New American Paintings Issue #160 South

160

June/July

160 >

New American Paintings

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160 June/July 2022 Volume 27, Issue 3 ISSN 1066-2235 $20

Recent Jurors: Nora Burnett Abrams

Miranda Lash

Museum of Contemporary Art Denver

New Orleans Museum of Art

Bill Arning

Nancy Lim

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

Sarah Montross

Orange County Museum of Art

deCordova Sculpture Park and Museum

Cassandra Coblentz

René Morales

Independent curator

Pérez Art Museum Miami

Eric Crosby

Barbara O’Brien

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Phillips p118

Contents 8

Editor’s Note

10

Noteworthy

12

Steven Zevitas

Juror’s and Editor's Picks

Juror’s Comments Amanda Morgan, Assistant Curator, Exhibitions and Publications, Institute of Contemporary Art, Miami, FL

14 156 178

Winners: Juror’s Selections Southern Competition 2020

Winners: Editor’s Selections Southern Competition 2020

Pricing Asking prices for selected works

160 June/July 2022

Editor’s Note

The juror for Issue #160 was Amanda Morgan, Assistant Curator of

region’s population. More than fifty percent of the artists featured

Exhibitions and Publications at the Institute of Contemporary Art,

in this issue do not identify as White. It is this new, racially diverse

Miami. Amanda was charged with reviewing the work of several

generation that will begin to disrupt and reshape the region’s

hundred artists residing in the South, and as you will see, she

cultural landscape. n

selected a diverse group of painters with a wide range of aesthetic viewpoints. The figure is still a dominant subject for many emerging

Enjoy the issue!

artists, and I continue to be astounded by the seemingly infinite ways in which meaning can be conjured from the human form.

Steven Zevitas Editor & Publisher

I have always been fascinated by the South and its cultural output.

For someone raised in the Northeast, it simply feels alien. The region’s tradition of storytelling has been evident since the earliest issues of New American Paintings, and even at points over the past three decades, when representational painting was viewed by many as “outmoded,” southern artists have continued to rely on narrative structure in their work. Equally notable is a sort of Faulknerian weight that artists of all types seem to tap into. It is as if artists from the South are constantly grappling with the region’s complex, and often unpleasant, history and legacy. There is a lot to unpack, to be sure.

In this issue, we see artists continuing to tell stories, but from a much greater variety of perspectives. Over the past two decades, the South’s demographics have radically shifted. More and more counties that were once majority White are now majority Black, and Latinx Americans make up an ever-growing percentage of the

New Art Dealers Alliance (NADA) newartdealers.org

Noteworthy:

Natalia Juncadella

Juror’s Pick p92

Mellow sunlight cascades through the window, illuminating the brightly colored fruit, delicately patterned dishes, and checkered tablecloth, while the flora outside casts curving shadows that subtly alludes to the world beyond this quiet and insular moment. This is the alluring scene set by Natalia Juncadella in La Merienda, one of several charming oil on canvas still lifes by the artist. Characterized by a harmonious use of color and light, Juncadella creates understated portraits of fleeting moments of pause that nourish the viewer with a sweet slice of life. n

Emma Steinkraus

Editor’s Pick p174

Steinkraus’s paintings are unsettling—in a good way. Her subjects— which gaze aggressively at the viewer—are somehow familiar, yet alien. Their familiarity comes from Steinkraus’s ability to reference art historical sources in subtle, but potent ways. There are a lot of things being addressed in these paintings, from environmental exploitation to the patriarchal nature of art history. For me, Steinkraus’s subjects seem like avenging angels who defiantly challenge the viewer to reconsider their belief systems and, in particular, question the myriad and often overlooked roles that women have played throughout history. n

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Winners: Southern Competition 2021 Juror: Amanda Morgan, Assistant Curator, Exhibitions and Publications, Institute of Contemporary Art, Miami, FL

Juror’s Selections Erik Barthels | Luisa Maria Basnuevo | Jasmine Best | Cameron Bliss | Michael A. Booker Demetri Dave

Burke

Eassa

|

|

Rachel

Reinier

Campbell

Gamboa

|

|

Namwon

Jeffrey

Choi

Deane

|

Hall

Sean |

Lou

G.

Clark

|

Keith

Haney | Craig

Sean Latif Heiser | Gonzalo Hernandez | Ming Ying Hong | Ronald Jackson

| Natalia

Crowley sHawkins

Juncadella

Deb Koo | Jean-Paul Mallozzi | Katherine Tzu-Lan Mann | Crystal Marshall | Edison Peñafiel Visakha Jane Phillips | Anne Carney Raines | Marisol Ruiz | Karen Seapker | Kevin Spaulding Katharine Suchan | Barbara Campbell Thomas | Sophie Treppendahl | Gaby Wolodarski | Markeith Woods Editor’s Selections Justin Tyler Bryant | Christopher Huff | D’Metrius John Rice | Olivia Springberg | Emma Steinkraus

Juror’s Comments

Amanda Morgan Assistant Curator, Exhibitions and Publications, Institute of Contemporary Art, Miami, FL

To state the obvious, the American South is expansive. By the definition of New American Paintings, it spreads from South Florida— where I am from and live today—north to Maryland and West Virginia and stretches past the Mississippi river as far west as Arkansas and Louisiana. Though a small sample, the selection of works in this issue begins to give a sense of the immeasurable array of experiences, perspectives, and creative practices that makes up the South. While, broadly speaking, the works can be characterized by the classic and perennial art historical genres of figuration and portraiture, landscape and interior scenes, as well as abstraction—though many of the works do not fit neatly into any one category—they evidence a sweeping range of aesthetic, material, and conceptual approaches.

Although there is a wide variety of works featured, certain recurring themes and parallels can be spotted.

there may currently be a tendency for artists to react to and process our contemporary moment through this particular lens. Likely it is a

One striking feature of this selection is the looming presence of

combination of both.

nostalgia. Perhaps this is not surprising as it often feels like we are living in tumultuous times—going on three years of a worldwide

The powerful aura of nostalgia is particularly apparent in the works

pandemic that has yet to fully recede, deepening political discord,

depicting landscapes and interior spaces. Deb Koo creates expressive

a humanitarian emergency at the U.S.-Mexico border, a global

and touching oil paintings of domestic scenes with a vintage hue. Koo’s

climate crisis, the continued struggle for equality and social justice,

Loveseat, a simple, desaturated detail of a floral couch with cushions

and, as I write, the outbreak of war in Ukraine, to name just a few

flattened and throw pillow askew from recent use, harkens to notions

issues that are impacting our lives and our collective consciousness

of grandmother’s house and familial connections. Anne Carney

today. Acknowledging that reviewing the works for this contest

Raines draws from the theater to create pastel-colored landscapes

is an unavoidably subjective process—one influenced by my own

of wistful worlds whose manifold layers entice and envelope the

sentiments, intellectual pursuits, and idiosyncrasies—a part of me

viewer. Combining images of rural highways—a symbol embedded

may have sought comfort, respite, and deeper understanding in the

in Americana—with geometric abstraction, Namwon Choi plays with

poignant images that this framework provides. At the same time,

time and distance to create a liminal space conducive to introspection.

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Koo p98

Campbell p41

Phillips p117

Jackson p88

Thomas p142

Heiser p77

"...the selection of works in this issue begins to give a sense of the immeasureable array of experiences, perspectives and creative practices that makes up the South."

Likewise, a number of the works are odes to the mundane, yet

Barbara Campbell Thomas’s mixed media compositions of collaged

cherished everyday. It is here where the profound and lingering effects

fabric, cut up paintings, and acrylic and spray paints, as well as Erik

of the COVID-19 pandemic feel especially potent. Using color and

Barthels’s acrylic and paper collages, are meditative combinations

shadow, Natalia Juncadella paints stylized and endearing snapshots

of color and form that invite earnest contemplation. Luisa Maria

of quiet moments presumably at the kitchen table. Lou Haney and

Basnuevo employs a series of processes, including painting, drawing,

Sophie Treppendahl similarly use bold colors and vivid patterns

and printmaking, that result in multifarious, layered, and expressive

evocative of Les Nabis (a movement formed in an anxious epoch not

patterns that intermingle the personal with the abstract. At the

entirely unlike our own) to present idealized domestic spaces that

same time, Sean Latif Heiser uses acrylic and Flashe on linen to

beckon the viewer to escape within. Rachel Campbell utilizes oil and

create vibrant paintings that mix geometric abstraction with tangible

acrylic to create richly painted exterior scenes in appreciation of the

references sourced from firsthand experiences and the everyday.

suburban quotidian.

While certain similarities in themes or theoretical dialogues can be Another common thread that can be found in these works is the

found among the previously mentioned artists, each of their practices

tapping of memory and history, both intimate and shared, as a means

are distinct, just as the works of the other artists featured in this

of exploring varied notions of identity. Jasmine Best deftly engages

issue are unique. Collectively, they showcase a range of techniques,

personal memories and experiences with mixed media, including

philosophies, and viewpoints. It was an honor to review the works of

digital painting, collaged fabric, and embroidery, to create striking and

so many deliberative and creative artists, and I would like to commend

affecting portraits. Visakha Jane Phillips reminisces on family, place,

everyone who submitted work to this competition. Thank you all

and time to present pensive and illusory figurative paintings, while

for your thought-provoking and sincere work that aids us to better

Cameron Bliss culls memories and dreams, producing mysterious

understand ourselves and the world around us. n

portraits almost undoubtedly filled with private symbology.

Furthermore, Ronald Jackson and Edison Peñafiel turn to historical iconography and genres to reevaluate portraiture and compel the examination of humanity in our present.

The works of multiple artists in this issue remind us that Abstraction shares the self-reflexive impulses found in other artistic strategies.

13

Juror’s Selections

The following section is presented in alphabetical order.

Biographical information has been edited.

Prices for available work may be found on p178.

>

Erik Barthels Celluloid Zag | acrylic on paper collage, 37 x 24 inches

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Erik Barthels Chroma Chord | acrylic on paper collage, 33 x 24.5 inches

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Erik Barthels Loose Leaves | acrylic on paper collage, 31 x 45.5 inches

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Erik Barthels Mandeville, LA 315.888.1727 (Uprise Art) erikbarthels@gmail.com / www.erikbarthels.com / @erikbarthels / @erikbarthels

Group Exhibitions 2019

Spectrum, Uprise Art, New York, NY

2018

BOW, The Midway, San Francisco, CA Represented by Uprise Art, New York, NY

I create vivid abstractions that harness the power of chance to explore color and form. I’m interested in making loosely sequential images that echo the disjointed and time-specific color palettes of cultural ephemera and nostalgia. The geometrically painted images yield variations that juxtapose considered and spontaneous mark making. Collage elements supplant the subtle nuances of paint with hard edged geometries. The accumulative hypnotic effect of the paintings is offset by textural variation that adds a weathered, impulsive energy.

19

Barthels

b. 1980 Lake Charles, LA

Erik Barthels | Chroma Chord (detail)

Luisa Maria Basnuevo Angelic Hierarchy | mixed media on canvas, 80 x 66 inches

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Luisa Maria Basnuevo Knight’s Gambit | mixed media on canvas, 80 x 66 inches

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Luisa Maria Basnuevo Lizo | mixed media on canvas, 80 x 66 inches

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Luisa Maria Basnuevo Miami, FL www.luisabasnuevo.com

Education 1991

MFA, Yale University School of Art, New Haven, CT Solo Exhibitions

2017

Luisa Basnuevo / Sanctuaries, Bridge Red Project Space, Miami, FL

2015

Luisa Basnuevo / Remixed, Wooten Gallery, Valencia

2008

Simulacra and Essence: The Paintings of Luisa Basnuevo,

College, Orlando, FL Frost Art Museum, Florida International University, Miami, FL 2003

My work is about history, spirituality, and my attraction to repetitive patterns found in the surrounding environment. The latest paintings are influenced by medieval illuminated manuscripts, a result of searching the digital collections of libraries around the world during the pandemic. The paintings are large-scale, built up with acrylic paint, acrylic pens, ink, and printmaking techniques.

Drawing is a very important element in my work. I manipulate my drawings and photo images using a drawing filter from the computer and make silkscreens out of them. The silkscreen prints develop the background of the painting and dictate what is to be painted on top. The results are personal views of chaos and order that convey both conflict and harmonic coherence, with the intention to awe the viewer with line, color, and form.

