New American Paintings #149 Midwest

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149 August/September 2020 Volume 25, Issue 4 ISSN 1066-2235 $20

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Museum of Contemporary Art Denver

New Orleans Museum of Art

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Contemporary Arts Museum Houston

San Francisco Museum of Modern Art

Staci Boris

Al Miner

Elmhurst Art Museum

Museum of Fine Arts, Boston

Nina Bozicnik

Dominic Molon

Henry Art Gallery

RISD Museum of Art

Dan Cameron

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Orange County Museum of Art

deCordova Sculpture Park and Museum

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Contents

6

Editor’s Note

8

Noteworthy

10

Steven Zevitas

Juror’s and Editor’s Picks

Juror’s Comments Henriette Huldisch, Chief Curator and Director of Curatorial Affairs, Walker Art Center, Minneapolis, MN

13

Midwestern Competition 2020

155

Midwestern Competition 2020

176

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

149 August/September 2020

Editor’s Note

Pfizer’s COVID-19 is on the verge of FDA approval today. It is an

fifty. As technology improves and travel becomes increasingly easy,

extraordinary bit of bright news in a year that has otherwise seen

cities such as Cleveland, Minneapolis, St. Louis, and Minneapolis are

little. By the time you read this, millions of individuals will presum-

attracting more and more artists.

ably have been vaccinated, Joe Biden will be in the White House, and there will hopefully be a discernible light on the horizon signaling the

As the founder of New American Paintings, it is, perhaps, bad form on

end of our national nightmare. I don’t know what “normal” will look

my part to rate given iterations of the magazine against one another

like in the coming years, but I am ready to find out.

— in my mind, they all have something going for them. Certain issues, however, seem to “make sense” in a way that transcends the

Minneapolis is a very lucky city. After a brilliant tenure at the List

individual talents of the featured artists. This one is such an exem-

Visual Arts Center in Boston, Henriette Huldisch—the juror for this

plar. There is just such a diverse range of backgrounds and aesthetic

issue—departed to become Chief Curator and Director of Curato-

viewpoints in these pages that collectively speak to the infinite ways

rial Affairas at the Walker Art Center in late 2019. She organized

in which painting can convey meaning. It constantly amazes me that

one standout exhibition after another while at the List and is already

even in this day and age, the most simple materials, taken from the

sorely missed here. I was excited that she agreed to work on this

ground, can give so much pleasure and engender so much mean-

project with us, and I think this issue of New American Paintings

ingful discourse. Congratulations to all of the included artists. n

brings together a remarkable group of artists.

Enjoy the issue!

Chicago is still very much the center of the Midwest’s art world. It is home to one of the country’s great art schools, the School of the Art

Cordially,

Institute of Chicago, and numerous world-class museums. Unlike Boston, which has similar art-world bona fides albeit packed into a

Steven Zevitas

much tighter geography, Chicago is home to many artists who have

Publisher & Editor

attained international recognition. There is simply enough going on there to make it a viable home for ambitious artists of every type.

Due to this, it is not surprising that more than thirty percent of the artists in this issue call the city their home. It is interesting to note, however, that in years past the percentage was often greater than

New Art Dealers Alliance (NADA) newartdealers.org

Noteworthy:

Sherwin Ovid

Juror’s Pick p106

In sumptuous recent paintings, Sherwin Ovid brings contrasting elements into dynamic tension to speculate on issues of movement across borders, cultures, nations, and class. The canvases oscillate between flatness and texture, figuration and abstraction. The artist’s central compositions resemble faces that are variously rendered in gestural brushstrokes with scattered realistic details depicting eyes, mouths, or hands, whereas backgrounds in radiant color integrate motifs from nature with elements of domestic textiles and decoration. Juxtaposing disparate imagery and materials, Ovid’s transient subjects come into focus as they simultaneously slip from view.

Dominique Knowles

Editor’s Pick p168

Knowles’s work caught me off guard the first time I saw it, although I was quickly seduced. There is a poetic sensibility and an almost “romantic” air to his work that seems somehow out of synch with painting’s current moment, but wholly necessary. While Knowles is deeply concerned with humans and nature, the human figure was not present in his work until recently, and even now it is more abstractly implied. He loves horses, and it is not surprising that he is an accomplished equestrian. For me, his work is ultimately a conduit through which we as viewers can commune with nature to find nourishment and, perhaps, ultimately understand our place within it.

>

Winners: Midwestern Competition 2020 Juror: Henriette Huldisch, Chief Curator and Director of Curatorial Affairs, Walker Art Center, Minneapolis, MN

Juror’s Selections: Ariel Baldwin | Batoul Ballout | Leslie Barlow | Phoenix S. Brown | Gregory Michael Carter Zach

Cramer |

Cullen

Curtis |

Dredske |

David

Esquivel |

Grace

Fechner

Mariah Ferrari | Peter Erik Frederiksen | Eli Gfell | Tanya Gill | Miranda Holmes Yowshien Kuo | Caroline Liu | Brian C. Mathus | Armin Mühsam | Vanessa Navarrete Grant Newman | Sheila Nicolin | Lorri Ott | Sherwin Ovid | Nicholas Perry Tom Robinson | Stuart Snoddy | John Sousa | Kyle Surges | Kirsten Valentine Kate Vrijmoet | Adrian Waggoner | Michelle Whitmer | Kate Worley | Suzanne Wright

Editor’s Selections: Cecilia Beaven | Josiah Ellner | Chris Hyndman | Dominique Knowles | Laura Sanders

Juror’s Comments

Henriette Huldisch

Chief Curator and Director of Curatorial Affairs, Walker Art Center, Minneapolis, MN

Between the time when the artists included in this volume

sheltering in place a few seemingly overlapping strands emerged

submitted their work for consideration and its publication, the

from the bodies of work: themes of identity and family, home and

world has been rocked by a global pandemic and an interna-

domesticity, alongside recurring imagery of contested, vaguely violent

tional uprising for racial and social justice. Clearly, the far-

Americana.

reaching political, as well as artistic, implications of both are still unfolding. With respect to the more

Throughout, the interest in the human figure

immediate task of selecting this group of

is unabated (it stands to reason that it never really

works, the collective new reality of working

went away), in the work by Batoul Ballout, Brian

from home with travel indefinitely suspended

C. Mathus, Stuart Snoddy, Kate Vrijmoet, Adrian

scrambled how I thought about how art-

Waggoner, and others. The abiding influence of

works circulate in digital space while also

painters like Nicole Eisenman and Kerry James

being produced in a specific regional context.

Marshall, whose reinvigoration of figurative painting and interrogation of gender and racial

The experience of evaluating the work

identities beginning in the 1990s has been taken

online—always at best an approximation of

forward by a younger generation of artists, is

color, texture, and scale—felt much less like

evident throughout.

encumbrance than welcome lifeline. Clearly, the circulation of works depicted in lossy digital

Leslie Barlow’s luminous canvases portray

formats is not new, but the Zoom era promises

friends, family, and members of her community.

to tip us toward an even more virtual art world where physical location

Sweetness is a portrait of three generations of Black women, seated

might be more or less inconsequential. But at the same time, when

on chairs in a home environment; a painting with ancient Egyptian

pre-pandemic a regional grouping of artists struck me as a somewhat

imagery is mounted on the wall behind them. Despite the work’s large

incidental method of organization, local contexts and communities

format, the scene is personal and intimate, reminiscent of a family

have become all the more urgent and pertinent.

snapshot.

That being said, parsing trends in painting, regional or

Yowshien Kuo makes small, detailed paintings that recall

otherwise, has always felt like a fraught enterprise to me, at risk of

folkloristic scenes but at a closer glance reveal a darker and more

retreading a set of rather well-worn arguments ricocheting from

surreal sensibility. Throughout, he depicts the iconic figure of the

abstraction to figuration and back again (to say nothing of painting’s

cowboy as an Asian man, thus reflecting on people and communities

many declared deaths). The artists represented here work in modes

that have traditionally been excluded from ostensibly “all-American”

that are resolutely figurative, abstract, and everything in between.

imagery. Many of Kuo’s works are framed by a decorative border

Nonetheless, and not coincidentally, under the peculiar condition of

with curly lines, nodding to domestic pictures and craft. Elements

10

Barlow p24

Kuo p75

Fechner p50

Liu p80

Frederikson p59

Gill p66

“ a few seemingly overlapping strands emerge from the bodies of work: themes of identity and family, home and domesticity, alongside recurring imagery of contested, vaguely violent Americana.” of pattern and décor from home interiors recur in the work of Grace Fechner, Caroline Liu, Sherwin Ovid, and others.

Gill makes small paintings from modest cloth with small patches of inserted thread: in Oscillation: Front/Side #3, the darned shape resembles a distorted white rectangle stitched onto a ground

Fechner’s acrylic-and-ink works on paper each captures a

of narrow blue-and-white stripes. The darned pieces make reference

moment of uncanny domesticity. The still life Blow ‘em Out assembles

to personal transformations that reconstruct a whole but leave it

cigarette butts, half-eaten cupcakes, birthday candles, and sliced

altered.

strawberries, doilies scattered on a tablecloth. A pair of scissors, dripping in what may be strawberry juice or blood, suggests either

While for months most of us saw works of art exclusively online,

the aftermath of a boisterous birthday party or something altogether

at the time of this writing museums are reopening across the country.

more sinister.

Yet it is clear that for the foreseeable future, as travel is likely to come back slowly (and perhaps more sustainably), we will see real-life

In Caroline’s Liu’s paintings, close-up faces are obscured and

works much closer to home than we used to. What’s more, we might

surrounded by ornamental patterns including paisley and polka dots,

continue to turn toward local and regional contexts in all parts of life. I

rendered in bright, glossy acrylics and glitter. In oh hell oh HELL hello,

don’t quite know what that global, digital, regional future will look like,

a swirling composition of (apparently) female heads, flowers, and a

but I imagine the artists here point us a little bit in that direction. n

black bird are set against a background of bright green and baby-blue faux fur, creating an exuberant, materially comforting experience.

Peter Erick Frederiksen and Tanya Gill use textile materials throughout their work. Frederiksen mines the Looney Tunes comics era for his intricate, machine-embroidered works on linen. Often magnifying a single frame of over-the-top cartoon violence, like a knocked-out, accordion-pleated fox sprawled on a set of stairs in GET THAT CAT OUTTA THE WAY!, Frederiksen questions any nostalgia for the (presumably) “simpler times” during which the comics were made.

11

Juror’s Selections

The following section is presented in alphabetical order.

Biographical information has been edited.

Prices for available work may be found on p176.

>

Ariel Baldwin Reciprocation Devoured | house paint, acrylic, and graphite, 20 x 16 inches

14

Ariel Baldwin Sacrificial Bone | house paint, oil, gesso, and graphite, 20 x 16 inches

15

Ariel Baldwin Otherside | house paint, oil, graphite, and Sharpie, 24 x 20 inches

16

Ariel Baldwin Chicago, IL arielwolfebaldwin@gmail.com / www.arielwolfebaldwin.com / @saintariel

b. 1992 Memphis, TN

Education

2014

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

Solo Exhibitions

2019

House of Vans Presents: Julien Baker, The House of Vans,

My work is a documentation of what I want to say and what I’m afraid to admit. Through various experiences, I find consistent heartbreaks. These paintings began as an aversion to pleasure— I did not recognize myself. They are reflections of abandonment that stare and blink back at me; it was a full-body itch I could not reach. Now, I am trying to catch up after losing my place. Now, it’s hard to look you in the eye after you’ve seen the work.

Chicago, IL 2018

Methodical Tear, Condo Association, Chicago, IL

Group Exhibitions

2017

Painting in the Real World, Wedge Projects, Chicago, IL

2016

Get Clear on What You Think, Maxwell Colette, Chicago, IL

2015

Accidental Manual, The Franklin, Chicago, IL

It’s Too Late, Zhou B Art Center, Chicago, IL

2014

My practice exists within the evolution of lust to grief, and back again. Here are these paintings I made. They will make you feel a certain way. I’ll never know if we felt the same. We probably didn’t.

