Los Angeles, CA

Publications

2020

Danielle Krysa, “Kristin Moore,” blog feature, The Jealous

Curator, April

Margherita Cole, “Cotton Candy-Colored Landscape Paintings Showcase the Tranquil Beauty of Western Skies,” My Modern Met, May

Awards

2020

20 Artists to Watch in 2020, Saatchi Art

2018

Best in Show, No Man’s Land, The Yards Collective,

Rochester, NY

103

Moore

Kristin Moore | Thunderbird Motel (detail)

John Randall Nelson She Made a Break for It | acrylic on panel, 36 x 36 inches

104

John Randall Nelson Dynamo | acrylic on panel, 72 x 45 inches

105

John Randall Nelson Arcadia | acrylic on panell, 78 x 96 inches

106

John Randall Nelson Tempe, AZ 480.862.9460 whonelson@cox.net / www.whonelson.com / @johnrandallnelson / @johnrandallnelson

b. 1967 Princeton, IL

Education

1996

MFA, Arizona State University, Tempe, AZ

Solo Exhibitions

2020

John Randall Nelson: New Works, Gebert Contemporary, Scottsdale, AZ

2019

Seattle Art Fair, w/ FP Contemporary (Culver City, CA), Seattle, WA

2018

An American Vernacular, Wingate Gallery, University of Arkansas, Fort Smith, AR

Signs & Ciphers, Gebert Contemporary, Scottsdale, AZ

2017

Weird West, FP Contemporary, Los Angeles, CA

2016

Context Art Miami, w/ FP Contemporary, Miami, FL

LA Art Show, w/ FP Contemporary, Los Angeles, CA

2015

Flowered, Andrea Schwartz Gallery, San Francisco, CA

2014

Polka Dots for Holly Solomon, FP Contemporary,

Culver City, CA

2013

Fraught, Simply Fraught, with Narrative, Conduit Gallery,

Long before the appearance of writing, figurative and nonfigurative images were used in pictorial systems of communication. More than 20,000 years ago, people began to draw patterns of rhythmic lines, dots, and symbols, arranged in a certain order and with regular spacing. Though they remain enigmatic, those ancient signs, like a written or spoken language, infer meaning. In this sense, lines, polka dots, or other geometric shapes convey a symbolic value. Time tests a sign’s ability to inscribe itself into memory. The skull symbolizes danger, in Christian iconography, it is a “memento mori”: a stark reminder of the transience of the world. I see my art as a personal visual language. It exists in a liminal zone, a shape-shifting space where some things morph into other things. Fragments of signs and ciphers float like music notes, or pirouette into ambiguity.

Dallas, TX 2011

New Works, Stremmel Gallery, Reno, NV

Alter-native Signs, Gebert Gallery, Venice Beach, CA

New Works, Grover/Thurston Gallery, Seattle, WA

Represented by

Gebert Contemporary, Scottsdale, AZ

FP Contemporary, Culver City, CA

Sue Greenwood Fine Art, Laguna Beach, CA

107

Nelson

Lauren Michelle Peterson Domestic Altar II (feet up, foot down, do the hokey pokey and turn yourself around) | pochoir, latex paint, Mylar, thread, and caulk on found objects, 84 x 60 x 60 inches

108

Lauren Michelle Peterson Domestic Altar I (egg casseroles and hand towels) | acrylic, spray paint, and pochoir on found objects, 60 x 36 x 36 inches

109

Lauren Michelle Peterson This is why we can’t have nice things | pochoir, caulk, and thread on found objects, 120 x 72 x 48 inches

110

Lauren Michelle Peterson North Topsail Beach, NC lamichellepeterson@gmail.com / www.laurenmichellepeterson.com / @laurenmichellepeterson

b. 1985 Columbia, MD

Education

2015

MFA, Georgia State University, Atlanta, GA

Residencies

2019

77Art, Rutland, VT

2017

Vermont Studio Center, Johnson, VT

2016

Hambidge Center, Rabun Gap, GA

Professional Experience

2018-20 Studio Coordinator of Drawing, Painting, Printmaking,

Anderson Ranch Arts Center, Snowmass Village, CO

I use devalued objects such as used furniture, discarded housewares, and packaging as painterly marks to build abstract compositions. Considering material properties and limitations, I negate the objects’ use-function in favor of its aesthetic capacities. This reordering of objects challenges the normative hierarchy of value and rejects objects as symbols. My primary motivation in the studio is play and humorous experimentation. I find perfection laughable and instead allow my forms to succumb to mistakes of my own hand and the inclinations of their materials. My assemblages are awkward or exaggerated mutations of familiar forms turned abject. These forms are components, able to be rearranged within an installation, stand alone, or be taken apart and repurposed, denying the idea of objective conclusion.

2015-18 Visiting Lecturer/Part-Time Instructor, Georgia State

University, Atlanta, GA

Solo Exhibitions

2018

Mouth Water in Elbow Grease, Plough Gallery, Tifton, GA

2016

on Going, Mint Gallery, Flatiron Building (venue),

Atlanta, GA

Group Exhibitions

2019

Be. Long, Dutoit Gallery, Dayton, OH

My recent work focuses on expectation and disappointment. I consider the absurdity in domestic rituals that strive for an ideal. Subverting the spectacle of decoration, I push the seductively beautiful towards the overwhelmingly sickening. My interest lies within the slippery demarcation between useful and useless, appealing and repellent.

