Lives of the most Excellent Artists, Architects, Curators, Critics, Theorists and more, like Vasari's book updated. (Interviews with over 1,200 artists, curators, poets, writers, critics and others about studio practice from Yale University radio WYBCX)
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A photo of the artist: Judith Simonian with Charles Yuen Many of Simonian's works in the exhibition at JJ MURPHY Gallery are still lifes, such as “Marysia's Salon” (2024), which was inspired by a visit to a Polish beauty parlor in her East Village neighborhood. “Bottle Symphony in Red” (2023) recalls Giorgio Morandi. Whereas Morandi's still lifes are a delicate arrangement of vases, jugs, bowls, urns, and bottles, painted in muted colors—whites, browns, and tans—set against a neutral background, Simonian bombards our senses through her use of high-intensity reds, pinks, blue-greens, grays, blacks, and yellow ochre. In “Inside Outside” (2023), the artist similarly portrays a room as an expressionistic whirlwind of vivid colors. Simonian's paintings deal with intervals, or the spaces between points. Simonian's still lifes often open up an interior space to an exterior one. In “Marysia's Salon,” a photograph tacked on the wall suggests the world outside. “Bobby Pins of Manhattan” (2023-24) provides a glimpse of the city skyline through the window, including the landmark Empire State Building. “Cat in the Lamp” (2024) depicts a black cat inside an illuminated yellow lampshade in front of a large window that overlooks water. Simonian employs careful framing to create meaning. It is possible to view several of her landscape paintings as political allegories. In "Greener Pastures" (2025), the shimmering image of the Statue of Liberty appears to be a mirage, while green brushstrokes seem to hint at water on deck or maybe even a school of fish. "Resting on Her Side" (2024) depicts rocky terrain and the bleak spectacle of a capsized ship. Judith Simonian has had solo exhibitions of her work at 1GAP, Brooklyn; Edward Thorp Gallery, New York City; and John Davis Gallery in Hudson, NY. Her work has been shown in numerous museums, including The New Museum, NYC; MoMA/PS1, NYC; Islip Museum, NY; Montclair Art Museum, NJ; Weatherspoon Art Museum, NC; San Francisco Museum of Art, CA; Santa Barbara Museum of Art, CA; Newport Harbor Art Museum, CA; and the Madison Museum of Contemporary Art, WI. Simonian has been awarded many prestigious honors, including a John Simon Guggenheim Memorial Foundation Fellowship, an Adolph and Esther Gottlieb Foundation Individual Support Grant, and a National Endowment for the Arts Grant. She received her BA and MA degrees from California State University, Northridge. The artist lives and works in New York City. Greener Pastures, 2025, acrylic on canvas, 24 x 32 inches Marysia's Salon, 2024, acrylic on canvas, 30 x 20 inches Enter the Mountain Yellow, 2023, acrylic on canvas, 50 x 66 inches
phot of the artist by Ralph Gabriner Dena Schutzer in her fifth solo show at Bowery Gallery in New York City titled “Agitation and Retreat”, describes the work saying, “Together, these oil paintings are a chronicle of observed moments in public and private spaces.” Schutzer's imagery reflects this wide-open approach—what has caught her eye ranges from a view of a New York street in the giant shadows of looming new skyscrapers, to an intimate scene of the artist's elderly mother taking a bath. Intuiting a kind of drama in these elements of direct perception provides what Schutzer calls the “initial jolt” that impels her to respond in paint. For Schutzer this mysterious process—the joy and struggle of proceeding from that first sensation to a new, composed reality on the canvas--has everything to do with her pleasure in the possibilities of paint itself. Her loose but decisive brushwork and bold color tensions and harmonies—acid greens, clashing blues, pervasive violets—don't let go of the viewer until one has taken in all the oppositions, juxtapositions, parallels from which her brushstroke emerges, still present as a brushstroke, but also, finally, as an essential part of a new and highly personal image. Dena Schutzer has had 5 solo shows with the Bowery Gallery in NYC, and has been in group shows at The Painting Center-NYC, Westbeth-NYC, Washington Art Association-CT, Kingsborough College-Brooklyn, Brooklyn Waterfront Artists Coalition-BWAC, Hudson Park Library-NYC, Romano Gallery-NJ, Irvington Library, Yonkers Riverfront Library, TC Columbia U- Macy Gallery. She taught painting and was head of the art department at the Abraham Joshua Heschel High School in NYC for 21 years, has been a visiting teaching artist at schools throughout Westchester County and NYC. She illustrated six children's books for Simon and Schuster, Knopf, and Scholastic among others, and her editorial illustrations have been published in newspapers and magazines including The NY Times, The New Yorker and NY Newsday. Schutzer attended Skowhegan, NY Studio School, BFA from Suny at Purchase, MFA (in Film) from Yale University, MFA in Art Ed at Columbia University. “Buildings, Yellow Cloud”, oil on canvas, 16”x12”, 2025 “Arm Outstretched”, oil on canvas, 12”x16”, 2023 “Four Men Working”, oil on canvas, 18”x20”, 2024
Julianne Nash Julianne Nash (b. 1991, Massachusetts) is an artist whose work exists at the intersection between photographic collage and digital painting; she utilizes algorithms inherent to Photoshop in conjunction with traditional compositing techniques to create densely layered landscape images that contend with both personal and climate-driven grief. Color is an integral aspect of Julianne's work; ranging from dark, depleted and disappearing images to artificially saturated color palettes driven by neural imaging algorithms. All of Julianne's landscapes are of no specific place – rather are meticulously created collages of numerous photographs. Often inspired by places within the environment that evoke an unknown sadness, fear or discomfort, Julianne's work explores the complex relationship between personal, cultural and natural histories visible within our ever-changing landscape. This interview was done on the occasion of her exhibition, Flora non Grata at Amos Eno gallery. Julianne Nash,, Juniper and Sagebrush (22 Images), 2024. Dye-sublimation print on celtic cloth. 100 x 142". Julianne Nash, Former Glacier (39 Images), 2022. Archival pigment print, mounted to sintra. 40 x 63" Julianne Nash, Artemisia Tridentata No. 3, 2024. Archival pigment print, mounted to sintra. 50 x 40".
Elizabeth Ravn (b.1994, Brooklyn, NY) received a Bachelors in Fine Arts from the School of the Art Institute of Chicago, Chicago, IL in 2016. She lives and works in Berlin. Recent solo and group exhibitions include David Peter Francis, New York (2025); die raum, Berlin (2024); Deborah Schamoni, Munich (2023); SOX, Berlin (2023); KINDL Centre for Contemporary Art, Berlin (2022); ChertLüdde Bungalow, Berlin (2022); Kinderhook & Caracas, Berlin (2021); Kjøpmannsgata Ung Kunst, Trondheim, (2021); and Pina, Vienna (2019). Elizabeth Ravn, Bild, 2024, oil on canvas, 39 3/8 x 31 1/2 inches (100 x 80 cm). Courtesy of the artist and David Peter Francis, NY. Elizabeth Ravn, Cubbyhole, 2025, oil on canvas, 43 1/4 x 35 3/8 inches (110 x 90 cm). Courtesy of the artist and David Peter Francis, NY. Elizabeth Ravn, November, 2024, oil on canvas, 43 1/4 x 35 3/8 inches (110 x 90 cm). Courtesy of the artist and David Peter Francis, NY Elizabeth Ravn, Telephone, 2024, oil on canvas, 27 1/2 x 19 3/4 inches (70 x 50 cm). Courtesy of the artist and David Peter Francis, NY.
Carolina Fusilier (b.1985, Buenos Aires) is a multidisciplinary artist who explores the physicality of technology, notions of non-linear time, and post-human imaginaries at the intersections between organic and mechanical bodies, industrial and domestic settings. Her work takes various forms through moving image, painting, sound, and site-specific projects. Carolina Fusilier lives and works in Oaxaca, Mexico. She studied at the Universidad del Cine in Buenos Aires and completed postgraduate programs at Universidad Torcuato Di Tella (2011), SOMA in Mexico City (2016), and was a guest student at the Düsseldorf Academy under Rita McBride in 2018. Recent solo and duo exhibitions include Imago, Margot Samel, New York, NY (2025); ¿Cómo se escribe muerte al sur?, Museo Anahuacalli, Mexico City, Mexico (2025); Isla Eléctrica, PEANA, Mexico City, Mexico (2024); Nuit Blanche, Toronto, Canada (2024); Espejo-Espectro, MALBA, Buenos Aires, Argentina (2024); Corrientes Mercuriales, Museo Jumex, Mexico City, Mexico (2023); Clepsidra, Daniela Elbahara Gallery, Mexico City, Mexico (2021); Kitchen with a View, Locust Projects, Miami, FL (2019); and Angel Engines, Natalia Hug, Cologne, Germany (2018). Selected group exhibitions include Otr's Mund's, curated by Aram Moshayedi and Lena Solá Nogué, Museo Tamayo, Mexico City, Mexico (2025);Yendo de la cama al living, curated by Enrique Giner, Salón ACME, Mexico City, Mexico (2025); Breaking up of ice on a river, curated by Lilian Hiob, Margot Samel, New York, NY (2024); Casa Ideal, Proyectos Multipropósito, Mexico City, Mexico (2024); Linhas Tortas, Mendes Wood, São Paulo, Brazil (2023); Hic Sunt Dracones, Deli Gallery, Mexico City, Mexico (2023). Carolina Fusilier, Súbitamente (IMAGO station), 2025, Oil on hexagonal canvas, stainless steel and speaker. Audio by Miko Revereza., 90 1/2 x 157 1/2 x 2 in | 230 x 400 x 5 cm. photo by Matthew Sherman Carolina Fusilier, Altar II (Imago Lab), 2025 Oil on hexagonal canvas, stainless steel frame 35 3/8 x 25 5/8 in | 90 x 65 cm. photo by Matthew Sherman Carolina Fusilier, War song II, 2025, Oil on hexagonal canvas, 31 1/2 x 19 3/4 in | 80 x 50 cm. photo by Matthew Sherman
Cianne Fragione (b. 1952) is a multidisciplinary artist. With roots in the San Francisco Bay Area Beat and Funk art milieus, she has developed her own process-oriented artistic vocabulary over the past four decades that crosses boundaries between abstract painting and sculpture, and between object and image. A striking combination of oil paint, mixed-media materials, found objects, and textiles characterizes her signature style. Each piece, whether two- or three-dimensional, is built slowly over lengthy periods, becoming a dense synthesis of influences and personal perspectives, including mid-century gestural abstraction and the physical fluency of her early training as a professional dancer. While a sense of space and movement dominates her two-dimensional works, her assemblage pieces tend to be denser and more corporeal. Her most recent works respond to two collections of poems by Italian poet and writer Eugenio Montale: Mediterraneo and Ossi di Seppia. Fragione has exhibited extensively in solo and group exhibitions nationally and internationally, including at St. Mary's College Museum of Art, Moraga, CA; Georgetown College, KY; Anya and Andrew Shiva Gallery, New York, NY; American University Museum, Washington, D.C.; John D. Calandra Italian American Institute of Queens College, CUNY, New York, NY; Associazione di Museo D'Arte Contemporaneo Italiano, Catanzaro, Italy; Harmony Hall Regional Center, Washington, MD; University of Scranton Art Museum, Scranton, PA; The Textile Museum, Washington, D.C.; Art in Embassies, Geneva, Sofia, Bulgaria, and Vilnius, Lithuania; Indianapolis Art Center, IN; and San Francisco Museum of Modern Art Gallery, CA. Her works are held in numerous public collections, including the Baltimore Museum of Art MD; DC Commission Art Bank Collection; Art in Embassies Permanent Collection, U.S. State Department, Guadalajara, Mexico; St. Mary's College Museum of Art, CA; Italian American Museum, D.C; Department of Special Collections, Cecil H. Green Library, Stanford University, CA; Comune di Monasterace, Calabria, IT; among other museum and private collections. Motetti: Flowers Grow/ Salty Breath, 2024, oil-based paint, pigment, walnut and black ink, graphite, oil pencils,on paper, 42.5 x 35 in (107.95 x 88.9 cm), Image by Martin Seck Bundles: Seacoasts / Among Fragrances / Winds / Decoy, 2024, oil-based paint, pigment, string, lace, fishing lures, and bone on canvas panel, 8 x 5 x 2 in (20.3 x 12.7 x 5.1 cm), Image by Martin Seck The Clouds Travel like White Handkerchiefs of Goodbye, 2020 oil-based pigment, collage, graphite, on mylar 54 x 65 in (137.16 x 165.1 cm) Image by Martin Seck
