Rico Gatson

RICO!GATSON

WARREN ISENSEE

520 West 21st Street New York NY 10011

tel +1 212 445 0051 www.milesmcenery.com

525 West 22nd Street New York NY 10011

RICO GATSON GHOSTS

520 West 21st Street New York NY 10011

tel +1 212 445 0051 www.milesmcenery.com

525 West 22nd Street New York NY 10011

RICO!GATSON"!SPIRITUAL!ABSTRACTION

By Antwaun Sargent

The door is Rico Gatson’s chosen canvas. The bright, flat colorful abstractions seen in a series of new paintings meet the resistance of the prefabricated, ready-made object. It allows Gatson to ground his painting practice, conceptually in his training in sculpture and symbolically in what the artist calls “notions of accessibility.” On the doors, he lays down hard-edge geometric shapes and lines that range in hue from psychedelic purple, magenta, and brown to the pale!e of Pan-African self-determination: red, green, black, orange, and yellow. This hypnotic play with the spectrum of color conjures the politics of independence, liberation, and peace of the 1960s and ’70s in a graphic language that emanates in lines, circles, triangles, and rectangles that form stars, fires, diamonds, and rainbows.

On the wooden panels, this can all be seen as a metaphor: For the artist, the vibrantly painted symbols on the doors are abstract representations of the spiritual possibilities of energy. A door gives way to the doorway, a passage, and a place of witness and transformation, a portal to the before of lineage and history and the beyond of the occult and mysticism. His geometric abstractions, represented in works such as Untitled (Freedom Rainbow) (2020), a visualization of the symbol fla!ened into an archway or threshold of thick loops of black, red, orange, green, and yellow, are his “literal envisioning of bodies moving through space as energy.”

He explains: “I like to switch between the representation of the literal figure and colorful rays. It becomes less accessible, an abstraction, but I’m always thinking about the figure.”

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In his view, the pale blue sky that is seen through the yellow band of color is separated by “space that allows you through, which can symbolically mean moving from one state to another.” This salvation of transformation is indescribable for him “in terms of legacy, in terms of meaning, in terms of feeling,” so he represents its awesomeness in the freedom of the fullness of the rainbow.

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Over the course of the last three decades, Gatson has developed a language that includes video, sculpture, collage, and painting, and that has been chiefly concerned with the icons and symbols of racism, trauma, and power. For instance, Whipping Post (Medium) is a 2006 sculpture of a wooden cross with holes that evokes a stockade. The work is painted using a limited pale!e of purple, brown, orange, and amber arranged in a linear configuration that suggests a Ghanaian textile design. It is a symbol of hate, layered with a symbol of pride, both suggesting heritage and legacy. The artist developed his interest in color and geometric symbols while studying graphic design and Fine Art as an undergraduate in the 1980s. He started experimenting with the formal simplicity of Minimalism and Constructivism under the direction of the Minimalist sculptor David von Schlegell while he was a graduate student in the Yale School of Art’s sculpture program.

“When I moved to New York in the early ’90s, my head was exclusively concerned with sculpture,” he says. “But I was always utilizing paint or painting objects, and so that was something that was an aspect of the work. While teaching in the post-baccalaureate program at Brandeis University, I began working with a lot of painters, and started thinking more two-dimensionally.”

The new works are rooted more squarely in the abstract mysticism of Hilma af Klint and the vivid Minimalism of Carmen Herrera. They seem to be less concerned with symbols of darkness than they are interested in the meditative quality and promise of light. In works such as Untitled (Magic Diamonds) (2020) and Untitled (Ghosts A!er Albert Ayler) (2020) symbols dance on the canvas with the suggestion of what Gatson calls “the esoteric.”

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“In the Albert Ayler piece, I’m thinking about ghosts, or spirits. I’m thinking about this person who lived, who passed tragically a#er commi!ing suicide, and thinking about literally his artistic production as a jazz musician, his working abstractly pushing the boundaries of experimentation almost to this point where it’s almost not even music. So to me that piece has a lot of intuitive energy that is contained within the forms I paint, those triangles. It’s about spirituality.”