Imagine Climate, Patton-Malott Gallery, Anderson Ranch Arts Center, Snowmass Village, CO

2018

Off the Wall, Spartanburg Art Museum, Spartanburg, SC

2017

Create/Change, Hillyer Art Space, Washington, DC

Small Works, Trestle Gallery, New York, NY

Awards

2020

Aspen Art Museum Fellowship, Aspen, CO

2018

Emerging Artist Award + Project Grant, City of Atlanta, GA

Collection

High Museum of Art, Atlanta, GA

111

Peterson

Greg Piwonka Night Drink | oil on canvas, 57 x 44 inches

112

Greg Piwonka Isolation | oil on canvas, 16.75 x 14.75 inches

113

Greg Piwonka Resources | oil on canvas, 72 x 58 inches

114

Greg Piwonka Austin, TX greg.piwonka@gmail.com / www.gregpiwonka.com / @gregpiwonka

b. 1974 Memphis, TN

Education

2018

MFA, Virginia Commonwealth University, Richmond, VA

2003

BFA, Texas State University, San Marcos, TX

Professional Experience

2019

Visiting artist lecture, Texas State University,

San Marcos, TX

2017-18 Adjunct Instructor, Virginia Commonwealth University,

Richmond, VA

Solo Exhibitions

2019

Domesticity, Flex Gallery, Texas State University,

San Marcos, TX

2007

Why Deloris Why, Concordia University Texas, Austin, TX

Two-Person Exhibition

2005

You Still Paintin’, with Eric Gibbons, Fresh Up Club,

Austin, TX

Group Exhibitions

2018

Blackeye, ADA Gallery, Richmond, VA

Emerge, Page Bond Gallery, Richmond, VA

VCU MFA Thesis Exhibition, Anderson Gallery,

Richmond, VA

2017

L’Heauxspitality, FAB Gallery, Richmond, VA

2016

InLight, 1708 Gallery, Richmond, VA

Horse Apartment, FAB Gallery, Richmond, VA

2015

Come Over Here and Touch This Rock, The Museum of

Human Achievement, Austin, TX

Publication

2016

“Sumi Ink,” Fields Magazine

My paintings are a cathartic endeavor. The paintings look funny, but I am constantly questioning my own privilege and upbringing to critically reassess what I have been taught. Humor is used in these paintings to lighten the load of larger topics, such as access to clean water, patriarchal masculinity, capitalism, and climate change. Often the paintings are autobiographical and include domestic objects and patterns from textiles in my life. Frequently, dogs appear as imagined characters in the work; they are used as stand-ins to reference ideas about human behavior. My intention is for the people, animals, and objects in the paintings to all exist in the same painted world, but also to critique the world we inhabit.

115

Piwonka

Jackie Riccio Red sky at night sailor’s delite | tuft, fabric, and paint on monk’s cloth, 48 x 48 inches

116

Jackie Riccio Ribbon candy, a stone’s throw and a few good intentions | tuft and paint on monk’s cloth, 48 x 48 inches

117

Jackie Riccio Full moon, a handful of high frequencies and your mother’s best dress | tuft, fabric, and paint on monk’s cloth, 48 x 48 inches

118

Jackie Riccio Albuquerque, NM 505.766.9888 (Richard Levy Gallery) jackie.ricc@gmail.com / www.jackiericcio.com / @jackie.ricc

b. 1992 Bethlehem, NJ

Education

2014

Tamarind Institute of Fine Art Lithography,

Albuquerque, NM

BFA, Maryland College of Art, Baltimore, MD

Professional Experience

2019-20 Owner, Land of Plenty Studio, Albuquerque, NM 2018-20 Organizer, The Palace Collective, Berlin, Germany

I work in interdisciplinary abstraction based out of craft. This is painting, installation, and textile, ranging from wall hangings and freestanding objects to performances. The works are floating landscapes that speak to the multicentered sensory and emotional experience of living in society with a body. The marks are all neighbors in a dystopian scene, smushed-together symbols of lived experiences in relationship to each other. I use materials and imagery that reference the vocabulary of traditional craft, domesticity, workshop spaces, mass production, and artificiality.

Organizer, Leftover Sewing Collective, Berlin, Germany, and Albuquerque, NM

2015-17 Organizer, The Small Engine Gallery, Albuquerque, NM

Solo Exhibitions

2021

(Forthcoming) Land of Plenty, Richard Levy Gallery,

Albuquerque, NM

2019

Kill Yer Darlins, Donaugang Schaufenster,

Berlin, Germany

2018

Have a Good Day, Das Kapital, Berlin, Germany

2016

Incogneat-o, All Kinds Art Festival, Albuquerque, NM

Group Exhibitions

2020

Constellations, Harwood Gallery, Albuquerque, NM

Tuft, Group Projects, Philadelphia, PA

2019

Facing Realities, Kolonie Gemütlichkeit, Berlin, Germany

Berlin Circus Festival, Berlin, Germany

Sharjah Architecture Triennial, Sharjah, United Arab

Emirates

2018

Blue Pencil, Art Spot Korin, Kyoto, Japan

Represented by

Richard Levy Gallery, Albuquerque, NM

119

Riccio

William Schweigert Charcoal Study (YUG and BEL) | oil and charcoal on paper, 44 x 30 inches

120

William Schweigert Sculpted Self-Portrait (YUG and BEL) | oil on paper, 44 x 30 inches

121

William Schweigert Deluge | oil and pastel on paper, 94 x 60 inches

122

William Schweigert Austin, TX 404.316.2244 will.schweigert@gmail.com / www.williamschweigert.com / @william__tiger

b. 1989 Pensacola, FL

Education

2015

MFA, Northwestern University, Evanston, IL

2012

BFA, Georgia State University, Atlanta, GA

Residency

2013

Hambidge Center, Rabun Gap, GA

Professsional Experience

My painting practice focuses on a character tentatively named YUG. YUG is an avatar for universal socialism. They live in a gut and subsist on the excess of over-consumption. YUG bides their time studying, making art, and becoming more sensitive.