New York-based artist Ethan Cook engages with materialism and minimalism through his two primary media, woven canvas and handmade paper. Cook's paintings are composed of colored fabric panels that have been hand woven on a four-harness loom, stitched together, and stretched on bars. Foregoing the notion that in order to paint one must apply pigment to canvas in some way – be it by brush, by knife, or by hand – Cook instead uses a loom to weave large swaths of colored fabric that make up his surfaces. For Cook, the performance of artmaking is at once meditative and intensely rhythmic. The grandness of the loom, with its thousands of moving processes and parts, generates a symphony of action that is both quick and unpredictable, developing a variety of idiosyncrasies like a pulled thread or skipped knot, producing a variety of textures that reveal that the works are indeed, handmade. Cook has had solo exhibitions at Nino Mier Gallery, Los Angeles, Brussels, Marfa and New York; Megan Mulrooney Gallery, Los Angeles; Half Gallery, New York; Andersen's Contemporary, Copenhagen; Galerie Philipp Zollinger, Zurich; T293, Rome; Loyal Gallery, Stockholm; Anat Ebgi, Los Angeles; Noire Chapel, Torino; Bill Brady, Miami; Sunday-S Gallery, Copenhagen; American Contemporary, New York; Galerie Jeanroch Dard, Paris; Rod Barton, London; Patrick de Brock Gallery, Knokke; and Gana Art Hannam, Seoul. Public collections include The Art Institute of Chicago, Museum Voorlinden, Jordan Schnitzer Museum of Art, Fondation CAB, and Juan Carlos Maldonado Art Collection. His work has been covered in the Los Angeles Times, the New York Times, the Brooklyn Rail, Interview Magazine, Architectural Digest, among other publications. Ethan Cook, Battement, 2025 Signed and dated on verso Hand-woven cotton 45 x 55 in (framed) Ethan Cook, Sauter, 2025, Signed and dated on verso, Hand-woven cotton, 66 x 77 in (framed) Ethan Cook, Beam Bathing Broken Circle, 2025 Steel 80 x 48 x 12 in 203.2 x 121.9 x 30.5 cm
Within her work, Catalina Chervin (b. 1953, Argentina) depicts what the human mind intuits rather than what the eyes see—replacing empirical knowledge with subconscious feeling. Chervin studied at the Escuela Nacional Superior Ernesto de la Cárcova in Buenos Aires and worked with the Robert Blackburn Printmaking Workshop in New York City. Her work is held in prominent institutions worldwide, including The Metropolitan Museum of Art, New York; The Brooklyn Museum, New York; the New York Public Library; El Museo del Barrio, New York; the Art Museum of the Americas, Washington, DC; the Blanton Museum of Art (University of Texas), Austin; the Victoria & Albert Museum, London; The British Museum, London; and the Albertina Museum, Vienna. Catalina Chervin Untitled, 2004 Hard and soft ground etching with spite bite aquatint, printed on Somerset White paper Master Printer: Lothar Osterburg, New York, 2004 Image size: 15 x 11 in (38.1 x 27.9 cm) Sheet size: 21 x 16 in (53.3 x 40.6 cm) Artist proof edition of 5 Catalina Chervin Song 3, 2010 Hard ground and soft ground etching with dry point, printed on Rives De Lin with Kozo chine collé Master printer: Lothar Osterburg, New York, 2010 Image size: 15 x 11 in (38.1 x 27.9 cm) Sheet size: 21 x 16 in (53.3 x 40.6 cm) Edition of 20 Catalina Chervin, IT 1, 2015, Hard and soft ground etching, printed on Somerset Textured White paper, Master Printer: Lothar Osterburg, New York, 2015, Image size: 15 x 11 in (38.1 x 27.9 cm), Sheet size: 21 x 16 in (53.3 x 40.6 cm), Edition of 20
Mark Mulroney was born in Redondo Beach when he was very young. He spent a lot of time alone in his room on restriction due to his poor behavior. While in his room, alone, he started to draw, mostly pictures of the Space Shuttle and Vikings. He liked being alone in his room so much that he decided to try and make a career out of it. He is now 52, living in Connecticut, and spending almost all of his time in a room, by himself, drawing. When not in his room he enjoys talking to his wife about how he doesn't want to go on hikes The End. Mark Mulroney, What Black Hole?, 2025 Oil on Canvas 74 x 92 inches 188 x 233.7 cm, Courtesy of the artist and Mrs., Queens | Photography by GC Photo. Mark Mulroney Kal-El, 2025 Ink on Paper 71 x 46 inches 180.3 x 116.8 cm, Courtesy of the artist and Mrs., Queens | Photography by GC Photo. Mark Mulroney Clark 2, 2025 Oil on Panel with Gum 29 x 22 inches 73.7 x 55.9 cm, Courtesy of the artist and Mrs., Queens | Photography by GC Photo
Michele Abramowitz (USA, b. 1984, Berkeley, California) received her BA from Pomona College (Claremont, CA), her BFA from the Rhode Island School of Design (Providence, RI), and her MFA from the Milton-Avery School of the Arts at Bard College, (Annandale-on-Hudson, New York). Abramowitz has held solo exhibitions at A.I.R. Gallery, Brooklyn, NY (2021) and Kate Werble Gallery, New York, NY (2022). Her work has been exhibited at venues including the North Loop Gallery, Williamstown, MA (2022), UBS Gallery at Bard College, Red Hook, NY (2016), Falcon's Nest, Los Angeles, CA (2016) and Hart Street Studio, Brooklyn NY (2011). She currently lives and works in Brooklyn, NY. Michele Abramowitz, Ghost Crickets 2025 Oil and black gesso on polyester canvas 80 x 54 inches each panel; 80 x 178 inches total. Courtesy of the artist and Kate Werble Gallery, New York Michele Abramowitz, Detail, Ghost Crickets 2025 Oil and black gesso on polyester canvas 80 x 54 inches each panel; 80 x 178 inches total. Courtesy of the artist and Kate Werble Gallery, New York Michele Abramowitz, The Living Mud, 2025 Oil and black gesso on polyester canvas 48 x 40 inches Courtesy of the artist and Kate Werble Gallery, New York Michele Abramowitz, The Unworthy Augustina, 2025 Oil and black gesso on polyester canvas 54 x 40 inches. Courtesy of the artist and Kate Werble Gallery, New York.
Z.T. Nguyen (b. 1997, United States) is an artist currently based in New Haven, CT. He has exhibited at Klaus von Nichtssagend, New York; Asia Art Archive in America, Brooklyn; the RISD Museum, Providence; NARS Foundation, Brooklyn; and the Vincom Center for Contemporary Art, Hà Nội, among others. He has participated in residencies and fellowships at the Textile Arts Center, Brooklyn; The Alternative Art School & MAIIAM Contemporary Art Museum, online; and Asia Art Archive in America. Nguyen received his BFA in Painting from the Rhode Island School of Design (2019) and is currently on the cusp of receiving an MFA in Painting & Printmaking at the Yale School of Art (2025). Facts Are Bigger in the Dark Year: 2025 23.5 x 36 x 6 Squid ink, graphite, colored pencil, and acrylic on letter-sized sheet of paper; found chair Hold Me 2024 Acrylic and graphite on letter-sized sheets of paper 32.125 x 40 inches Infinity 2024 16 x 10.4 inches Acrylic and graphite on letter-sized sheets of paper Obey 2025 Acrylic and graphite on paper 10.9 x 8.5 inches
courtesy of Ruiz-Healy Art, New York / San Antonio Nicolás Leiva is renowned for his exuberant sculptures and paintings that capture various expressive personal visions. Vessels, boats, abstract forms, flying carriages are transformed into ceramics in an explosion of lush primary colors embossed with metals like silver and gold. Animals and vegetables commingle in a garden of flowers amidst otherworldly places of shelter, are replicated as box-like reliquaries, and plate-like medallions in miniature close-up show territories transitioned from his works on paper. His imaginative world unfolds in infinite realms like a Möbius strip. Highly gestural, organic, or geometric, Leiva presents a host of archetypes in his emblems of flight, safety, and delight. Born in 1958 in Tucumán, Argentina, Leiva graduated from the Fine Arts School of the Universidad Nacional de Tucumán. He continued his studies in Buenos Aires and moved to Miami in 1990. In 1996, he extended his practice to sculpture and ceramics. He lives part-time in Faenza, Italy, where he works with a variety of materials at the workshops of Ceramica Gatti. His work is the subject of the 2005 monograph Nicolas Leiva: The Fire of Self and Multiplication with scholarly text by Ricardo Pau-Llosa and Mariza Vescovo published by Bandecchi & Vivaldi in Italy. He has had many important solo and group exhibitions in the US and internationally, notably his 2023 solo exhibition, Historia de un día, Museo de Bellas Artes Laureano Brizuela, Catamarca, Argentina. Leiva was recently selected for the 2023 Miami Individual Artist (MIA) Grant, Miami-Dade County Department of Cultural Affairs in Miami, FL. His works are in the permanent collections of the Museo de Arte Latinoamericano de Buenos Aires (MALBA); The Snite Museum of Art at the University of Notre Dame, Indiana; the Berardo Collection in Lisbon, Portugal; the Gollinelli Collection in Bologna, Italy; and the Museum of Art of Fort Lauderdale in Florida. The Civic Museum of Marble, Carrara, Italy; Museo Maria Zambrano, Malaga, Spain; José Luis Cuevas Museum, Mexico City, México; Museum of Latin American Art, Long Beach, CA; and Fundación Federico García Lorca, Madrid, Spain. Nicolás Leiva, Sopera, 2015 Signed and dated on the underside Majolica ceramic with gold and platinum lustrous Ceramica Gatti, Italy 17 x 18 x 17 in. courtesy of Ruiz-Healy Art, New York / San Antonio. Nicolás Leiva, Sopera, 2015 Signed and dated on the underside Majolica ceramic with gold and platinum lustrous Ceramica Gatti, Italy 17 x 18 x 17 in. courtesy of Ruiz-Healy Art, New York / San Antonio. Nicolás Leiva, Sea Flora, 2024 Signed and dated on the underside Majolica ceramic with gold 35 x 15 x 15 in. courtesy of Ruiz-Healy Art, New York / San Antonio. Nicolás Leiva, Arbol de los Sueños (Tree of Dreams), 2017 Signed and dated on the underside Majolica ceramic with gold and lustrous Ceramica Gatti, Italy 30 in diameter. courtesy of Ruiz-Healy Art, New York / San Antonio.