Luisa Basnuevo: Pencil to Palette, Dunedin Fine Art Center, Dunedin, FL

2002

Luisa Basnuevo: That Which is Unseen, Polk Museum of Art, Lakeland, FL Group Exhibitions

2021

Leap/Rewind, New World School of the Arts, Miami, FL

2019

Vida y Obra de una Idea, Colectivo Periferia,

2014

Work/Work, Museum of Art and Design, Freedom Tower,

Buenos Aires, Argentina Miami, FL 2009

Florida Visual Arts Fellowship Exhibition, Art Gallery, University of Florida, Gainesville, FL

2005

30th Parallel: A Convergence of Contemporary Painting, Jacksonville Museum of Art, Jacksonville, MO

1993

South Florida Consortium Visual Artists Fellowship Recipients, Norton Gallery, West Palm Beach, FL Collections Museum of Contemporary Art, North Miami, FL Pérez Art Museum Miami, Miami, FL NSU Museum of Art, Fort Lauderdale, FL Polk Museum of Art, Lakeland, FL

23

Basnuevo

b. 1965 Cuba

Jasmine Best Mouth Piece | digital painting on twill, collaged found fabric, and beaded embroidery, 41 x 47 inches

24

Jasmine Best Sailor Venus | ink painting digitally printed on twill collaged with found fabric, 55 x 33 inches

25

Jasmine Best Saturday Night Ritual | found fabric and embroidery collage, 65 x 48.5 inches

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Jasmine Best Greensboro, NC jasminebestart@gmail.com / www.jasminebest.com / @jasminebestart

Residencies 2022

Stay at Home Residency, Stay at Home Gallery, Paris, TN

2021

Elsewhere Residency, Elsewhere Museum, Greensboro, NC Solo Exhibitions

2021

A Beautiful Proxy, LumpGallery, Raleigh, NC Girlhood Summer, Durham Art Guild Golden Belt Gallery, Durham, NC

2020

American Weeds Growing Through Docile Garden, University of North Carolina at Greensboro, Greensboro, NC

2019

Screened In, Contemporary Art Museum, Raleigh, NC

2021

Black@Intersection: Contemporary Black Voices in Art,

Memories encompass where we come from, who we know, and what we subconsciously find important. They make up who we are but they are also malleable and can be manipulated like any medium used in art. I reevaluate my personal memories for moments that have either affected how I interact with others or impacted the intersection of my marginalized identities. Working from my individual past both articulates a better understanding of my own background as a Black Carolinian woman and creates a platform where others can find relatable connections from my work in their lives. I take the racial, southern, and domestic upbringing I, and past generations of women in my family, have had and place it in a new context to materialize not just memories but the emotions tied to them. Specific fabrics, prints, animation styles, objects, mark making, and compositions can all bring to mind a certain time, place, emotion, or person.

Group Exhibitions Southeastern Center for Contemporary Art, Winston-Salem, NC A Collection of Change, Block Gallery, Raleigh, NC 2020

FACTitious, Morlan Gallery, Lexington, KY Awards

2022

National Artist Fund Artist Project Fund

2021

Art Business Grant, Artwork Archive

27

Best

b. 1992 Jacksonville, NC

Cameron Bliss A Current State of Affairs | oil on canvas, 60 x 48 inches

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Cameron Bliss Keepers | oil on canvas, 60 x 48 inches

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Cameron Bliss 22 March 2021. Day 371. Dear Diary, The walls are beginning to close in around me. | oil on canvas, 48 x 36 inches

30

Cameron Bliss Winterville, GA 404.408.4248 (Kai Lin Art) cameron@cameronbliss.com / www.cameronbliss.com / @cameronblissart

Education 1992

BFA, Savannah College of Art and Design (SCAD), Savannah, GA Group Exhibitions

2022

WONDER, Kai Lin Art, Atlanta, GA

2021

Art Auction Benefit, Museum of Contemporary Art of

Formed from fragments of past memories, dreams, and experiences, I consider my paintings to be self-portraits. As you view the figures in my paintings you might feel as if you suddenly interrupted an intimate exchange that’s suspended in time. I paint authentic souls simply existing in their mundane realness.

Art has always been a way for me to make sense of the world around me in the same way that dreams help us uncover what is hidden beneath the obvious surface, and to delve deeper into understanding our own personal truths.

Georgia, Atlanta, GA FANTASTICAL, Kai Lin Art, Atlanta, GA 2020

45th Annual Juried Exhibition, Lyndon House Arts Center, Athens, GA CreateHer, Kai Lin Art, Atlanta, GA

2018

Member’s Show, Athens Institute of Contemporary Art, Athens, GA Now Figuration, Portrait Society Gallery, Milwaukee, WI

2017

SOUTHWORKS: 22nd Annual Juried Exhibit, Oconee Cultural Arts Foundation, Watkinsville, GA LOCUS 100, Linda Matney Gallery, Williamsburg, VA

2016

8th Annual Georgia Small Works Show, Gutstein Gallery, SCAD, Savannah, GA Awards

2020

Athens Art Association Patron’s Award

2018

Best in Show, Reciprocal IV, UNG Art Gallery, Watkinsville, GA Merit Award, Lyndon House 43rd Annual Juried Exhibition

2017

People’s Choice Award, 8th Annual Georgia Small Works Show, Oconee Cultural Arts Foundation, Watkinsville, GA

1988

SCAD Gold Key and Awards Exhibition, Savannah, GA Represented by Kai Lin Art, Atlanta, GA

31

Bliss

b. 1969 Savannah, GA

Michael A. Booker The Dreamer That Thought | fineliner pen, colored pencil, and watercolor on paper and Yupo, 40 x 30 inches

32

Michael A. Booker The Weight of the World | fineliner pen, colored pencil, and watercolor on paper and Yupo, 50 x 36 inches

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Michael A. Booker Everything’s Fine | fineliner pen, and watercolor on paper and Yupo, 40 x 35 inches

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Michael A. Booker Laurel, MD 202.628.2787 (Morton Fine Art) mabooker1914@gmail.com / www.michael-booker.com / @mabooker_art

Solo Exhibitions 2021

Veil, Morton Fine Art, Washington, DC

2020

Godspeed, Morton Fine Art, Washington, DC

2021

Inside, Outside, Upside Down, The Phillips Collection,

Group Exhibitions Washington, DC

Veil chronicles a personal, emotional journey caused by the effects of a prolonged pandemic and moments of social injustices.

Volatile social interactions became commonplace in both media and amongst friends. I found myself withdrawing from potentially uncomfortable situations I would otherwise engage in. Constant states of vulnerability and contemplation resulted in building a thin emotional wall to protect my own peace. Over time, a realization of resiliency set in as these drawings became a form of cathartic therapy to search for a nuanced visual reflection of the turmoil that lingered within.

Represented by Morton Fine Art, Washington, DC

35

Booker

b. 1985 Tupelo, MS

Michael A. Booker | Everything’s Fine (detail)

Demetri Burke ill see you when it gets cool out | oil, acrylic, glitter, and paper on canvas, 48 x 36 inches

36

Demetri Burke “I am the sign of the letter and the designation of the division.” | oil and glitter on canvas, 48 x 36 inches

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Demetri Burke “and Beauty smiled” | oil on panel, 48 x 84 inches

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Demetri Burke Atlanta, GA dmtri.burke@gmail.com / www.dmtriburke.com / @demetri.stefan

Education 2020

BFA, Georgia State University, Atlanta, GA Residencies

2022

Demetri Burke uses mixed media—with a basis in oil paint—to express narratives of identity and culture on canvas. His art reflects his upbringing as well as his current experiences. His constant examination of themes is visible in his findings: black like the skin, still like the clouds, and hopeful like his mother’s smile.

MINT Gallery Leap Year Residency The Hambidge Center, Rabun Gap, GA Solo Exhibitions

2022

And Then We Heard the Thunder, MINT Gallery, Atlanta, GA Group Exhibitions

2021 2020

demos/desires, Melanie Flood Projects, Portland, OR AXA Art Prize Juried Exhibition, New York Academy of Art, New York, NY do it (home), YoungArts Online Exhibition Award

2020

Juried Student Exhibition Award by Larry and Gwen Walker in honor of Casandra Wood Walker Publications

2022

Feaster, Felicia, ‘Skillful attention to mood and color define an Atlanta painter’s promising solo exhibition,’ The Atlanta Journal Constitution

2021

“Together, a short film,” commissioned by the YoungArts Foundation Represented by MINT Gallery, Atlanta, GA

39

Burke

b. 1998 Atlanta, GA

Rachel Campbell Sunspots II | oil and acrylic on canvas, 48 x 50 inches

40

Rachel Campbell The Year We All Stayed Home | oil on canvas, 40 x 50 inches

41

Rachel Campbell The Season of the Sisters | oil and acrylic on canvas, 36 x 48 inches

42

Rachel Campbell Durham, NC 206.617.7378 (ZINC Contemporary) rachelcampbellpainting@gmail.com / www.rachelcampbellpainting.com / @campbellpaints

Residencies 2021

Virginia Center for the Creative Arts, Amherst, VA

2018

Virginia Center for the Creative Arts, Amherst, VA

2016

The Studios of Key West, Key West, FL

2014

Vermont Studio Center, Johnston, VT

I seek to draw inspiration from the mundanity of everyday life— to reveal the beauty within the ordinary. My paintings depict particular environments and their implicit stories. I work in abstracted realism, painting recognizable places and objects that I manipulate through both color and the juxtaposition of flattened spaces against modeled forms. Although people are absent, a human presence is invariably implied, especially by way of the things that they have left behind.

Solo Exhibitions 2021

The Year of Small Things, ZINC Contemporary, Seattle, WA

2019

What are You Looking For?, ZINC Contemporary, Seattle, WA The Flip-side of Ordinary, Craven Allen Gallery, Durham, NC

2018

Strangely Normal, ZINC Contemporary, Seattle, WA

2019

Sweet, Greenhill Arts Center, Greensboro, NC

2017

A New View, Fruitlands Museum, Harvard, MA

Memories and experiences also inform my paintings. These are fleshed out with cherished details from my life—a dog leash, a plant given to me by a loved one, a favorite book, my kitchen table. While the meaning of these personal elements may not be immediately apparent, their universality invites viewers to make their own associations.

Group Exhibitions

Feast Your Eyes, Myrtle Beach Art Museum, Myrtle Beach, SC 2016

Structures, Block Gallery, Raleigh, NC Publications

2021

Dassa, Nathalie, ‘Rachel Campbell: le beau dans l’ordinaire,’ Traits D’Co Magazine

2020

Muente, Tamera Lens, Artists Magazine Represented by ZINC Contemporary, Seattle, WA Craven Allen Gallery, Durham, NC Momentum Gallery, Asheville, NC

43

Campbell

b. 1964 Christchurch, New Zealand

Rachel Campbell | The Year We All Stayed Home (detail)

Namwon Choi 10. Blue Distant (Sequences 2) | gouache and acrylic on panel, 6 x 48 inches

44

Namwon Choi 11. Blue Distant (Sequences 3) | gouache and acrylic on panel, 6 x 48 inches

45

Namwon Choi 1. Shape of Distance (Faceted Circle) | gouache and acrylic on panel, 18 inch diameter

46

Namwon Choi Savannah, GA 912.438.4442 (Laney Contemporary Gallery) www.choinamwon.com / @namwonchoi

Education 2014

MFA, Georgia State University, Atlanta, GA

2001

MFA, Hongik University, Seoul, Korea

1999

BFA, Hongik University, Seoul, Korea Solo Exhibitions

2022

The Shape of Distance, Moss Arts Center, Virginia Tech, Blacksburg, VA

2021

Dot Dot Dot, THE END Project Space, Atlanta, GA

2020

Clerestory, Laney Contemporary Gallery, Savannah, GA

Group Exhibitions

As a Korean immigrant living and creating in America, I perceive myself as being in a constant state of perpetual motion.