In other works such as Untitled (Transparent Bodies) (2020) and Untitled (Young Mystics), he explains that the triangle is also the central symbol: “The triangle for me is a symbol that represents any number of things historically, but in a nutshell, it’s a symbol of good and evil. The upright position traditionally represents good, and the subverted one represents evil. I like the idea of this occurring in both directions in the works. Deconstructing symbols over the course of my career, specific forms have come to have specific meaning, but they also kind of dissolve in the repetitive rendering. I am trying to subvert or play with symbols of power. Obviously, the triangle references the pyramid form, but then if you flip it an “X” appears, and that becomes a form in the work that represents a lot of different stuff. For me, it’s about considering the transformation of something from one state to another.”

The work is also part of a lineage that includes the social abstraction of Black Arts Movement figures like Joe Overstreet, whose painting North Star (1968), like Gatson’s own Untitled (North Star) (2020), explores the spatial and textural possibilities of painting and complex cultural histories. In his painting, Gatson realizes the brightest star in the constellation of Ursa Minor in the proud colors of Pan-Africanism. This gesture alludes to the antebellum lore of the Black people who are believed to have followed the light, a beacon of hope, from enslavement to freedom. In

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Gatson’s star, as is seen in his flag, Untitled (Flag III) (2020), he eschews the tricolor of red, green, and black, notably represented in David Hammons’s celebrated, African American Flag (1990).

Gatson’s interest seems to lie in a more expanded color scheme that includes gold and orange, filling space with more vibrancy and symbolizing what the artist calls the “ever expanding” nature of the light of freedom and emancipation. He explains: “I am processing what it means to have lived through the last four years, and being a person of color in America, issues around citizenship, and who it belongs to. So the flag is just playing with that. The statement of the symbol represents something specific, and in playing with it hopefully provokes a li!le contemplation. The flag is a question, a proposition.”

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A similar impulse is at play in Untitled (Young Mystics) (2020), which was made while the artist watched “the power and energy of the youth” who led the recent Black Lives Ma!er protests.

The work of intersecting large vibrant triangles and small circles against a backdrop of horizontal black and white lines that form smaller upside-down triangles, is an illustration of how repetition, perception, and variation can shi# meaning and capture transformation. The work alludes to the rigorous Minimalism of Sol LeWi!’s wall drawings. Like LeWi!, Gatson employs a limited and specific repertoire of lines, colors, and geometric representations, creating works of visual complexity. Gatson’s language of color and shape is drawn from an African-American sensibility to create optical, repeated pa!erns that have a calming, meditated quality. “There’s a fast and slow thing that occurs within the work,” notes the artist. “The pa!ern and color are spatially active to the point that I hope the loudness produces a focus that slows the viewer down.”

Gatson’s exploration of the transformative possibility of color and shape developing into energy and light surfaces in his earlier ongoing series of collages entitled, Icons (2007–). The series pays homage to what he calls “Black Cultural Beacons” and goes beyond their political and cultural

production. In this body of work, Gatson extracts black-and-white images of civil rights leaders, musicians, actors, and writers from found photographs and recreates them against straight mesmeric rays of color, as if they were suns at the center of their own universes. This work and earlier paintings such as Kathleen Cleaver (2006), a silhoue!e of former Black Panther leader painted in the style of kente cloth, evokes the political agitprop of Emory Douglas, the Black Panther Party’s minister of culture whose graphic art illustrated the aims and a!itudes of the Black Power Movement in the group’s newspaper. Gatson’s art represents a notable departure from Douglas’s works on paper, in that it lies conceptually in a liberatory politics that is achieved through a spiritual positivity.

In Nina (2007), Gatson depicts the songstress of the civil rights era squa!ing with her hands folded in a moment when she seems weary. He resolves that tension in the image by coloring thin beams of soaring black, brown, orange, and red behind her Afro that seems to be resounding through space. There is no piano and no stage, just the figure with her essence emanating. The series is a representation of Black Power personified, yet in rendering the cultural and political leaders—in black and white with small streaks of color emanating from their being—outside the frames of the moments that defined them, Gatson seems to be asking: Who is Nina Simone without her hits? Muhammad Ali without the ring? Amiri Baraka without his words? Ntozake Shange without the theater? The cu!ing away of the figures from their known and popular contexts of talent and admiration allows us to see them beyond the surface of their labor. As Gatson’s lines of light remind us, they are eternal energy, forces of good, ever radiating.

Antwaun Sargent is writer based in New York City. His writing has appeared in The New York Times, The New Yorker, Vice, and other publications. Sargent is the author of “The New Black Vanguard: Photography Between Art and Fashion” (New York: Aperture, 2019) and the editor of “Young, Gi#ed and Black: A New Generation of Artists” (New York: DAP, 2020).