Athleticism: Trophy and Moments of Exertion, Holstein Park Gymnasium, Chicago, IL

Innies and Outies, LaVerne Krause Gallery, Eugene, OR

Until Then, Alcatraz Chicago, Chicago, IL

17

Baldwin

Batoul Ballout Visage | oil on canvas, 30 x 30 inches

18

Batoul Ballout Intifada Means Rebellion | oil on canvas, 30 x 30 inches

19

Batoul Ballout J’arrive | oil on canvas, 30 x 30 inches

20

Batoul Ballout Dearborn, MI balloutbatoul@gmail.com / www.batoulballout.com / @8allout

b. 1994 Beirut, Lebanon

Education

2019

BA, Albion College, Albion, MI

Residency

2019

Virginia Center for the Creative Arts, Amherst, VA

Professional Experience

2019

Teaching Assistant, Albion College, Albion, MI

I immigrated to the United States from Lebanon with my family at age nineteen. Lebanon is a country that has seen conflict, violence, and war within my lifetime. I depict personal experiences related to my identity, belonging, and immigration as a Muslim female in the United States. Muslims are often seen as terrorists in the US media and have been marginalized since 9/11. The rise of white nationalism within the current global political climate has made it more difficult to identify as a Muslim and a new immigrant. I use self-portraiture as a vehicle for storytelling to portray what it looks like to embody the racist’s nightmare.

2018-19 Art editor, Albion Review 2018

Artist Assistant, Firth MacMillan, Albion, MI

Group Exhibitions

2020

Send It, Hard Gallery, Detroit, MI (online)

2019

91st Annual Michigan Contemporary Art Exhibition,

Muskegon Museum of Art, Muskegon, MI

Unwound, Munro Gallery, Albion College, Albion, MI

2018

57th Greater Michigan Art Exhibition, Midland Center for the Arts, Midland, MI

Awards

2019

Faculty-Student Collaboration Research Grant, Albion

College, Albion, MI

Albion College Fellow, Albion College, Albion, MI

2018

Foundation for Undergraduate Research, Scholarship, and Creative Activity, Albion College, Albion, MI

Publications

2018

Jessica S. Behrman, “Batoul Ballout Illustrates Her

Identity With Ink and Oil,” Albion Pleiad, October 26

(online)

21

Ballout

Leslie Barlow Sweetness | oil, pastel, and acrylic on panel, 40 x 30 inches

22

Leslie Barlow Kelly Shay | oil, pastel, and acrylic on panel, 60 x 48 inches

23

Leslie Barlow Ellen Barlow | oil, pastel acrylic photo transfer, and fabric on canvas, 60 x 48 inches

24

Leslie Barlow Minneapolis, MN leslie.barlow.artist@gmail.com / www.lesliebarlowartist.com / @ljpinko

b. 1989 Minneapolis, MN

Education

2016

MFA, Minneapolis College of Art and Design,

Minneapolis, MN

2011

BFA, University of Wisconsin-Stout, Menomonie, WI

Solo Exhibitions

2019

A Familiar Portrait of Labor and Love, Bing Davis Memorial Gallery, Upper Iowa University, Fayette, IA

2017

Space Between Us, The Catherine G. Murphy Gallery, St. Catherine’s University, Saint Paul, MN

Loving, Public Functionary, Minneapolis, MN

Group Exhibitions

2020

The Beginning of Everything: An Exhibition of Drawings,

I am interested in examining and reimagining our relationship to our racial identities through healing our collective understanding of belonging and what it means to be family. My life-size oil paintings use the figure and portraiture to explore issues of multiculturalism, identity, representation, and race. I investigate these through use of the personal, often sharing the images and stories of family, friends, and community members to reflect the subtle and not-so-subtle integrations of these ideas into individual lives and identities. I put emphasis on representing the person and the body to reflect the embodied experiences of trauma, love, and connection. I believe that stories connect the past, present, and future, and the juxtaposition of different storytelling mediums in my work (photography, quilting, painting . . . ) becomes a merging of narratives, experiences, culture, and identities.

Regis Center for the Arts, Minneapolis, MN 2019

In the Mix, Center for Visual Arts, Boise State University, Boise, ID

2018

Art and Healing: In the Moment, Minneapolis Institute of Art, Minneapolis, MN

2017

We The People, Minnesota Museum of American Art,

Saint Paul, MN

Perpetual Revolution, International Center for

Photography, New York, NY

2016

Reframe Minnesota, All My Relations Gallery,

Minneapolis, MN

Awards

2019

McKnight Visual Artist Fellowship

20/20 Springboard Artist Fellowship

Collections

Minnesota Historical Society, Saint Paul, MN

Minnesota Museum of American Art, Saint Paul, MN

Weisman Art Museum, Minneapolis, MN

25

Barlow

Phoenix S. Brown Black + Tall = Basketball | acrylic, pastel, and paper on canvas, 36 x 36 inches

26

Phoenix S. Brown Disruption | acrylic, pastel, paper, ink, and Mylar on board, 36 x 36 inches

27

Phoenix S. Brown Far Away | acrylic, pastel, and paper on canvas, 60 x 49 inches

28

Phoenix S. Brown Milwaukee, WI phoenixsbrown@gmail.com / www.phoenixbrown.art / @phoenixisphoenixisphoenix

b. 1997 Cincinnati, OH

Education

2019

BFA, Milwaukee Institute of Art and Design,

Milwaukee, WI

Residency

2018

Yale Norfolk School of Art, Norfolk, CT

Professional Experience

2020

Abert Family Curatorial Fellow, Milwaukee Art Museum, Milwaukee, WI

Solo Exhibition

2021

Art Is Her, Trout Museum of Art, Appleton, WI

Two-Person Exhibition

2018

Olivia Burke / Phoenix Brown, Gluon Gallery,

Milwaukee, WI

Group Exhibitions

2020

Bridge Work, Allen Priebe Art Gallery, University of

Wisconsin–Oshkosh, Oshkosh, WI

40th Annual SECURA Fine Arts Exhibition, Trout Museum of

Remixing portraiture and preconceived notions of the Black female body is at the core of my practice. By painting representations of nature and the female form with contemporary material and aesthetic choices, I subvert the one-way window of fantasy that Western painting has long offered.

There exists a feedback loop between my analog painting and digital editing that is visible in the final image. My interdisciplinary paintings are layered with impossible brushstrokes from their time in Snapchat and maintain a textured surface that speaks to the Western art cannon. In colonialism, nature and Black women have existed as reserves to exploit; in my work, they commingle and force us to confront our viewing access to them. The work aims to confront the audience’s viewing psychology in the act of projecting their views onto how Black womanhood should exist in reality and in the flat image.

Art, Appleton, WI

2020 Emerging Artists Exhibition, Var Gallery,

Milwaukee, WI

2019

Deeper Than My Shadow, BFA thesis exhibition, Milwaukee

Institute of Art and Design, Milwaukee, WI

46th Annual Juried Show, Union Art Gallery, University of Wisconsin–Milwaukee, Milwaukee, WI

2nd Midwest Open, Woman Made Gallery, Chicago, IL

2018

Honeymoon Phase, Yale Norfolk School of Art, Norfolk, CT

2017

Crosscurrents, Pennsylvania Academy of the Fine Arts, Philadelphia, PA

Awards

2019

Bridge Work 05, Plum Blossom Initiative

2018

Ellen Battell Stoeckel Fellowship, Yale University

29

Brown

Phoenix S. Brown | Far Away (detail)

Gregory Michael Carter If a Civilized person doesn’t perform his duties what shall be done? | acrylic and transfer on papyrus, 17 x 11 inches

30

Gregory Michael Carter Allegory of the Cave | acrylic and transfer on papyrus, 17 x 11 inches

31

Gregory Michael Carter Open even on Christmas | acrylic on Newport carton box, 11 x 8.5 inches

32

Gregory Michael Carter St. Louis, MO 917.941.2245 (Alaina Simone) www.gregorymichaelcarter.com / @GMC_ER / @gregorymichaelcarter

b. 1601 Houston, TX

Education

2012

Otabenga Jones Academy of Applied Sciences,

Houston, TX

2008

Texas Southern University, Houston, TX

2000

Morehouse College, Atlanta, GA

Residencies

2017

ARNA, Harlösa, Sweden

2016

Black Artist Retreat, Chicago, IL

Solo Exhibitions

2021

Galveston Arts Center, Galveston, TX

2020

Monaco Gallery, St. Louis, MO

2015

Hooks-Epstein Galleries, Houston, TX

2009

Project Row Houses, Houston, TX

Two-Person Exhibition

2014

I am constantly seeking to learn and understand my own period of time, but in doing so I find myself immersed in the study of the years piled up behind me. As a result, my work has evolved into a grand interrogation of history, culture, philosophy, psychology, and the human response to war. My life is fueled by this ongoing search for understanding. For much of my adult life, I’ve felt like an enemy combatant living behind enemy lines, even when I’m at home. These new works are manifestations of that sentiment.

They seek to emulate modern relics, on stone, papyrus, and Newport cigarette cartons. They seek to tell a true history of my family, my community, and my culture in a land controlled by my oppressor. These works could be compared directly to hieroglyphs or to the coded quilts that served as maps for slaves escaping to freedom.

Playing by Dragon Rules, with Abidemi Olowonira, Texas Southern University Museum, Houston, TX

Group Exhibitions

2018

Black Chamber, Wedge Space, Houston, TX

2015

Contemporary Works, Merton Simpson Gallery,

New York, NY

2012

Otabenga Jones and Associates Academy of Applied

Sciences, Houston Museum of African American Culture,

Houston, TX 2011

Art Basel, Miami, FL

2010

The Universe Is Listening, be careful what you say in it,

Mad Is Mad Gallery, Madrid, Spain

Collection

University Museum, Texas Southern University,

Houston, TX

Represented by

Alaina Simone, New York, NY

33

Carter

Zach Cramer Studio Wall | acrylic on linen mounted to panel, 20 x 16 inches

34

Zach Cramer Artist’s Hand | acrylic and graphite on chalk gesso ground , 19 x 16.5 inches

35

Zach Cramer Today | acrylic and graphite on linen, 18 x 20 inches

36

Zach Cramer St. Croix Falls, WI www.zachcramer.com / @syd_wyatt

b. 1988 Stillwater, MN

Education

2016

MFA, Rhode Island School of Design, Providence, RI

2012

BA, Hamline University, St. Paul, MN

Professional Experience

2019

Instructor, Highpoint Center for Printmaking,

Minneapolis, MN

2018-19 Instructor, Minneapolis College of Art and Design,

Minneapolis, MN

2017

Critic, Rhode Island School of Design, Providence, RI

Visiting Instructor, History of Art and Architecture, Brown University, Providence, RI

Group Exhibitions

2020

Open Call, Backroom Sales, St. Paul, MN

2018

Prints on Ice, Highpoint Center for Printmaking,

Minneapolis, MN

RISD Faculty Biennial Exhibition, RISD Museum,

Providence, RI

2017

GIFC Velvet Ropes, The Hole, New York, NY

GIFC Worldwide, Rod Bianco Gallery, Oslo, Norway

2016

The Glare, NARS Foundation, Brooklyn, NY

2015

My recent paintings assign attention to ordinary arrangements of paper notes, tape, and drawings that are often unconsidered formal compositions. The succinct images examine formed boundaries, constricted planes, intersections, and intuitive locating of objects within the picture plane. Measuring and arranging each element toward a broader context that is at once ordered and balanced, and expressive of the materials they are intended to mimic.

A combination of text, tape, and self-referential imagery populate each work. The paintings illuminate the aesthetic considerations necessary to create works of art while questioning the prospects of being an artist. These paintings suggest why one might choose to paint but do not offer a concrete verdict.