2015-18 Professor of Practice, University of Texas at Austin,

Austin, TX

Solo Exhibitions

2015

our debt, your debt, FLATspace, Chicago, IL

2013

False Truths, WonderRoot Arts Center, Atlanta, GA

636 // 08.03.13, Mint Gallery, Atlanta, GA

Group Exhibitions

2015

Age of Consent, Block Museum, Evanston, IL

2013

Civil Sound Ecology, Elevate, Atlanta, GA

123

Schweigert

Papay Solomon The Black Boy Who Wears White Skin, Portrait of Yaya Simeon Edamivoh–NIgeria | oil on linen, 45 x 80 inches

124

Papay Solomon As a Heart Attack, Natalie Ruth Impraim–Ghana (First-Generation) | oil on linen, 45 x 80 inches

125

Papay Solomon Unapologetically African, Portrait of Bocar Gueye — Senegal | oil and pastel on linen, 40 x 90 inches

126

Papay Solomon Phoenix, AZ papaysolomon@gmail.com / www.papaysolomon.com / @papaysolomon

b. 1993 Gueckedou, Guinea

Education

2018

BFA, Arizona State University School of Art, Tempe, AZ

Solo Exhibition

2020

African for the First Time, Joseph Gross Gallery, University of Arizona, Tucson, AZ

Group Exhibitions

2020

FAIR, The New Art Dealers Alliance (NADA) (online)

Solomon

My current body of work explores the language of portraiture to expand African narratives beyond common misconceptions and dominant discourses. By utilizing potent sets of styles, I paint larger-than-life portraits depicting young people of the African diaspora. More than simply replicating my sitters, I seek to understand their stories and characteristics, weaving them into my work. Through my work, I investigate the diaspora divide while also celebrating the newfound identities of its people.

BP Portrait Award Exhibition, National Portrait Gallery, London, England

2019

New American Paintings 2019 Review: Part 2, Steven

Zevitas Gallery, Boston, MA

2018 Contemporary Forum Artist Grant Winners,

Phoenix Art Museum, Phoenix, AZ

Body Politic, Art Gallery, Mesa Community College,

Mesa, AZ

2018

Arizona Biennial 2018, Tucson Museum of Art, Tucson, AZ

Moniker Art Fair, Greenpoint Terminal Warehouse,

Brooklyn, NY

Publications

2020

Serena O’Sullivan, “Africa Elsewhere,” Java Magazine,

no. 286, January

2018

Erin E. Rand, “Painting the Diaspora,” International Artist

Magazine, no. 124, December/January

2018

Award Honors Studio Award, Arizona State University School of Art, Tempe, AZ

Photograph by Idara Ekpoh

127

Papay Solomon | The Black Boy Who Wears White Skin, Portrait of Yaya Simeon Edamivoh–NIgeria (detail)

Lorraine Tady Dragon Fly Field Stellation (OVS-CAS2) | UV ink on canvas, 72 x 63 inches

128

Lorraine Tady Twilight Overlook Mountain | UV ink on canvas, 40 x 35 inches

129

Lorraine Tady (RHP) Resource Holding Pattern, Interrelated Potential | UV ink on canvas, 72 x 60 inches

130

Lorraine Tady Dallas, TX 214.939.0242 (Barry Whistler Gallery) Lorraine.tady@utdallas.edu / www.lorrainetady.com / @lorrainetady

b. 1967 Camp Lejeune, NC

Education

1991

MFA, Southern Methodist University, Dallas, TX

1981

BFA, Wright State University, Dayton, OH

Solo Exhibitions

2017

Sparklines: Paintings, Drawings, Prints, Barry Whistler Gallery, Dallas, TX

2015

Before Iceland: Multiple Plate Drypoint Monotypes, Íslensk Grafík, Reykjavik, Iceland

2013

L.E.D. (The Title of the Exhibition Is like a Poem), Barry Whistler Gallery, Dallas, TX

2011

Small Abstract Paintings, The Painting Center,

New York, NY

Group Exhibitions

2020

Texas Women: A New History of Abstract Art, San Antonio

My digital drawing, painting, printmaking—blended with analog drawing, painting, and printmaking—continues to investigate what it means “to paint” in contemporary art. My drawing or print goes into the digital world, is manipulated, layered, reprinted/hand-altered and re-uploaded—not unlike the variations one can obtain with traditional printmaking “loops.” Results yield unique digital paintings, but also instigate important off-screen paintings, conté drawings on paper, or drypoint prints. Both my traditional and digital works of art are influenced by this process, a fertile visual dialogue, where meaningful arrays are found and reinvented. My first solo show at Barry Whistler Gallery in 1991 captured my method of “re-drawing” works to distill and analyze “hidden” images. Myriad things resonate. I am attracted to imperfection, like sound on a warped record or swarms of instruments about to fall out of sync. My material and process are purposely not hidden, therefore I allow pixelation, cut-and-paste edges, rough paint, and economy of means.

Museum of Art, San Antonio, TX 2019

The Adjacent Possible, Muscarelle Museum of Art,

Williamsburg, VA

Plugged-in Paintings, Site 131, Dallas, TX

Awards

2015

Otis and Velma Davis Dozier Travel Grant, Dallas

Museum of Art, Dallas, TX

2010

Award, Ruth and Harold Chenven Foundation,

New York, NY

Publications

2017

Bodies of work. Visual games and process. Color research. Spatial fields. Dynamic experiences.