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Nelson, 2020

Color pencil and photograph collage on paper 22 x 30 inches 55.9 x 76.2 cm

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Ntozake, 2020

Color pencil and photograph collage on paper 22 x 30 inches 55.9 x 76.2 cm

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Zora #2, 2020

Color pencil and photograph collage on paper 22 x 30 inches 55.9 x 76.2 cm

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Albert, 2020

Color pencil and photograph collage on paper 22 x 30 inches 55.9 x 76.2 cm

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John, 2020

Color pencil and photograph collage on paper 22 x 30 inches 55.9 x 76.2 cm

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Diahann #2, 2020 Color pencil and photograph collage on paper 22 x 30 inches 55.9 x 76.2 cm

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Untitled (North Star), 2020

Acrylic paint on wood 48 x 36 inches 121.9 x 91.4 cm

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Untitled (Freedom Rainbow), 2020 Acrylic paint on wood 48 x 36 inches 121.9 x 91.4 cm

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Untitled (Flag III), 2020 Acrylic paint on wood 36 x 48 inches 91.4 x 121.9 cm

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Untitled (Magic Mountain), 2020

Acrylic paint on wood 36 x 80 inches 91.4 x 203.2 cm

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Untitled (Fiery Fire), 2020

Acrylic paint on wood 36 x 80 inches 91.4 x 203.2 cm

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Untitled (Transparent Bodies), 2020

Acrylic paint on wood 36 x 80 inches 91.4 x 203.2 cm

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Untitled (Young Mystics), 2020 Acrylic paint and gli#er on wood 36 x 80 inches 91.4 x 203.2 cm

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Untitled (Magic Diamonds), 2020

Acrylic paint on wood 36 x 80 inches 91.4 x 203.2 cm

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Untitled (Ghosts A$er Albert Ayler), 2020

Acrylic paint and gli#er on wood 36 x 80 inches 91.4 x 203.2 cm

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RICO!GATSON Born in Augusta, GA in 1966 Lives and works in New York, NY

EDUCATION 2013 Ginsberg Artist in Residence, Wright Museum of Art, Beloit College, Beloit, WI 1998 Artist Residency, Franconia Sculpture Park, Taylor Falls, MN 1991 MFA, Yale University, New Haven, CT

2013 “The Promise of Light,” Ronald Feldman Fine Arts, New York, NY “2013 Ginsberg Artist in Residence, Rico Gatson,” Wright Museum of Art, Beloit College, Beloit, WI 2011 “Rico Gatson: Three Trips Around the Block,” Exit Art, New York, NY “History Lessons,” Suzanne Lemberg Usdan Gallery, Bennington College, Bennington, VT 2009 “Dark Ma!er,” Ronald Feldman Fine Arts, New York, NY 2008 “Black Magic/Black Power,” Steve Turner Contemporary, Los Angeles, CA Pocket Utopia, New York, NY Minneapolis College of Art and Design, Minneapolis, MN

1989 BFA, Bethel College, St. Paul, MN

2006 “African Fractals,” Cheekwood Museum of Art, Nashville, TN and Ronald Feldman Fine Arts, New York, NY

SOLO EXHIBITIONS

2005 “Meditations on Race and Religion,” Olson Gallery, Bethel University, St. Paul, MN

2020 “Ghosts,” Miles McEnery Gallery, New York, NY 2018 “My Eyes Have Seen,” Ronald Feldman Gallery, New York, NY 2017 “Rico Gatson: 2007-2017,” The Studio Museum in Harlem, New York, NY

2004 “History Lessons/Clandestine,” Ronald Feldman Fine Arts, New York, NY 2003 “Rico Gatson: Recent Works,” Franklin Art Works, Minneapolis, MN

2016 “Power Lines,” Samsøñ Projects, Boston, MA

2001 Ronald Feldman Fine Arts, New York, NY Galerie Serge Ziegler, Zürich, Switzerland

2014 “Rico Gatson: When She Speaks,” Studio 10, New York, NY

2000 “Fire,” Ronald Feldman Fine Arts, New York, NY

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1999 “Home Sweet Home,” Pierogi 2000, Brooklyn, NY 1996 “Project Room,” Momenta Art, New York, NY