Duane Michals (b. 1932, McKeesport, PA) is one of the great photographic innovators of the last century, widely known for his work with series, multiple exposures, and text. Michals first made significant, creative strides in the field of photography during the 1960s. In an era heavily influenced by photojournalism, Michals manipulated the medium to communicate narratives. The sequences, for which he is widely known, appropriate cinema's frame-by-frame format. Michals has also incorporated text as a key component in his works. Rather than serving a didactic or explanatory function, his handwritten text adds another dimension to the images' meaning and gives voice to Michals' singular musings, which are poetic, tragic, and humorous, often all at once. View this post on Instagram A post shared by Brainard Carey, Director of Praxis Center (@praxiscenterforlearning)
Stephen Bron [b. 1993] is a painter living and working in Brooklyn. He received his BFA in painting at The Cooper Union in 2015, and received his MFA in Painting at NYU in 2017, and attended the Yale Norfolk Summer School in 2014. Bron has presented solo exhibitions with Albert Merola Gallery, Provincetown, MA, Auxier Kline Gallery, New York and Galerie Thomas Fuchs, Stuttgart, Germany. Stephen Bron, A Visible Breeze, 2025 oil on linen 30 x 40 inches Stephen Bron, Underfoot (The Divine Soil) #6, 2024-2025 oil on linen 12 x 9 inches Stephen Bron Strangers In The Garden, 2025 oil on linen 12 x 9 inches
Larissa Bates (b. 1981, Burlington, VT) was raised between Vermont and Vara Blanca, Costa Rica. She received a BA from Hampshire College, MA. Recent exhibitions include Taymour Grahne, London, Myriam Chair Galerie, Paris; and Monya Rowe Gallery, NY. In 2024, her work was included in the group exhibition “Gilded: Contemporary Artists Explore Value and Worth” at the Weatherspoon Art Museum, Greensboro, NC, which traveled to the Hunter Museum of American Art, Chattanooga, TN and the Hood Museum of Art, Dartmouth, Hanover, NH. Bates' work is in the permanent collection of the Hood Museum of Art. Exhibitions have been reviewed in The New York Times, The New Yorker, Artforum, among many others. Bates lives and works in Dobbs Ferry, New York and is represented by Monya Rowe Gallery, NY. LARISSA BATES, MotherMen Luncheon/La Merienda de los MadreHombres, 2024-2025 egg tempera on panel 16 by 20 inches LARISSA BATES, Spring Cleaning/Limpieza de Primavera, 2024-2025 gouache and egg tempera on panel 20 by 16 inches LARISSA BATES, Patricia del Carmen, I didn't know your Name, 2023 gouache, gold leaf, acryla ink and acryla gouache on panel 36 by 30 inches
Mara De Luca's (b. 1973, Washington D.C.) paintings evoke a sense of atmospheric abstractions that bring to mind dusk, sunsets, and planetary orbs. Throughout her work there is a sense of reflected ambient light. De Luca's work today extends the celebration of illusionism, romanticism, and the sublime with a deeply informed response to modernist painting. De Luca received an MFA from CalArts, Los Angeles, CA and a BA from Columbia University, NY. Her work has been displayed at the Museum of Contemporary Art, San Diego and is in prominent collections, including the Buck Collection at UC Irvine, JP Morgan Chase, New York; Fidelity, Boston; Alexander Plaza Berlin, Germany; New York Medical College, New York; and the University of Oslo, Norway. She has been reviewed in Artforum, Cultured Magazine, The Los Angeles Times, Artweek LA, and others. De Luca is a recipient of the 2019 California Community Foundation Fellowship for Visual Artists. She has taught Painting at UC San Diego, UC Irvine, UC Davis and UC Riverside. Based in Los Angeles for over two decades, De Luca now lives and works in New York. Mara De Luca, Western Gate 1, 2024 mixed media on canvas with copper plated element 54 × 96 inches (137 × 244 cm) Mara De Luca, Western Gate 2, 2024 acrylic on primed and unprimed canvas with brass plated element 59 x 132 inches (150 x 335.5 cm) Mara De Luca, Cut Western Clouds, 2024, mixed media on cut canvas with copper plated elements, 48 x 42 x 3 inches (122 x 106.5 x 7.5 cm).
Eun-Ha Paek in her studio in Brooklyn, 2024. Photo by Helmi Korhonen. Courtesy of Hostler Burrows Brooklyn-based multimedia artist Eun-Ha Paek's sculptures give physical form to the artist's inner narratives and personal history, while exploring broader themes of identity and human experience. Paek's hybrid approach to ceramics is informed by her background in animation and film. Her attempts to roll increasingly smaller, tighter coils eventually led her to introduce 3D printing to her practice, enabling detail that would not be possible by hand. The resulting pieces, while finally static, are created through a process that in many ways mimics stop motion animation. Paek's work, across media, investigates questions of identity through storytelling. Hints of recognizable references and motifs are present in her figures, but this host of characters is the unique product of a visual language developed to give shape to the artist's internal dialogue. Born in Seoul, South Korea, in 1974, Paek currently lives and works in Brooklyn, NY. She received a BFA in Film/Animation/Video from the Rhode Island School of Design, where she has also been a guest lecturer. Paek's work has been exhibited throughout the United States and internationally, and she is the recipient of several awards and grants including the Windgate Scholarship and Rudy Autio Grant from the Archie Bray Foundation. Paek's animated films have screened in the Guggenheim Museum, Sundance Film Festival, and venues around the world. She has been a guest lecturer at the Fashion Institute of Technology, a visiting critic at the Maryland Institute College of Art, and she currently serves on the faculty at Parsons School of Design/The New School. Eun-Ha Paek, Pied Piper, 2025. Glazed stoneware. 17" H x 15.5" W x 9.5” D. Photo by Joe Kramm. Courtesy of Hostler Burrows Eun-Ha Paek, Duck Lips Redux, 2024. 3D printed glazed stoneware. 17.5" H x 14" W x 8” D. Photo by Joe Kramm. Courtesy of Hostler Burrows Eun-Ha Paek, Mongmong Mountain, 2025. Glazed stoneware, gold leaf. 17" H x 22" W x 16”D. Photo by Joe Kramm. Courtesy of Hostler Burrows
Fanny Allié was born in Montpellier, South of France. She received her Master's Degree from the Ecole Nationale Supérieure de la Photographie (The National School of Photography) in Arles, France in 2005 and moved to New York City. Princeton University, Equity Gallery, Hyatt Centric (Philadelphia), DOT Art, A.I.R Gallery, New York City Department of Parks & Recreation, Fresh Window, Chashama and St Eustache Church (Paris, France), Hudson Yards Alliance have organized solo exhibitions and public installations of her work. Tappan Gallery, Owen James Gallery, NYU/Gallatin Gallery, Dorsky Gallery, Freight + Volume, BRIC Rotunda Gallery, Dekalb Gallery/Pratt Institute, UConn University, Mana Contemporary, Hamburg Museum of Arts and Crafts, The Bronx Museum, Teachers College Columbia University among others have featured her work in group exhibitions. Fanny is the recipient of various fellowships and residencies including AIM (Bronx Museum), BRIC Lab Fellowship, Emergency Grant (Foundation for Contemporary Arts), A.I.R. Fellowship Program, Robert Blackburn Printmaking SIP Fellowship, Elizabeth Foundation for the Arts Studio Program, Yaddo Residency, Dieu Donné Workspace Residency, NYSCA/NYFA Artist Fellowship (Craft/Sculpture), MacDowell Fellowship, Puffin Foundation Grant, Wildacres Residency and National Arts Club Artist Fellowship. Her work has appeared in the New York Times, The Guardian, Time Out, ARTnews, NY Magazine, Brooklyn Magazine, Hyperallergic, Le Monde Diplomatique, Blouin Art Info, DNA Info, Marie Claire Italy, AM New York among others. Her neon light sculpture “The Glowing Homeless” and sound installation will be exhibited at the Church of St. Eustache in Paris from December 18th 2024 until May 31st 2025. In 2025, Kaliner Gallery in New York City and Giovanni Bonelli Gallery (Milan, Italy) will present her work in solo exhibitions. Fanny lives in Brooklyn and works from her studio at the Elizabeth Foundation for the Arts in Manhattan, NY. Exhibits discussed are KALINER and Giovanni Bonelli. A Longing, March 6 - April 12, 2025, Installation view at Kaliner Gallery, 42 Allen St, NYC Ladder Leg, 2024, found fabric, collagraph print and acrylic paint, 32.5in x 50in The Night the Wind Learned to Dance, April 24 - May 25, 2025, Installation view at Giovanni Bonelli Gallery, Milan, Italy Shelved, 2025, found fabric and collagraph prints, 59in x 38.5in Circles, 2024, found fabric and collagraph prints, 55.5in x 55.5in
Photo by Dan McMahon Born 1989 Atlanta, Georgia. She lives in Brooklyn, New York, and works in the Bronx, New York. Emma McMillan searches for the pulsing vitality of life through non-human figurative paintings. Drawing, collage, macroscopic photography, and archival research are avenues for abstraction of the animal form. For several years a local Spotted Lanternfly infestation has been a commentary on the current state of human and animal affairs. The series, now expanded across species, takes on lusty and religious overtones of reincarnation. Sampling psychology, the natural world, and pop culture, her gem-hued oil paintings are complex reflections on living and its mutations across time. Emma McMillan has had institutional exhibitions at Atlanta Contemporary ArtsCenter, Atlanta Georgia, “Project X” (2019) She has had solo exhibitions at Sebastian Gladstone, New York, 2025, Sebastian Gladstone, Los Angeles, 2024, PhilippZollinger, Zurich, 2024, and a solo booth with PhilippZollinger at Liste Art Fair Basel, in June 2024. Other solo exhibitions include “Bleu de Prusse” at Edouard Montassut, Paris, France (2019), “Ornament and Crime” at Lomex, New York City, New York (2018), and “Live Burial” at Bad Reputation Fine Arts, Los Angeles, California (2017). As well as select group and two-person exhibitions “Discard Phase” at Triest, Brooklyn, New York (2021), “Downtown Painting” at Peter Freeman, New York City, New York (2019), “Responsibility Fest” at Kunstverien Braunschweig Wolfe Island, Canada (2019). Emma McMillan, Imago, 2025 Oil, oil pastel on linen 55" H x 42" W. Image courtesy, Sebastian Gladstone, and the artist. Emma McMillan Crush, 2024 Oil on linen 36" H x 24" W. Image courtesy, Sebastian Gladstone, and the artist. Emma McMillan, Cocoon, 2025 Oil, oil pastel on linen 55" H x 42" W. Image courtesy, Sebastian Gladstone, and the artist.