Attempting to bridge the gap between my simultaneous feelings of affiliation and alienation, I focus on the notion of migrancy when addressing my subject matter, relating its temporal condition to my own personal disposition. In privileging movement over fixity in space and time, I am able to promote procession and engage in action as I navigate relocation and the condition of in-betweens. I combine traditional Korean painting with renditions of a network of special, yet forgettable highways—essentially connecting the new to an older art form. For me, a highway signifies the span of time between a departure from one location and the arrival at another, and it is then reinterpreted as an interval in which I can freely discover my identity within the constraints of two cultures.

The End is Near, Atlanta Contemporary Arts Center, Atlanta, GA Art in Embassies, U.S. Embassy, Tirana, Albania B20: Wiregrass Biennial, Wiregrass Museum of Art, Dothan, AL 2019

Newly Connected, Korean Cultural Center, Washington, DC Awards

2020

Finalist, 1858 Prize, Contemporary Southern Art Awards, Gibbes Museum of Art, Charleston, SC Publication

2021

Feaster, Felicia, ‘Namwon Choi’s Road Trip Is a meditation on time, painting and perspective,’ The Atlanta Journal-Constitution Collections Microsoft Art Collection Fidelity Art Collection Coca-Cola Corporate Collection Represented by Laney Contemporary Gallery, Savannah, GA Sandler Hudson Gallery, Atlanta, GA

47

Choi

b. 1976 Seoul, Korea

Sean G. Clark Tend | oil pastel and acrylic on matte board, 40 x 32 inches

48

Sean G. Clark Buried Treasure | oil pastel, acrylic, and gold leaf on paper, 30 x 22 inches

49

Sean G. Clark Native | oil pastel and acrylic on paper, 24 x 18 inches

50

Sean G. Clark New Orleans, LA www.sgclarkart.com / @sgclarkart / @sgclarkart

Residencies 2021

Harpo Emerging Artist Residency, Santa Fe Art Institute, Santa Fe, NM

2019-20 Joan Mitchell Center, New Orleans, LA Solo Exhibitions 2022

The Creative Process, Dillard University, New Orleans, LA

2021

Hello Stranger, Staple Goods Collective, New Orleans, LA Awards

2021

During his time as a community health worker in New Orleans, Sean found himself at odds with the troubles people faced in his environment and the lack of attention it was getting. He sought to use art as a means of investigation, and as a result of looking into the problems in his community, Sean arrived at the intersection of art and public health. Through this creative lens, Sean has begun an artistic practice that surveys themes of health and African-American history. This practice also involves a deeper consideration of a person's internal landscape and how we think, feel, and act due to the impacts of unresolved grief. At the center of his creative practice are abstract and figurative works that seek to capture internal narratives.

Juror Selected Winner, And Now For Something New Vol. 3, LeMieux Gallery, New Orleans, LA Collection Tulane Center for Academic Equity, New Orleans, LA

51

Clark

b. 1986 Chattanooga, TN

Keith Crowley Late Morning (Silver Lake) | oil on galvanized steel, 15 x 15 inches

52

Keith Crowley Nocturne (Christiana Road) | oil on galvanized steel, 15 x 15 inches

53

Keith Crowley Nocturne (Downey Motel I) | oil on galvanized steel, 15 x 15 inches

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Keith Crowley Sarasota, FL keithcrowleywork@gmail.com / www.keithcrowley.com / @keith.crowley

Education 2001

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

2019

Home, Gaze Modern, Sarasota, FL

2014

Unseen, Tiger Strikes Asteroid, Philadelphia, PA

2010

Basin, Bridgette Mayer Gallery, Philadelphia, PA

2008

Wilderness, Bridgette Mayer Gallery, Philadelphia, PA

Sense of place is a location in our minds triggered by a range of stimuli; scent of blooming plants, echoes of trainyards, smooth and tacky handrails of an escalator—channeled memories shape our perception. In the final stages of our lives, it is often this minutia that is clearest and most palpable in our memory.

Solo Exhibitions

The primary focus of my work is based on our relationship between memories and familiar landscapes. Specificity of color is the most important factor in relating this experience in the painted image. The layering paint uses thin layers of saturated colors, often in a field or wash application.

Two-Person Exhibitions 2019

The Other Other (with Mark Harris), Art Center Sarasota, Sarasota, FL Group Exhibitions

2021 2018

Skyway 2021, Museum of Fine Arts, Saint Petersburg, FL New Perspectives on Landscape, Kristen Michelle Mason

Painting offers a unique opportunity to cultivate nostalgia inside the viewer’s memory blank. The involvement of the hand while deciding on placement of line, shape, and color work with the viewer, but they also plow the painter’s own memories and emotions in the midst of the process. Both painter and viewer project their own associations upon the image.

Art Gallery, Beacon College, Leesburg, FL 2017

Skyway: A Contemporary Collaboration, Tampa Museum of Art, with the Museum of Fine Arts, St. Petersburg and the John and Mable Ringling Museum of Art, Tampa, FL

2013

Correspondence, Tiger Strikes Asteroid, Brooklyn, NY

2008

Strange Place, Alagon Gallery, Chicago, IL Publications

2020

New American Paintings, Issue #148

2019

‘The Other Other,’ Push Crank Press

2010

New American Paintings, Issue #86

55

Crowley

b. 1974 Norwood, PA

Dave Eassa Lost in Sito’s Hands | oil and spray paint on canvas within installation, 72 x 54 inches

56

Dave Eassa A tale from Gido about 5 loaves and 2 fish | oil and spray paint on canvas within installation, 72 x 54 inches

57

Dave Eassa People and Places You don’t know how to know | steel, sand, artificial roses, fiberglass, acrylic, spray paint, oil, and canvas, 72 x 54 inches

58

Dave Eassa Baltimore, MD daveeassa@gmail.com / www.dave-eassa.com / @daveeassa

Residencies 2021

Al-Raseef 153 and 7Hills Park, Amman, Jordan

2019

Mentor Artist, The Arc Baltimore, Beyond Four Walls, Baltimore, MD

2015

ACRE Artist In Residence, Steuben, WI Professional Experience

2017-

Baltimore Museum of Art, Director of Public Engagement,

Dave Eassa is a visual artist and cultural worker who investigates relationships, social structures, and memories through painting, sculpture, and in community.

His work explores all the parts of being human; the good, the bad, the ugly, and the things that are sometimes too big to say out loud or are too quiet to make a noise—and everything in between. His paintings and sculptures simultaneously allow the viewer space for personal reflection and encourage a broader look outward at the shared human experience.

Baltimore, MD 2015-17 Free Space, Founding Director, Maryland Prison System, MD Solo Exhibitions 2022

People and Places You don't know how to know, Cody

2020

I Wanna Hug You, The Shed, Baltimore, MD

Gallery at Marymount University, Arlington, VA 2018

Extending work beyond the studio and into the community is an integral part of Eassa’s practice. He leverages the arts, education, and public programs to build inclusive and equitable relationships between institutions and communities in Baltimore City. His work seeks to disrupt existing social systems through the power of human connection and the arts. Currently, he is the Director of Public Engagement at the Baltimore Museum of Art.

Stop and Smell the Roses Sometimes, SPACE Gallery, Portland, ME

2017

You Can't Just Draw A Line In The Sand, School 33 Art Center, Baltimore, MD

2015

My Mother Always Told Me I'd Grow Up To Be A Lawyer,

2014

Dreamhouse, Lil' Gallery, Baltimore, MD

Vox Populi, Philadelphia, PA

Awards 2021

Ruby’s Artist Grantee, Robert W. Deutsch Foundation, Baltimore, MD

2018

Young Cultural Innovator Fellow, Salzburg Global Forum, Salzburg, Austria

2016

Individual Artist Award, Creative Baltimore Fund, Baltimore Office of Promotion and the Arts, Baltimore, MD

59

Eassa

b. 1991 Ellicott City, MD

Reinier Gamboa Before the Flood | oil on canvas, 87 x 55 inches

60

Reinier Gamboa Huntress | oil on canvas, 87 x 55 inches

61

Reinier Gamboa Breathing Room | oil on canvas, 87 x 55 inches

62

Reinier Gamboa Miami, FL 786.525.3898 (Miami Art Society) reinergamboa@gmail.com / www.reiniergamboa.com / @reiniergamboa

Education 2006

Art Center College of Design, Pasadena, CA

2002

New World School of the Arts High School, Miami, FL Solo Exhibitions

2021

Boundless, SCOPE Miami Beach, with Art Basel,

2019

Multitudes, Miami Art Society, Miami, FL

2021

Catalyst, Threyda Gallery, Denver, CO

My artistic practice requires me to delve deeper into the layers of my belief systems and interrogate assumptions in order to understand how my perception of reality influences my work. I am interested in learning about different philosophies that investigate the nature of human experience and our common bonds—for example, Carl Jung’s ideas of the collective unconscious, Joseph Campbell’s ideas of the Monomyth, and Taoism’s embrace of reality as an indivisible totality.

Miami Beach, FL

Group Exhibitions Leap / Rewind, New World Gallery, Miami, FL 2020

SCOPE New York, with Miami Art Society, New York, NY

My painting process is exploratory and intuitive. I usually start a new painting without a visualized outcome in mind. Instead, I often begin with one element—such as the subject, a color palette, a type of mark making, or an environment—and then I embrace a stream of consciousness approach to develop the image until I feel I’ve completed the story. It feels like I am solving a puzzle.

Palm Beach Modern + Contemporary Art Fair, with Miami Art Society, Palm Beach, FL 2019

SCOPE Miami Beach, with Miami Art Society and Art Basel, Miami Beach, FL Societas, with Art Basel, Miami Art Society, Miami, FL Autochthonous: Toward a New Indigene, Swampspace Gallery, Miami, FL Lucid Dreams, Miami Art Society, Miami, FL Charcoal, Miami Art Society, Miami, FL Publication

2019

‘The Best in Contemporary Fantastic Art,’ Spectrum 26 Represented by Miami Art Society, Miami, FL Threyda, Denver, CO Hashimoto Contemporary, Los Angeles, CA

63

Gamboa

b. 1984 Camaguey, Cuba

Jeffrey Deane Hall Rethinking History | oil on birch panel, 20 x 16 inches

64

Jeffrey Deane Hall 2030 | oil on birch panel, 20 x 16 inches

65

Jeffrey Deane Hall FICTION IS TRUTH | oil on birch panel, 30 x 24 inches

66

Jeffrey Deane Hall Richmond, VA contact@jeffreydeanehall.com / www.jeffreydeanehall.com / @jeffreydeanehall

Education 2005

MIS, Virginia Commonwealth University School of the Arts, Richmond, VA

1994

BA, University of Richmond, Richmond, VA Residency

2015

Golden Artist Residency, Golden Artist Colors and Sam and Adele Golden Foundation, New Berlin, NY Professional Experience

2006-22 Maggie L. Walker Governor's School, Fine Arts Department Chair, Richmond, VA Solo Exhibitions 2014 2013

Mashup, University of Richmond Museums, Richmond, VA decodeRVA - Interactive Art Exhibition, Artworks Gallery, Richmond, VA

2002

eleMENTAL, ArtSpace Gallery, Richmond, VA

We are living in the most data rich period in the history of the world. While extraordinary human progress has been made since the Enlightenment, recently it seems that so much information is being generated that we are lost in our ability to absorb and apply it meaningfully. In the search for Wisdom and Truth, there is simply too much noise and not enough signal.

My latest series of trompe l'oeil paintings addresses this concept through images of vertical stacks of my books seen directly from above. The cropped edges of these texts hint at partial knowledge, creating juxtaposed connections of ideas and flat abstracted planes. Beyond the illusion of these paintings lies an awareness of the struggle to find new meaning in the collision of incomplete ideas, both old and new.

Inspired by the color field abstractions of Josef Albers and the 19th century still life paintings of William Harnett, I hope to walk the edge between naturalism and abstraction to explore how access to excess information can often obscure Wisdom and hide Truth.