GROUP EXHIBITIONS 2020 “True Lines,” Over The Influence, Los Angeles, CA

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2019 “New Symphony of Time,” Mississippi Museum of Art, Jackson, MS “Historicity,” Ochi Projects, Los Angeles, CA “Summer 2019,” Ronald Feldman Gallery, New York, NY “Rico Gatson and Baseera Khan: Free to Be,” Jenkins Johnson Projects, New York, NY 2018 “Win Sourced Scribes,” Mother Gallery, New York, NY “Art + Activism: Drawing the Line,” Children’s Museum of Art, New York, NY “Jazz and Love,” La Vieille Charité, Marseille, France “The Art of Protest,” Areté Gallery, New York, NY “Isness,” Morgan Lehman Gallery, New York, NY 2017 “Identity Document,” Gallery Bergen, Bergen Community College, Paramus, NJ “We the People,” Minnesota Museum of American Art, St. Paul, MN “1967: Parallels in Black Art and Rebellion,” Charles H. Wright Museum of African American History, Detroit, MI “Sharper Image,” Present Company, New York, NY “Art on the Front Lines,” Ronald Feldman Fine Arts, New York, NY “Spielplatz,” Geary Contemporary, New York, NY

2016 “Moving Image,” The Tunnel, New York, NY “Phantom,” OSMOS, New York, NY “Jameco Exchange,” No Longer Empty, New York, NY “Accumulation: 5000 Years of Objects, Fictions, and Conversations,” Mead Art Museum, Amherst College, Amherst, MA “Every Five Minutes,” Columbus State University, Columbus, GA “Language Product,” Boston Arts Academy, Boston, MA 2015 “Devotion,” Catinca Tabacaru Gallery, New York, NY “The Ra#,” The Boiler, Pierogi, Brooklyn, NY “When Artists Speak Truth...,” The 8th Floor, New York, NY “All Killer No Filler,” Eric Firestone Gallery, East Hampton, NY “Magic Objects” (curated by Rico Gatson), 99 Cent Plus Gallery, New York, NY “Make Their Gold Teeth Ache,” Moberg Gallery, Des Moines, IA “between a place and candy: new works in pa!ern + repetition + motif,” 1285 Avenue of the Americas Gallery, New York, NY “Painting is Dead?!,” Figure One, University of Illinois, Champaign, IL “RESPOND,” Smack Mellon, Brooklyn, NY “Pay to Play,” ODETTA, Brooklyn, NY 2014 “CEMETARIUM Presented by Regina Rex,” Emerson Dorsch, Miami, FL “Guns in the Hands of Artists,” Jonathan Ferrara Gallery, New Orleans, LA “Pierogi XX: Twentieth Anniversary Exhibition,” Pierogi, Brooklyn, NY “SEVEN/VIDEO,” The Boiler, Pierogi, Brooklyn, NY 2013 “15 Artists in Black & White,” Outlet Fine Arts, Brooklyn, NY “The Ceiling Should Be Green,” P!, New York, NY “American Beauty,” Susan Ingle! Gallery, New York, NY 2012 “New, New York,” Essl Museum, Vienna, Austria “Bigger Than Shadows,” Dodge Gallery, New York, NY “Rico Gatson and Christ Larson,” Trinity Christian College, Palos Heights, IL

“Lyrical Color,” Pocket Utopia, Brooklyn, NY “Paper Variables,” Dieu Donne, New York, NY “Rico Gatson and Angela Dufresne,” Barbara Walters Gallery, Sarah Lawrence College, Bronx, NY “Every Exit is an Entrance: 30 Years of Exit Art,” Exit Art, New York, NY “The Bearden Project,” The Studio Museum in Harlem, New York, NY “What I Know” (curated by Jason Andrew), New York Center for Art and Media Studies, New York, NY

2008 “The Labyrinth Wall: From Mythology to Reality,” Exit Art, New York, NY “Drawing Review: 37 Years of Works on Paper,” Ronald Feldman Fine Arts, New York, NY “Filmic,” The Studio Museum in Harlem, New York, NY “Prospect 1,” Prospect, New Orleans, LA “intransit,” Moti Hasson Gallery, New York, NY “ALONE/TOGETHER,” Talman + Monroe, New York, NY