Fine Arts Print Exhibition, Central Academy of Fine Arts, Nanjing, China

Awards

2014-16 Graduate School of the Arts Fellowship, Rhode Island

School of Design, Providence, RI 2013

Genevieve Rust Ehlers Fellowship, Hamline University,

St. Paul, MN

37

Cramer

Cullen Curtis DPS2.2 | house paint, string, sawdust, screen, wood, and staples on panel, 24 x 24 inches

38

Cullen Curtis DPS2.5 | house paint, enamel, polyurethane, and wood on panel, 24 x 24 inches

39

Cullen Curtis Dismantle 9 | house paint, acrylic, resin, wire, screen staples, nails, and wood on panel, 11 x 11 inches

40

Cullen Curtis Kansas City, MO 314.809.9720 ccmiller@kcai.edu / www.cullencurtis.squarespace.com / @cullencurtis

b. 1994 St. Louis, MO

Education

2020

BFA, Kansas City Art Institute, Kansas City, MO

2017

St. Louis Community College–Meramec, St. Louis, MO

Professional Experience

2017

Instructor, Beginners Linocut Printmaking Workshop, South City Art Supply, St. Louis, MO

Solo Exhibition

2017

Ghosting Out: Prints by Cullen Curtis, Concrete Ocean

Gallery, St. Louis, MO

Group Exhibitions

2020

25th Annual Undergraduate Student Juried Exhibition,

Kansas City Artists Coalition, Kansas City, MO 2019

Animal Mineral Vegetable, Dodge Gallery,

Kansas City, MO

2018

The World’s Tallest Feelings, Dodge Gallery,

Kansas City, MO

Zine Swap!, Projects Gallery, Utah State University,

Logan, UT

2017

Strange Worlds II: A Print Exchange 2 Strange 2 Believe,

South City Art Supply, St. Louis, MO

Pärnu Printmaking IN Festival–Storm of Silence, Pärnu Linnagaleriis, Pärnu, Estonia

Sweet ’n Low, Bedford Gallery, Walnut Creek, CA

Varsity Art XXI, Art Saint Louis, St. Louis, MO

Annual Juried Student Exhibition, St. Louis Community College–Meramec, St. Louis, MO

2016

Detroit Biennale, Museum of New Art, Detroit, MI

Award

2017

My works are made with an Arte Povera sensibility—out of practicality as much as art-historical reference—cobbled together from discarded materials I find around town. In this way, I like to think of my process as a collaboration between me, the materials, and the myriad compounding situations that happen in order to make the materials available to me.

Best of Show, Annual Juried Student Exhibition, St. Louis Community College, St. Louis, MO

41

Curtis

Dredske Candyman | acrylic and found food wrappers on canvas, 20 x 16 inches

42

Dredske Avoid the Noid | acrylic and ink on found pizza box, 14 x 14 inches

43

Dredske Culture v Commerce | mixed media and collage on canvas, 12 x 12 inches

44

Dredske Chicago, IL 312.361.0281 (Elephant Room Gallery) dredske88@gmail.com / www.at8art.com / @dredske88

b. 1982 Chicago, IL

Solo Exhibitions

2015

Fashion Fuck, UFAT Gallery, Chicago, IL

2014

Blinded with Science, NYCH Art Gallery, Chicago, IL

2004

Scatterheartbeatbox, Marwen Alumni Gallery, Chicago, IL

Group Exhibitions

2020

Weed the People, Chicago Truborn Gallery, Chicago, IL

2019

12 x 12: 10 Year Anniversary Show, Elephant Room Gallery, Chicago, IL

You Should Be Watching, Vault Gallerie, Chicago, IL

Pleasure Principle, The Silver Room–Wicker Park,

Chicago, IL

Distorted Realities, Paper Gun Gallery, Chicago, IL

2018

Small Works Show, Elephant Room Gallery, Chicago, IL

2017

You Are Beautiful, Galerie F, Chicago, IL

Publications

2020

Mary Norkol, “Chicago murals: Find a surprise

My creative work is a playful commentary on issues regarding society, technology, and culture. I’m inspired by the middle ground where fantasy meets reality, Western and Eastern pop cultures, and my own cultural background and experiences.

These inspirations are responsible for the visual language that I decide to employ in my works. Acrylic is my primary medium, but I also incorporate elements of collage, aerosol paint, inkjet transfer, and some other techniques and mediums in my process to allow for a contrast in textures and imagery, which enables me to synthesize a more dynamic composition and visual experience.

Some pieces can feel like a stream of consciousness: free-flowing figurative elements, paint, mark-making, cartoons, and found paper and objects all synergize on a surface to paint a bigger picture.

‘mini-gallery’ of public art of Milwaukee Avenue in Logan Square,” Chicago Sun-Times, January 31

2019

“Art & Life with Dredske,” VoyageChicago, March 25

Collections

Hannibal Buress, Los Angeles, CA

Scratch DJ Academy, New York, NY

Jumaane N’Namdi, Miami, FL

Represented by

Elephant Room Gallery, Chicago, IL

45

Dredske

David Esquivel Now We Know | acrylic on canvas, 12.5 x 12.5 inches

46

David Esquivel These Eyes | acrylic on canvas, 10 x 11.5 inches

47

David Esquivel It Never Felt Better | acrylic on canvas, 15 x 18 inches

48

David Esquivel Aurora, IL +33685990979 (Galerie Tracanelli) davidmarcelesquivel@gmail.com / @david.m.esquivel

b. 1994 Colorado Springs, CO

Solo Exhibition

2017

A World Untouched, If These Walls Could Talk, Aurora, IL

Two-Person Exhibition

2019

Sophie Vallance x David Esquivel, Galerie Tracanelli, Grenoble, France

Group Exhibitions

2019

Threesome, 19 Karen Contemporary Artspace, Mermaid

Beach, Australia 2017

Naturally Weird, Rare Tempo, Boulder, CO

Represented by

Galerie Tracanelli

My work has always been about time, about what was here at the beginning. A wide variety of elements coalesced and continue to live together harmoniously in these very different worlds.

Those relationships are the heart of my work. I like keeping the individuality of each object/body while allowing it to interact freely with the others. Making work where people can feel the bonds between the subjects even while they are sometimes very distant from each other. I aim to invite the viewer, not just to look upon the elements but to float throughout the world that is the painting. With that, allowing them to understand the magnitude and fragility of it all. I do my best to make work that is organic and feels as if everything has been eroded by time, leaving behind what is most resilient and important. The remnants are left in full view, exposed under a harsh light, where nothing hides.

Everything is there, at peace with itself and everything around it.

49

Esquivel

Grace Fechner Blow ‘em Out | acrylic and India Ink pen on paper, 19 x 16 inches

50

Grace Fechner Dry Clean Only | acrylic and India Ink pen on paper, 19 x 16 inches

51

Grace Fechner Ladies’ Night | acrylic and India Ink pen on paper, 16 x 19 inches

52

Grace Fechner Saint Paul, MN gracefechner@gmail.com / @grace.fechner

b. 1990, Edina, MN

Education

2013

BFA, University of Wisconsin–Eau Claire, Eau Claire, WI

Residencies

2015

The Art Students League of New York–Vytlacil,

Orangeburg, NY

HERE Creative Centre, Stöðvarfjörður, Iceland

Solo Exhibitions

2018

Tattersall Featured Artist, Tattersall Distilling,

Minneapolis, MN

2017

Show and Tell, VolumeOne Gallery, Eau Claire, WI

Group Exhibitions

2019

Almost Paradise, Grey Ghost Music, Minneapolis, MN

FRC2, Flat Rate Contemporary (online)

2017

My current work explores implied narratives inherent in single moments in time. Employing illustrative clarity in attention to color, line, and detail, I am attempting to capture sensory experiences—light, heat, sound, smell, and taste—along with visual cues that allow the viewer to interpret and judge what each scenario implies. The perspective creates an ambiguity of subject, leaving it up to the viewer to decide whether or not they are an active participant inside the painting. There is an implied ideal, both in aesthetic and situation, and things are either going relatively well, or slowly slipping into chaos. Ultimately, the work analyzes one’s relationship to self, others, and the material and natural world.

Earth Works, Altered Esthetics at The Southern Theater, Minneapolis, MN

The Personal Is Political, hosted by Art Rise Savannah, Non-Fiction Gallery, Savannah, GA

Being Human, Show Gallery Lowertown, Saint Paul, MN

2016

Tributaries: A Centennial Celebration of Art & Design

Alumni, Foster Gallery, Haas Fine Arts Center,

Eau Claire, WI

2014

Strange Figurations, Limner Gallery, Hudson, NY

Imagining Otherness: Catching Sight of Monstrosity, Janet Carson Gallery, Eau Claire, WI

2015

Award Ruth Katzman Scholarship, The Art Students League of New York–Vytlacil

Publications

2018

Art Maze Magazine, no. 7 (Spring)

2015

The Baffler, no. 29 53

Fechner

First Last Title | medium, X x X inches

180

Grace Fechner | Blow ‘em Out (detail)

Mariah Ferrari Sun Shower | oil on canvas, 48 x 45 inches

54

Mariah Ferrari Strawberry Sweats | oil on canvas, 48 x 48 inches

55

Mariah Ferrari Cold Pressed Violet | oil on canvas, 48 x 40 inches

56

Mariah Ferrari Milwaukee, MI mariahferraripaintings@gmail.com / www.mariahferraripaintings.com / @mariah.ferrari

b. 1996 Mauston, WI

Education

2019

BFA, University of Wisconsin–Milwaukee, Milwaukee, WI

Group Exhibitions

2020

We Might Have Been Born Yesterday . . . But We Stayed Up All Night, Between Two Galleries, Milwaukee, WI

Emerging Artists Exhibition 2020, Var Gallery,

Milwaukee, WI

2019

47th Annual Juried Show, UWM Union Art Gallery,

University of Wisconsin–Milwaukee, Milwaukee, WI

Awards

2019

Best in Show, 47th Annual Juried Show,

UWM Union Art Gallery

Director’s Purchase Award, 47th Annual Juried Show,

UWM Union Art Gallery

Publication

2019

Art Maze Magazine, no. 12

By creating contorted figures born through models, I generate dualities of human presence and simulated reality. As human beings, we navigate space with our bodies through movement and touch. The figures are deconstructed to perform only these functions, relying on body language, and form connection to create content. Using hyperreal color and light, I push the plausibility of both the figure and the ground. Water elements present in the painting bring a sense of familiarity to the viewer, promoting a believable reality while every element remains artificial. This challenges our perception of the human experience both in actuality and simulation, calling into question the sensory event of being alive.

57

Ferrari

Peter Erik Frederiksen Fudged It | freehand machine-embroidery on linen, 6 x 8 inches

58

Peter Erik Frederiksen GET THAT CAT OUTTA THE WAY! | freehand machine-embroidery on linen, 9 x 12 inches

59

Peter Erik Frederiksen Can only go up from here | freehand machine-embroidery on linen, 8 x 10 inches

60

Peter Erik Frederiksen Chicago, IL www.pefrederiksen.com / @pefrederiksen

b. 1949 Chicago, IL

Solo Exhibitions

2020

Found Myself in Another Situation, Chicago Athletic

Association, Chicago, IL

2018

New Embroideries, Cabinet Shop, Chicago, IL

Group Exhibitions

2020

89th Exhibition of the Members, Arts Club of Chicago,

Chicago, IL 2019

Not Just Another Pretty Face, Hyde Park Art Center,

Chicago, IL

2018

Bread & Butter, Galleri Urbane, Dallas, TX

Publications

2019

Dorothé Winkels, “Cartoons vormen inspiratie voor

borduurwerk Peter Frederiksen,” Textiel Plus,

November 26

“Cartoon-Like Abstract Embroidery Art by Peter

Frederiksen,” The Fiber Studio

Represented by

Union Gallery, London, England

Nostalgia is being weaponized. The concept of the past as a “better time” is used as an aggressor and pushed out in fear of social progress. I’m using nostalgic imagery popularized in the “Golden Age” of cartoons to show violence in art as well as art as violence: Wile E. Coyote painting a tunnel on the side of a wall meant to capture and kill the Road Runner; a piano dangling from a fraying rope waiting to fall on an unsuspecting victim; a note in a song rigged to explode when played correctly. Drawing a parallel between these violent images and the longed-for era in which they were created, these threats of danger are rendered in soft materials that emphasize their ridiculous nature.

61

Frederiksen

Eli Gfell [pallet] | plywood and XPS Foam, 43 x 19 x 3 inches

62

Eli Gfell blue tape / touch up | joint compound and paint on drywall , 48 x 24 x 12 inches

63

Eli Gfell sh/ad/ow/ | joint compound and paint on drywall, 32 x 36 x 4 inches

64

Eli Gfell Cleveland, OH eliwgfell@gmail.com / www.cargocollective.com/eligfell / @eligfell

b. 1992 Akron, OH

Education

2014

BFA, Kent State University, Kent, OH

Professional Experience

2016-20 Curator, owner/operator, H Space, Cleveland, OH 2017-20 Exhibitions Project Manager, Museum of Contemporary

Art, Cleveland, OH

Solo Exhibitions

2019

Scantlings, Dutoit Gallery, Dayton, OH

2018

/X, The Sculpture Center, Cleveland, OH

Group Exhibitions

2020

Wedding of the Waters, Buffalo Institute for Contemporary

Art, Buffalo, NY 2019

Sentinels [I]: Infiltrate, Lump Project Space, Raleigh, NC

2018

Full Fathom Five, Progressive Headquarters, Mayfield, OH

2017

After the Pedestal, The Sculpture Center, Cleveland, OH

Award

2014

Outstanding Student Achievement in Contemporary

Sculpture, International Sculpture Center

Publication

2018

Window to Sculpture 2018 (The Sculpture Center)

Collection

The Progressive Art Collection, Mayfield Village, OH

Art tends to occupy fabricated spaces. Most of us live in them too. We are constantly constructing and reconstructing our environments, the spaces we individually and collectively occupy.