Group Exhibitions 2021

National Multi-Media Juried Art Show, Wilson Art,

2018

Artists & Mentors, The Painting Center, New York, NY

Wilson, NC 2017

Wild Art: A Journey Off Canvas, Lewis Ginter Botanical Garden, Richmond, VA

2012

2012 International Juried Works on Paper Exhibition,

2007

1708 Gallery Artist as Teacher Exhibition, 1708 Gallery,

1212 Gallery, Richmond, VA Richmond, VA Juried Show, ArtWorks Gallery, Richmond, VA 2006

ThinkSmall 03, ArtSpace Gallery, VA Publications

2012

New American Paintings, Issue #100

67

Hall

b. 1972 Richmond, VA

Lou Haney Bedlam | acrylic on canvas, 40 x 40 inches

68

Lou Haney Deep End | acrylic on canvas, 40 x 40 inches

69

Lou Haney Bed Spread | acrylic and collage on canvas, 40 x 60 inches

70

Lou Haney Charlottesville, VA louhaney207@gmail.com / www.louhaney.com / @lou_haney

Education 2003

MFA, Claremont Graduate University, Claremont, CA

2000

BA, Rhodes College, Memphis, TN Residencies

2022

Virginia Center for the Creative Arts, Amherst, VA

2011

Summer Painting Residency, School of the Visual Arts, New York, NY

2009

MacDowell Colony, Peterborough, NH

2018

Lou Haney, Patrick Henry Community College,

Solo Exhibitions

These paintings use nostalgia to soothe and to question. I have a deep longing for the perceived innocence of the past, especially when reality may feel corrupt and chaotic. Living in the past—or at least in my studio—can feel like a vacation from the present, no matter how problematic the preceding decades.

The Dream Home series emerged from my studio during the darkest moments of the pandemic. I began these works in April of 2020. I was compelled to paint these interiors by the scary, claustrophobic period we are experiencing. It comforts me to live—visually at least—in a safe and easy period that never existed. These rooms were created for the fantasy. The bed was never slept in. No one cried over the phone. The food was never eaten. No one got sick. No one died. No one lived.

Martinsville, VA Group Exhibitions 2022

ArtFields, Lake City, SC Made in VA, Virginia Museum of Contemporary Art, Virginia Beach, VA

2021

Third Mind, Second Street Gallery, Charlottesville, VA Garden Party, Latela Curatorial, Washington, DC

2020

Little Wonders, artspace, Richmond, VA

2019

Garden Variety, Welcome Gallery, Charlottesville, VA

2017

Young Collectors Contemporary, Clayborn Temple Reborn, Memphis, TN

2014

Mississippi Invitational, Mississippi Museum of Art, Jackson, MS The Red Clay Survey: 2014 Exhibition of Contemporary Southern Art, Huntsville Museum of Art, Huntsville, AL 56th Annual Delta Exhibition, Arkansas Arts Center, Little Rock, AR

71

Haney

b. 1977 Decatur, AL

Lou Haney | Bed Spread (detail)

Craig Hawkins Cosmos in Chaos No. 2 | oil on panel, 43.5 x 29.5 inches

72

Craig Hawkins Cosmos in Chaos No. 3 | oil on panel, 48 x 60 inches

73

Craig Hawkins Cosmos in Chaos No. 1 | oil on panel, 40 x 32 inches

74

Craig Hawkins Hahira, GA 404.879.1500 (Mason Fine Art) craighawkinsart@gmail.com / www.craighawkinsart.com / @craighawkinsart

“Yet I am not destroyed by the darkness, by the thick darkness that covers my face.” —Job

Education 2011

MFA, Lamar Dodd School of Art, Athens, GA

2001

BFA, Valdosta State University (VSU), Valdosta, GA Professional Experience

2022

VSU, Professor of Art, Valdosta, GA Solo Exhibitions

2018

Emmaus Road by Craig Hawkins, Square Halo Gallery, Lancaster, PA

2016

Craig Hawkins, Anna Lamar Switzer Center for Visual Arts, Pensacola, FL

2015

Becoming Human: works by Craig Hawkins, Genema Gallery, Atlanta, GA Group Exhibitions

2019

This series began with a desire to explore humanity amidst the powers of chaos. The human figures are open invitations for personal application, painted as if in flux of an ordered system with the potential for chaotic intervention. The grid in the background mimics the aesthetic of cutting mats & sewing patterns, contrasting the unpredictability of smoke. The radiating red & blue lines—historically colors of polarizing contrast—feed off of the aesthetic vocabulary of sewing references, which posit intention, purpose, and choice. Pattern and plans intertwine with a physical, material existence and the quest of identity is held within the question of the forces that triumph. Through the unpredictable haze of darkness, storms full of tests, uncertainty, selfishness, pain, hate, confusion, and shame, I question both the chaos and the suggestion that art hints of one who calls forth from chaos order.

Beautiful: A collaborative exhibition witnessing to the remarkable beauty in the face of suffering, Sojourn Arts, Louisville, KY

2017

Drawing Connections, Cobra Gallery, The Strzeminski Academy of Fine Arts Lodz, Lodz, Poland

2016

Reflections of Generosity, The Pentagon, Washington, DC REVEALED, Square Halo Gallery, Lancaster, PA

2015

3rd Annual Emerging Artists Exhibition, The Museum of Arts and Sciences, Macon, GA Annual Small Works Show, Anne Neilson Fine Art, Charlotte, NC Publications

2021

Guite, Malcolm, Lifting the Veil: Imagination and the Kingdom of God

2018

Wolfe, Gregory, Intruding Upon the Timeless: Meditations on Art, Faith, and Mystery

2015

Bustard, Ned, Revealed: A Storybook Bible for Grown-Ups Franz, Jason, Manifest International Drawing Annual INDA 9. Vol. 9 75 Represented by Mason Fine Art, Atlanta, GA

Hawkins

b. 1978 Laurinburg, NC

Sean Latif Heiser Pishing to the Ring the Rookery | acrylic and Flashe on linen, 41 x 31 inches

76

Sean Latif Heiser Pendulum (Magnolia) | acrylic and Flashe on canvas, 41 x 31 inches

77

Sean Latif Heiser Apparition on Mt. Pisgah | acrylic and Flashe on canvas, 51 x 31 inches

78

Sean Latif Heiser Knoxville, TN 414.412.9090 seanheiser@gmail.com / www.seanheiser.com / @sean_heiser

Education 2023

MFA candidate, University of Tennessee, Knoxville, TN

2017

BFA, University of Wisconsin-Milwaukee, Milwaukee, WI Residency

2019

Anderson Center, Red Wing, MN

The paintings are made using both Flashe and acrylic paint on either linen or canvas. They are generally constructed in layers, not dissimilar to the way an imaging software would operate. The mediating craft of a hard edge at times changes my relationship to the paintings; the act can feel closer to construction than the perceived romance of a brush. Flat expanses of interweaving color form broader compositional structures within the paintings and serve as a sort of stage or machine for the interplay of imagery and abstraction.

Solo Exhibitions 2021

Even Animals Struggle with Time, The Alice Wilds, Milwaukee, WI

2017

The Privatist, The Alice Wilds, Milwaukee, WI Nervous Energy, Thelma Sadoff Center for the Arts, Fond du Lac, WI

Imagery within the paintings is sourced from day-to-day life, lived experiences, and a separate writing practice. I am interested in oscillating between the abstract, personal, and imagined, and approach the paintings as a way to translate thought and experience into a language of color, form, and architecture.

Two-Person Exhibitions 2022

Discretionary Monuments (with Muriel Condon), Le Swamp, Knoxville, TN

2017

The Waiting Room (with Jenna Youngwood), Usable Space, Milwaukee, WI Group Exhibitions

2022

Bad Water, Knoxville, TN Continuum, KSE Gallery, University of Wisconsin Milwaukee, Milwaukee, WI

2021

To the Letter: Text in Art, Guenzel Gallery, Peninsula School of Art, Fish Creek, WI Awards

2021

Elise Boake Award, University of Tennessee, Knoxville, TN Jered and Christine Sprecher Painting Award, University of Tennessee, Knoxville, TN Represented by The Alice Wilds, Milwaukee, WI

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Heiser

b. 1990 Klang, Selangor, Malaysia

Gonzalo Hernandez BT_PA_01 (Cordova, Casari, Aguirre) | oil on laminated sheet, 18 x 12 inches

80

Gonzalo Hernandez BT_PA_MN (M. Nolte) | oil on laminated sheet, 12 x 9 inches

81

Gonzalo Hernandez BA_PA_SG | oil on laminated sheet, 12 x 9 inches

82

Gonzalo Hernandez Miami, FL 646.382.6887 (Kates-Ferri Projects) gonzalohernandez3@hotmail.com / www.gonzalo-hernandez.com / @hernandezgonzalo

Education 2019

MFA, Savannah College of Art and Design (SCAD), Savannah, GA

2014

Corriente Alterna, Escuela de Arte y Diseño, Lima, Peru Residencies

2021

Kates-Ferri Projects, New York, NY

2020

Long Road Projects, with Erie Arts and Culture, Erie, PA Chuquimarca, Chicago, IL Solo Exhibitions

2022

Notes, Vigil Gonzales Galería, Cusco, Peru

2021

Almost There, Laundromat Art Space, Miami, FL

2020

):), SCAD Museum of Art, Savannah, GA

2022

Homecoming, Kates-Ferri Projects, New York, NY

Gonzalo Hernandez’s multi-faceted art practice addresses personal narratives related to contemporary dilemmas such as labor, success and failure, the art world, and identity. Culling from autobiographical circumstances, his installation, sculpture, painting, photography, and film are highly particular to his perspective as an immigrant, while also addressing broader cultural associations. Eliminating the distinction between art and life, the artist considers many situations and materials as viable for inclusion in his work, no matter how banal or quotidian.

From the mounds of cardboard found on the factory floors of past employment that become relief sculptures, to the shopping lists quickly scribbled onto his hand and photographed with his iPhone, the artist finds truth and meaning in the overlooked.

Daily encounters with text, language, and material become fodder for symbolic interpretations.

Group Exhibitions La historia de la Lona, La Galería Rebelde, Ciudad de Guatemala, Guatemala 2021

Viewpoints: Expressions of an artist community, Bakehouse Art Complex, Miami, FL Who We Were/Who We Are/Who We Will Be, Charlotte Street Foundation, Kansas City, MO

2020

Georgia Artists of Hispanic/Latinx Origin, Museum of

2019

Sorry Not Sorry, Centro Cultural PUCP, Lima, Peru

Contemporary Art of Georgia, Atlanta, GA

Represented by Kates-Ferri Projects, New York, NY Vigil Gonzales Galería, Cuzco, Peru La Galería Rebelde, Ciudad de Guatemala, Guatemala

83

Hernandez

b. 1991 Lima, Peru

Ming Ying Hong The One with the Leopard | charcoal and graphite on paper, 82.5 x 110 inches

84

Ming Ying Hong The One with the Dragons | pastel, acrylic, and charcoal on canvas, 62.5 x 69.5 inches

85

Ming Ying Hong The One with the Fishes | colored pencil and wood on panel, 9.5 x 5 x 2.5 inches

86

Ming Ying Hong Starkville, MS 502.896.6687 (WheelHouse Art) mingyinghong@gmail.com / www.mingyinghong.com / @ming_ying_hong

Education 2015

MFA, Washington University in St. Louis, St. Louis, MO

2011

BFA, University of Kentucky, Lexington, KY

2022

Disjunction and Other Works, University of Alabama in

Solo Exhibitions Huntsville, Huntsville, AL 2018

Conditions of Uncertainty, popblossom, Norfolk, VA

My work explores my own hybridized body, examining the way society defines, categorizes, and assigns power to it. I am a southerner, a Chinese American, and an immigrant. All these identifiers often clash with one another, creating an internalized hierarchy that leads to a precarious sense of self. These drawings investigate how food and other cultural phenomena are a site of collision for these identities. More precisely, the work investigates how these objects and events are a vehicle for both assimilation and alienation in the South. Ultimately, the work questions what it means to assimilate: is it about blending in, becoming more visible, or something in between?