Greg Chann has shown his work with Denise Bibro Fine Art, NYC; Dorsky Gallery, NYC; Margaret Thatcher Projects, NYC; The Drawing Center, NYC; among other spaces around the country. His work has appeared in The New Yorker, NY Arts, and Time Out New York. He has received a NY Foundation of the Arts Fellowship, and the NY Foundations of the Arts/Felissimo Award and lives and works in New York. Greg Chann, Stack XVI, 2024 Acrylic and ink 7 x 6 x 4 in. Greg Chann, Vertegres, 2024 Acrylic and ink 20 x 30.5 x 1.25 in. Greg Chann, Wall Stack IX, 2024 Acrylic and ink 15 x 13 x 3 in.
Photo: by Philip Bennett Jessica Helfand (b. 1960) is an artist and writer. She grew up in Paris and New York City, and received her BA and MFA from Yale University where she taught for more than two decades. She is the author of numerous books on visual and cultural criticism, and was the first-ever recipient, in 2010, of the Henry Wolf Residency at the American Academy in Rome. A 2018 Director's Guest at Civitella Ranieri and a 2019 fellow at the Bogliasco Foundation, Jessica Helfand was also the 2020 Artist in Residence at Caltech. She lives and works in New England. A view of some of the paintings which will be on view from May 1 to June 1 at Jim Kempner Fine Art in New York. (Photo courtesy of the artist.) Agnes Grey, Anne Brönte, 1847, Mixed media and oil on canvas, 20 x 16 inches, 2024The cold wind had swelled and reddened my hands, uncurled and entangled my hair, and dyed my face of a pale purple; add to this my collar was horridly crumpled, my frock splashed with mud, my feet clad in stout new boots, and as the trunks were not brought up, there was no remedy … so having smoothed my hair as well as I could, and repeatedly twitched my obdurate collar, I proceeded to clomp down two flights of stairs, philosophizing as I went. Claudine, Claudine in Paris, Colette, 1901, Mixed media and oil on canvas, 52 x 42 inches, 2025. Pointed chin, you're attractive but don't, I implore you, overdo that point. Hazel eyes, you persist in being hazel and I can't blame you for it; but don't retreat under my eyebrows with that excessive modesty. Mouth, you're still my mouth, but so pale that I can't resist rubbing those short, colorless lips with petals pulled from the red geranium in the window. (Incidentally it only gives them a horrid, purplish tinge that I promptly lick off.) As to you, my poor little white, anaemic ears, I hide you under my curly hair and secretly look at you from time to time and pinch you to make you redden. But it's my hair that's the worst of all. I can't touch it without wanting to cry ... they've cut them all off, just below the ear—my auburn ringlets, my lovely, smoothly-rolled ringlets!
Alan Bray was born in Waterville, Maine, and grew up in Monson, a small slate-quarrying town set in the northern reaches of the Appalachians. Bray attended the Art Institute of Boston before graduating from the University of Southern Maine; he received his MFA in painting from the Villa Schifanoia in Florence, Italy. It was during this formative time in Florence that he was exposed to casein tempera on panel. Bray's work has been the subject of no less than 25 solo exhibitions and is included in the public collections of the Portland Museum of Art, ME; DeCordova Museum and Sculpture Park, MA; the Farnsworth Museum of Art, ME; Arnot Art Museum, Elmira, NY; Zillman Art Museum, ME; Leigh Yawkey Woodson Art Museum, WI; Lyman Allyn Museum of Arts, New London, CT; Maine Savings Bank Collection, Memphis Cancer Center, Kohlberg, Kravis, Roberts, Menlo Park, CA; among others. The artist lives and works in Sangerville, Maine. As both a naturalist and a painter, Bray is drawn to what often goes unnoticed. “I paint what is right around me,” he says. “Occasionally it's a big subject, but more often it's a bird's nest or a farm pond.” Like the subtle geometry of his compositions, Bray's preference for modest, unassuming subjects—backwater meanders over mountaintop vistas—is deliberate and quietly profound. He has become an expert observer of bogs and shorelines, rock slides and fallow fields, daybreaks and dusks, the shifting edges of seasons. In the overlooked landscapes of his native Maine, Bray uncovers a deep sense of spirituality that gives his work its quiet power—transformative in its presence, not merely descriptive. Bray paints in casein, a milk-based tempera that has virtually no drying time. Necessarily, his paintings are technically complex because they consist of thousands of tiny brush strokes, built up in layers, out of which the images – the vision – advance from the foundation of a mirror-smooth, absolute void of white ground. It is a method of painting that follows directly from his method of exploring his subjects. Alan Bray, Neighbors, 2025 Casein on panel, 11 x 14 in. Alan Bray A Whisper Breaks the Silence, 2024 Casein on panel, 15 x 20 in. Alan Bray Refuge, 2024 Casein on panel, 16 x 20 in
Zuriel Waters was born in 1984 in Philadelphia, PA, and lives and works in Brooklyn, NY. Received an MFA in Painting from the Rhode Island School of Design in 2010 and a BA in Interdisciplinary Studies from San Diego State University in 2007. Has shown work in group exhibitions throughout New York City at galleries such as Underdonk, Marvin Gardens, Tappeto Volante, CANADA and others and has recently had solo shows at Left Field Gallery in Los Osos, CA, My Pet Ram in NYC and Kathryn Markel Fine Arts in NYC. Tongue Drum, 2025 acrylic pigment-dyed burlap, canvas and twill, upholstery thread, felt, eye-hooks 28 x 42 in. Elle, 2024 acrylic on denim, thread, industrial felt, cotton duck, hardware 35 1/2 x 21 in. am/pm, 2025 acrylic pigment-dyed burlap, canvas and twill, upholstery thread, felt, eye-hooks 43 x 28 in.
Laurie Sheck's novel A Monster's Notes, a reimagining of Mary Shelley's Frankenstein, was long listed for the Dublin Impac International Fiction Prize. Her book of poems, The Willow Grove, was a finalist for the Pulitzer Prize. Her work has appeared widely in the Paris Review, the New Yorker and elsewhere. She has been a Guggenheim Fellow, a fellow at the Radcliffe Institute for Advanced Study at Harvard, and at the Cullman Center for Scholars and Writers at the New York Public Library. A member of the MFA Creative Writing faculty at the New School, she lives in New York City. This interview focuses on her new book, Cyborg Fever.
Portrait of artist in studio, 2016 Photo: Don Stahl Courtesy of Susan Inglett Gallery, NYC. Hope Gangloff (b. 1974)attended The Cooper Union for the Advancement of Science andArt. She is well known for her vibrant portrait and landscape paintings that combine a distinctive bright palette with intricate line work. Her early portraiture garnered attention for its intimate observation of relatable moments, from a road trip with friends to a late-night houseparty. Gangloff's work was recently exhibited in "Forces of Nature: Voices That Shaped Environmentalism" at the National Portrait Gallery, Washington D.C. and in "Women PaintingWomen" at the Fort Worth Modern, with an upcoming solo exhibition at Susan Inglett Gallery,NYC, from 1 May–7 June 2025. Solo exhibitions include the Cantor Arts Center, StanfordUniversity; the Broad Art Museum, East Lansing; and Aldrich Contemporary Art Museum, Ridgefield. Her work can be found in the permanent collections of the Grinnell CollegeMuseum of Art, Grinnell; National Portrait Gallery, Washington, D.C.; the Broad Art Museum,East Lansing; the Kemper Museum, Kansas City; and Pennsylvania Academy of the Fine Arts,Philadelphia, among others. Hope Gangloff, James (Case-Leal), 2025 (Detail) Acrylic on linen 36 x 26 in. Copyright The Artist Courtesy of Susan Inglett Gallery, NYC. Hope Gangloff, 'Bittersweet' barn, 2025 (Detail) Acrylic on canvas 48 x 72 in. Copyright The Artist Courtesy of Susan Inglett Gallery, NYC. Hope Gangloff, Matthew (Holtzclaw) & Prakash (Puru), 2025 (Detail) Acrylic on wood panel 80 1/2 x 48 in. Copyright The Artist Courtesy of Susan Inglett Gallery, NYC.
Marek Wolfryd (b.1989, Mexico City) lives and works in Mexico City. He is a multidisciplinary artist that explores the intersection of artistic and economic narratives in the context of culture, history, and society. Through a wide range of media, such as process art, readymades, sculpture, installations, video, and performance, Wolfryd reviews cultural movements and their aesthetic discourses, generally delving into micro-historical phenomena surrounding these great chronicles. Through long-term research projects, Wolfryd builds a conceptual framework that exposes the complexity of certain narratives that exist both within and outside the spheres of symbolic influence of the Western world. His works reflect and explore the means of mass production, consumer culture, copyright, authorship, and the mechanisms of art creation and distribution. His work has been shown in Aparador LA, Los Angeles, General Expenses, Mexico City, Tiro al Blanco, Guadalajara, Mexico, Chalton Gallery, London, United Kingdom, Aoyama Meguro, Tokyo, Japan, Museo de la Ciudad de Querétaro, Querétaro, Mexico, Ekkisens Art Space, Reykjavik, Iceland among others. Wolfryd holds a BA from ENPEG “La Esmeralda” and has studied at SOMA. Marek Wolfryd, “The Great Logic of Contents that Bind the World into Existence or “Season's Greetings!”” Marek Wolfryd, Koon's Blue Balls, 2024 Blown Sphere, Polyurethane Foam, Screws and Resin 12 H x 24 W x 12 D in. 30 H x 61 W x 30 D cm. Marek Wolfryd, Jasper Jaar or the Influx of Consuming What we Ideologically Perceive as American From Both Sides of the Ecuador, 2024 Oil on Canvas 51 H x 78 W in. 130 H x 198 W cm.