“Lorraine Tady: Sparklines,” interview by Benjamin Lima, Athenaeum Review, December (online)

2014

Michael Paglia and Jim Edwards, Texas Abstract: Modern /

Contemporary (FrescoBooks)

Collections

JP Morgan Chase, Plano, TX

Neiman Marcus, New York, NY 131

Represented by

Barry Whistler Gallery, Dallas, TX

Tady

Liz Trosper for Katie | digital painting printed on crepe de chine, 55 x 35 inches

132

Liz Trosper laced gamut | scanner painting printed on canvas, 55 x 47 inches

133

Liz Trosper stretch | digital painting printed on crepe de chine, 35 x 55 inches

134

Liz Trosper Dallas, TX 972.571.1609 liztrosper@gmail.com / www.liztrosper.com / @_not_jack_white

b. 1983 Minot, ND

Education

2016

MFA, University of Texas Dallas, Dallas, TX

Residency

2013-15 CentralTrak: The UT Dallas Artists Residency, Dallas, TX 2019-

Professional Experience Lecturer, College of Visual Arts and Design, University of North Texas, Denton, TX

Represented by

Barry Whistler Gallery, Dallas, TX

Let the barrier come down between image and material, pictorial space and the flatbed picture plane. Touch, play, accept, reject. Let the photograph, the print, disrespect tradition so that a new baby can be born from many disciplines—painting, digital imaging, assemblage, installation, animation, and video. Let literature, trash, femininity, motherhood, the beauty myth, selfhelp psychology, the overlooked, and humor be exalted. Seize the means of production—material and digital, as well as the history of pictures, particularly painting and photography. Look carefully at the overlooked, because it is laden with hidden seeds. The undervalued hiding in plain sight, humorous and elegant in its pathos of contemporary life.

135

Trosper

Christina Valenzuela Chinatown Arcade | oil on board, 44 x 44 inches

136

Christina Valenzuela The Shoes I Lost When I Was Having a Mental Breakdown in Penn Station | oil on board, 44 x 44 inches

137

Christina Valenzuela Dream Baby (Nap Time) | oil on board, 36 x 36 inches

138

Christina Valenzuela Seattle, WA 602.384.6462 christinavalenzuela319@gmail.com / www.christinavalenzuela.com / @christinavalenzuela

b. 1996 Phoenix, AZ

Education

2022

MFA candidate, University of Washington, Seattle, WA

2020

BFA, Arizona State University, Phoenix, AZ

2019

Mount Gretna School of Art, Mount Gretna, PA

2018

BS, Kelley School of Business, Indiana University,

Bloomington, IN

Solo Exhibition

2019

Group Exhibitions

2020

Break the Stigma, New City Studios, Phoenix, AZ

2019

Annual Winter Juried BFA Show, Harry Wood Gallery, Phoenix, AZ

The Square, Modified Arts, Phoenix, AZ

Where the Figure Lies, North Wall Gallery, Phoenix, AZ

Growing Down, Xico Latino and Indigenous Arte y Cultura, Phoenix, AZ

Perception is the basis on which we experience daily life. MerleauPonty’s ideas of phenomenology, the study of conscious experience from the first-person point of view, led him to the insight that “we know not through our intellect, but through our experience.” My paintings are an exploration of the relationship between the self and environment and how these two seemingly distinct entities are inextricably linked. Through the documentation of exchanges, I explore the idea of phenomenology as a departure point for constructing intimate moments with nature, objects, spaces, the self, and others. I look to assign a permanence to complex, striking, and inarticulable moments of clarity, present details of life in general as glimmers of hope and understanding, and explore the prism of self-identity through painting.

Mount Gretna Student Art Show, Hall of Philosophy, Mount Gretna School of Art, Mount Gretna, PA

139

Valenzuela

Kelli Vance In the Cold Night of the Day | oil on canvas, 36 x 60 inches

140

Kelli Vance Self-Help | oil on canvas, 36 x 24 inches

141

Kelli Vance Self-Portrait as Maika | oil on canvas, 40 x 30 inches

142

Kelli Vance Houston, TX 713.520.9988 (McClain Gallery) kellivance05@yahoo.com / www.kellivancestudio.com / @kelvance

b. 1983 Garland, TX

Education

2008

MFA, University of Houston, Houston, TX

2005

BFA, University of North Texas, Denton, TX

Residency

2008

Roswell Artist-in-Residence Program, Roswell, NM

Solo Exhibitions

2020

Performance Anxiety, Cris Worley Fine Arts, Dallas, TX

2017

Sappers and Miners, Cris Worley Fine Arts, Dallas, TX

2015

Recital, McClain Gallery, Houston, TX

2011

A Function of Identity, Samuel Freeman Gallery,

Los Angeles, CA

2009

Stop Looking at Me, Roswell Museum of Art, Roswell, NM

Group Exhibitions

2020

Texas National Competition and Exhibition 2020, Stephen

F. Austin University, Nacogdoches, TX

2018

Vignette Art Fair, The Women’s Museum, Dallas, TX

2017

Referendum, Flight Gallery, San Antonio, TX

My works are investigations of psychological spaces where anxieties surrounding identity and states of consciousness are represented as moments in an unfolding narrative. These concepts are catalysts for paintings and drawings that raise more questions than give answers and never quite give the story whole, as the figures are caught in moments of being in between, before, or after. The women exist in a place where their sense of self is being lost or found, formed or deconstructed. They are enveloped in a journey where that loss and reconnection to the self and to nature propels an estranged relation of the figure to the environment she inhabits. These precarious and unstable moments propose an examination of our own cognizance surrounding the fear, release, engagement, and submission with which we find and contemplate our place in the world.