Our contemporary consumer society is directly reflected in our materials and methods for building things. Huge amounts of materials get wasted. Materials are mass-produced on a global scale by hugely powerful corporations. They are highly processed or entirely synthetic. Sometimes they imitate other materials.

Eventually they all fall apart.

A kind of alternative renovation, my work exists somewhere between object, image, and architecture. Made from found and repurposed building materials, it is realized through intuitive processes and imperfect systems. Faux surfaces, forged gestures, and folded spaces create a slowly recognized distortion of perspective. With reused, unused, or unusable materials, I examine and undermine traditional notions of value, commodity, finish, permanence, and the monumental. I want to reveal how a throw-away society is built, using what it has thrown away to do so.

65

Gfell

Tanya Gill Oscillation: Front/Side #3 | thread darned into found cloth, 12 x 9 inches

66

Tanya Gill Oscillation: Safety/Circus #6 | thread darned into found cloth, 12.5 x 9.5 inches

67

Tanya Gill Oscillation: Warning/Play #2 | thread darned into found cloth, 12.5 x 9 inches

68

Tanya Gill Chicago, IL tanya@tanyagill.com / www.tanyagill.com / @tlh.gill.studio

b. 1970 Fort Dix, NJ

Education

1997

MFA, Cranbrook Academy of Art, Bloomfield Hills, MI

1992

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

1991

Year abroad, Istituto Lorenzo de’ Medici, Florence, Italy

Residencies

2018-20 Hyde Park Art Center, Chicago, IL 2016

Haystack Mountain School of Crafts, Deer Isle, ME

2011

Sanskriti Foundation, New Delhi, India

Professional Experience

2015-18 Visual Arts and Education Director, Eye on India,

Chicago, IL

All of us are in a constant state of adjusting and remaking ourselves. We do so in order to live with others and adapt to a rapidly changing world. Each adaptation is woven into ourselves, changing us in the process: it becomes part of who we are, a revised self. Yet not all adaptations are seamless; often they leave an imprint we carry with us. In my work, I seek to visually articulate these imprints. Using darning, or by embedding thread, I bring together two different surfaces. Each piece is my attempt to fill a hole or gap in the original material. In doing so, two pieces are joined together to make a unified whole.

I often choose to darn and inlay holes in the shape of a home or building. I am fascinated by physical modifications to homes. I seek out these spaces, documenting them through photographs and drawings that I consult as I develop my work.

2008-10 Instructor, School of the Art Institute of Chicago,

Chicago, IL

Solo Exhibition

2012

Ever After, Government Museum and Art Gallery,

Chandigarh, India

Group Exhibition

2019

Alterations Activation Abstraction, Sundaram Tagore

Gallery, New York, NY

Award

2011-12 Fulbright-Nehru Senior Scholarship, New Delhi, India

69

Gill

Miranda Holmes Joy Synapses Twanged by a Pine Forest | oil and acrylic on canvas, 56 x 43 inches

70

Miranda Holmes Ode to Insane Solitude | oil, acrylic, and spray paint on canvas, 55 x 43 inches

71

Miranda Holmes Working on My Good Timing | oil, acrylic, spray paint, and pastel on canvas, 47 x 63 inches

72

Miranda Holmes Columbus, OH miranda.holmes14@gmail.com / www.mirandaholmesart.com / @disco.salad

b.1994 Louisville, CO

Education

2022

MFA candidate, The Ohio State University, Columbus, OH

2018

Fulbright Scholar, Universität der Künste, Berlin,

Germany

2017

BFA, The Pennsylvania State University,

University Park, PA

2016

Yale University Summer School of Music and Art,

Norfolk, CT

Studio Art Centers International, Florence, Italy

Solo Exhibitions

2019

Do Nothing Without Intention, Das Giftraum, Berlin,

Germany

2017

Getting My Way and Whining About It, HUB-Robeson

Center, The Pennsylvania State University, University

Park, PA

Group Exhibitions

2020

Consummate Love, Hopkins Hall Gallery, The Ohio State

My work explores how capitalism merges with feminism to exploit female-identified bodies and their personal experiences.

The meeting point of feminist ideology and capitalist coercion persists at the female-identified body. My work grapples with the consequences of maintaining high visibility of bodies as a liberating strategy. Parsing the feminist values I’ve collected from the persuasion of neo-liberalism is a continuous act of unlearning. When do my strategies and daily habits fulfill myself and my community, and when do they feed into the optimized agenda of capitalism and the patriarchy? How do I stay vigilant as capitalism adopts feminism’s creative liberating solutions and tries to sell them back to me in an ad for leggings? Where does painting perpetuate this exploitation, and where can it incite joyful possibilities of being? Drawing from my own dreams, experiences, and desires, I make work that maintains female-bodied figures in hyper-visibility through color saturation, warped perspectives, and disorienting forms. I find joy in making tongue-in-cheek work, constantly reconfiguring perspectives, running toward new insights, and then falling on my face.

University, Columbus, OH 2019

EDITION 1.0, hosted by AXS Art, Berlin, Germany

2018

Rundgang, Universität der Künste, Berlin, Germany

2017

Leftovers, Prenzlauer Studio, Berlin, Germany

Awards

2019

University Fellowship, The Ohio State University

2016

Ellen Battell Stoeckel Fellowship, Yale University

Publication

2018

Eigenart, no. 90

73

Holmes

Yowshien Kuo The People’s Republic of the West | acrylic, bone ash, and chalk on canvas, 22 x 24 inches

74

Yowshien Kuo Don’t Cry for Me | acrylic, bone ash, and chalk on canvas, 22 x 24 inches

75

Yowshien Kuo But Victor Denies the Similarities Between Himself and the Monster | acrylic, gouache, bone ash, glass, and chalk on canvas, 28 x 30 inches

76

Yowshien Kuo St. Louis, MO albertyowshien@gmail.com / www.albertyowshien.com / @yowshien

b. 1985 St. Louis, MO

Solo Exhibition

2019

The Bermuda Project, Ferguson, MO

Two-Person Exhibition

2019

Yowshien Kuo & Chloe West, Granite City Art and Design

District, Granite City, IL

Group Exhibitions

2020

Something Blue, LVL3, Chicago, IL

2019

The Lies We Live, Super Dutchess Gallery, New York, NY

Terrain Biennial, Enos Park, IL

SPF1991, projects + gallery, St. Louis, MO

Counterpublic 2019, hosted by The Luminary, St.

Louis, MO

Adornment, Center for Creative Arts, St. Louis, MO

Awards

2019

Critical Mass for the Visual Arts, St. Louis, MO

Regional Arts Commission Artist Support Grant,

St. Louis, MO

My studio practice is a response to the loss of individuality to those who identify as Asian or other and the psychological alienation that appears innocuous within the confines of normalcy. The paintings try to express the equivocal nature of existing in unrecognizable bodies as an act of transgression against systemic norms in an effort to make the invisible persons visible. I often use my own body as a vessel to depict both the delusions of escapism and power. Drawing inspiration from trending media, reality shows, movies, and the art history canon in an effort to question authenticity, inclusion, and ownership.

77

Kuo

First Last Title | medium, X x X inches

182

Yowshien Kuo | The People’s Republic of the West (detail)

Caroline Liu If only for one more day | acrylic, glitter, and high-gloss medium, 72 x 54 inches

78

Caroline Liu In fog and light (a wandering spirit) | acrylic and high-gloss medium, 20 x 20 inches

79

Caroline Liu oh hell oh HELL hello | acrylic, glitter, and faux fur, 54 x 42 inches

80

Caroline Liu Chicago, IL www.carolineliu.com / @catsandart

b. 1987 Chicago, IL

Education

2011

BFA, University of New Mexico, Albuquerque, NM

Residencies

2019

ACE AIR, Ace Hotel Chicago, Chicago, IL

2017

Hatch, Chicago Artists Coalition, Chicago, IL

Solo Exhibitions

2018

A Hollow Shell of Elastic Skin, Elastic Arts, Chicago, IL

2017

The Year of the Moths, Slate Fine Arts, Chicago, IL

2014

CONCUSSED, Chicago Art Department, Chicago, IL

Two-Person Exhibition

2017

Bridging the two unique perspectives that form my identity, my work explores my personal experiences as a late-diagnosed autistic adult and my tribulations with short-term memory loss as a result of multiple concussions in the last decade. My paintings and plushies serve as documentation of memories I would otherwise forget, as well as visual and tactile stimuli that provide me with restorative relief.

By balancing between the two, my work communicates universal narratives that reflect feelings of loss, comfort, confusion, and happiness. I explore these themes by transporting viewers into my own daydreams, filled with bright pops of color, textural elements, and refractive light.

Trace Elements, with Ellen Hanson, Miishkooki Art Space, Skokie, IL

Group Exhibitions

2020

Comfortably Bananas, Vault Gallerie, Chicago, IL

2019

3rd Annual Juried Show, Line Dot Editions, Chicago, IL

Polished, Scout Gallery, Milwaukee, WI

2018

Fugitive Narratives, Kanter McCormick Gallery,

Chicago, IL

2017

Of Memory and Forgetfulness, Chicago Artists Coalition,

Chicago, IL

Publications

2020

Friend of the Artist Magazine, no. 11

2017

“Creative Expression: Chicago Artist Caroline Liu Reclaims Identity Through Her Art,” RedEye

Represented by

Johalla Projects, Chicago, IL

81

Liu

Brian C. Mathus EDNA | acrylic, 60 x 48 inches

82

Brian C. Mathus Amelia | acrylic on canvas, 60 x 48 inches

83

Brian C. Mathus Mr. Marcus | acrylic on canvas, 60 x 48 inches

84

Brian C. Mathus Dayton, OH 503.710.2025 mathus.brian@gmail.com / @mathusb.elementalstudio

b. 1980, IL

Solo Exhibitions

2020

Show, Wholly Grounds, Dayton, OH

2019

Dayton Artist United Group Show, The Orphanage,

Dayton, OH

2004

Rhythm of Daily Life, Lulu’s Vintage, Portland, OR

Two-Person Exhibitions

2019

Brian Mathus and Jen Perkins, The Orphanage,

Dayton, OH

2003

Five Dollar Underpants Show, with Kate O’Brien, Feldman

Gallery + Project Space, Pacific Northwest College of Art,

Portland, OR

Group Exhibitions

2020

Art Made in Quarantine, organized by Sean Brakin (online)

2019

There are two narratives running through my paintings: the visual movement of the paint and the figurative depiction. I balance expressionist mark-making and realistic figures to create an emergent image.