Riley Holloway Riley Holloway studied Graphic Design at The Art Institute of Dallas, during which time he completed a Portrait Workshop at The Florence Academy of Art in Italy. Following his studies, Holloway was awarded a 3-month artist residency at The Fairmont Hotel in Dallas, which culminated in his first solo exhibition in the hotel's gallery. The artist is a Hunting Prize finalist. Holloway has exhibited internationally, with recent notable solo exhibitions including those at backs/ash in Paris, Erin Cluley Gallery in Dallas, Bloom Galerie in Geneva, Bode Projects at the Investec Cape Town Art Fair, The African American Museum of Dallas, and First Amendment Gallery in San Francisco. Love Galore at Massey Klein Gallery is the artist's first solo exhibition in New York City. In 2023, Holloway's Records on Repeat was one of twelve works selected for acquisition by The Dallas Museum of Art (DMA) through the Dallas Art Fair Foundation. The artist's work is held in other prominent collections including The University of Oregon, Stanford University, The Dean Collection, and The Fairmont Dallas. The artist lives and works in Dallas, TX. Riley Holloway, Love Galore, 2024 Oil and oil pastel on canvas 48 x 48 x 1.25 inches Riley Holloway, Flowers for You, 2024 Oil and oil pastel on canvas 27.5 x 41.5 x 1.25 inches Riley Holloway Love on Display, I, II, III, 2024 Oil and oil pastel on canvas 10 x 20 x 1.5 each
Violeta Maya (b. 1993, Madrid, Spain) lives and works in Madrid and received her BA from Central Saint Martins College of Art and Design in 2015. Recent solo exhibitions include Me atrevo a decir que esta pintura está viva, Nicelle Beauchene Gallery, New York (2025), Precisamente porque el rosa me incomoda, Alzueta Gallery, Barcelona, ES (2023), Todo en constante cambio y yo aquí observando, Nicelle Beauchene Gallery, New York (2023), ¿Verde Azulado o Azul Verdoso?, Alzueta Gallery, Palau de Casavells, Girona, ES (2022), and A mi nadie me preguntó si quería nacer, pero bueno, aquí estoy, Alzueta Gallery, Madrid, ES (2022). She was recently featured as part of the Olivia Foundation's Spotlight Series and has been included in group exhibitions at Jack Siebert Projects, Los Angeles (2025), Fernberger Gallery, Los Angeles (2024), Alzueta Gallery, Madrid, ES (2023); and GÄRNA Gallery, Madrid, ES (2022), among others. Violeta Maya, Me atrevería a decir que esta pintura está viva, 2024, Pigments and acrylic on canvas, 80 1/4h x 119 3/4w in. Violeta Maya, Miedo a lo desconocido, 2024, Wood, acrylic on silk, 81 1/4h x 20w x 4 3/4d in. Violeta Maya, Infinitas versiones de una misma I, 2024, Pigments and acrylic on canvas, 78 1/2h x 48 3/4w in.
Diane Burko's work in painting, photography, and time-based media considers the marks that human conversations make on the landscape. A Professor Emerita of the Community College of Philadelphia with additional teaching experience at Princeton University, Burko has received multiple grants from the NEA, the Pennsylvania Arts Council, the Leeway Foundation and the Independence Foundation. She has received a Lifetime Achievement Award from the Women's Caucus for Art. After focusing for several decades on monumental geological formations and waterways through landscape painting, Burko has shifted in the past 20 years to analyze the impact of industrial and colonial activity on those same landscapes. Burko's practice seeks to visually emulsify interconnected subjects– extraction, deforestation, extinction, environmental justice, indigenous genocide, ecological degradation, climate collapse– so viewers might feel their connection viscerally through the beauty of her work. While her work deals with impending climate catastrophe, rather than lingering in dystopia, it celebrates the sublimity of the landscape by honoring the intricate geological and political webs that shape the identity of a place. Burko has exhibited extensively nationally and internationally, including shows at London's Royal Academy of Art, Minneapolis Art Institute, National Academy of Sciences, Phillips Collection, RISD Museum Tang Museum, Wesleyan University Center for the Arts, and the Círculo de Bellas Artes in Madrid. She has been awarded residencies in Giverny, Bellagio, the Arctic Circle, and the Amazon Rainforest. In 2021, her solo exhibition Seeing Climate Change at the American University Museum was cited in the New York Times as one of the best shows of 2021. Her most recent solo show, Diane Burko: Bearing Witness, open January 31 to March 8, 2025 at Cristin Tierney Gallery was her first solo exhibition in New York in over 40 years. Throughout her practice, Burko especially cherishes her collaborations with researchers in the sciences. She learns the most from “bearing witness” to the land. Diane Burko Summer Heat 1 & 2 2020 Mixed Media on Canvas, 84 x 162 in. overall. Courtesy of the artist and Cristin Tierney Gallery. Photo by Adam Reich. Diane Burko Amazon 34 2024 Mixed Media on Canvas, 20 x 20 in. Courtesy of the artist and Cristin Tierney Gallery. Photo by Adam Reich. Diane Burko Unprecedented Study 1 2021 Mixed Media on Canvas, 20 x 20 in. Courtesy of the artist and Cristin Tierney Gallery. Photo by Adam Reich.
Photography by Balarama Heller Aaron Gilbert (b. 1979, Altoona, PA) lives and works between New York and Los Angeles. Gilbert received a BFA in painting from Yale University in 2005 followed by a MFA in painting from the Rhode Island School of Design (RISD) in 2008. Gilbert also holds an Associate of Science in Mechanical Engineering Technology from Penn State University (2000). Gilbert's work has been exhibited with Sant'Andrea de Scaphis, Rome; PPOW Gallery, New York; Chris Sharp Gallery, Los Angeles; Lyles & King, New York; and Deitch Projects, New York. Gilbert's work is in major public collections including the Whitney Museum of American Art, Brooklyn Museum of Art, Hammer Museum, Studio Museum in Harlem, Columbus Museum of Art, High Museum, and RISD Museum. Aaron Gilbert has also been the recipient of many awards including the Colene Brown Art Prize in 2022, Louis Comfort Tiffany Foundation Grant in 2015, and was named the 2010 “Young American Painter of Distinction” by the American Academy of Arts and Letters. Gilbert has held residencies at Fountainhead Residency (2013), Yaddo (2012), Lower Manhattan Cultural Council Workspace Residency (2008), and American Academy in Rome Affiliate Fellowship (2008). Aaron Gilbert • g • o • p • u • f • f •, 2025 Oil on linen 66 x 129 inches (167.6 x 327.7 cm) © Aaron Gilbert Courtesy of the artist and Gladstone Photography by David Regen Aaron Gilbert The Fourth Way, 2024 Oil on linen 108 x 74 3/8 inches (274.3 x 188.6 cm) © Aaron Gilbert Courtesy of the artist and Gladstone Photography by David Regen Aaron Gilbert Judah (Al Green), 2024 Oil on linen 21 3/4 x 28 7/8 inches (55.2 x 73.7 cm) © Aaron Gilbert Courtesy of the artist and Gladstone Photography by David Regen
Rei Xiao was born in Istanbul, Turkey, and earned her BFA at the School of the Museum of Fine Arts at Tufts University in Boston, Massachusetts, with additional study at Central Saint Martins at the University of Arts, London, United Kingdom. She has exhibited her works in shows in Istanbul, London, Boston, and New York City and has held artist residencies at ChaNorth, Vermont Studio Center, and The Macedonia Institute. Her first solo exhibition, "The Flea and the Acrobat," was shown in Fragment Gallery in 2025. She is also a recipient of the Elizabeth Greenshields Foundation Grant and a finalist for the Bennett Prize. CYCLONE V10 ABSOLUTE, 2024 Oil on linen 24 x 42 in | 60 x 106 cm IT WAS DARK INSIDE THE WOLF, 2022 Oil on canvas 48 x 60 in | 121 x 152 cm BALL AND CHAIN, 2022 Oil on canvas 28 x 36 in | 71 x 91 cm
At first glance, Mung'ora's work offers glimpses into everyday life in Nairobi, capturing moments ranging from bustling cityscapes to intimate portraits.Yet, upon deeper reflection, Mung'ora's canvases reveal a profound commentary on the fragmentation of urban landscapes, where physical and socialboundaries delineate diverse experiences from street to street. Through meticulously layered compositions, Mung'ora intertwines historical referenceswith modern-day scenes, highlighting the enduring imprints of past lives while emphasizing the disparities inherent in Nairobi's evolving environments. Mung'ora is a member of Brush Tu, a Nairobi-based artists' collective, and has exhibited widely including: A Tapestry of Contemporary Africa, MoCaL.I., New York (2024); Common Ground, NCAI, Nairobi (2023); African Identities, AKKA Project, Venice (2022); Walking the Edge, Afriart Gallery,Kampala (2022); 1-54 Contemporary Art Fair, New York (2022); Fragments, Antoine Dupin, Rennes (2022); A Gathering of Small Fires, MontagueContemporary, New York (2021); Sacrifice Pasture, One Off Gallery, Nairobi (2021); Kikulacho, British Institute in East Africa, Nairobi (2018);Remains, Waste & Metonymy II, British Institute in East Africa, Nairobi (2017); Stranger Times, Circle Art Gallery, Nariobi (2017), among others. He was the winner of the 2016 Manjano Art Prize in Nairobi, a finalist in the 2018 edition of the Barclays L'Atelier competition, and a finalist in the 2020EPI competition.His works form part of many notable collections, including the I&M Bank Collection, MFA Boston (promised), New Orleans Museum of Art (promised),Rodney Miller Collection, Nicolas Jay Collection, Rift Collection, Sir John Rose Collection, among others. His work been featured in the Artnet, Art inAfrica, the New York Times, and the Nation, among others. Installation, ‘Song of Lawino,' a solo exhibition by Kenyan artist Elias Mung'ora held at Indiana State University's Yang Gallery Installation, ‘Song of Lawino,' a solo exhibition by Kenyan artist Elias Mung'ora held at Indiana State University's Yang Gallery Unplanned Move 2 2024 Mixed Media on Canvas 71 x 71 in Self Portrait 2024 Signed and Dated on Front Mixed Media on Canvas 71 x 71 in
Graham Marks produces exuberant, coil-built ceramics adorned with vibrant glazes, which combine functionalism with visual delight. Of late, Marks has embraced loose, sinuous forms from which coils of clay spill in dynamic and improvisatory compositions. His candelabras and flower vases contain a wild energy all their own, full of brash, linear abandon. In their merging of pattern and embellishment, they recall the intricate crafts of eighteenth-century France, bringing rococo flourishes to the timeless theme of utilitarian vessels. Marks taught ceramics at Kansas State University, Rochester Institute of Technology, and the Cranbrook Academy of Art, where he was Head of Ceramics from 1986 to 1992. His work has been exhibited internationally and collected privately; it is held by numerous public institutions including the Philadelphia Museum of Art, Yale University Art Gallery, Detroit Institute of Art, the Everson Museum, the Museum of Art and Design, the Cranbrook Museum of Art, the Stedelijk Museum, the Hermitage Museum, and the National Gallery of Australia. From 1992 to 1995, he studied acupuncture with J.R. Worsley, establishing a private practice which ran successfully for two and a half decades. In 2020, Marks returned to ceramics. He splits his time between Brooklyn and Alfred, NY. Graham Marks, Collection of Candelabras, 2023–24. Glazed stoneware, thrown, coiled, and pinched. Dimensions vary. Courtesy of Hostler Burrows. Photo by Joe Kramm Graham Marks, Pair of Candelabras, 2024. Glazed stoneware, thrown, coiled, and pinched. Dimensions vary. Courtesy of Hostler Burrows. Photo by Joe Kramm Graham Marks, Collection of Malinalco Candelabras, 2023. Glazed stoneware, thrown, coiled, and pinched. Dimensions vary. Courtesy of Hostler Burrows. Photo by Joe Kramm
Adam Erlbaum received a BA in Mathematics from The Colorado College in 2002. He has attended the Pennsylvania Academy of the Fine Arts, the University of the Arts, and the MFA program at the Vermont College of the Fine Arts. Erlbaum has exhibited in Philadelphia, Aspen, South Carolina, and St. Louis. He paints at The Mill Studios in Philadelphia. Adam Erlbaum "Yellow Alleys," 2024 Oil on canvas. 24 × 30 × 2 1/2 in. Adam Erlbaum "Blue Break Vertical," 2024 Oil on canvas. 30 × 24 × 2 1/2 in. Adam Erlbaum "Yellow Over Blue," 2024 Oil on canvas. 30 × 24 × 2 1/2 in.