The Reflection in the Sword of Holofernes, Galveston Artist Residency, Galveston, TX

2016

Contemporary Portraiture, The Gallery at UTA, The

University of Texas at Arlington, Arlington, TX

Homelife, Inman Gallery, Houston, TX

Represented by

McClain Gallery, Houston, TX

Cris Worley Fine Arts, Dallas, TX

143

Vance

Kelli Vance | Self-Help (detail)

David Willburn Monument Head Red | inkjet on paper, enamel, ink, and Amate Bark weave on paper, 21 x 15 inches

144

David Willburn Monument Head Orange | inkjet on paper, enamel, acrylic, shelf liner, and foil paper on paper, 21 x 15 inches

145

David Willburn Monument Detail with Rabbit | ink, acrylic, latex on linen and wood panel, inkjet on photo paper, and crystal figurine on wooden shelf, 24 × 18 × 6.5 inches

146

David Willburn Fort Worth, TX davidwillburn@gmail.com / www.davidwillburn.com / @david.willburn.studio

b. 1970 Fort Stockton, TX

Education

2005

MFA, Vermont College of Fine Arts, Montpelier, VT

Solo Exhibitions

2020

Eight Parts, Platform Gallery, Seattle, WA

2019

Rainbow Riot at the Snowflake Ball, Carneal Simmons

Fantasy is an important part of my studio practice; it lends itself easily to abstraction and provides me with a basis for addressing the complex conversations of our time. Themes of reconstructing landscapes, monuments, and references to structures and dwellings are central in my work. These things are negotiated at the intersection of fine art and craft as a way to democratize and navigate social and political ideas and histories. This world is difficult to explain through realism.

Contemporary Art, Dallas, TX 2018

The World Is the Teapot and the Cup, Platform Gallery, Seattle, WA

2017

Queer the Materials! Fortify the Domestic! Stone the

Hegemony!, Galleri Urbane, Dallas, TX 2016

Skadüchi: Dispatches from Make-Believe, Boehm Gallery, Palomar College, San Marcos, CA

2011

The Overuse of Everything, Dallas Contemporary,

Dallas, TX

Group Exhibitions

2020

From Chaos to Order: Making Our Way in the New World of

Covid-19, The Delaware Contemporary, Wilmington, DE 2017

Diverge/Convene: Contemporary Mixed Media, San Diego Art Institute, San Diego, CA

2016

Texas Draws: A Survey of Contemporary Drawing,

Southwest School of Art, San Antonio, TX

2015

Women’s Work: Masculinity and Gender in Contemporary Fiber Arts, San Diego Art Institute, San Diego, CA

2009

Thread Baring, Union Gallery, University of Wisconsin–

Milwaukee, Milwaukee, WI

2007

Pricked: Extreme Embroidery, Museum of Arts and Design,

New York, NY

Publications

2016

“The Object-Oriented Ontology of David Willburn’s

Embroidered Paintings,” Peripheral Vision Arts

Fresh Paint Magazine, no. 13

2007

Pricked: Extreme Embroidery (Museum of Arts and

Design) 147

Willburn

Doreen Wittenbols Believe Me | water-soluble oil on Canson Figueras paper, 11.25 × 8.75 inches

148

Doreen Wittenbols Husband’s Sunflowers | water-soluble oil on Canson Figueras paper, 8.5 x 5.75 inches

149

Doreen Wittenbols Spring Monument v.IV | water-soluble oil on Canson Figueras paper, 8.25 × 6.75 inches

150

Doreen Wittenbols Santa Fe, NM dwittenbols@gmail.com / www.doreenwittenbols.com / @doreenwittenbols

b. 1974 Breda, The Netherlands

Education

2002

MFA, Concordia University, Montreal, Canada

1997

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

Residency

2014

Artscape Gibraltar Point, Toronto Island, Canada

Solo Exhibitions

2019

I Want To Have My Pipe & Smoke It, ARTSPACE | Arti et Amicitiae, Amsterdam, The Netherlands

I Want To Have My Pipe & Smoke It, Amsterdam Pipe

Museum, Amsterdam, The Netherlands

International Passport Paintings by Meester Wittenbols [Passport Painting Officer], NO LAND Stranger’s Collective,

My life and work have been greatly influenced by immigrating to Canada as a child and returning to the Netherlands as an adult. Transition and change are recurrent themes in my work, evoking fugitive, vulnerable, ambivalent states. Those themes have led me to explore the shared reflective aspects of souvenir and memento mori. In New Mexico, I have produced many plein air landscapes— always in one session, in water-soluble oils, on archival paper. In my series Water-Soluble Souvenirs, these plein-air paintings reference both my medium and the fleeting moment of changing landscape threatened by global warming. They often depict a single element in nature, alluding to their vulnerability with titles such as sunburnt tree. This series is a sunnier variation on the dark, bittersweet (apocalyptic) dreamscapes of my earlier Souvenirs. Since the pandemic lockdown I started to paint subjects from my garden—or I would simply place there selections from my art work or objects from my past, as subjects to paint. My common concern is with the mutable and abiding role of memory.