Tornado Relief Art Auction, Branch and Bone Artisan Ales, Dayton, OH

2017

Front Street Show, Front Street Gallery, Dayton, OH

2007

CAP Art Auction, Civic Center, Portland, OR

2005

Rake Art Gallery Group Show, Rake Art Gallery,

Portland, OR

2003

Winter Show, Pacific Northwest College of Art,

Portland, OR

Publications

2019

Featured artist, “Dayton Work and Play” blog

2018

“Dayton Artists United: Brian Mathus,” interview, Dayton Most Metro (online)

2006

Time and Space of Oil and Ink Paintings: Exchange

Exhibition of China–US Paintings (Shandong China

Celebrities)

85

Mathus

Armin Mühsam Mimetic Desirabilities | oil on canvas, 24 x 26 inches

86

Armin Mühsam Dialectical Presence | oil on canvas, 20 x 20 inches

87

Armin Mühsam Unbuilt Extensions | oil on canvas, 26 x 20 inches

88

Armin Mühsam Kansas City, MO 816.547.4282 amuhsam@nwmissouri.edu / www.arminmuhsam.com / @arminmuhsam

b. 1968 Cluj, Romania

Residencies

2017

100 West, Corsicana, TX

2015

Ucross Foundation, Clearmont, WY

Solo Exhibitions

2019

Ambacher Contemporary, Munich, Germany

2018

Albrecht-Kemper Museum of Art, St. Joseph, MO

2017

Ambacher Contemporary, Paris, France

Haw Contemporary, Kansas City, MO

Group Exhibitions

2019

Rise Over Run, Monaco, St. Louis, MO

2018

Aici, Acolo, Muzeul National Cotroceni, Bucharest,

Romania

2017

Art Paris, with Ambacher Contemporary, Paris, France

2016

Le dessous des récits, Galerie Gourvennec Ogor,

Marseille, France

service compris, Lehr Zeitgenössische Kunst, Berlin,

Germany

2015

You People, Haw Contemporary, Kansas City, MO

2014

Positions Art Fair, with Ambacher Contemporary,

Berlin, Germany

Award

2014

Pollock-Krasner Foundation Artist Grant

Represented by

Haw Contemporary, Kansas City, MO

Ambacher Contemporary, Munich, Germany

Galería Casa Colón, Mérida, Mexico

For nearly two decades, my work depicted structures built on and into the ground, leaving the imprint of something hard in the malleable earth. These manmade forms were emblematic of our relation to the non-human environment: physical manifestations of the worldview that produces them.

A recent personal crisis prompted me to search for a more abstract way to visualize the confrontation between human geometry and nature. This process led me to construct nonobjective shapes whose surfaces are often the only referent of the buildings that were once a prominent feature in my landscapes. I compare my current practice to that of an architect who commissions himself to build forms of his own devising. Unlike the actual architect’s, however, my planning and drafting is not preliminary but the resolved actuality itself, embedded in the virtual space that is the painting, which simultaneously is an object in space. This dynamic between idea and reality in representational painting has always fascinated me, but it has now assumed a dominance that turned it into the sole content of my art.

89

Mühsam

First Last Title | medium, X x X inches

184

Armin Mühsam Jin| Jeong Mimetic | Breathing Desirabilities Out (detail)

Vanessa Navarrete Monster | acrylic, latex, and marker on canvas, 20 x 16 inches

90

Vanessa Navarrete Jetz | oil, marker, and acrylic on canvas, 20 x 16 inches

91

Vanessa Navarrete Concrete Man | latex, tempera, enamel, acrylic, and collage on canvas, 20 x 16 inches

92

Vanessa Navarrete Chicago, IL vanessanavarrete.art@gmail.com / @vanessanavarrete.art

b. 1976 St. Augustine, FL

Collection

Chambers Luxury Art Hotel, Minneapolis (private collection of Ralph Burnet)

My new work deals with my sense of powerlessness against global issues facing the world right now, like climate destruction, war, surveillance, and the current pandemic. I use latex paint with various mixed media like collage, oil, and enamel to create a sense of immediacy and to “imprint” my reaction onto the canvas.

I often listen to the news just before painting in order to connect with my feelings about what is happening in the moment. The sense of having little to no control to effect change is infuriating, physically upsetting, and emotionally dealt with through the act of making art.

93

Navarrete

Grant Newman Disrupting the Disruptors | acrylic, enamel, and metallic paint with paper collage on canvas, 62 x 52 inches

94

Grant Newman Mixed Messages | acrylic and enamel on canvas, 55 x 42 inches

95

Grant Newman Whiplash | acrylic, enamel, and house paint on canvas, 65 x 56 inches

96

Grant Newman Lyons, IL www.grantnewman.com / @grant_newman

b. 1984 Davenport, IA

Education

2013

2007

BA, Dominican University, River Forest, IL

Residency

2017

The Bridge Program, Hyde Park Art Center, Chicago, IL

Solo Exhibition

2011

Grant Newman: Paintings, Converso Showroom,

Merchandise Mart, Chicago, IL

Group Exhibitions

2020

Still Relevant, Happy Gallery, Chicago, IL

2017

Continuous Span, Hyde Park Art Center, Chicago, IL

Settling the Ghost, Standard Projects and Young Space, Hortonville, WI

2016

My practice takes a pluralistic attitude, where certainty is made more unknown by the blur between the natural and digital world.

Gesture is a vehicle for both representation and annihilation, a mark of identity substantiated by appropriation.

A visual scape develops from the use of a variety of techniques, tools, and materials. Some trained and traditional, some hacked, some meager, some belligerent, but still attentive. Working by way of an additive/subtractive method, process and procedure converge into a constructive collision between buildups and breakdowns.

Each work becomes a snafu where entanglements of decisions build a compression of layers collapsing into an image of unsettled identity.

Evanston + Vicinity Biennial, Evanston Art Center,

Evanston, IL

2015

Biennial 28, South Bend Museum of Art, South Bend, IN

2014

Tomorrow Stars, Multiples Art Fair, Chicago, IL

2013

¯\_(ツ)_/¯, White Box, New York, NY

2010

KY7 Biennial, Lexington Art League, Lexington, KY

2009

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

In my work I often use abstraction as a language to communicate a dialogue reflecting the complexities and confluences in contemporary experience.

Paintpresent: Contemporary Ideas and Images in Painting, Lexington Art League, Lexington, KY

97

Newman

Sheila Nicolin Son Con | acrylic on canvas, 72 x 48 inches

98

Sheila Nicolin Indoor Fever Dream | acrylic on canvas, 72 x 48 inches

99

Sheila Nicolin Cardboard | acrylic on canvas, 48 x 72 inches

100

Sheila Nicolin Redford, MI 313.910.9218 sheilanicolin@gmail.com / www.sheilanicolin.com / @sheilanicolin

b. 1995 Detroit, MI

Education

2018

BFA, College of Creative Studies, Detroit, MI

2017

Illustration Academy, Kansas City, MO

Solo Exhibition

2020

Indoor Fever Dream, UUU Art Collective, Rochester, NY

Two-Person Exhibitions

2019

Fresh Squeezed, with Michael Polakowski, KO Studio

Gallery, Hamtramck, MI

Group Exhibitions

2021

Depth of Field, PLAYGROUND DETROIT, Detroit, MI

2019

Re/View, Valade Gallery, Detroit, MI

Member Exhibition, Whitdel Arts, Detroit, MI

2018

Nerd Out, Helikon Gallery, Denver, CO

Award

2018

Sheila Nicolin is a painter who explores the very human struggle to find intimate connection. Narrated from a naive and voyeuristic perspective, Sheila’s paintings create surrealist glimpses into experiences surrounding loneliness, mental illness, and desire.

Sheila’s works are studied and imagined in real time, but distorted and edited subjectively in the nature of memory. Her work acts as an actively lived retrospective and an attempt to understand those around her. Human figures are represented as wilderness: both familiar and inviting, but also alien and wildly inaccessible. Using expressive mark-making, garish color, and dissociative pattern, Sheila creates a skewed story of intimacy. This work exists as a unique marriage between a commercial design background and a focused artistic vision, which results in a body of work that reimagines traditional pop art through the generational lens of overwhelmed and disjointed interactions. This humanist appeal to the universal “you” builds a coming-of-age narrative with a relatable goal: to find honest connection with other humans in the most humanly flawed way—dishonestly and skewed and drenched in contemporary culture.

Imre J. Molnar Artistic Achievement Award, College for Creative Studies, Detroit, MI

Publications

2020

“Artist Spotlight: Sheila Nicolin,” Booooooom

“Paintings About Searching for Intimate Connection by Sheila Nicolin,” Create! Magazine

Flyover (S. Ayers Art)

“Artist of the Month,” ArtJobs, April

101

Nicolin

Lorri Ott float (how it feels to) #5 | resin, industrial pigments, and acrylic on canvas, 7 x 5 inches

102

Lorri Ott float (how it feels to) #8 | resin, industrial pigments, and acrylic on canvas, 7 x 5 inches

103

Lorri Ott float (how it feels to) #9 | resin, industrial pigments, and acrylic on plastic bag on canvas, 10 x 8 inches

104

Lorri Ott Cleveland, OH lorri@lorriott.net / www.lorriott.net

b. 1963 Cleveland, OH

Education

2004

MFA, Kent State University, Kent, OH

Solo Exhibitions

2012

not a new life, but a nod, Kingston Gallery, Boston, MA

2011

passive voices, Museum of Contemporary Art,

Cleveland, OH

2009

debris from a lost campaign, William Busta Gallery,

Cleveland, OH

Group Exhibitions

2020

I Am the River, Waterloo Arts, Cleveland, OH

2015

Therely Bare, IS-Projects, Leiden, Netherlands

2014

Do It Yourself, Livestream, Brooklyn, NY

Nartificial, The Tea Factory, Brooklyn, NY

Abstract 2, Marcia Wood Gallery, Atlanta, GA

2013

The Edge and a Little Beyond, Soil, Seattle, WA

Ott

“Every storm runs out of rain.”

–Maya Angelou

American Painting Today: Physical and Visceral, Krasl Art Center, St. Joseph, MI

CONstruct/construct, Clark University, Worcester, MA Pourquoi Pas…(Why Not…), Moulins de Villancourt, Le Pont-de-Claix, France

No Longer Presidents but Prophets, Delicious Spectacle, Washington, DC

Awards

2012

Nesnadny + Schwartz Visiting Curators Program,

Museum of Contemporary Art, Cleveland, OH

2011

Nomination, Louis Comfort Tiffany Biennial Award,

New York, NY

105

Sherwin Ovid Shaded Deltas and Estuaries | acrylic, latex, oil, and gold leaf on canvas, 24 x 18 inches

106

Sherwin Ovid Sutured in the Wake | acrylic, latex, oil, and aerosol on canvas, 20 x 18 inches

107

Sherwin Ovid Interior Empire | acrylic, latex, and oil on canvas, 36 x 24 inches

108

Sherwin Ovid Chicago, IL 708.714.0937 (Goldfinch) sherwinovid@gmail.com / www.sherwinovid.com / @sherwinovid

b. 1978 Port of Spain, Trinidad

Education

2015

MFA, University of Illinois at Chicago, Chicago, IL

2006

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

Professional Experience

2019-20 Art consultant and (ghost) painter in Candyman

(Monkeypaw Productions)

2017-20 Adjunct Professor, University of Illinois at Chicago,

Chicago, IL

2016-20 Adjunct Professor, Northwestern University, Evanston, IL

Solo Exhibitions

2018

Randy Alexander Gallery, Chicago, IL

2016

Goldfinch, Chicago, IL

Group Exhibitions

2020

In Flux: Chicago Artist and Immigration, Chicago Cultural

My work takes the form of mixed-media paintings that reflect the dynamic interplay of materials and address cultural transmission across national boundaries. I create visual hybrids of formal systems of abstraction and figuration in my work. Collisions between interior and exterior spaces are frequently staged.

Sampled patterns often signify my personal connection to domestic interiors that portray class and culture through décor. My paintings are deliberately layered with different concentrations of latex paint, creating a cumulative effect that deploys direct pours and collage techniques. The fluid material creates a topology of undulating layers. Pigment, resin, bubbles, and dirt are but a few of the materials that accumulate on the surface. The layering and pouring of color and the mixture of resins is an attempt to represent the collision of postcolonial desire eclipsed by the often glamorous, seductive potential to acquire a figment of status.

Center, Chicago, IL 2019

Cultural Transit Authority, Floating Museum, Chicago, IL

2018

Let the Fancy, University of Illinois at Springfield,

Springfield, IL

2017

Traduttore Traditore, Gallery 400, University of Illinois at

Chicago, Chicago, IL 2016

Known Unknowns: Painting in Chicago, Cleve Carney

Museum of Art, Glen Ellyn, IL

Awards

2020

3Arts Award, Chicago, IL

2013

Abraham Lincoln Fellowship, Chicago, IL

Publications

2018

“Alien,” Fwd: Museums Journal

2017

Contested Spaces: A Field Guide (Field Trip / Field Notes /

Field Guide Graduate Fellow Consortium)

Represented by

Goldfinch, Chicago, IL

109

Ovid

First Last Title | medium, X x X inches

186

Sherwin Ovid | Shaded Ian Lotto Deltas | Theand HoleEstuaries Diggers (detail)

Nicholas Perry Addison | oil on canvas, 28 x 28 inches

110

Nicholas Perry Hi! | oil on canvas, 28 x 25 inches

111

Nicholas Perry Hiding in the Short Grass | oil on canvas, 32 x 32 inches

112

Nicholas Perry Milwaukee, WI nsperry.art@gmail.com / www.nsperry.com / @ns.perry

b. 1995 Detroit, MI

Education

2018

BFA, University of Wisconsin–Milwaukee, Milwaukee, WI

Solo Exhibition

2019

By Themselves, The Alice Wilds, Milwaukee, WI

Group Exhibitions

2020

We May Have Been Born Yesterday, But We Stayed Up All

Night, Between Two Galleries, Milwaukee, WI

All Dressed Up With Nowhere to Go, Steven Zevitas Gallery, Boston, MA (online)

2018

Wisconsin Artists Biennial, Museum of Wisconsin Art, West

I make figurative paintings that are built of art-historical influences, personal photography, and other visual languages.