2011 “Per-son-age,” Famous Accountants, Brooklyn, NY “Taking Shape,” Ronald Feldman Fine Arts, New York, NY “It’s All in the Peripherals,” Mellwood Art Center, Louisville, KY “Blink! Light, Sound & The Moving Image,” The Denver Art Museum, Denver, CO “Geometric Days,” Exit Art, New York, NY “En-Garde II: omg,” Ronald Feldman Fine Arts, New York, NY

2007 “Red Badge of Courage,” Newark Arts Council, Newark, NJ “System Failure,” Cynthia Broan Gallery, New York, NY “death & love in MODERN TIMES,” Dinter Fine Art, New York, NY “STAND,” New York Center for Art and Media Studies, New York, NY “En Perfecto Desorden,” Museo Nacional Centro de Arte Reina So%a, Madrid, Spain “Most Humans Do Not Know Be!er,” Brooke Alexander Editions, New York, NY “Digital Political Time Lapse,” Long Island University, Brooklyn, NY “Unfathom,” Max Protech Gallery, New York, NY “Heco en Bushwick,” Norte Maar, Brooklyn, NY “Double-Edged Abstraction,” g-module, Paris, France “Multiples,” Suzanne Lemberg Usdan Gallery, Bennington College, Bennington, VT “Sihoue!e,” The Studio Museum in Harlem, New York, NY “Intelligent Design,” Momenta Art, Brooklyn, NY “M*A*S*H,” The Helena, New York, NY

2010 “The Jewel Thief,” The Tang Teaching Museum, Skidmore College, Saratoga Springs, NY “Divide & Conquer,” The Spirol Gallery, Quinebaug Valley Community College, Danielson, CT “Resurrectine,” Ronald Feldman Fine Arts, New York, NY “Ocketopia,” Lesley Heller Workspace, New York, NY “Global/National,” ExitArt, New York, NY “NEW year, NEW work, NEW space,” Storefront, Brooklyn, NY 2009 “Incarnational Aesthetics,” NYCAMS, New York, NY “Reduced Visibility,” Glassell School of Art, Museum of Fine Art, Houston, TX “You Killed My Pre!y Things,” St. Claude Gallery, University of New Orleans, New Orleans, LA “2009 Bushwick Biennial: Finally Utopic,” Pocket Utopia, Brooklyn, NY “BLACK&WHITEWORKS,” Ronald Feldman Fine Arts, New York, NY “Art and Text: Images, Concepts, and Insights,” Dadian Gallery, Wesley Theological Seminary, Washington, D.C.

2006 “Dri#,” Bronx River Arts Center, Bronx, NY “The Studio Visit,” Exit Art, New York, NY 2005 “Greater New York 2005,” P.S.1 Contemporary Art Center, Long Island City, NY “African Queen,” The Studio Museum in Harlem, New York, NY “About Face: a selection of artists’ videos,” Todd Madigan Gallery, California State University, Bakersfield, CA

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2004 “Black Belt,” The Santa Monica Museum of Art, Santa Monica, CA “Fight or Flight,” Whitney Museum of American Art at Altria, New York, NY “FACE OFF,” Ronald Feldman Fine Arts, New York, NY “Open House: Working in Brooklyn,” Brooklyn Museum of Art, Brooklyn, NY “Video X: 10 Years of Video with Momenta Art,” Momenta Art, Brooklyn, NY

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2003 “Only Skin Deep: Changing Visions of the American Self,” International Center of Photography, New York, NY “Black Belt,” The Studio Museum in Harlem, New York, NY “The 3rd Photo-Media Festival,” Gana Art Center, Seoul, Korea “Living Units,” Triple Candie, New York, NY “Decade,” Schroeder Romero, Brooklyn, NY “Ameri©an Dre@m,” Ronald Feldman Fine Arts, New York, NY “Living Inside the Grid,” New Museum of Contemporary Art, New York, NY “Veni Vidi Video,” The Studio Museum in Harlem, New York, NY 2002 “Spinning,” MIT List Visual Arts Center, Cambridge, MA “Knockout Fairground,” Washington Square East Galleries, New York, NY “Americas Remixed,” Comune di Milano, Milan, Italy “Season Review: Fall ‘01 - Spring ‘02,” Ronald Feldman Fine Arts, New York, NY “Paris Exchange,” Momenta Art, Brooklyn, NY “Enough About Me,” Momenta Art, Brooklyn, NY “Race in Digital Space,” The Studio Museum in Harlem, New York, NY 2001 “A Painting for Over the Sofa (That’s Not Necessarily a Painting),” Bernice Steinbaum Gallery, Miami, FL, traveled to Knoxville Museum of Art, Knoxville, TN; Walton Arts Center, Faye!eville, AR; William Pa!erson University, Wayne, NJ; Fuller Museum, Brockton, MA; Huntington Museum, Huntington, WV; Lakeview Museum, Peoria, IL and University of Nebraska, Lincoln, NE