Emil Lukas Infinite Edge 6 February – 15 March 2025 New York, NY – 9 January 2025: Sperone Westwater is pleased to present new work by Emil Lukas. His fifth solo exhibition at the gallery is comprised of paintings and works on paper utilizing materials which have characterized his practice: thread, acrylic, ink and larvae. Lukas' circular thread paintings, Fuse and In Wave (each 60 inches in diameter) combine an actively painted reflector behind an accumulation of thread. The artist's new series of lattice paintings, including Glass in Moving Water, explores what happens when we process two complementary paintings at the same time. The artist creates an underpainting on the canvas, then layers a second composition on a raised pattern of dots. The combined acrylic-on-canvas works engage the viewers' position and distance in the surrounding architecture of the gallery. Born in Pittsburgh, Pennsylvania, in 1964, Emil Lukas has exhibited throughout the United States and abroad. Solo museum shows include “Emil Lukas: Connection to the Curious,” The Aldrich Contemporary Art Museum, Ridgefield, CT (2005); “Emil Lukas,” The Weatherspoon Museum, Greensboro, NC (2005); “Things with Wings,” The Mattress Factory, Pittsburgh, PA (2005); “Moderate Climate and the Bitter Bison,” Hunterdon Museum, Hunterdon, NJ (2008); “Emil Lukas,” Morris Gallery at the Pennsylvania Academy of Fine Arts, Philadelphia (2016); “Emil Lukas: Entre dos líneas tenues,” Museo de Arte Contemporáneo Atchugarry, Uruguay (2023) and “Emil Lukas: Four Modes,” Lafayette College Art Galleries, Easton, PA (2023). Emil Lukas, In Wave, 2024, thread over wood, plaster, aluminum frame with paint and nails, 60 x 60 x 6 inches (152,4 x 152,4 x 15,2 cm) Emil Lukas, 4.24 Light Years, 2024, ink on glass and paper with graphite and charcoal in painted frame, 15 x 12 x 2 inches (38,1 x 30,5 x 5,1 cm) Emil Lukas, Dendrite, 2025, acrylic on canvas over wood panel, 55 x 79 x 3 inches (139,7 x 200,7 x 7,6 cm)
Stephanie H. Shih in the studio, Brooklyn, NY, 2025. Photo: Robert Bredvad Stephanie H. Shih (b. 1986, Philadelphia, PA) renders outdated consumer goods as trompe l'oeil sculptures that reveal the tensions within American domestic life. Turning everyday items—a Thighmaster, a self-help book, many pantries' worth of condiments—into intricately painted ceramic objects transforms each into a permanent artifact. Seen together, the works play with notions of timelessness and obsolescence, nostalgia and disillusionment. Shih has exhibited work at James Cohan, New York, NY; Jeffrey Deitch, Los Angeles, CA; Berggruen Gallery, San Francisco, CA; Alexander Berggruen, New York, NY; Cantor Arts Center, Stanford, CA; Berkeley Art Museum and Pacific Film Archive, Berkeley, CA; Santa Barbara Museum of Art, Santa Barbara, CA; Bradbury Art Museum, Jonesboro, AR; and the American Museum of Ceramic Arts, Pomona, CA. The artist has also been the recipient of numerous awards and residencies including the NYSCA/NYFA Artist Fellowship, New York, NY; residency at The Corporation of Yaddo, Saratoga Springs, NY as well as many others. Community work is central to Shih's practice, and since 2017, she has used her art and platform to raise over half a million dollars in direct aid for victims of state violence. Want to help? Click here. She is currently based in Brooklyn, New York. Works from Stephanie H. Shih's solo show Domestic Bliss (January 22-February 26, 2025) at Alexander Berggruen, New York. All works: 2023-2024, ceramic. Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Robert Bredvad Stephanie H. Shih Filet-O-Fish, 2023 ceramic 5 1/2 x 5 x 5 1/2 in. (14 x 12.7 x 14 cm.) Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Robert Bredvad. Included in Stephanie H. Shih: Domestic Bliss (January 22-February 26, 2025) at Alexander Berggruen, NY. Stephanie H. Shih Zen and the Art of Motorcycle Maintenance, 2024 ceramic 7 x 4 1/2 x 1 1/2 in. (17.8 x 11.4 x 3.8 cm.) Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Robert Bredvad. Included in Stephanie H. Shih: Domestic Bliss (January 22-February 26, 2025) at Alexander Berggruen, NY.
David Humphrey has maintained a forty-year commitment to making formally inventive, psycho-socially engaged paintings. Over this time he has continued to transform images from the public realm into imaginative hybrids of the social and eccentrically individual, the historic and vividly contemporary. His work celebrates the peculiar nesting within the familiar. Mixing various representational schema with improvisational abstraction, he tells stories of vexed intimacy, political/ socio reality, and imaginative projections crashing into the real. David Humphrey (b. 1955) has been the subject of 44 solo exhibitions including McKee Gallery, NY; Sikkema Jenkins, NY; Fredric Snitzer Gallery, Miami; and Contemporary Art Center, Cincinnati. His work is in the collections of several museums and public collections including Walker Art Center, Minneapolis; Carnegie Museum of Art, Pittsburgh; The Metropolitan Museum of Art, NY; Museum of Fine Arts, Boston as well as the Saatchi Gallery, London. He is currently teaching in the MFA program of Columbia. He was awarded the Rome Prize in 2008. Humphrey has had five solo exhibitions at Fredericks & Freiser. David Humphrey, Colored Drinks, 2024 Acrylic on canvas 72 x 60 inches David Humphrey, Plant Thoughts, 2024 Acrylic on canvas 60 x 72 inches David Humphrey, Wolf, 2024 Acrylic on canvas 54 x 44 inches
Amy Stober (b. 1994, New Jersey) lives and works in New York. Recent solo exhibitions include PAGE (NYC), New York (2024); A.D. NYC, New York (2022); and Springsteen Gallery, Baltimore (2021). Recent group exhibitions include Hesse Flatow, New York (2024); ensemble, New York (2024); Brunette Coleman, London (2023); Mickey, Chicago (2023); Chapter NY, New York (2022); T293, Rome (2022); Mickey, Chicago (2022); and Chris Andrews, Montreal (2022). Amy Stober, Good Luck Charm, 2024 Cast polyurethane and metallic pigments, 8.5 x 8.5 x 17 inches 21.6 x 21.6 x 43.2 cm. Courtesy of the artist and PAGE (NYC). Amy Stober, I
Irina Lotarevich's (*1991, lives and works in Vienna, Austria) sculptural practice is shaped by the intersection of her own subjective experience with larger systems. The minimal yet complex and specific forms of her sculptures reference architecture, bureaucracy, labor, language, and parts of her body, as well as the production and circulation conditions of the material itself. Lotarevich was born in Rybinsk, Russia in 1991 and immigrated to New York City as a child. She studied at Cornell University, Hunter College, and the Academy of Fine Arts Vienna. She currently teaches metalworking at the University of Applied Arts Vienna. Solo and duo exhibitions include: Settings, Silke Lindner, New York City (2025); Modular Woman, SOPHIE TAPPEINER, Vienna (2023), Refinery, SOPHIE TAPPEINER, Vienna (2020); Galvanic Couple, FUTURA Centre for Contemporary Art, Prague, Pensive State a two-person show with Anna Schachinger, SOPHIE TAPPEINER, Vienna (2019); Schemas, Kevin Space, Vienna (2017). Recently, her work has been included in group shows held at N/A, organised by Ginny on Frederick, Seoul; Scherben, hosted by Good Weather, Chicago (2024), Belvedere 21, Vienna; Silke Lindner, New York City; Centre d'art contemporain / Passages, Troyes (2023), HALLE FÜR KUNST, Graz; Salzburger Kunstverein, Salzburg; Kunstverein Bielefeld, Bielefeld; MUMOK, Vienna (2022), Museum of Applied Arts, Vienna (2021), among others. Lotarevich's work is in the permanent collections of mumok (Museum Moderner Kunst Stiftung Ludwig), Vienna, the Museum der Moderne, Salzburg, and the Vienna Museum. Compressed Structure, 2025 Brass, patinated steel 8 x 65 1/2 x 2 1/2 in | 20.5 x 166.5 x 6.5 cm Housing (Lottery), 2025 Galvanized steel, cast brass, cast aluminum, found chains 64 x 37 1/2 x 6 1/2 in | 163 x 95.5 x 16.5 cm Stuffed Cell, 2025 Patinated steel 2 3/4 x 10 11/16 x 7 1/8 in | 7 x 27.5 x 18 cm
Tess Bilhartz grew up in Dallas, Texas and currently lives and works in New York City where she teaches art at Borough of Manhattan Community College - CUNY. Recent solo exhibitions include ‘What on Earth' at Below Grand (2020) and ‘Follow Me Down' at Rubber Factory (2022), which was reviewed in the Brooklyn Rail and BOMB magazine. Her work has also been exhibited at Embajada, San Juan, PR, Primary, Miami, FL, and Island, New York, NY. Residencies include the Skowhegan School of Painting and Sculpture (2017), and the Sharpe Walentas Space Program (2013). Tess Bilhartz, Green, 2024 Oil on canvas 30 x 52 in 76.2 x 132.1 cm Tess Bilhartz, Pink Flash, 2024 Oil on canvas 30 x 52 in 76.2 x 132.1 cm Tess Bilhartz, Spin, 2024 Oil on canvas 30 x 52 in 76.2 x 132.1 cm