These different forms of imagery are reinterpreted during the process of painting to form individuals of varying personalities. For me, painting offers a space to pose questions of representation. My paintings work with representation in abstract compositions to explore the history of portraiture and painting. My interest in portraiture comes from how it investigates the characteristics of the person in the picture through formal and fictional narratives. The work uses portraiture to investigate ideas such as sincerity, obsession, isolation, and anxiety. In response to those ideas, humor and exploration assemble ambiguous figures that become a playground to represent individuals through painting.

Bend, WI

Looking Sideways, Usable Space, Milwaukee, WI

Out of Shape, Miishkooki, Skokie, IL

Hinternational Paper: The Wisconsin Flat File Project, Real Tinsel, Milwaukee, WI

Publications

2018

New American Paintings, no. 137

2016

“Art by Nicholas Perry: Four Paintings,” Columbia Journal

113

Perry

Tom Robinson Serge | oil on panel, 24 x 20 inches

114

Tom Robinson Gate | oil on panel, 26 x 20 inches

115

Tom Robinson Hur | oil on panel, 24 x 20 inches

116

Tom Robinson Chicago, IL 773.477.7913 (Tom Robinson Gallery) tom@tomrobinsonartist.com / @tomrobinsonart

b. 1945 Columbus, OH

Education

1968

BFA, The Ohio State University, Columbus, OH

Residency

1995

Ox-Bow School of Art, Saugatuck, MI

Professional Experience

2006-20 Sole owner, Tom Robinson Studio/Gallery, Chicago, IL 1992-20 Participating artist, School of the Art Institute Co-op

Program, Chicago, IL

Solo Exhibition

2012

Twins, Union League Club of Chicago, Chicago, IL

Group Exhibitions

2020

The Funk Machine, Jackson Junge Gallery, Chicago, IL

All in the Same Boat, Stola Contemporary Gallery,

Chicago, IL

2019

Covers, Dream Box Gallery, Chicago, IL

The process of reinventing my artwork keeps me going and continues to excite and inspire me. It allows me to use and combine materials in a new, fresh way. In these latest paintings I have combined my use of the female figure with abstraction. I have also tried to infuse a whimsical and more carefree element into the imagery as opposed to the formal portraits I have done in the past. I had fun playing with the ambiguity of the composition so the viewer can determine for themselves whether the image is in or out of the frame behind them. Who is looking at whom? Are there two figures or one? The idea of suspended animation was playing in my mind as I made these works. I wanted to leave the observer alone to figure out what is happening. This was a new direction for me but also one with which I was familiar—playing with the figure.

Awards

2009

CAAP Grant, Chicago Community Art Assistance Program

Publications

2011

New American Paintings, no. 95

1998

New American Paintings, no. 17

1995

New American Paintings, no. 4

Represented by

Tom Robinson Studio/Gallery, Chicago, IL

117

Robinson

Stuart Snoddy Painter Posing in Home Studio | oil on panel, 8 x 8 inches

118

Stuart Snoddy Portrait of Painter as Seen Giving a Lecture on Painting | oil on panel, 14 x 11 inches

119

Stuart Snoddy Person Posing With Prop Cello | oil on panel, 16 x 12 inches

120

Stuart Snoddy Indianapolis, IN www.stuartsnoddy.com / @snodster

b. 1981 San Pedro Sula, Honduras

Education

2015

MFA, Northern Illinois University, DeKalb, IL

2009

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

Residencies

2015

Atlantic Center for the Arts, New Smyrna Beach, FL

2007

Ox-Bow School of Art, Saugatuck, MI

Solo Exhibitions

2019

The Fantasy Figures, The Ohio State University at Lima, Lima, OH

Sing Song, Harrison Center for the Arts, Indianapolis, IN

Two-Person Exhibition

2020

How’s Painting, with Amy Applegate, Cat Head Press,

Indianapolis, IN

Group Exhibitions

2019

Paper, Christopher West Presents, Indianapolis, IN

2018

Small Beauties, Era Contemporary, Philadelphia, PA

2017

Curio Cabinet, Indianapolis Art Center, Indianapolis, IN

Small Works, Trestle Gallery, Brooklyn, NY

2015

I paint the fantasy of me—my story replete with screwups, pleasures, and pleasant fictions. I paint fake portraits and fake views out of a sense of nostalgia for something that I can’t quite remember. Some of these fantasies are illuminated by the refulgence of past encounters, like the glowing filament in a freshly turned-off light bulb. Others are ideas of people whom I haven’t yet met. And some come from who knows, or wherever.

ANX XV, Roots and Culture Contemporary Art Center, Chicago, IL

121

Snoddy

First Last Title | medium, X x X inches

188

Stuart Snoddy | Painter Posing in Home Studio (detail)

John Sousa Air Head | compiled digital image printed in UV-cured inks over oil, epoxy, acrylic, and collage on aluminum honeycomb panel, 15 x 15 inches

122

John Sousa Pop Tarts | compiled digital image printed in UV-cured inks over oil, epoxy, acrylic, and collage on aluminum honeycomb panel, 15 x 15 inches

123

John Sousa This-n-That | compiled digital image printed in UV-cured inks over oil, epoxy, acrylic, and collage on aluminum honeycomb panel, 15 x 15 inches

124

John Sousa Springboro, OH 937.369.4367 thejohnsousa@gmail.com / www.johnsousa.com / @thejohnsousa

b. 1960 Detroit, MI

Education

1982

BFA, Bradley University, Peoria, IL

Solo Exhibitions

2019

Small Fragments, ArtLab Three Quarters Gallery,

Cincinnati, OH

2018

Reconstructions, Grace Albrecht Art Gallery, Bluffton

University, Bluffton, OH

Group Exhibitions

2019

The Dayton Connection: New Work by Mike Elsass, Darren Haper & John Sousa, Art Access Gallery, Bexley, OH

2017

At the quantum level, reality does not exist unless observed. And with art, a viewer is essential to its meaning. These works do not dictate; their meaning is unfixed. Instead they suggest. What you ultimately see is filtered through your own perception and experience.

The notion that “any possibility” can appear out of the field gives me the freedom to include in them whatever I wish. This has led me to be more playful than usual. I like to say these works are like Robert Ryman paintings “gone bad.”

Summerfair Select Exhibition: AIA Winners, Weston

Gallery, Cincinnati, OH

2016

Navigation: Personal and Geographical Landscape, Dayton

Each work in my series Chaos Fields is part of an “imagined field of infinite possibility.” This field is a play on both the formal field of painting and the frothy quantum field of physics.

Visual Arts Center, Dayton, OH

Modes of Photography Vision, UC Blue Ash College,

University of Cincinnati, Blue Ash, OH

Contemporary Figuration, Riffe Gallery, Ohio Art Council,

Columbus, OH 2015

The Selfie Show: An Exhibition of Self-Portraits,

Museum of New Art, Armada, MI

2014

10th Annual Small Works Show, 440 Gallery, Brooklyn, NY

Post-Photography: Beyond the Print, Target Gallery,

Torpedo Factory Art Center, Alexandria, VA

Awards

2014

AIA Grant Award, Summerfair Foundation

1997

Individual Fellowship, Photography, Master Category, Montgomery County

1994

Individual Fellowship, Photography, Associate Category, Montgomery County

1982

National Scholastic Scholarship, Bradley University

Represented by

Art Access Gallery, Columbus, OH 125

Sousa

Kyle Surges Royal Empress | oil on panel, 21 x 42 inches

126

Kyle Surges Mod Radio | oil on panel, 14 x 25 inches

127

Kyle Surges Drinking Happy Bird | oil on panel, 14 x 14 inches

128

Kyle Surges Lockport, IL 815.690.2905 ksurges68@sbcglobal.net / www.kylesurges.com / @kylesurges

b. 1989 Naperville, IL

Education

2012

BFA, The American Academy of Art, Chicago, IL

Solo Exhibitions

2017

High Definition, Thomas McCormick Gallery, Chicago, IL

2013

Icon Americans, Thomas McCormick Gallery, Chicago, IL

Group Exhibitions

2020

26th Texas National Competition and Exhibition, Stephen F.

Austin State University, Nacogdoches, TX (online) 2019

41st Annual Whitewater Valley Art Competition, Indiana University East, Richmond, IN

32nd Annual Northern National Art Competition, Nicolet College, Rhinelander, WI

75th Annual Wabash Valley Juried Exhibition, Swope Art Museum, Terre Haute, IN

Awards

2019

People’s Choice Award, 75th Annual Wabash Valley Juried

My paintings are derived from close visual observation. Primarily, my subjects are manufactured items; I find their surfaces beautiful, and I enjoy the challenge of recreating them in paint.

Mainly, I prefer a smooth panel on which to work because it allows me to paint small detail. It also allows the paint to communicate to the viewer without the interruption of textures on the physical surface. I prefer to pair these items with minimalistic backgrounds to heighten the emphasis on the object.

Pop artists utilized mass-produced objects to create a dialogue between high and low culture. My work is rooted in that dialogue.

I consider myself a sort of pop realist. Objects I choose are based on my fascination with manufactured items, mostly vintage and sometimes witty things. They are often bits of discarded Americana that inherit nostalgia. I like to present these items as sort of cherished icons and let the object shape the theme of the painting. Some pieces can be reminiscences of the past, while others are rather simple, amusing juxtapositions.

Exhibition

3rd Place, 41st Annual Whitewater Valley Art Competition

Award of Excellence, 32nd Annual Northern National Art

Competition 2018

2nd Place, 11th Biennial National Art Exhibition, Visual Arts Center, Punta Gorda, FL

Publications

2021

Artist Magazine, January/February

2017

Michael Woodson, “Still Life Paintings So Real You’ll Have to Look Twice,” Artists Magazine

Represented by

Thomas McCormick Gallery, Chicago, IL

129

Surges

First Last Title | medium, X x X inches

190

Kyle Surges | Drinking Happy Bird (detail)

Kirsten Valentine Twister | oil on wood, 12 x 12 inches

130

Kirsten Valentine Quilt | oil on wood, 12 x 12 inches

131

Kirsten Valentine Madonna and Child | oil and acrylic on wood, 12 x 12 inches

132

Kirsten Valentine Chicago, IL 312.654.9900 (Zg Gallery) krstnvalentine@gmail.com / www.kirstenvalentine.com / @kirstenvalentine

b. 1980 Oak Park, IL

Solo Exhibition

2020

Ranch Style House, Wakeley Gallery, Illinois Wesleyan

University, Bloomington, IL

Group Exhibitions

2020

Four Women, Zg Gallery, Chicago, IL

Collide, YCA Gallery, Chicago, IL

2019

Landscapes, Vertical Gallery, Chicago, IL

Small Works, Main Street Gallery, Clifton, NY

Work@Play, Zg Gallery, Chicago, IL

Open Call, Delphian Gallery, London, England

2018

Tiny Acts Topple Empires, Woskob Family Gallery, Penn

State College of Arts and Architecture, State College, PA

6th Annual Group Show, Bridgeport Art Center,

Chicago, IL

Represented by

Zg Gallery, Chicago, IL

Someone once asked me to describe my art in ten words or less.

I said: “I paint people: mostly people in their underpants.” It’s a joke, but like most jokes, there is truth in it.

My paintings take a Midwestern sensibility to American eccentricity, though the figures may be caught in a moment of unintentionally erotic grappling or clad only in underpants, a prudishness remains. The fabric of underpants might conceal, but it also reveals. These figures are plain, homely, and vulnerable.

Their imperfect physiques are highlighted and their often bizarre actions open to scrutiny.