Group Exhibitions 2021

Southern Prize and State Fellowships Exhibition, with South Arts, Bo Bartlett Center, Columbus, GA 12th Annual Drawing Discourse, University of North Carolina Asheville, Asheville, NC Overexposed, Visionary Projects, New York, NY

2020

30 Under 30, Viridian Artists, New York, NY

2019

Lines of Thought, Czong Institute for Contemporary Art Museum, Gimpo, Gyeonggi-do, South Korea Awards

2021

Mississippi State Fellow, South Arts, Atlanta, GA Publications

2022

ArtMaze Mag, Issue 26

2017

International Drawing Annual, Volume 11 Represented by WheelHouse Art, Louisville, KY

87

Hong

b. 1990 Guangzhou, China

Ming Ying Hong | The One with the Leopard (detail)

Ronald Jackson The Legend of Albert King, A Grave Digger | oil on canvas, 65 x 55 inches

88

Ronald Jackson In the Shadows of the Sun, Wildflowers Still Bloom | oil on canvas, 72 x 60 inches

89

Ronald Jackson Saint Peter, 1960 A.D. | oil on canvas, 72 x 60 inches

90

Ronald Jackson Fredericksburg, VA 410.235.3711 (Galerie Myrtis) www.ronaldjacksonartworks.com / @ronald_jackson_artworks

Group Exhibitions 2022

Healing Through Preservation of History, University of Mary Washington, Fredericksburg, VA

2021

Be of Good Courage, NYC Culture Club, New York, NY More is More, Akron Art Museum, Akron, OH Literary Muse, UTA Artist Space, Beverly Hills, CA

2020

Renaissance Noir, UTA Artist Space, Beverly Hills, CA

2019

SCOPE Miami Beach, with Art Basel, Miami Beach, FL

2018

SCOPE Miami Beach, with Art Basel, Miami Beach, FL

Being mainly a figurative artist, I seek to capture intimate settings to use as a gateway for exploring the human experience. A comprehensive catalog of unique experiences is veiled behind every silent gaze of the human expression. My work is influenced by the genre of magical realism, which gives a prominent place for addressing concepts via emotion, mood, and imaginative means. I refer to my work specifically as “non-urban art,” though I neither consider it rural art, nor is it specifically about rural life. I seek to reference time periods of the past that connect Black and Brown peoples to a non-urban context of which their close and distant ancestors lived.

Pulse Art Fair, Nerman Museum of Contemporary Art, Johnson County Community College, Overland Park, KS 2018 Emerging Artists, Target Gallery, Alexandria, VA 2016

Spectrum Miami, with Art Basel, Miami, FL

2015

The Image of the Black: Reimagined and Redefined,

2014

Emergence 2014: International Artist to Watch, Galerie

Galerie Myrtis, Baltimore, MD

My goal is to create an interactive experience in which the viewer is compelled to speculate about the stories of depicted individuals. Life is complex and it presents an intricate maze of challenges and opportunities for each one of us to navigate. This is our journey, and I am exploring the psychological impacts of this journey through the practice of figurative art.

Myrtis, Baltimore, MD 2013

In the Flesh 4, Target Gallery, Alexandria, VA Fredericksburg Center for Creative Arts, Fredericksburg, VA

2012

The Nude Collection, Gallery Golmok, Itaewon, Seoul, Korea Represented by Galerie Myrtis, Baltimore, MD

91

Jackson

b. 1970 Helena, AR

Natalia Juncadella Naranjas Al Amanecer | oil on canvas, 30 x 24 inches

92

Natalia Juncadella Madurando | oil on canvas, 30 x 24 inches

93

Natalia Juncadella La Merienda | oil on canvas, 60 x 60 inches

94

Natalia Juncadella Miami, FL natijuncadella@gmail.com / www.nataliajuncadella.com / @nataliajuncadella

Education 2014

BA, University of Pennsylvania, Philadelphia, PA

2022

Entre La Sombra, Hashimoto Contemporary,

2021

Natalia Juncadella, SLATE Contemporary, Oakland, CA

2022

Lush, Hashimoto Contemporary, New York, NY

Solo Exhibitions New York, NY

Group Exhibitions Potluck, Hashimoto Contemporary, Los Angeles, CA 2021

I’m interested in painting and color as a way to explore interior spaces and intimate moments that are often overlooked—paying attention to what is happening when “nothing” is happening— specifically through the nuance and beauty of shadows during ordinary scenes. Shadows have reminded me that these spaces are not static; they're constantly shifting, blending, shrinking, and elongating our surroundings and ourselves, causing our shapes to mingle and hues to change even if we don't intend for them to. Sometimes dappled with light or engulfed in darkness, shadows remind us that life is not still and these are not just "still lives." Through my painting practice, I’ve learned to become more present and find intrigue in the repetitive and familiar, and I hope the viewer is able to find intrigue and joy in their day to day, too.

Art Miami, Hashimoto Contemporary, Miami, FL Buscando Recuerdos, Hashimoto Contemporary, New York, NY Lush, Hashimoto Contemporary, New York, NY

2017

Alberto Linero Gallery, Miami, FL

2016

Concerning the Spiritual in Abstract Art, Matter & Light Fine Art Gallery, Boston, MA Publications

2022

‘Check Out Natalia Juncadella’s Story,’ VoyageMIA, February

2021

Mendoza, Camilla, ‘La artista latina Natalia Juncadella brilla en Art Miami,’ Diario Las Américas, December Keenan, Annabel, ‘Miami Art Week Artillery Report: Day 2,’ Artillery Magazine

2019

Ulloa, Gabriela, ‘5 Latinx Creatives on Working in the U.S.,’ Clever, Architectural Digest

95

Juncadella

b. 1992 Miami, FL

Natalia Juncadella | La Merienda (detail)

Deb Koo Only a Woman Knows | oil on canvas, 24 x 24 inches

96

Deb Koo The Party | oil on canvas, 20 x 20 inches

97

Deb Koo Loveseat | oil on canvas, 51 x 39 inches

98

Deb Koo Charlotte, NC debkooart@gmail.com / www.debkoo.com/paintings / @deb_koo

Education 2017

MFA, Ewha Womans University, Seoul, Korea

2013

BA, Smith College, Northampton, MA Residency

2018

Goodyear Arts, Charlotte, NC Professional Experience

2018-

Rowan-Cabarrus Community College, Art & Design Faculty, Salisbury, NC Group Exhibitions

2021

My oil paintings encompass a wide range of subject matters and styles. However, if there is one thread that pulls my work together it is the idea of responding to, and expressing emotions and experiences, through painting. I am influenced by what I see in my everyday life. Mundane events, media, human desire, motivation, apathy, and helplessness are just some of the interconnected reasons to paint. The banality of the images depicted—sometimes in bright, saturated colors and other times faded and pale—become surrogate self-portraits, memories, and hopeful futures. This can take the form of a carefully staged still life representing identity, appropriated media images of idealized love and romantic relationships, or food that can give a sense of belonging, physical satisfaction, or contrarily, an invitation for discomfort and sweet temptations.

Delphian Four Year Anniversary, Covent Garden, London, England Delphian Open Call, Unit 1 Gallery, London, England Cakes and Cocktails, Sozo Gallery, Charlotte, NC It Takes a Village: Charlotte’s Artist Collectives, Mint Museum at Randolph, Charlotte, NC

2020 2019

Nutrient Rich, Goodyear Arts, Charlotte, NC Wheeling Art Dealing, with Goodyear Arts, Miami Art Week, Miami, FL Full-time Faculty Show, Rowan-Cabarrus Community College, Salisbury, NC Convergence and Crash, Latin American Contemporary Arts Projects, Charlotte, NC Gather, Sozo Gallery, Charlotte, NC Peach Pie, Goodyear Arts, Charlotte, NC

2018

Contemporary Art Ruhr, Zollverein-Essen, Germany April/May Residency Showcase, Goodyear Arts, Charlotte, NC

99

Koo

b. 1990 Seoul, Korea

Jean-Paul Mallozzi I heard that he… | acrylic, pastel, and salt on canvas, 50 x 48 inches

100

Jean-Paul Mallozzi Gurl did you know that… | acrylic, pastel, and salt on wood, 36 x 36 inches

101

Jean-Paul Mallozzi I dont know whats going on with him but.... | acrylic, pastel, and salt on canvas, 50 x 48 inches

102

Jean-Paul Mallozzi El Portal, FL info@jeanpaulmallozzi.com / @jeanpaulmallozzi

Education 2004

BFA, Rhode Island School of Design, Providence, RI Solo Exhibitions

2016

Familiars, Hollywood Arts and Cultural Center,

2012

kN0B0DY, 101/Exhibit, Miami, FL

Hollywood, FL

Two-Person Exhibitions 2021

Identity Hacks (with Preetika Rajgariah), with Bill Arning Exhibitions, Untitled Art Miami Beach, Miami Beach, FL

Jean-Paul Mallozzi’s art is always a form of excavation into the past. His coming out was marked by both his terror of and assimilation into a culture of salacious gossip, produced by a welcoming, albeit judgmental community. These faces are best understood as affectionate portraits of his bitchiest friends—a seemingly universal experience of figuring out one’s preferred way of being gay. After reflecting upon his family's origins—a previously divorced Italian father marrying uncomfortably into his mother's Cuban family—the artist saw parallels to the first friends he made as a young gay man, eviscerating one’s friends and lovers with affectionate verbal barbs, many times over strong coffee. The artist uses salt as a paint medium to indicate the unforgettable salinity of the banter, especially when directed at him.

Group Exhibitions 2022

Potluck, Hashimoto Contemporary, Los Angeles, CA

2013

Risque, Long Beach Museum of Art, Long Beach, CA

103

Mallozzi

b. 1982 Flushing, NY

Katherine Tzu-Lan Mann Floaters | acrylic, sumi ink, and collage on paper, 60 x 80 inches

104

Katherine Tzu-Lan Mann Castles | acrylic and sumi ink on paper, 60 x 80 inches

105

Katherine Tzu-Lan Mann Kneeling | acrylic, sumi ink, and collage on paper, 60 x 80 inches

106

Katherine Tzu-Lan Mann Washington, DC www.katharinemann.net / @ktzulan

Education 2009

MFA, Hoffberger School of Painting, Maryland Institute College of Art, Baltimore, MD

2005

BA, Brown University, Providence, RI Residencies

2019

Artist in Residence, Yellowstone National Park, WY Artist in Residence, Shenandoah National Park, VA Solo Exhibitions

2021

Water Ribbon, Morton Fine Art, Washington, DC

2020

Waterwall, Academy Art Museum, Easton, MD

I examine landscape picture making by building luxuriant, cinematically scaled paper paintings and installations. These combine romantic, utopian, and immersive sensibilities from both Chinese and Western landscape painting with a lexicon drawn from a personal mythology informed by my identity as a biracial, second generation Asian American. Ribbons, baubles, bats, peaches, sperm, and piles of flowers repeat so many times as to appear biomorphic and alien, but burst with incongruous efflorescence. My painting practice has two primary concerns: the exploration of landscape painting in a world where "landscape" is defined through an everwidening field of digital, graphic, and visual forms, and the insertion of a personal iconography— personal world building, even—into that history.

Spool, Dolby Chadwick Gallery, San Francisco, CA 2019

Reverie, Lonsdale Gallery, Toronto, Canada

2018

Lacing, Landing, LUX Center for the Arts, Lincoln, NE

2016

Alloy, Laura Korman Gallery, Los Angeles, CA Empire Builder, Gallery nine5, New York, NY

2014

Multitude, Galerie Kashya Hildebrand, London, England

2021

Traces, Kreeger Museum, Washington, DC

Group Exhibitions Fractal Nature, AIR Gallery, Brooklyn, NY 2018

Omnipresent Elsewhere, Vox Populi Gallery, Philadelphia, PA

107

Mann

b. 1983 Madison, WI

Katherine Tzu-Lan Mann | Castles (detail)

Crystal Marshall Blackbody II | oil on paper, 29 x 27 inches

108

Crystal Marshall Pure Like Wool | oil on paper, 24 x 31 inches

109

Crystal Marshall Wool V-Observer | mixed media on paper, 30 x 23 inches

110

Crystal Marshall Lithonia, GA crysart1983@gmail.com / www.crystalamarshall.com / @crysart1983

Solo Exhibitions 2022

CICA Contemporary Art Solo Series, Czong Institute for Contemporary Arts Museum (CICA), Gimpo, Gyeonggi-do, South Korea

2021

STARTnet Art Fair, Saatchi Gallery, London, England Group Exhibitions

2022

Clio Art Fair NYC 2022, New York, NY Undercurrent, Ely Center of Contemporary Art, New Haven, CT The Members Show 2022, Pensacola Museum of Art, University of West Florida, Pensacola, FL Black Anatomy, Spartanburg Art Museum, Spartanburg, NC The Body Language 2022, ItsLiquid, Venice, Italy Being Human, Grandview Avenue Gallery at Atlanta Artists

Originally from Kingston, Jamaica, my paintings pay homage to my life's experiences rooted in cultural disparities in the modern day African diaspora. My distinctive and personal style expresses the spirit and atmosphere of the Black consciousness. My work explores the use of narrative to evoke emotional connections that reference all aspects of life. Through symbolism and allegory I refer to what lies beneath the surface. Through the use of varying imagery of my choosing, it allows me to explore imaginative realms that defy logic but are directly influenced by life's experiences. I also investigate different themes that affect people from all walks of life, concerning life's trials and tribulations, which include hostility, victimization, exclusion, oppression, and withdrawal, all of which I believe ties into spiritual rebirth.