Taher Asad Bakhtiari (Iranian, b. 1982) Tribal Weave Project offers a contemporary distillation of the kilim flatweaves and densely-knotted gabbeh rugs that have long defined Iran's cultural traditions. Asad-Bakhtiari's tapestries are often built around large-scale triangular patterning and crossed by striated bars and lines—minimalist forms which interrupt the logic of warp and weft with jagged diagonals and vivid abstractions. They recall shimmering landforms, lines of motion, and the iconography of nomadic handicrafts, while also nodding to the simple geometries of mid-century avant-garde design and craft movement like those at Black Mountain College. Woven from hand-spun and naturally-dyed wool with the occasional inclusion of contemporary materials, these lace-like works seek to spur new creative wrinkles within a craft tradition dating back centuries. While Asad-Bakhtiari's textiles honor his namesake heritage in the nomadic Bakhtiari Lur tribe and are realized in concert with today's artisan weavers, he is especially noted for his innovations in fiber techniques and weaving methods. Many of his tapestries seem to breathe of their own accord, composed of airy weaves with almost translucent sections of exposed warps. Rippling and glimmering as light and air pass through their open network of threads, they uncover patterns within the fundamental crossbeams of the weaving process, making use of the empty space between the overlay of threads. Combining exposed warps, lace weaves, flatweaves, and dense pile carpet techniques, Asad-Bakhtiari composes tapestries that are at once formally straightforward, yet elegantly layered, graphic, and evocative. Asad-Bakhtiari is a self-taught artist whose practice revolves around three-dimensional objects, textiles, and experiences. His work is known for raising questions around utility within the trajectories of traditional artisan handcrafts. In addition to his Tribal Weaves, his resin-glazed series of Reclaimed Barrels transforms the ubiquitous aluminum oil barrel found around Tehran's construction sites into functional works of art. Asad-Bakhtiari studied in Canada and Switzerland and resides between Tehran, Dubai, and New York. TAHER ASAD-BAKHTIARI, Tribal Weave, 2024, Gabbeh woven wool with exposed warp 118" L x 98.5” W TAHER ASAD-BAKHTIARI, Tribal Weave, 2024, Gabbeh woven wool with exposed warp 94.5" L x 66.25 “ W TAHER ASAD-BAKHTIARI, Tribal Weave, 2024, Gabbeh woven wool with exposed warp 86.5" L x 59” W
Marcelle Reinecke in the studio, 2024 Marcelle Reinecke (b. 1989, New Orleans, LA) received an MFA from The Pennsylvania Academy of the Fine Arts (PAFA), Philadelphia, PA and a BFA from Marywood University, Scranton, PA. Reinecke also completed studies at the Studio Arts College International, Florence, Italy and was a Resident Artist at the Royal Drawing School, Dumfries House Trust, Cumnock, Scotland, U.K. Recent exhibitions include Monya Rowe Gallery, NY; Steven Harvey Fine Art Projects, NY; Margot Samel, NY; and Ruffed Grouse Gallery, Narrowsburg, NY. Reinecke lives and works in Philadelphia, PA, and is represented by Monya Rowe Gallery, NY. MARCELLE REINECKE, Offset Hook, 2024 acrylic and flashe on panel, 30 by 24 inches Courtesy of Monya Rowe Gallery, NY MARCELLE REINECKE, Meet In The Kitchen, 2024 acrylic and flashe on panel, 36 by 48 inches Courtesy of Monya Rowe Gallery, NY MARCELLE REINECKE, In The Pines, 2024 acrylic and flashe on panel 24 by 30 inches Courtesy of Monya Rowe Gallery, NY
Leo Frontini , Photo by Scott MacDonough Leo Frontini (b. 2000, Cleveland, OH) has found painting to be an escape from reality while also bringing him closer to the world, relationships, and himself. His practice combines his complicated exploration of the subconscious mind and emotional tumult with an exhaustive knowledge of human anatomy, oil painting techniques, and draftsmanship that is unique in its range of influence. Exploring his work is like embarking on a journey that engages both the senses and intellect. His paintings are often accompanied by evocative poetry, an instrumental part of his practice in exploring the hidden allegories of his work. Frontinis' compositions hold the viewer in captivation and contemplation—a kindling of transcendence. Leo Frontini received a BFA from Otis College of Art and Design (2023), studying great masters of the past in between frequent Life Drawing sessions. Frontini was raised in a creative household. In the solitariness of quarantine, Frontini began an intensive study of painting the figure. His visual intermingling of the past, present, and unknown provide a balance of harmony and tension. Launching his career upon graduation, Frontini had a solo exhibition with albertz benda Los Angeles in 2024, followed by a project exhibition with 1969 Gallery in New York. He will continue this trajectory with his first comprehensive solo exhibition at albertz benda New York in 2025. Leo Frontini, Source of Anguish, 2024, Oil on canvas 36 x 48 inches 91.5 x 122 cm Leo Frontini, Soliloquy of a sleepless night, 2025, Oil on canvas 72 x 60 inches 183 x 152.5 cm Leo Frontini, Cadence of Disruption, 2024, Oil on canvas 36 x 48 inches 91.4 x 121.9 cm
Antonia Caicedo Holguín photographed by Imogen Forte. Antonia Caicedo Holguín (b. 1997 in Colombia) is deeply influenced by her hometown of Cali, Colombia, from the people who inhabit the city to the vibrant salsa music and dance culture of the region. By exploring everyday life, memory, and imagination, Caicedo Holguín chronicles her life, friends, and family. “A key component of my practice is the playfulness of writing narratives. The characters I build hold the charm, depth, and presence of literary protagonists.” Drawing inspiration from contemporary painters like Paula Rego and Lynette Yiadom-Boakye, as well as old masters like Degas and Manet, her work often depicts fleeting moments of intimacy and moments of solitude. Often the subjects of Caicedo Holguín's paintings seem to be in a state of introspection, or lost in reverie. She works with a variety of materials, including oil paint and unconventional materials like coffee grounds, coffee dyes, natural Latin American pigments, and found objects. Caicedo Holguín received her Master of Arts in 2023 from the prestigious Slade School of Fine Art, at University College London in London, England. She has exhibited internationally, and has received the following awards and grants: The Olive Award, in recognition of art process experimentation, The Slade School of Fine Art, UCL, 2023, The Sarabande Foundation, Emerging Artist Fund, 2023, The Chelsea Arts Club Trust MA Materials and Research Award, 2022, and The Elizabeth Greenshields Foundation Grant, 2021. She was a featured guest on the 250th episode of The Art Newspaper's podcast, The Week in Art, hosted by Ben Luke in 2023. She was featured in The Art Newspaper, in an article titled “Art stars of tomorrow? Four of my favourite artists from the Slade School degree show in London” by Dr. Chibundu Onuzo in 2023, and again in 2024 in the article “I commissioned an artist for the first time: here's what it taught me about what it really means to be a ‘collector'.” The artist lives and works in London, England. Antonia Caicedo Holguín, My Friend Hannah Uzor - Portrait in the Studio 2024 Oil and oil pastels on canvas 47 x 43 in (119.38 x 109.22 cm) Antonia Caicedo Holguín, Her Heart Sets the Beat, 2024 Acrylic, oil, and pastels on canvas 67.25 x 66.50 in (170.82 x 168.91 cm) Antonia Caicedo Holguín, Sunkissed 2024, Acrylic and oil on canvas, 47 x 43 in (119.38 x 109.22 cm)
Ana Gonzalez, Photo byJuan Moore Ana González's artistic practice celebrates the landscapes of her native Colombia and her partnerships with the indigenous communities dedicated to their preservation. Her work serves as a vibrant tribute to the sensory richness and cultural significance of these environments whilst highlighting their crucial role in historic ecosystems. Her oeuvre bridges multiple disciplines, including painting, photography, and sculpture. In her work González references to the 18th-century naturalist Alexander von Humboldt and his exploration of the interconnectedness of all living systems. Her Devastations series features textiles onto which the artist prints photographs of Colombia's vulnerable environments which she then partially unravels by hand. The works preserve these spaces as sites of power, abundance, and renewal while referencing the slow disappearance of ancient ecologies. González has worked closely with Colombian Indigenous communities, leading social and humanitarian initiatives with the Sierra Nevada de Santa Marta communities, the Nukak people of Guaviare, and Misak women in Cauca. In collaboration with Cartier and the Amazon Conservation Team, González founded a health and social project in the Colombian Amazon. In November 2024 they completed a healthcare center in Murui Muina, Umancia, an indigenous settlement positioned at the intersection of three key regions: Putumayo, Caquetá, and Amazonas. Ana González is a graduate in architecture from Universidad de Los Andes in Bogotá, Colombia. She pursued advanced studies in Art and Gender at Trinity College in Dublin, Ireland, and completed a master's in arts and media, focusing on Photography, Printing, and Publishing, at both the École Nationale Supérieure des Beaux-Arts and the École Supérieure de Commerce de Paris in France. Her work is part of significant private and public collections, including the Patricia Phelps de Cisneros Collection, the Havremagasinet Länskonsthall Museum in Sweden, the National Museum of Colombia, the Bogotá Museum of Modern Art (MAMBO), the Santa Barbara Museum of Art, CA, the JP Morgan Chase Art Collection, NY, the Bancolombia Art Collection and the Museo de la Universidad de Antioquia, Medellín, Colombia. She currently lives and works in Bogotá. Ana González, PALMAS DE CERA (WAX PALM TREES), 2024 sublimation printing on roughened tarp 58 1/4 x 58 11/16 inches. © Ana González Courtesy Sean Kelly, New York/Los Angeles. Ana González, RÍO VAUPÉS (RIVER IN THE AMAZON FOREST), 2024, sublimation printing on roughened tarp, 21 5/8 x 27 9/16 inches. © Ana González Courtesy Sean Kelly, New York/Los Angeles. Ana González, KYBA (DREAM), 2024, diptych graphite and acrylic on canvas. canvas: 63 x 47 1/4 inches (160 x 120 cm) each. © Ana González Courtesy Sean Kelly, New York/Los Angeles.