I work from found photographs, lost or discarded snippets of private lives. Similarly, my paintings are fragments, deliberately and glaringly unfinished. Large areas are left untouched; the painting ground is clearly visible, messy brushwork and scribbles contrast with realistic academic portraiture. Figures are isolated, stripped of context, exposed. The viewer is made to feel that they are peering into the subject’s heavily curtained basements, revealing secret sexuality, hidden ambitions, private poverty, and concealed illness. It is a Midwestern Gothic.

133

Valentine

Kate Vrijmoet Table Saw Accident | latex on canvas, 59 x 50 inches

134

Kate Vrijmoet Naked Snow Blower | latex on canvas, 60 x 50 inches

135

Kate Vrijmoet Lawn Dart Accident | latex on canvas, 55 x 50 inches

136

Kate Vrijmoet Chicago, IL kate@katevrijmoet.com / www.katevrijmoet.com / @katevrijmoet

b. 1966 Philadelphia, PA

Education

1997

MFA, Syracuse University, Syracuse, NY

Solo Exhibitions

2016

Colorida, Lisbon, Portugal

2015

Listening to What You Can’t See, Treason Gallery,

Seattle, WA

2010

Essential Gestures, Center on Contemporary Art,

Seattle, WA

Two-Person Exhibitions

2014

Jacques Chevalier / Kate Vrijmoet, Linda Hodges Gallery, Seattle, WA

2013

I use the tools of classical painting to provoke emotions in my audience they might more often associate with theater.

For example, I think great painting can be funny. My aim is an extremely high-impact experience for the viewer. To go the distance as a painter, you need to step outside received ideas.

Writing about Francis Bacon, John Russell said there’s never been a great painting that made people laugh. I disagree. Humor is the most potent tool we have to disarm the viewer and leave them vulnerable to fertile, emotionally complex, and difficult concepts that are anything but funny. I see this dynamic in the work of Philip Guston, Twyla Tharp, Lawrence Weiner, and Dana Schutz. Many of the deepest and most unusual experiences in all kinds of art are only available because the artist has led you to them through emotions that are provocative but, at least at first, acceptable.

Deconstruction/Destruction, with Marcus Durkheim, Esvelt Gallery, Columbia Basin College, Pasco, WA

Group Exhibitions

2019

Painters Who Fucking Know How to Paint, Center on

Contemporary Art, Seattle, WA (co-curator)

2017

Poetry on Buses: Your Body of Water, City of Seattle Transit

Bus Lines and Office of Arts and Culture, King County, WA 2016

VI Bienal de Pintura, Guayaquil, Ecuador Variations on Breathing, “Transformations” film project, National YoungArts Foundation, Miami, FL

2015

11 artists respond to “War of the Foxes” by Richard Siken, Copper Canyon Press and Center on Contemporary Art,

Seattle, WA

The Incredible Intensity of Just Being Human, Anne Focke Gallery, Seattle City Hall, Seattle, WA

2012

5th Beijing International Art Biennale, Beijing, China

Random Acts of Time, Orange County Center for

Contemporary Art, Santa Ana, CA

Wide Open 3, Brooklyn Waterfront Artists Coalition,

Brooklyn, NY

Publication

2010

Kate Vrijmoet: Essential Gestures (Center on

Contemporary Art)

137

Vrijmoet

Adrian Waggoner What Elsa Said | oil on canvas, 72 x 68 inches

138

Adrian Waggoner Rejoice, Rejoice, Rejoice | oil and gold leaf on canvas, 54 x 54 inches

139

Adrian Waggoner And Then We Can Pretend It’s Natural | oil and gold leaf on canvas, 84 x 48 inches

140

Adrian Waggoner Columbus OH 801.787.1382 adrianwaggoner@gmail.com / www.adrianwaggoner.com / @adrianwaggonerstudio

b. 1980 Yuba City, CA

Education

2016

MFA, The Ohio State University, Columbus, OH

2009

BFA, Lyme Academy College of Fine Arts, Old Lyme, CT

Residency

2020

Chateau d’Orquevaux, Orquevaux, France

Solo Exhibition

2008

Four Paintings, Take-Out Gallery, New London, CT

Group Exhibitions

2019

Visage, Brandt Robert Gallery, Columbus, OH

2017

Come Along With Me, hosted by Riffe Gallery, Columbus, OH

2016

notitleanytitle*, MFA thesis exhibition, Urban Arts Space,

The Ohio State University, Columbus, OH

2015

Autoshow, Temporary Collective, Columbus, OH

2014

National Wet Paint MFA Biennial, Zhou B Art Center,

Chicago, IL

2013

89th Annual Spring Salon, Springville Art Museum,

Springville, UT

2010

Scholarship Competition, Society of Illustrators: The Museum

These selected works are commentary on the problems of religious philosophies and their effect on an individual’s concept of self-identity. The paintings stem from personal experiences from my own life and the lives of others. The struggle of seeking validation from the people closest to me, and becoming open with my choice to turn away from their traditions, has created images I don’t fully understand but continue to create in search of resolve.

The paintings focus on the resulting crisis of logic and reason no longer supporting faith, and the process of rebuilding one’s identity. By using iconic religious symbols with modern figures, the paintings seem to pose more questions than answers, but suggest the permanent effects of a religious upbringing.

of Illustration, New York, NY

2013

Awards Merit Award, 89th Annual Spring Salon, Springville Art Museum, Springville, UT

John Stobart Fellowship

Publication

2010

Blue Canvas Magazine, no. 9

141

Waggoner

Michelle Whitmer High St. Mattress | oil paint, 24 x 36 inches

142

Michelle Whitmer Bremont Ave | oil paint, 14 x 17 inches

143

Michelle Whitmer Laundry Room | oil paint, 11 x 14 inches

144

Michelle Whitmer Cincinnati, OH mwhitmerstudio@outlook.com / @michellewtmr

b. 1997 Wauseon, OH

Education

2019

BFA, Bowling Green State University, Bowling Green, OH

Group Exhibitions

2020

From Photos, Working Artists Collective (online)

2019

Closer, The Art Supply Depo (online)

Forested, Knowlton Hall, The Ohio State University,

Columbus, OH

2-Dimensional Artists Association Small Works

Growing up in Ohio led me to notice the potential in the personality of the Midwest. The muddy wildness of oil paint is a very organic companion to the imagery of this area. My hope is to create sincere paintings driven by my adoration of both paint and my environment.

Exhibition, Red Door Gallery, School of Art, Bowling Green

State University, Bowling Green, OH

Nelsonville, OH

2017

The Millennial Show, K12 Gallery & TEJAS, Dayton, OH

Awards

2018

Ringholz Scholarship

2017

Undergrad Juried Exhibition, Majestic Galleries,

Merit Award, Santa Reparata International School of Art, Florence, Italy

145

Whitmer

Kate Worley block | newsprint and photographs on paper, 22 x 21 inches

146

Kate Worley ave | newsprint and photographs on paper, 21 x 22 inches

147

Kate Worley window | acrylic skin and photograph on paper, 9 x 10.5 inches

148

Kate Worley Minneapolis, MN worley.kate@gmail.com / www.kateworleyart.com / @kateworleyart

b. 1989 Minneapolis, MN

Education

2011

BA, University of Vermont, Burlington, VT

Kate Worley’s work is concerned with dichotomies of space, bodies, and media. The tactile quality of acrylic lives alongside mixed media and photographed figures. She is interested in examining ideas surrounding icons, homes, media, neighborhoods, and the practice of home and self-renovation.

Her most recent series is a reflection on living in the 38th and Chicago neighborhood in Minneapolis during the George Floyd murder and protests. She is inspired by the imagery of Gee’s Bend quilts and uses Instagram images, newspaper collage, and metal substrate to create depictions of outer and inner societal structures and power imbalances.

149

Worley

Suzanne Wright Dance Floor Mandala | Flashe vinyl paint, Fleur paint, and acrylic on linen on wood panel, 36 x 48 inches

150

Suzanne Wright Pentagon Portal | Flashe vinyl paint, Fleur paint, and acrylic on linen on wood panel, 36 x 36 inches

151

Suzanne Wright Divine beauty permeates all things | Flashe vinyl paint and acrylic on birch plywood, 14 x 18 inches

152

Suzanne Wright Iowa City, IA suzannetylerwright@gmail.com / www.suzannewrightstudio.com / @suzannewrightstudio

b. 1970 New London, CT

Education

2011

MFA, University of California, San Diego, CA

1990

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

2020

Professional Experience Grant Wood Fellow in Painting and Drawing, University of Iowa, Iowa City, IA

2019

Director and co-curator, EVERY WOMAN BIENNIAL, Bendix Building, Los Angeles, CA

2014

The Kraus Visiting Artist and Professor, Carnegie Mellon University School of Art, Pittsburgh, PA

Residency

2004

Skowhegan School of Painting and Sculpture,

Skowhegan, ME

Solo Exhibitions

2020

Much of my artwork has been inspired by the paradigm shift that has taken place since 9/11 and most recently Election Day 2016, which I call “the psychological 9/11.” Our struggles transform us into strong and more powerful versions of ourselves, and this ongoing series of paintings on linen use geometric metaphors that strive to connect with others and reposition our perspectives that rely on old habits, prejudices, and dominant powers. The transformation I am trying to discuss is on a micro/macro level, and represents a mirror I am turning on myself. My color decisions are personal and intuitive with an attempt to mirror the contradictions and complexities of the individual. Each painting has a different symbolic meaning and is meant to be inspiring, both visually and metaphysically. Art, activism, and collectives have profoundly shaped my understanding of the systemic nature of discrimination and oppression as well as the ways in which art can be a tactic of resistance and has the potential to change habitual perspective and consciousness.

Meditations on Transformation and Perspective, CSPS Hall, Cedar Rapids, IA

2018

Feminist Alchemy, Wilding Cran Gallery, Los Angeles, CA

2016

The Rainbow Warriors, Angels Gate Gallery,

San Pedro, CA

2014

The Rainbow Control Room, Commonwealth and Council,

Los Angeles, CA 2004

The Forest, Monya Rowe Gallery, New York, NY

Two-Person Exhibitions

2011

G.L.O.W. Match 4, with A. L. Steiner, Commonwealth and Council, Los Angeles, CA

VESSEL, with Tony Payne, hosted by Artist Curated

Projects, Human Resources, Los Angeles, CA

Group Exhibitions

2018

Defining Form, The Untitled Space, New York, NY

2017

Focus Group, Charlie James Gallery, Los Angeles, CA

2016

Cock, Paper, Scissors, Long Hall, Plummer Park, West

Hollywood, CA

153

Wright

Editor’s Selections

The following section is presented in alphabetical order.

Biographical information has been edited.

Prices for available work may be found on p176.

>

Cecilia Beaven Blue Self-Portrait | acrylic and video projection mapping on canvas, 96 x 66 inches

156

Cecilia Beaven Night Deer | acrylic, oil, and spray paint on canvas, 72 x 48 inches

157

Cecilia Beaven Conejo Menguante | acrylic on canvas, 24 x 20 inches

158

Cecilia Beaven Chicago, IL contact@ceciliabeaven.com / www.ceciliabeaven.com / @samuraiceci

b. 1986 Mexico City, CDMX

Education

2019

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

2009

BFA, Escuela Nacional de Pintura, Escultura y Grabado “La Esmeralda,” Mexico City, Mexico

Residency

2019

Ox-Bow School of Art, Saugatuck, MI

Professional Experience

2019-20 Faculty member, School of the Art Institute of Chicago,

Chicago, IL

Solo Exhibitions

2020

Transparente, Plomo Gallery, Mexico City, Mexico

2019

Two-Headed Turtle, SITE Galleries, Chicago, IL

Group Exhibitions

2020

Ground Floor Biennial, Hyde Park Art Center, Chicago, IL

2019

The Storytellers, Carrie Secrist Gallery, Chicago, IL

2018

The Dust of the World, Washed by Droplets of Dew,

collaborative project, Hiketa, Japan

2016

Que vivan las mujeres, traveling exhibition, organized by

I explore narrative through painting and expanded painting, transforming the pictorial into the cinematic and scenographic.

Through my artwork, which includes paintings, murals, drawings, animations, and film, I explore mythology, visual storytelling, and ethnography as mutating narratives through which we approach reality. My work composes a ludic personal mythology in which I draw from my life in Mexico City and assimilate my cultural heritage through the experience of living in contemporary Chicago.