I use motifs such as wool, thorns, and hair, but figurative and allegorical representations are just some of the visual tools I use to express myself. I consider myself to be a storyteller, and I welcome the viewer to be a part of a visual journey and to share in my experiences.

Center, Atlanta, GA 2021

For 2021, CICA Museum, Gimpo, Gyeonggi-do, South Korea Tokyo International Art Fair, Belle Salle Roppongi, Tokyo, Japan Small Works Show, Grandview Avenue Gallery at AAC, Atlanta, GA Us All, Lynn Tendler Bignell Gallery, Brookfield Craft Center, Brookfield, CT Annual Postcard Pin-up Show, MINT Gallery, Atlanta, GA Barcelona Art Expo, Valid World Hall, Artbox.Gallery, Barcelona, Spain Art in the Time of Corona, Vol.2, Dab Art Gallery at Artsy.net, Los Angeles, CA Virtual Exhibit, Hammond Museum and Japanese Stroll Garden, North Salem, NY

111

Marshall

b. 1983 Long Island, NY

Edison Peñafiel Land Escape – City | acrylic wall paint on canvas and archival digital print on cotton paper, 108 x 86 inches

112

Edison Peñafiel Land Escape – Beach | acrylic wall paint on canvas and archival digital print on cotton paper, 108 x 86 inches

113

Edison Peñafiel Land Escape – Desierto | acrylic wall paint on canvas and archival digital print on cotton paper, 108 x 86 inches

114

Edison Peñafiel Miami, FL +34.910.69.03.22 (Sabrina Amrani Gallery) www.edisonpenafiel.com / @edisonpenafielstudio

Residencies 2022

Oolite Arts, Miami Beach, FL

2021

McColl Center for Art + Innovation, Charlotte, NC Home + Away, Oolite Arts, Anderson Ranch, Snowmass, CO Solo Exhibitions

2021

MARE MAGNVM, Sabrina Amrani Gallery, Madrid, Spain

Edison Peñafiel is a Miami-based artist whose work examines experiences about those on the underside of the world’s major conflicts: the migrant, the laborer, the surveilled. Clashing ideologies and the repetitive cycles of history produce the human catastrophes that his installation work speaks to. He draws the eye to the off angles that our world often intersects with, creating disturbing reflections of the realities we participate in and witness every day. These unnerving views break us out of the desensitized lull that an ongoing crisis creates.

Camposcuro, David Castillo Gallery, Miami, FL 2019

Florida Prize in Contemporary Art, Orlando Museum of Art, Orlando, FL Land Escape, The Bass Museum, Miami Beach, FL Group Exhibitions

2021

BIENALSUR: Punto de Fuga, Centro de Arte Universidad Nacional de La Plata, La Plata, Argentina

2020

Through visual references to German expressionism and the surveillance state, Peñafiel keeps the work inside a long-term discussion about the turning gears of modernity and the alienation it continues to produce. The hidden peril of these destructive cycles lends urgency to exploring the history of how we got here, how we perceive what’s going on, and the hard truths of those who must face the darkest parts of the present.

Life During Wartime: Art in the Age of Coronavirus, University of South Florida Contemporary Art Museum, Tampa, FL

2019

South Florida Cultural Consortium, Museum of Contemporary Art, North Miami, FL Awards

2022

Premio ARCO Comunidad de Madrid, Museo CA2M, Madrid, Spain

2021 2019

The Ellies Creator Award, Oolite Arts, Miami Beach, FL Florida Prize in Contemporary Art, Orlando Museum of Art, Orlando, FL Knight Arts Challenge Miami Award, The John S. and James L. Knight Foundation, Miami, FL South Florida Cultural Consortium Fellowship, Broward County Cultural Division, Fort Lauderdale, FL Represented by Sabrina Amrani Gallery, Madrid, Spain

115

Peñafiel

b. 1985 Guayaquil, Ecudaor

Visakha Jane Phillips Self Portrait in Na’s Room | oil and charcoal on canvas, 36 x 36 inches

116

Visakha Jane Phillips Wedding Day/The Pool | oil and charcoal on canvas, 48 x 48 inches

117

Visakha Jane Phillips After School | oil and charcoal on canvas, 40 x 59 inches

118

Visakha Jane Phillips Atlanta, GA visakhajane@gmail.com / www.visakhajane.com / @visakhajane

Education 2021

BFA, Bard College, Annandale-on-Hudson, NY Solo Exhibitions

2021

Sang Pi, Bard College Exhibition Center, Red Hook, NY

2021

New Voices for the Twenties, Susan Eley Fine Art,

Group Exhibitions New York, NY 2020

AXA Art Prize Exhibition, New York Academy of Art,

My work is an act of synthesizing memory, family history, and place. The collaged nature of my paintings speaks to this synthesis and serves to mimic the convoluted nature of memory and blurriness of familial narratives. Many objects incorporated throughout my paintings are seemingly arbitrary but hold weight in my memory for their feeling of permanence. Despite memory and the passage of time being at the foundation of my work, I have made efforts to evoke an impression more dreamlike than nostalgic; though I want some aspects to stay true to their reality for the sake of legibility, I make no attempt to depict scenes realistically. I wish for my paintings to feel as alive as their location still is.

New York, NY Award 2021

Elizabeth Greenshields Foundation Grant

119

Phillips

b. 1999 Columbus, IN

Anne Carney Raines Midding I | oil on canvas, 60 x 65 inches

120

Anne Carney Raines Evening Pickers III | oil on panel, 17 x 19 inches

121

Anne Carney Raines Undertaker Please Drive Slow | oil on canvas, 53 x 66 inches

122

Anne Carney Raines London, UK ace.raines@gmail.com / www.annecarneyraines.com / @annecarneyraines

Education 2021

MA, The Royal College of Art, London, England

2014

BFA, Indiana University, Bloomington, IN Solo Exhibitions

2022

Pleasure Zones, Wilder Gallery, London, England

My background in scenic painting has drawn me to the stage and its many layers of reality. The curtain represents a boundary between the spectator and active space. However, without actors, this boundary creates a minimal and transitional zone with the potential to explore multiple narratives. I am drawn to passages, doorways, and paintings within paintings. These motifs become places I am yearning to go but can never enter into. I have the feeling if I walk into this space, there will be another one behind it, creating a never-ending cycle.

Two-Person Exhibitions 2021

Incubator 21 (with Richard Burton), A.Society, London, England Between The Acts (with Catherine Repko), Wilder Gallery, London, England Group Exhibitions

2022

Three’s A Crowd, Soho Revue, London, England

2021

London Grads Now, Saatchi Gallery, London, England

There is an obsession with shadow in my work that has its roots in Tromp L’oeil painting. The layers of reality within the painting become hyperreal. In this way I like to embrace the lies of painting and the fabrications of theatre to build a world within the works.

Currently, I am interested in ideas around collective memory, the oasis, and exterior/interior environments.

New Contemporaries 2021, South London Gallery, London, England A Space to Hold the Gaze, Liliya Gallery, London, England Awards 2021

Hine Painting Prize Bloomberg New Contemporaries, Bloomberg Philanthropies, London, England

2020

Bloomberg New Contemporaries, Bloomberg Philanthropies, London, England Elizabeth Greenshields Foundation Grant 2: Year 2, MA Painting, The Royal College of Art, London, England

2019

Elizabeth Greenshields Foundation Grant 1: Year 1, MA Painting, The Royal College of Art, London, England Collections Government Arts Collection Soho House Collection

123

Raines

b. 1990 Nashville, TN

Anne Carney Raines | Midding I (detail)

Marisol Ruiz At the end of the day | oil and wax on panel, 24 x 18 inches

124

Marisol Ruiz Bluebonnet Dreams | oil on canvas, 36 x 26 inches

125

Marisol Ruiz La sombra de tu amor | oil on canvas, 48 x 38 inches

126

Marisol Ruiz Baltimore, MD www.marisolruiz.art / @mariissuun

Education 2020

BFA, Maryland Institute College of Art (MICA), Baltimore, MD Solo Exhibitions

2020

En la Tierra de Agüeybaná, Gateway Gallery 2, Baltimore, MD Group Exhibitions

2021

My paintings are collages of inherited memories, framed like a photograph, by symbols of post-colonial history. I grew up in Guayanilla, Puerto Rico, a land marked by the colonial labors of sugarcane production. Through painting, I explore my culture, connection to family, nostalgia, love, and grief. The places I depict are collages of memories and imagination. My paintings are a connection to my family’s oral history.

Puros Exitos, Beverly’s, New York, NY Summer ‘21, Grimaldis Gallery, Baltimore, MD

I make oil paintings on canvas and panel. My vibrant, pastelcolored paintings reference familial photographic sources, Puerto Rican flora, and architecture. The paintings are punctuated with domestic colonial signifiers: tiles, railings, mundillo (bobbin lace), and stained glass, a fragile facade of success.

Meridian Prologue, Current Space, Baltimore, MD In The Wake of Slumber, Paradice Palase, Brooklyn, NY 2019

De Colores: A Symbol of Latin American Empowerment, Middendorf Gallery, MICA, Baltimore, MD Ritual, Gateway Gallery 1, Baltimore, MD MFA Brown Art, School of Visual Arts, Governors Island, NY Awards

2020

Madolin Maxey ‘70 Painting Award Bill Woody/Tom Miller '67/ '87 Scholarship Emanuel Herman '39 Scholarship

2019

Robert Vernon Wirtz Memorial Scholarship

2017

The DaVinci Award Presidential Scholarship Collection Johns Hopkins Community Physicians, Baltimore, MD

127

Ruiz

b. 1999 Perth Amboy, NJ

Karen Seapker Nights in the Swale | oil on canvas, 60 x 48 inches

128

Karen Seapker Running Mama | oil on canvas, 72 x 60 inches

129

Karen Seapker Still | oil on canvas, 48 x 36 inches

130

Karen Seapker Nashville, TN 615.256.4805 (Zeitgeist) karenseapker@gmail.com / www.karenseapker.com / @karenseapkerstudio

Education 2009

MFA, Hunter College, New York, NY

My recent paintings have helped me process the passage of time, the changing climate, and the nature of motherhood. On canvases marked by shifting gradients, fluid brushwork, and bold color, figures are made vulnerable to the inconsistent world but find empowerment through connection, action, and engagement.

Residency 2012

Chashama North, Pine Plains, NY Solo Exhibitions

2020

Circuities, Zeitgeist Gallery, Nashville, TN

2018

Sentinels, Zeitgeist Gallery, Nashville, TN In Tandem, Sewanee: The University of the South, Sewanee, TN Group Exhibitions

2020

State of the Art 2020, Crystal Bridges Museum of American Art, Bentonville, AR Ziersmith & Friends, Virgin Hotel, Nashville, TN

2019

Making (It) Work, California College of the Arts,

2017

Luminous Animals, Whitespace Gallery, Atlanta, GA

In an ever-shifting world, these paintings feel like testing grounds.

Can we remain open within a world in transition? How do we care in a state of unknown? How are we held (together) in this world?

What are we beholden to?

In these images, nature serves as a source of capriciousness and healing. The figures offer themselves up to it, some finding grounding in crouched positions on the earth, others with open hands raised to the changing skies. Painted in layered transparencies, the figures are changed by engaging with their environments. Their abstraction speaks to their adaptability. In the face of uncertainty, they find empowerment not by resisting the change, but by leaning into it.