Santa Fe, NM, and Atelier Néerlandais, Paris, France 2016

World Apartment and Studio Biennale, Broedplaats VKG, Amsterdam, The Netherlands

2005

Sexentricité, Galerie B-312, Montreal, Canada

Group Exhibitions

2020

Corona - we leven allemaal translokaal, Corona Archives,

Nieuw Dakota, Amsterdam, The Netherlands 2016

Why the @#&! Do You Paint?: Go Figure, Gladstone Hotel, Toronto, Canada

2015

Stopping By Woods, Visual Arts Harbourfront Centre, Toronto, Canada

2010

The Marmite Prize for Painting, The Nunnery, London; Lanchester Gallery Projects, Coventry; and Central Art

Gallery, Tameside, England

Publications

2020

Southwest Contemporary: The Magazine, April/May

2008

Clint Roenisch, Carte Blanche, Volume 2: Painting

(Magenta Foundation)

Collection

Colart Collection, Montreal, Canada

151

Wittenbols

Mikey Yates Tekken | oil on canvas, 60 x 56 inches

152

Mikey Yates Merienda | oil on canvas, 60 x 36 inches

153

Mikey Yates Hoop Dreams | oil on canvas, 72 x 60 inches

154

Mikey Yates Boulder, CO miya8143@colorado.edu / www.mikeyyates.net / @mikey_yates

b. Sulzbach-Rosenberg, Germany

Education

2021

MFA candidate, University of Colorado Boulder,

Boulder, CO

2016

BFA, Missouri State University, Springfield, MO

Group Exhibitions

2020

Master Pieces, Manifest Gallery, Cincinnati, OH

As Inside, So Outside, yngspc (Young Space) (online)

un(welcome), Maybe Blue, Boulder, CO

2019

My most recent paintings are intimate reflections on my life experiences. Working from memory and photographs, my pictures deal with the construction of identity, the FilipinoAmerican experience, and contemporary life in the USA.

Filipino American Artist Directory, Floodplain Gallery, St. Louis, MO (pop-up)

Denver Collage Club, Alto Gallery, Denver, CO

Awards

2020

Charles Francis Truscott Scholarship in Fine Arts, ‘

University of Colorado, Boulder, CO

King Exhibition Award, University of Colorado,

Boulder, CO

Publications

2020

“Artist Spotlight,” BOOOOOOOM (online)

New American Paintings, no. 147

Friend of the Artist, vol. 12

Interview, yngspc (Young Space)

2019

Filipino American Artist Directory ’19

155

Yates

Mikey Yates | Hoop Dreams (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.

Brian Scott Campbell Someday | Flashe on canvas, 20 x 16 inches

158

Brian Scott Campbell Gone | Flashe on canvas, 20 x 16 inches

159

Brian Scott Campbell Jimmy’s Hideaway | Flashe on canvas, 20 x 16 inches

160

Brian Scott Campbell Denton, TX +46 73 875 90 53 (Stene Projects) brianscottcampbell@gmail.com / www.brianscottcampbell.com / @brianscottcampbell

b. 1983 Columbus, OH

Education

2010

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

2005

BFA, Columbus College of Art and Design, Columbus, OH

Residencies

2020

The Macedonia Institute, Chatham, NY

2019

DNA Artist Residency, Freight and Volume,

Provincetown, MA

2014

Atlantic Center for the Arts, New Smyrna Beach, FL

Professional Experience

2018-

These diminutively scaled paintings suggest scenes and landscapes with rudimentary lines and simple geometries. The compositions combine everyday iconography with the archetypal and hallucinatory. As such, the imagery reflects the idea of memory itself, as a collection of real and fictional experiences. Drawing—an important gravitational point and central language for these paintings—accounts for the preference for flatness, grayscale colors, and trading heavily in lively immediacy. These paintings merge classical motifs with a comic vernacular. Humor is allowed to surface while also being deftly held in check, taking a jab at the sublime, and permitting something sober and emblematic to emerge.

Assistant Professor of Drawing and Painting, University of North Texas, Denton, TX

Solo Exhibitions

2020

Someday, Stene Projects, Stockholm, Sweden

2019

Like a Ship, Harbinger Project Space, Reykjavik, Iceland

Minding the Toil and Till, Left Field Gallery, Los Osos, CA

2017

Night Picnic, Dutton, New York, NY

2016

Local Singles, Dutton, New York, NY

Two-Person Exhibition

2018

Hurry On Trouble, with Patrick Shoemaker, Anna Zorina Gallery, New York, NY

Group Exhibitions

2018

Bathers, Bass & Reiner, San Francisco, CA

2017

NADA Art Fair, w/ Dutton, New York, NY

2016

Four Artists, Fredericks & Freiser, New York, NY

Olimpia’s Eye, Zevitas Marcus, Los Angeles, CA

Represented by

Stene Projects, Stockholm, Sweden

161

Campbell

Heather den Uijl Melon Sprout and Phantom Worms | oil and wax medium on canvas, 36 x 48 inches

162

Heather den Uijl Float | oil on canvas, 65 x 96 inches

163

Heather den Uijl Phantom | oil on canvas, 36 x 36 inches

164

Heather den Uijl Austin, TX hndenuijl@gmail.com / heatherdenuijl.pb.studio / @heatherdenuijl

b. 1992 Woodlands, TX

Education

2020

MFA, University of Texas at Austin, Austin, TX

2016

BFA, University of Houston, Houston, TX

Two-Person Exhibition

2020

Lisa Lapinski and Gareth Long: Tove & Melton & Lisa & Gareth & Charles & &c, Jonathan Hopson Gallery,

Houston, TX

Group Exhibitions

2020

___:Revisited: 2020 Studio Art MFA Thesis Exhibition,

My work utilizes the visual rhetoric found in everyday packaging for toys and junk food. I borrow and distill basic visual elements such as color, font type, and composition from these sources and merge them with processes and influences from other painting traditions such as pop art and color field painting. The work functions independently as hybrid environments where distillation, flattening, and fragmentation help them resist a sense of closure, while also creating familiarity and the promise of interpretation. Through the use of basic familiar design elements such as circles, polygons, stripes, and color relationships that feel purposeful, the work creates spaces that are carefully layered, interwoven, and suggestive of both deep illusory space and flattened graphic space.