Benjamin Bertocci has been living and working in N.Y.C. since 2005. He was raised in Stockbridge, Massachusetts, attended Bard College at Simon's Rock, UMASS Amherst, and Southern Illinois University, Edwardsville. He now works out of his studio in Long Island City Queens, and lives with his small family in nearby Astoria. Philosopher VII; Abomination Parent Transfixed Between Planes, Frozen, Destroyed (Fiscally Appreciative Parasitoid) 14”x11” Oil on Panel. The Last Beasts in the Sky Still Need to Play, Oil on Panel, 16”x20”. Promession III, oil on plastic entombed canvas 12” x 12” 2022.
Matthew Leifheit, Photo by Shala Miller Matthew Leifheit is an American photographer, magazine editor, and professor based in Brooklyn, New York. A graduate of Rhode Island School of Design and the Yale School of Art, Leifheit is Editor-in-Chief of MATTE Magazine, the journal of emerging photography he has published since 2010. Leifheit's photographs have appeared in publications such as The New York Times, The New Yorker, Aperture, TIME, and Artforum, and have been exhibited internationally. His work has been supported by residencies at the Corporation of Yaddo and The Watermill Center, receiving grants from the New York State Cultural Council and the Fund for Lesbian and Gay Studies at Yale, where he was awarded the Richard Benson Prize in 2017. He is currently full-time faculty at Massachusetts College of Art and Design in Boston. Gay Archive was presented at Union College Crowell and West Galleries and at Massachusetts College of Art and Design's Brant Gallery in the fall of 2024. "Matthew Leifheit: Gay Chorus" will be on view at REVERB Gallery in Tampa, Florida through February 14th. Selections from Leifheit's Gay Archive work will also be included in the Griffin Museum of Photography's upcoming exhibition "Nuclear Family," on view January 17th—March 30th 2025. Installation View of Matthew Leifheit: Queer Archive at Massachusetts College of Art and Design's Brant Gallery, November 2025 John Pfleiderer Body Hair Collection* (undated, collected prior to Pfleiderer's death in 1982) GLBT Historical Society, San Francisco, 2023 40x30” dye sublimation print with footnote. Harvey Milk Underwear, GLBT Historical Society, San Francisco, 2023 40x30” dye sublimation print on aluminum Pedro Zamora Gift Image, 2024 22.75'' x 32.75'' offset lithography on newsprint, edition of 1000 copies.
Mark van Yetter (b. 1978) lives and works in the Poconos, PA. Van Yetter co-founded exhibition space Marquise Dance Hall (2007-2015), which started as a book and record store in New York, before transitioning to an itinerant gallery in Istanbul. Current and previous solo exhibitions include Plunderbund Charity, Ebensperger, Berlin, GE (2022); Damn View, Ebensperger Rhomberg, Berlin, GE (2019); False Friends... and Six Bottles, Kunsthalle St. Gallen, St. Gallen, CH (2019); Drawings 2005 - 2018: 20 Propositions at Salzburger Kunstverein, Salzburg, AT (2018); You can observe a lot by just watching, Bridget Donahue, New York, US (2018); We are what we walk between, Micky Schubert, Berlin, DE (2016); The Terrifying Abyss of Skepticism, Bridget Donahue, New York, US (2016); The mere knowledge of a fact is pale, Kunsthall Stavanger, Stavanger, NO (2016); Relentless Compassion, VI, VII, Oslo, NO (2015). Selected group exhibitions include Catechism, Bridget Donahue, New York, US (2022); Freedom & Independence, Ebensperger, Berlin, GE (2020); Any Day Now, Sprüth Magers, Berlin, GE, (2020); To confess, one must tell lies, Clages Gallery, Cologne, GE (2019); Nightfall, Mendes Wood DM, Brussels, BE (2018); All'estero & Dr. K.'s Badereise nach Riva: Version B, Croy Nielsen, Vienna, AT (2018); All'estero & Dr. K. Takes the Waters at Riva: Version A, A Plus A Gallery, Venice, IT (2018); Hütti, Ludlow 38, New York, US (2017); At the bar, MD Bar, Cologne, DE (2017); Monday is a Day Between Sunday and Tuesday, Tanya Leighton, Berlin, DE (2017); Group Show, Micky Schubert, Berlin, DE (2015); Eray Börtecene, Sonja Weissmann, Mark van Yetter, Institut für Bienenzucht, Düsseldorf, DE (2014). Van Yetter was the recipient of the Fürstenberg Zeitgenössisch Residency in 2016. Mark van Yetter, Jonas, Amelie & Loki, 2024 Pastel on paper, artist's pine frame 27.6 × 39.4 in. (70.10 × 100.08 cm). Copyright Mark van Yetter, Courtesy of the artist and Bridget Donahue, NYC, Photo by Charles Benton. Mark van Yetter, Umar, 2024 Pastel on paper, artist's pine frame 18.9 × 14.2 in. Copyright Mark van YetterCourtesy of the artist and Bridget Donahue, NYC, Photo by Charles Benton. Mark van Yetter, Untitled, 2024 Oil on paper, artist's pine frame 12 × 9.1 in. (30.48 × 23.11 cm) Copyright Mark van YetterCourtesy of the artist and Bridget Donahue, NYC, Photo by Charles Benton.
Gretchen Scherer (b. 1979, Indianapolis, IN) received a MFA from Hunter College, NY and a BFA from The University of Illinois at Chicago, IL. Scherer has been awarded residencies at Skowhegan School of Sculpture and Painting, ME and Vermont Studio Center, VT. Recent exhibitions include Richard Heller Gallery, LA; Patricia Low Gallery, Gstaad,Switzerland; Gowen Contemporary, Geneva, Switzerland; Taymour Grahne, London; and Monya Rowe Gallery, NY. Scherer's work was highlighted in Harper's Bazaar Latin Art Issue in “Artists to Follow in 2022”, and in New York Magazine by Jerry Saltz in “The Best Art Shows of 2021”. Scherer's work was recently profiled in the Spring 2024 issue of Juxtapoz magazine (“Gretchen Scherer: If Rooms Could Talk”). Her work is also included in “New Surrealism: The Uncanny in Contemporary Painting” by Robert Zeller, published by Monacelli Press (2024), an imprint of Phaidon. The artist lives and works in West Creek, NJ and Brooklyn, NY. GRETCHEN SCHERER Sir John Soane's Museum, Drawing Office, 2024 oil and acrylic on panel 24 by 30 inches Courtesy of Monya Rowe Gallery, NY. GRETCHEN SCHERER Palazzo Borromeo, Isola Bella, Berthier Gallery, 2024 oil and acrylic on panel 18 by 24 inches Courtesy of Monya Rowe Gallery, NY GRETCHEN SCHERER Palace of Aranjuez, Porcelain Room, 2024 oil and acrylic on panel 18 by 24 inches Courtesy of Monya Rowe Gallery, NY.
Paula Siebra is a Brazilian painter born in Fortaleza, Ceará, in 1998. The artist focuses on images related to everyday life and scenes of intimacy using Brazilian northeastern culture as her starting point. Her paintings emerge from the exploration of established themes such as portraits, landscapes, and still lifes. These motifs, throughout her research, acquire a peculiar aspect: a certain simplification in the contours, added to a reduction in the contrast between chromatic tones, polarizing reality, and reverie - as if the artist were daydreaming about ordinary life. In addition to following a straightforward continuum from tradition, her paintings relate to an inherent visualness of her native land of Ceará and the Brazilian Northeast as a whole. She is particularly close to folk art since her interests encompass the synthetic form of clay objects, laces, and other textile works such as crochet and embroidery, as well as the geometric and colorful architectural features of traditional houses. Surrounding villages, household objects, and anonymous faces are elements of the landscape in which the artist is immersed, appearing as if clothed by a light mist that covers everything - alternately concealing or revealing them. Her recent solo exhibitions include As primeiras coisas [The earliest things], Mendes Wood DM, New York (2024); Cristalino Segredo, Mendes Wood DM, Brussels (2023); Noites de cetim, Mendes Wood DM, São Paulo (2022); Lembrança de algum lugar, Sobrado Dr. José Lourenço, Fortaleza (2022); O Soar das Horas, Nieuwe Gentweg 21, Bruges (2023) and Arrebol, Mendes Wood DM, New York (2021). Additionally her work has been including in group exhibitions such as Amadeo Luciano Lorenzato en conversation avec Lucas Arruda, Sanam Khatibi, Patricia Leite, Paula Siebra, Marcos Siqueira, Erika Verzutti et Castiel Vitorino Brasileiro, Mendes Wood DM, Paris (2024); 74º Salão de Abril, Centro Cultural Casa do Barão de Camocim, Fortaleza (2023); Arte Laguna Prize Exhibition, Arsenale di Venezia, Venice (2023); Close, Grimm Gallery, London (2023); A Gauzy Flame, Herald St, London (2023); Pequenas pinturas II, auroras, São Paulo (2022); My reflection of you, The Perimeter, London (2022); Corpo Ancestral - 21ª UNIFOR Plástica, Universidade de Fortaleza, Fortaleza (2022); Male Nudes: a salon from 1800 to 2021, Mendes Wood DM, São Paulo (2022). Additionally, here's a link to a Studio Visit. Paula Siebra, Uma carta | A letter, 2024, oil on canvas, 30 x 20 cm, 11 3/4 x 7 7/8 in.Courtesy of the artist and Mendes Wood DM, São Paulo, Brussels, Paris, New York, Photo credit: EstudioEmObra Paula Siebra, Mesa de cabeceira | Bedside table , 2024, oil on canvas, 40 x 50 cm, 15 3/4 x 19 3/4 inCourtesy of the artist and Mendes Wood DM, São Paulo, Brussels, Paris, New York. Photo credit: EstudioEmObra Paula Siebra, Mesa do almoço com quadro do Chico da Silva | Dining room table with a painting by Chico da Silva, 2024, oil on canvas, 70 x 100 cm, 27 1/2 x 39 3/8 inCourtesy of the artist and Mendes Wood DM, São Paulo, Brussels, Paris, New York. Photo credit: EstudioEmObra
Born in Los Angeles, Lily Ramírez's painting practice has always hinged on her fascination with the with paint. She began working in acrylics at a young age, experimenting alongside her father who supported her burgeoning practice. The pair moved across the US, living briefly in Montana and Wyoming before re-settling in LA. “Everything I've done is based on what he taught me. I had a beautiful, natural childhood,” she says. Ramirez attended Otis College of Art and Design to study painting as an undergraduate, where she studied under artists Meg Cranston, Scott Grieger, and Soo Kim. Lily Ramírez Missoula, Montana, 2023 Oil Stick on Kozo Paper 30 x 24 inches 76.2 x 61 cm. Lily Ramírez Orange tree, 2023 Oil Stick on Kozo Paper 30 x 24 inches 76.2 x 61 cm Lily Ramírez Probablemente, 2025 Oil and Oil Stick on Canvas 67 x 71 inches 170.2 x 180.3 cm.
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