My objective as an artist is to question who gets to tell stories and establish the official cultural narratives. I affirm my creative agency by modifying existing tales and mythology and seamlessly adding fiction and personal anecdotes. Through this analytical and playful experimentation, I bring a unique perspective on Mexican identity and I investigate the forms of autoethnography and autofiction.

Amnesty International and Vértigo Galería 2014

Gran Salón México, Centro de Cultura Digital, Mexico City, Mexico

2013 2009

Yo Contenido, Centro Cultural Tijuana, Tijuana, Mexico Transitio_mx 03, Centro Nacional de las Artes, Mexico City, Mexico

2008

CODECS bioquímica iberoamericana audiovisual, Museo de Arte Contemporáneo, Oaxaca, Mexico

Award

2017

Fulbright Foreign Student Program Scholarship

Collection

Antique Toy Museum 159

Beaven

Josiah Ellner Mocking at the Pier | oil, 48 x 36 inches

160

Josiah Ellner Lake Showers | oil and sand, 60 x 48 inches

161

Josiah Ellner Let’s Chill Under a Tree | oil, 48 x 60 inches

162

Josiah Ellner Milwaukee, WI josiahcellner@gmail.com / josiahellner.com / @josiahcellner

b. 1996 Milwaukee, Wi

Education

2019

BFA, University of Wisconsin–Milwaukee, Milwaukee, WI

Group Exhibitions

2020

We Might Have Been Born Yesterday . . . But We Stayed Up All Night, Between Two Galleries, Milwaukee, WI

2019

39th Annual SECURA Fine Arts Exhibition, Trout Gallery, Appleton, WI

2018

Open Kenilworth Exhibition, Kenilworth Gallery,

Milwaukee, WI

Publication

2019

Create! Magazine, no. 16

Furrow Magazine, vol. 20, Spring

My paintings are abstracted narratives that revolve around the relationship between humanity and the natural world, captured through my personal experiences. I am drawn to moments that embody the feeling of oneness with nature. The formal decisions I make in my paintings are all informed by the characteristics of these moments, which tend toward the awkward, whimsical, playful, and sometimes slightly humorous. This results in ungainly and awkward figures and environments that are patterned and playful. Through these abstractions I strive to achieve a heightened narrative that encapsulates the connections and interactions we have with the natural world.

163

Ellner

Chris Hyndman Audition 9 | acrylic on canvas, 74 x 56 inches

164

Chris Hyndman Audition 10 | acrylic on canvas, 74 x 56 inches

165

Chris Hyndman Audition 11 | acrylic on canvas, 74 x 56 inches

166

Chris Hyndman Chicago, IL www.chrishyndmanstudio.com / @chrishyndmanstudio

b. 1973 London, Canada

Education

2001

MFA, Ohio University, Athens, OH

1997

BA, University of Guelph, Guelph, Canada

Residency

2001

Skowhegan School of Painting and Sculpture,

Skowhegan, ME

Professional Experience

2001-20 Professor, School of Art and Design, Eastern Michigan

For several years my paintings have suggested shallow stagelike spaces, activated by plaid-patterned forms performing in front of curtains. Recently, they have also included depictions of pennant strings and confetti streamers—the stuff of staged celebrations.

I consider “staginess” a fundamental condition of painting and hope for a reflexive connection between the works as paintings and their constructed scenes.

In terms of fit with earlier work, the latest paintings continue my interest in color and texture, structured surfaces, and the function of pattern and digital tools in the shaping and imaging of contemporary identities.

University, Ypsilanti, MI

2015

Solo Exhibitions Auditions and Curtains, Grace Albrecht Gallery, Bluffton University, Bluffton, OH

2014

No-Touching Zone, Institute for the Humanities Gallery, University of Michigan, Ann Arbor, MI

2013

Chris Hyndman, Susanne Hilberry Gallery, Detroit, MI

Two-Person Exhibition

2004

John Corbin and Chris Hyndman, Susanne Hilberry Gallery, Detroit, MI

Group Exhibitions

2020

Jelena Berenc, Chris Hyndman, and Carlos Melian,

Evanston Art Center, Evanston, IL

2018

2018 Evanston + Vicinity Biennial, Evanston Art Center,

Evanston, IL 2015

Integrated Pattern: Structured Abstraction, Alden B. Dow Museum of Science and Art, Midland, MI

2011

Painting Coast to Coast, Elaine L. Jacob Gallery, Wayne State University, Detroit, MI

2008

Chris Hyndman, Gordon Newton and Barry Roth, Susanne Hilberry Gallery, Detroit, MI

Publications

2019

MANIFEST International Painting Annual, 8

(Manifest Press)

167

Hyndman

First Last Title | medium, X x X inches

192

Crhis Hyndman | Audition II (detail)

Dominique Knowles The Inheritance of Empathy from My Beloved | oil on canvas, 33.5 x 48 inches

168

Dominique Knowles Shimenawa Centaur | oil on canvas, 24 x 32 inches

169

Dominique Knowles (Ether) | oil on canvas, 120 x 468 inches

170

Dominique Knowles Chicago, IL 414.226.1978 (The Green Gallery) dominiquecknowles@gmail.com / www.thegreengallery.biz/artists/dominique-knowles / @domknowles

b. 1996 Nassau, The Bahamas

Education

2020

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

2017

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

Residencies

2020

The Suburban, Walker’s Point, Milwaukee, WI

2014

Popop Studios, Nassau, The Bahamas

2016

Popop Studios, Nassau, The Bahamas

Professional Experience

2017-18 Gallery Associate, Iceberg Projects, Chicago, IL

Solo Exhibitions

2020

Ode to Tazz, The Green Gallery East, Milwaukee, WI

2017

In the Warmest Glance of the Sun, National Art Gallery of The Bahamas, Nassau, The Bahamas

Group Exhibitions

2020

Julius Caesar Benefit Auction, Julius Caesar, Chicago, IL

2019

The Map Is Not the Territory, Andrew Rafacz, Chicago, IL

Dominique Knowles’s work invites through the archetypal, moving beyond as an incredibly specific expression of interspecies companionship. At once a seemingly private language, its monumental character reveals that the work is generated from primordial knowledge. His paintings garner strength from the formless, fluid movement of unbounded rhythm. His poetics are epic in scale, with an intimate cadence that ebbs and flows in sub-realities. There’s a symbiosis of confessional narrative and emotional lyric, acting as a soft ground for a central figure of luminously erotic queer desire. Romantic longing nourishes an empathic absorption into spaces pulsating with aliveness. The aesthetic’s consistent resonance of humane and animal grief is redemptive. There is hope for rebirth as its ochre atmosphere breathes prenatal warmth and givenness for meditations on ancient sentience. This open and untethered vision of interbeing is more than a pollyannish dream of a beautiful ecology. The stakes are deep within their solemn contemplation of what is nature, how does one maintain another’s quality of life, and how the capacity of a death doula allows for a way to die with dignity.

With a Capital P: Selections by Six Painters, Elmhurst Art Museum, Elmhurst, IL

2017

Übersee, Halle 14, Leipzig, Germany

2015

Nassau Calling, HilgerBROTKunsthalle, Vienna, Austria

2014

Future Memories, 14N61W, Fort-de-France, Martinique

Award

2018

New Artist Society Award

Represented by

The Green Gallery East, Milwaukee, WI

171

Knowles

Laura Sanders

By Herself, ARMCO Park | oil on canvas, 36 x 26 inches

172

Laura Sanders

By Herself, Private Property | oil on canvas, 27 x 22 inches

173

Laura Sanders Victorine, By Herself | oil on canvas, 50 x 64 inches

174

Laura Sanders Columbus, OH 614.300.5381 (Contemporary Art Matters) painterlaurasanders@gmail.com / www.laurasandersart.com / @laurasandersstudio

b. 1966 Detroit, MI

Education

1988

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

Residencies

2017

Headlands Center for the Arts, Sausalito, CA

2012

Vermont Studio Center, Johnson, VT

2006

Fine Arts Work Center, Provincetown, MA

Solo Exhibitions

2020

My series By Herself confronts ideas about the places women belong. Women seeking solitude, venturing beyond “safe” places and the precautions they need to take to do so, are some of the concerns behind the imagery in these paintings. This reflection on what it means for a woman to be alone in the natural environment continues my depiction of the human form in the out-of-doors. By presenting the figure immersed in the landscape, I examine the impact and implications of our environs.

Upcoming: Shifting Baselines, Contemporary Art Matters, Columbus, OH

2019

Chemistry: Vapors, Polymers, Pheromones and Light, Hidell Brooks Gallery, Charlotte, NC

2018

Play Out, Earlham College, Richmond, IN

Group Exhibitions

2020

Xenia: Crossroads in Portrait Painting, Marianne Boesky

Gallery, New York, NY

All Dressed Up With Nowhere to Go, Steven Zevitas Gallery, Boston, MA (online)

2019

Driving Forces: Contemporary Art from the Collection of Ann and Ron Pizzuti, Columbus Museum of Art,

Columbus, OH

Art Market San Francisco, Jen Tough Gallery,

Santa Fe, NM

Triggered, SPHERE, Berkeley, CA

2018

For the Love of Painting, Contemporary Art Matters,

Columbus, OH

Awards

2019, 2013, Ohio Arts Council Individual Excellence Award 2009, 2006

Collections

Columbus Museum of Art, Columbus, OH

Pizzuti Collection, Columbus, OH 175

Represented by

Contemporary Art Matters, Columbus, OH

Sanders

First Last Title | medium, X x X inches

194

Laura Sanders | Victorine, By Herself (detail)

Pricing

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

Ariel Baldwin p14 NFS p15 $1,600 p16 $2,000

Miranda Holmes p70 NFS p71 NFS p72 NFS

Kyle Surges p126 NFS p127 NFS p128 NFS

Batoul Ballout p18 NFS p19 NFS p20 NFS

Yowshien Kuo p74 NFS p75 NFS p76 NFS

Kirsten Valentine p130 POR p131 POR p132 POR

Leslie Barlow p22 $2,800 p23 $6,500 p24 $6,500

Caroline Liu p78 $6,200 p79 $1,600 p80 $3,600

Kate Vrijmoet p134 $6,500 p135 $6,500 p136 $6,500

Phoenix S. Brown p26 $900 p27 $900 p28 $1,500

Brian C. Mathus p82 $2,000 p83 $2,000 p84 $2,000

Adrian Waggoner p138 $12,200 p139 NFS p140 $9,900

Gregory Michael Carter p30 $4,500 p31 NFS p32 NFS

Armin Mühsam p86 $4,200 p87 $3,800 p88 $4,200

Michelle Whitmer p142 NFS p143 NFS p144 NFS

Zach Cramer p34 $900 p35 $900 p36 $900

Vanessa Navarrete p90 $1,800 p91 $1,800 p92 $1,800

Kate Worley p146 $1,500 p147 $1,200 p148 $700

Cullen Curtis p38 NFS p39 $300 p40 NFS

Grant Newman p94 POR p95 POR p96 POR

Suzanne Wright p150 $4,800 p151 $3,800 p152 $2,100

Dredske p42 $400 p43 $400 p44 NFS

Sheila Nicolin p98 $4,950 p99 $4,950 p100 $4,950

David Esquivel p46 $190 p47 $170 p48 NFS

Lorri Ott p102 NFS p103 $400 p104 NFS

Grace Fechner p50 $700 p51 $700 p52 $700

Sherwin Ovid p106 $3,000 p107 $2,500 p108 $3,000

Mariah Ferrari p54 $1,450 p55 $1,450 p56 $1,300

Nicholas Perry p110 $2,400 p111 $2,200 p112 $2,800

Peter Erik Frederiksen p58 NFS p59 $800 p60 $1,200

Tom Robinson p114 $2,400 p115 $2,400 p116 $2,400

Eli Gfell p62 $1,200 p63 $1,600 p64 $1,800

Stuart Snoddy p118 NFS p119 NFS p120 NFS

Tanya Gill p66 $1,100 p67 $1,100 p68 $1,100

John Sousa p122 $1,500 p123 $1,500 p124 NFS

176

Cecilia Beaven p156 $12,000 p157 $6,000 p158 $1,600 Josiah Ellner p160 NFS p161 NFS p162 NFS Chris Hyndman p164 $4,000 p165 $4,000 p166 $4,000 Dominique Knowles p168 NFS p169 $4,600 p170 $36,000 Laura Sanders p172 $8,500 p173 $6,500 p174 $18,000

$20