“Masking: Rico Gatson (Kindred) and Andres Serrano (Klansman),” The Atlanta Contemporary Art Center, Atlanta, GA “Brooklyn!,” Palm Beach Institute of Contemporary Art, Lake Worth, FL “Cold Blood,” Samuel Dorsky Museum of Art, SUNY New Paltz, New Paltz, NY “Race in Digital Space,” MIT List Visual Arts Center, Cambridge, MA “FREESTYLE,” The Studio Museum in Harlem, New York, NY and The Santa Monica Museum of Art, Santa Monica, CA 2000 “Light x Eight: The Hanukkah Project 2000,” The Jewish Museum, New York, NY “Videotheque Kunst Zurich 2000,” Galerie Serge Ziegler, Zürich, Switzerland “Never Never Land,” University Galleries, Florida Atlantic University, Boca Raton, FL, traveled to Contemporary Art Museum, University of South Florida, FL and Rutgers-Camden Center for the Arts, Camden, NJ “The Light Show,” Gale Gates, Brooklyn, NY 1999 “The Flat Files,” The University of the Arts, Philadelphia, PA “Group Exhibition,” Soap Factory, Minneapolis, MN “Working In Brooklyn: Beyond Technology,” Brooklyn Museum of Art, Brooklyn, NY “Rage for Art,” Pierogi 2000, Brooklyn, NY “Video Program,” Cynthia Broan Gallery, New York, NY 1998 “Hybro Video,” Exit Art, New York, NY “Current Undercurrent: Working in Brooklyn,” Brooklyn Museum of Art, Brooklyn, NY “Artists Respond to 2001: Space Odyssey,” Williamsburg Art & Historical Society, Brooklyn, NY “The View from Denver,” Museum Moderner Kunst Sti#ung Ludwig Wien (MUMOK), Vienna, Austria “Gramercy International Art Fair,” Gramercy Park Hotel, New York, NY

1996 “Video Faz,” Art & Idea, Mexico City, Mexico “Cadmium-Cathode,” Sauce, Brooklyn, NY “Benefit Show,” Momenta Art, Brooklyn, NY “Constriction,” Pierogi 2000, Brooklyn, NY

SELECT COLLECTIONS

1995 “Presence,” Real Art Ways, Hartford, CT “On the Lam,” Thicket Gallery, New York, NY “Other Rooms,” Ronald Feldman Fine Arts, New York, NY “Options 2,” The Denver Art Museum, Denver, CO

Denver Art Museum, Denver, CO

1994 “Faux,” Ronald Feldman Fine Arts, New York, NY “FIRED-A Late-Nite Comedy Show,” No Bias Space, North Bennington, VT and Thicket Gallery, New York, NY “Benefit Show,” Momenta Art, Brooklyn, NY

Mead Art Museum, Amherst, MA

1993 “Group Exhibition,” Art Space, New Haven, CT

Smithsonian American Art Museum, Washington, D.C.

Bethel College, St. Paul, MN Cheekwood Museum of Art, Nashville, TN

Kemper Museum of Contemporary Art, Kansas City, MO Malcolm X Institute, Wabash College, Crawfordsville, IN

Minneapolis Institute of Arts, Minneapolis, MN Peter Norton Family Foundation, Santa Monica, CA

The Studio Museum in Harlem, New York, NY Yale University Art Gallery, New Haven, CT

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Published on the occasion of the exhibition

RICO!GATSON GHOSTS

19 November – 19 December 2020 Miles McEnery Gallery 520 West 21st Street New York NY 10011 tel +1 212 445 0051 www.milesmcenery.com Publication © 2020 Miles McEnery Gallery All rights reserved Essay © 2020 Antwaun Sargent Director of Publications Anastasija Jevtovic, New York, NY Photography by Christopher Burke Studio, New York, NY Color separations by Echelon, Santa Monica, CA Catalogue layout by McCall Associates, New York, NY ISBN: 978-1-949327-38-0 Cover: Untitled (Young Mystics), (detail), 2020