Oakland, CA

Award 2021

CECA Tennessee Artist Fellowship, The Center of Excellence for the Creative Arts (CECA) Publications

2020

Weiner, Emily, ‘Emily Weiner on Karen Seapker,’ Artforum, June/July Volk, Gregory, ‘A Survey of American Art That Isn't Just Coastal,’ Hyperallergic Collections Crystal Bridges Museum of American Art Metro Nashville Courthouse Collection Cleveland Clinic The Joseph Hotel Represented by Zeitgeist, Nashville, TN

131

Seapker

b. 1982 Nashville, TN

Kevin Spaulding Hearth | oil, 33 x 25 inches

132

Kevin Spaulding The Sacrifice | oil, 81 x 64 inches

133

Kevin Spaulding The Crows | oil, 15.5 x 32 inches

134

Kevin Spaulding Florence, SC 843.598.0595 night_daimon@yahoo.com / @spauldingarts

My work dwells in a liminal space—a barren "Umwelt,” that should elicit a feeling of discomfort, dread, or foreboding.

Education 2004

Art Students League of New York, New York City, NY

1981

BFA, Painting, Virginia Commonwealth University, Richmond, VA Professional Experience

2002-12 Assistant Painter, New York, NY Group Exhibitions 2022 2021

ArtFields 2022, Lake City, SC FRAA X AFC Artist’s Spotlight, TRAX Visual Arts Center, Lake City, SC

2020

Pee Dee Regional Art Competition, Florence County Museum, Florence, SC

2018

ArtFields 2018, Lake City, SC Pee Dee Regional Art Competition, Florence County Museum, Florence, SC

2016

ArtFields 2016, Lake City, SC Awards

2020

Second Place, Pee Dee Regional Art Competition, Florence County Museum, Florence, SC

2018

First Place, Painting, ArtFields 2018, Lake City, SC First Place, Pee Dee Regional Art Competition, Florence County Museum, Florence, SC

135

Spaulding

b. 1959 Lawton, OK

Katharine Suchan now I lay me | plaster, gouache, amber shellac frame, 17 x 13 inches

136

Katharine Suchan Hallowed Birth | plaster, gouache, 21 x 18 x 4 inches

137

Katharine Suchan the ABC’s of love | plaster, gouache, and egg tempera on panel, 16 x 12 inches

138

Katharine Suchan Little Rock, AR suchankate@gmail.com / www.katesuchan.wixsite.com/artist / @katesuchanart

Education 2020 2018

BFA, Kansas City Art Institute (KCAI), Kansas City, MO Late Summer Program, Studio Arts College International, Florence, Italy

2015

Arkansas Governor’s School, Hendrix College, Conway, AR Professional Experience

2021

KCAI Foundation, Instructional Assistant, Kansas City, MO

2020

KCAI Continuing Education, Art Instructor, Kansas City, MO Painting Studios, Gallery Assistant, Kansas City, MO

Plaster is to a house as fabric is to a quilt; both are materials transformed to aid our need for warmth and shelter. In my work, paintings are images sprung from recollection and fantasy, while objects encompass real and psychological rooms. Each manifestation reflects a distinct place and period of time, while all of the work assembled evolves over time. My work allows a viewer to use commonly understood symbols and mementos in order to freely associate with their own identities and stories.

I want my work to challenge how we name a thing through the re-contextualization of materials. My work engages a feminine authority challenging traditional gender representation in art-making, resisting the orthodoxy that attempts to divide conceptions of fine art and craft. My work is to celebrate life, romance, and wonder; to build relationships between time, people and material, and to make dusk jealous.

Solo Exhibitions 2020

Uncovered Time, Englewood Row Gallery, Independence, MO Group Exhibitions

2022

Artists Invite Artists, Prince Street Gallery, New York, NY

2021

Reclaim, Vulpus Bastille, Kansas City, MO 2021 Kansas City Flatfile + Digitalfile, H&R Block Artspace, KCAI, Kansas City, MO

2020

2020 Annual BFA Exhibition, H&R Block Artspace, KCAI, Kansas City, MO Tethered: New Rising Artists, Grover Building, Overland Park, KS Award

2020

Painting Mentorship Award, KCAI, Kansas City, MO

139

Suchan

b. 1997 Little Rock, AR

Barbara Campbell Thomas Ray | collaged fabric, collaged cut-up paintings, spray paint, acrylic paint on canvas with insets of pieced and machine-stitched fabric, 13 x 10 inches

140

Barbara Campbell Thomas Muein | collaged fabric, collaged cut-up paintings, spray paint, acrylic paint on canvas with insets of pieced and machine-stitched fabric, 19 x 18 inches

141

Barbara Campbell Thomas Sky Book | collaged fabric, collaged cut-up paintings, spray paint, acrylic paint on canvas with insets of pieced and machine-stitched fabric, 60 x 72 inches

142

Barbara Campbell Thomas Climax, NC 704.334.7302 (Hidell Brooks Gallery) barbara.campbell.thomas@gmail.com / www.barbaracampbellthomas.com / @barbaracampbellthomas

Education 2000

MFA, University of California, Berkeley, CA Residency

2021

Elizabeth Murray Artist Residency, Granville, NY Solo Exhibitions

2021

Rhythms for Transport, Hidell Brooks Gallery,

2020

Pneuma, Ruffin Gallery, The University of Virginia,

2019

Thisness, The Painting Center, New York, NY

2021

Amplify, Virginia Museum of Contemporary Art,

Charlotte, NC Charlottesville, VA

Group Exhibitions

My paintings harness geometric abstraction and a materially diverse surface of paint, collage, and sewn fabric to explore how the everyday experience of living and being is an arena for spiritual perception. I make paintings to understand facets of reality invisible to the human eye, but perceivable through other senses.

By making paintings—by moving paint around year after year until I grasp some of what paint is and how it functions—I have come to see painting as a practice which allows me incremental knowledge of what it is to inhabit a living, breathing human body. As my understanding of what paint is unfolds through the movement and experience of my body, I see comprehension of painting is analogous to comprehension of being. I see painting as analogous to being. Pathways to comprehension of painting and being are similarly life long, and in both instances one is engaging with an experience that is simultaneously material and immaterial, with an experience in which the corporeal (paint and the body) is a gateway into the metaphysical.

Virginia Beach, VA Intro 8, Hidell Brooks Gallery, Charlotte, NC The Printmakers Left, Les Yeux du Monde, Charlottesville, VA 2020

Front Burner: Highlights in Contemporary North Carolina Painting, North Carolina Museum of Art, Raleigh, NC Escapes and Revelations: NC Artists Fellows Exhibit, Southeastern Center for Contemporary Art, Winston-Salem, NC

2019

Somatic Shapes, James May Gallery, Algoma, WI Awards

2018

North Carolina Arts Council Artists Fellowship Collections William P. Clements Junior University Hospital Art Collection, Dallas, TX City of Raleigh Municipal Art Collection, Raleigh, NC The Weatherspoon Art Museum, Greensboro, NC Represented by Hidell Brooks Gallery, Charlotte, NC

143

Thomas

b. 1975 York, PA

Sophie Treppendahl Living Room, Morning | oil and acrylic on canvas, 60 x 76 inches

144

Sophie Treppendahl Living Room, Evening | oil and acrylic on canvas, 60 x 76 inches

145

Sophie Treppendahl September Morning | oil on canvas, 38 x 44 inches

146

Sophie Treppendahl New Orleans, LA sophietreppendahl@gmail.com / www.sophietreppendahl.com / @sophie.treppendahl

Education 2013

BA, College of Charleston, Charleston, SC Residencies

2019

100 W Corsicana, Corsicana, TX The Wassaic Project, Wassaic, NY Solo Exhibitions

2022

Johansson Projects, Oakland, CA

2020

Living with my (white, Southern, racist) family history,

I create paintings of sun-drenched domestic spaces that celebrate the quiet moments of everyday life. My paintings are an opportunity for me to play with and piece together things I love into a painting: books of favorite artists, coffee cups and candlesticks, walls filled with family portraits, and art by friends.

I wear my influences on my sleeve, sometimes using a Vuillard inspired pattern and including his book open on the table or showing a favorite Lois Dodd piece on the wall of my kitchen. I use light and pattern as tools for abstraction. These paintings, like my home, are filled with the things that bring me joy and comfort.

Quirk Gallery, Richmond, VA 2019

A World of People in my Studio, Indianapolis Art Center, Indianapolis, IN

2018

Skinny-dip Daydreams and a Striped Shirt, Quirk Gallery, Richmond, VA Group Exhibitions

2022

Lush, Hashimoto Contemporary, New York, NY February Selection, Platform Art by David Zwirner, Johansson Projects, Oakland, CA

2021

The Scenic Route, 1969 Gallery, New York, NY Plein Air, Carrie Secrist Gallery, Chicago, IL

2020

From Morning Til Night, We Should Never Rely on a Single Thing, Philip Martin Gallery, Los Angeles, CA Interiors: hello from the living room, 1969 Gallery, New York, NY Fete Galante, Heaven Gallery, Chicago, IL Dreams and Diversions: Images of America, Johansson Projects, Oakland, CA

2018

Everybody in the Pool, Ada Gallery, Richmond, VA

147

Treppendahl

b. 1991 Baton Rouge, LA

Sophie Treppendahl | September Morning (detail)

Gaby Wolodarski Oh (For Frida and Tova) | oil and acrylic on canvas, 60 x 72 inches

148

Gaby Wolodarski Why Does She Save Bits of Paper? (for Miriam) | oil and acrylic on canvas, 84 x 108 inches

149

Gaby Wolodarski Muv | oil and acrylic on canvas, 52 x 42 inches

150

Gaby Wolodarski Montevallo, AL gabberwocky@gmail.com / www.gabywolodarski.com / @wolodarsque

Education 2013

MFA, Cornell University, Ithaca, NY

2003

BA, University of California, Berkeley, Berkeley, CA

My work is about attention span, babies, canaries, description, extracts, filters, grouping, hums, importance, jelly, kerning, looming, motion sensors, nerves, order, parity, qwerty, respite, smallness, stillness, tact, understanding, vanity, the West, xenophobias, yeses, and zeros.

Professional Experience 2014-22 University of Montevallo, Adjunct Faculty, Montevallo, AL 2021

University of California, Berkeley, Lecturer, Berkeley, CA Solo Exhibitions

2022

Nice ‘n Dark, Friends Gallery, Hoover Public Library, Hoover, AL

2017

Pigurative Faintings, Bloch Hall Gallery, University of Montevallo, Montevallo, AL What Are We Making Waking: Spells for the Image Culture, The Range, Saguache, CO

2016

Honey Blips, Saffron Brooklyn, Brooklyn, NY

2015

Pictures That Match the Couch, Fort Gallery,

2010

Textie Textie, Hatch Gallery, Oakland, CA

2021

Crystal Jew and the Party Garland: Gaby Wolodarski/April

San Francisco, CA

Two-Person Exhibition Bachtel (with April Bachtel), Vulcan Gallery, Alabama School of Fine Arts, Birmingham, AL Group Exhibitions 2020

B20: Wiregrass Biennial, Wiregrass Museum of Art, Dothan, AL

2019

24 Biennial of Humour and Satire in Art, Museum House of Humour and Satire, Gabrovo, Bulgaria

2009

Passive Aggressive: Juried Film & Video, Southern

2008

There! New Art from Oakland, Di Rosa Preserve, Napa, CA

Exposure, San Francisco, CA 2006

Oakland: East Side Story, Yerba Buena Center for the Arts, San Francisco, CA 151

Wolodarski

b. 1981 Stockholm, Sweden

Markeith Woods Everyday It's Something | oil on paper, 30 x 22 inches

152

Markeith Woods Is It Possible | oil on paper, 30 x 22 inches

153

Markeith Woods Never Forget | oil and collage paper on canvas, 72 x 120 inches

154

Markeith Woods Fayetteville, AR theartistwoods@gmail.com / www.markeithwoods.com / @markeith_theartist

Education 2002

MFA, University of Arkansas, Fayetteville, Fayetteville, AR

2014

BS, Visual Arts, University of Arkansas at Pine Bluff, Pine Bluff, AR Professional Experience

2021

University of Arkansas, Fayetteville, Instructor, Fayetteville, AR

2017-19 James Matthew Elementary School, Art Teacher, Pine Bluff, AR 2015

My paintings depict a personal story of Life’s reality that explores the psychological state of living as a Black male in America. We are always in survival mode in a culture built to create division and separation. I recreate my personal experiences through conversations between me and friends, using familiar images, poses, objects, environments, and emotions. Perception is everything, so I make it my mission to portray an authentic view of the figures in my artwork.