Visual Arts Center, The University of Texas at Austin,

Austin, TX

UT Department of Art & Art History’s Research Week

Exhibition, Halls and Walls Gallery, The University of Texas

at Austin, Austin, TX 2018

It Sounds like Cher, Visual Arts Center, The University of Texas at Austin, Austin, TX

2017

The Big Show, Lawndale Art Center, Houston, TX

Publication

2018

Interview, Voyage Houston Magazine

Collection

2020

Lawndale Lending Library, Lawndale Art Center,

Houston, TX

There is an invitation to participate in the visual games of painting, familiarity, and expectation; to grapple with contemporary visual information but never be able to pinpoint its exact source. This resistance to an overarching explanation or conclusion allows the work to be openended and oblique, leaving room for interpretation, speculation, and curiosity.

165

den Uijl

Heather den Uijl | Melon Sprout and Phantom Worms (detail)

Joshua Hagler The Smell of Fire in Winter | mixed media on canvas scraps and other fabrics, 89 x 87 inches

166

Joshua Hagler The Time Given | mixed media on canvas, 89 x 87 inches

167

Joshua Hagler One Within Called One Without | mixed media on polyester film mounted on wood panel, 89 x 87 inches

168

Joshua Hagler Roswell, NM +44.20.7494.2035 (Unit London) joshhagler@yahoo.com / www.joshuahagler.com / @haglerjosh

b. 1979 Mountain Home, ID

Residencies

2018

Roswell Artist-in-Residence Program, Roswell, NM

2017

Alfred and Trafford Klots International Program for Artists, w/ Maryland Institute College of Art, Léhon, France

2015

Studio System Residency, Torrance Art Museum,

Torrance, CA

Solo Exhibitions

2019

Chimera, Unit London, London, England

2018

Love Letters to the Poorly Regarded, Roswell Museum and Art Center, Roswell, NM

The River Lethe, Brand Library and Art Center,

Los Angeles, CA

Two-Person Exhibition

2019

“I began pulling loose planks out of the cellar hole . . . for all the world as if I had some real purpose or intention. It was difficult work, but I have often noticed that it is almost intolerable to be looked at, to be watched, when one is idle. When one is idle and alone, the embarrassments of loneliness are almost endlessly compounded. So I worked till my hair was damp and my hands were galled and tender, with what must have seemed wild hope, or desperation. I began to imagine myself a rescuer. Children had been sleeping in this fallen house. Soon I would uncover the rainstiffened hems of their nightshirts, and their small, bone feet, the toes all fallen like petals. Perhaps it was already too late to help. They had lain under the snow through far too many winters, and that was the pity. But to cease to hope would be the final betrayal.” –Marilynne Robinson, Housekeeping

From a Corner the Sound of a Small Bird, with Maja Ruznic, Big Pictures, Los Angeles, CA

Group Exhibitions

2019

Nuit Noire, Biennale de Lyon, Galerie Kashagan Project

Room, Lyon, France 2018

With Liberty and Justice for Some, Children’s Museum of the Arts, New York, NY

2017

Unknown Soldier, San Francisco Arts Commission Gallery, San Francisco, CA

2015

Tallahassee International, Florida State University Museum of Art, Tallahassee, FL

52nd Annual Juried Exhibition, Masur Museum of Art, Monroe, LA

2013

Transreal Topologies, Royal Institute of Technology,

Adelaide, Australia

Award

2016

Award of Excellence, Dave Bown Projects

Represented by

Unit London, London, England

Cris Worley Fine Arts, Dallas, TX

169

Hagler

Larry Madrigal Breaking the Snooze | oil on linen, 60 x 48 inches

170

Larry Madrigal At the End of the Day | oil on canvas, 72 x 60 inches

171

Larry Madrigal Fitting Room and the Search for Style | oil on canvas, 60 x 48 inches

172

Larry Madrigal Phoenix, AZ www.larrymadrigal.com / @larrymadrigal

b. 1986 Los Angeles, CA

Education

2020

MFA, Arizona State University, Tucson, AZ

Solo Exhibitions

2020

Larry Madrigal: Paintings, Nicodim Gallery Upstairs,

Los Angeles, CA

Tightrope, MFA thesis exhibition, Harry Wood Gallery,

Arizona State University, Tempe, AZ 2017

Two-Person Exhibtion Eyes On Us: Larry Madrigal / Tyler Griese, New City Studio,

My paintings are expressions of how I see the world as a meaningful and precarious venture. The constant balancing of personal, social, and creative expectations has been a central theme for me. The feeling of trying to keep up with responsibilities, political issues, social media, and family is complicated. My work has been gradually surrendering to the effects produced by these chaotic demands. As an intimist, I’m fascinated by the daily rhythms of life and how they are entangled with dramatic themes. Ordinary routines are infused with my issues of identity, worldview, masculinity, and responsibility. I see the commonplace as an arena for sacred reflection on the complex nature of being, and a platform to explore painting’s ability to promote empathy and wonder.

Phoenix, AZ

Group Exhibitions

2020

When You Waked Up the Buffalo, Nicodim Gallery,

Los Angeles, CA

AXA XL Art Prize 2020 Exhibition, New York Academy of Art,

New York, NY

Arizona Biennial, Tucson Museum of Art, Tucson, AZ

New Beginnings, Nicodim Gallery, Los Angeles, CA

(online)

Life Still, benefit exhibition (online)

2019

Painting the Figure Now, Wausau Museum of

Contemporary Art, Wausau, WI

2018

AXA XL Art Prize 2018 Exhibition, New York Academy of Art,

New York, NY

Bridged: Creando puentes, + ARTE galería, Quito, Ecuador

2017

Body Language: Figuration in Modern and Contemporary

Art, Tucson Museum of Art, Tucson, AZ

Art from Art, Manifest, Cincinnati, OH

173

Madrigal

Larry Madrigal | At the End of the Day (detail)

Xi Zhang American Idols | acrylic on canvas, 60 x 76 inches

174

Xi Zhang American Dreamers | acrylic on canvas, 60 x 76 inches

175

Xi Zhang The Blue Collars | acrylic on canvas, 60 x 76 inches

176

Xi Zhang Salt Lake City, UT www.xizhang.org

b. 1984 Kaifeng, China

Education

2011

MFA, University of Colorado Boulder, Boulder, CO

Solo Exhibitions

2020

Marc Straus, New York, NY

Kimball Art Center, Park City, UT

2018

ATC DEN, Denver, CO

Group Exhibition

2019

Looking for America, The City Library, Salt Lake City, UT

Awards

2020

Grand Prize in Painting, SeeMe, New York, NY

2017

Currently, there seem to be ongoing reports of conflict and tragedy. As an image maker, how can I reduce such conflicts? I do not want to simply express my anger toward institutions or people who instigate these tragedies. I aim to make aesthetically stimulating paintings that pull people in and hold them so as to embody the message; the Metallic Leaf Garden series attempts to provoke a viewer’s compassion—one of the ways to reduce conflict is to increase empathy.

Finalist, Celeste Prize in Painting, Celeste Prize Network, London, England

2016

Gold Award Winner in Painting, Art Forward International Contest #5, Montecito, CA

Publication

2011

“The 12 Best Colorado Artists under 35,” Denver Post,

May 20

Represented by

Marc Straus, New York, NY

Plus Gallery, Denver, CO

177

Zhang

Xi Zhang | American Dreamers (detail)

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.

Beverly Acha p16 POR p17 POR p18 POR

Ted Kincaid p72 $14,750 p73 $13,500 p74 $13,500

Lorraine Tady p128 $10,000 p129 $5,500 p130 $10,000

Andrew Alba p20 $1,650 p21 $3,000 p22 $1,650

Peter Ligon p76 $1,500 p77 $1,200 p78 $1,500

Liz Trosper p132 POR p133 POR p134 POR

Barber p24 $10,500 p25 $2,600 p26 $4,000

Klaire A. Lockheart p80 $6,000 p81 $6,000 p82 $4,000

Christina Valenzuela p136 $800 p137 $800 p138 NFS

Mick Burson p28 $1,500 p29 $1,500 p30 NFS

Suchitra Mattai p84 $7,500 p85 $7,500 p86 $45,000

Kelli Vance p140 $7,000 p141 $5,000 p142 $5,000

Eliseo Angel Casiano p32 $3,500 p33 $3,500 p34 $3,500

Sarah McKenzie p88 $6,500 p89 $6,500 p90 $13,000

David Willburn p144 $1,400 p145 $1,400 p146 $1,800

Holly Cerna p36 NFS p37 NFS p38 $250

Addie Kae Mingilton p92 NFS p93 $1,000 p94 $10,000

Doreen Wittenbols p148 POR p149 POR p150 POR

Matthew Choberka p40 $7,400 p41 $7,400 p42 NFS

Rahul Mitra p96 $12,000 p97 NFS p98 NFS

Mikey Yates p152 POR p153 POR p154 POR

Colby Currie p44 $6,000 p45 $6,000 p46 $2,000

Kristin Moore p100 NFS p101 NFS p102 NFS

Carlos Encinas p48 $6,000 p49 $6,000 p50 NFS

John Randall Nelson p104 $4,900 p105 $10,000 p106 $17,500

Brian Scott Campbell p158 $1,800 p159 $1,800 p160 $1,800

Mike Erickson p52 $900 p53 $700 p54 $800

Lauren Michelle Peterson p108 $9,500 p109 $8,000 p110 $8,500

Heather den Uijl p162 $5,000 p163 $10,000 p164 $2,000

Mark Andrew Farrell p56 NFS p57 NFS p58 NFS

Greg Piwonka p112 $2,200 p113 $550 p114 $3,300

Joshua Hagler p166 NFS p167 $28,000 p168 $28,000

Joe Ramiro Garcia p60 $10,500 p61 $19,500 p62 NFS

Jackie Riccio p116 $3,500 p117 NFS p118 $3,500

Larry Madrigal p170 NFS p171 NFS p172 NFS

Marilyn Jolly p64 $2,000 p65 $2,200 p66 $2,000

William Schweigert p120 $2,500 p121 $2,500 p122 $12,000

Xi Zhang p174 $12,000 p175 $12,000 p176 $12,000

Kay Juricek p68 $3,400 p69 NFS p70 $3,600

Papay Solomon p124 NFS p125 NFS p126 NFS

178

$20