Memphis College of Art, Teaching Assistant, Memphis, TN Solo Exhibitions

2021

Batesville Area Arts Council Batesville, AR

2020

Texarkana Regional Arts & Humanities Council,

Based on conversations with my high school classmates from Pine Bluff, Arkansas, I paint the challenges we have faced and how they have impacted our goals. Therefore, I aim to show the sitter deep in thought, problem-solving issues that society has imposed upon us. I obscure perspective to show how the policies and rules of institutions stop agency. I aim to undo false narratives that have been perpetrated by society. Thus, my objective is to provide two points of view: the subject’s and my own.

Texarkana, TX 2018

John Brown Watson Memorial Library, University of Arkansas at Pine Bluff, Pine Bluff, AR

2015

Memphis College of Art, Memphis, TN

2022

Frame of Mind 2022, Art Ventures Gallery, Fayetteville, AR

2021

Frame of Mind 2021, Art Ventures Gallery, Fayetteville, AR

2019

Roots and Wings, Agora Gallery, New York, NY

Group Exhibitions

Awards 2021

Student Award, Artists 360, Northwest Arkansas

2020

Best of Show, Batesville Area Arts Council National Juried Art Competition

2018

Best of Show, Arkansas Arts Council Small Works on Paper

2014

Award of Distinction, HSFAC Regional Art Competition

155

Woods

b. 1987 Pine Bluff, AR

Editor’s Selections

The following section is presented in alphabetical order.

Biographical information has been edited.

Prices for available work may be found on p178.

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Justin Tyler Bryant Quasar | buon fresco, 11 x 11 inches

158

Justin Tyler Bryant Sun | buon fresco, 10 x 10 inches

159

Justin Tyler Bryant Saturn | buon fresco, 11 x 11 inches

160

Justin Tyler Bryant Little Rock, AR 225.383.1470 (Baton Rouge Gallery) www.justintylerbryant.com

Education 2018

MFA, Louisiana State University School of Art, Baton Rouge, LA

2017

Skowhegan School of Painting & Sculpture, Madison, ME

2012

BFA, University of Arkansas (UA) at Little Rock,

This series reintroduces the color black into my painting palette, while also framing a conversation around Black representation as a means in and of itself to make paintings. The ancient technique of fresco is used along with contemporary imagery as an idea of observational study that is not regulated by a White gaze. I am interested in the timeless quality of fresco and the self-satisfying presence of Black representation.

Little Rock, AR Residencies 2021 2019

Skowhegan Alumni Summer Residency, New York, NY Emerging Visions Residency, Residential College in the Arts and Humanities at Michigan State University (MSU), East Lansing, MI Solo Exhibitions

2021

Back to Black, Baton Rouge Gallery, Baton Rouge, LA

2020

Holman: A Living Archive, Front Gallery, New Orleans, LA

2019

Lingering in the Minor Key, LookOut! Gallery, MSU, Lansing, MI Group Exhibitions

2022

Moving in Place, Charlotte Street Foundation,

2021

The Space Between, Mark Arts, Wichita, KS

2020

Get Free Telethon (online), Columbus, OH

Kansas City, MO

2019

On Their Own Terms, Brad Cushman Gallery, UA at Little Rock, Little Rock, AR Awards

2021

Delta Voices

2019

Interchange/Mid-Atlantic Arts Alliance Fellowship Grant

2017

AIGA Worldstudio Scholarship Collections John and Robyn Horn Collection Represented by Baton Rouge Gallery, Baton Rouge, LA

161

Bryant

b. 1987 Stuttgart, AR

Christopher Huff Feeling Revived, You Can Call Me Lazarus | acrylic on wood panel, 14 x 11 inches

162

Christopher Huff Peeking Through | acrylic and gravel on wood panel, 18 x 14 inches

163

Christopher Huff Untitled | acrylic on canvas over wood panel, 30 x 40 inches

164

Christopher Huff Baltimore, MD christopherhuff24@gmail.com / www.christopherstevenhuff.com / @yung_huf1

Education 2020

BFA, Maryland Institute College of Art (MICA), Baltimore, MD Solo Exhibitions

2019

Cathexis, Pinkard Gallery, MICA, Baltimore, MD

2018

Passage, The Fridge DC, Washington, DC

2019

Duality, Fox Gallery 2, MICA, Baltimore, MD

Two-Person Exhibitions

Group Exhibitions 2020

My work addresses and explores my personal experiences as an African American male living with Sickle Cell Anemia. Within my work I use the figurative forms of the sickle and normal cell in environments that depict the internal states of being that I’ve experienced throughout my lifetime. I explore abstract realms such as uncertainty, desire, longing, faith, perseverance, structure/lack of structure, fragility, and conflict through the process of painting. Each painting is created in search of selfdiscovery, surveying past experiences in an attempt to greater understand the internal entity and its purpose within myself and the world. I question how the traumatic pain, moments of loneliness, and desire for better days shaped me not only as an African American male living with a blood disorder but as an artist as well.

85th Annual National Juried Art Exhibition, Cooperstown Art Association, Cooperstown, NY A Good Guest, Reginald F. Lewis Museum, Baltimore, MD

2018

Post Post Self, Gateway Gallery, MICA, Baltimore, MD

2017

Eye Choose Love, Gateway Media Arts Lab, Mount Rainier, MD Visionarium, University of the District of Columbia, Washington, DC Excellence In Printmaking, Washington Printmakers Gallery, Washington, DC Award

2018-20 Elaine L. Schaefer Scholarship Recipient, MICA, Baltimore, MD

165

Huff

b. 1989 Washington, DC

Christopher Huff | Peeking Through (detail)

D’Metrius John Rice Sight Visit (Red) | acrylic on panel, 23 x 19 inches

166

D’Metrius John Rice Untitled | acrylic and latex on panel, 16 x 14.5 inches

167

D’Metrius John Rice I’mhotep | acrylic and latex on paper, 24 x 36 inches

168

D’Metrius John Rice Baltimore, MD dmetriusrice@gmail.com / @dmepainting

I make 2D paintings of 3-dimensional shadows of 4th dimensional events.

Solo Exhibitions 2022

Private Browser, Hancock Solar Gallery, Baltimore, MD

2020

Time Stamps, RESORT, Baltimore, MD

2019

Mickalene Thomas: A Moment’s Pleasure, Baltimore

2016

Off Site Exhibition: A Shape That Stands Up, Hammer

2014

Nirvana Beach, Terrault Contemporary, Baltimore, MD

2013

Psychokinesis, Metro Gallery, Baltimore, MD

2012

Meme Schemes, The Windup Space, Baltimore, MD

Museum of Art, Baltimore, MD Museum, Los Angeles, CA

169

Rice

b. 1981 Silver Spring, MD

D’Metrius John Rice | Sight Visit (Red) (detail)

Olivia Springberg Cutting out for Good | oil on canvas, foamcore, plaster, papier mache, 48 x 55 inches

170

Olivia Springberg Trust Fall | oil on canvas, 24 x 24 inches

171

Olivia Springberg Chase Scene | oil on canvas, foam, 40 x 40 inches

172

Olivia Springberg Washington, DC www.oliviaspringberg.com / @oliviasprng

Education 2023

BFA, Rhode Island School of Design, Providence, RI

2022

Residual Hauntings, Gelman Gallery, Providence, RI

Group Exhibitions Judaica, Goldfarb Family Gallery, Providence, RI 2021

Time Capsule, The Watson Institute, Brown University, Providence, RI

2020

Artomatic 2020, Washington, DC

2019

Signs of the Times, Gallery Clarendon, Arlington, VA Publications

2021

Olivia Springberg is a multi-media artist from Washington, DC. She is currently studying painting at the Rhode Island School of Design. Charged by tactility and material exploration, her work employs various media, including sound, sculpture, and printmaking. Her pieces play off remembrances, visions, and feelings, presenting carefully manipulated narratives. Her work serves as a meditation—a way of dissecting and evaluating relationships, both inter and intrapersonal.

Art Maze Magazine, Issue 23 Collision Magazine, Spring Zeniada, Spring

Within my art, I recall and examine ambiguous memories and interactions that affected me in an emotionally profound way.

These instances are often brief, some even having occurred in dreams. I rework the perspective of the moments to exhibit the weight they carry for me. The process serves as a meditation that brings the act of remembrance into my artistic practice.

By investigating the duality between the realm of memory and my range of experience, I can better understand memories and projections that are difficult for me to articulate. By visually representing my perception of these situations, I transferred their weight off my mind to the compositions.

173

Springberg

b. 2000, Washington, DC

Emma Steinkraus Pink Caiman (after Maria Sibylla Merian) | oil and photo transfer on canvas, 48 x 36 inches

174

Emma Steinkraus Picking Oranges (for Dido Elizabeth Belle, Giovanna Garzoni, & Zaga Christ) | oil and photo transfer on canvas, 48 x 36 inches

175

Emma Steinkraus Evil Pioneer | oil and photo transfer on canvas, 20 x 16 inches

176

Emma Steinkraus Farmville, VA www.emmasteinkraus.com / @emmasteinkraus

Education 2016

MFA, University of Iowa, Iowa City, IA

2010

BA, Williams College, Williamstown, MA Residencies

2022

Vermont Studio Center, Johnson, VT Wassaic Project, Wassaic, NY

2021

The Studios at MASS MoCA, North Adams, MA Ox-Bow School of Art and Artists' Residency, Conversations in Practice, Saugatuck, MI Solo Exhibition

2021

I combine paintings with wallpapers to distill complex research into a cohesive visual space, shifting the stories we tell about women, art history, and the natural world. My work is densely detailed and slightly surreal, hybridizing the bright colors and 1990s pop aesthetic of Lisa Frank with wide-ranging art historical references. My current project, Impossible Garden, explores the lives of historical women artist-naturalists through paintings and wallpaper constructed out of their illustrations.

Each painting combines detailed portraiture with photo transfers that form patterns on the women’s clothing. The transfers grapple with the complexity of the individual lives of historical women artists, inventorying the nuanced ways they abetted and resisted patriarchal constraints, environmental exploitation, and colonialism.

Impossible Garden, 1969 Gallery, New York, NY Two-Person Exhibitions

2022

Drew Dodge + Emma Steinkraus (with Drew Dodge), 1969 Gallery, New York, NY Group Exhibitions

2021

House Party, Deanna Evans Projects, Brooklyn, NY I am afraid to own a body, Poker Flats, Williamstown, MA A Collective Escape, Deanna Evans Projects, Brooklyn, NY

2020

Seasonal Repression, Field Projects, New York, NY Awards

2022

Helen Frankenthaler Full Fellowship, Vermont Studio Center, Johnson, VT

2020

Eliza Moore Fellowship, Oak Spring Garden Foundation, Upperville, VA Publications

2021

‘Artist Spotlight: Emma Steinkraus,’ Boooooooom

2020

Laws of Salvage: The 2020 Burnaway Reader Represented by 1969 Gallery, New York, NY 177

Steinkraus

b. 1987 Ithaca, NY

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.

Erik Barthels p16 $1,050 p17 $1,100 p18 $1,625

Craig Hawkins p72 $7,500 p73 $15,000 p74 $7,500

Karen Seapker p128 NFS p129 NFS p130 NFS

Luisa Maria Basnuevo p20 NFS p21 NFS p22 NFS

Sean Latif Heiser p76 $2,000 p77 $2,000 p78 $2,500

Kevin Spaulding p132 $14,000 p133 NFS p134 $10,000

Jasmine Best p24 $2,300 p25 $2,000 p26 $3,000

Gonzalo Hernandez p80 NFS p81 NFS p82 NFS

Katharine Suchan p136 $425 p137 $400 p138 $350

Cameron Bliss p28 NFS p29 NFS p30 NFS

Ming Ying Hong p84 $8,000 p85 $12,500 p86 $2,000

Barbara Campbell Thomas p140 $1,200 p141 $1,800 p142 $7,500

Michael A. Booker p32 NFS p33 NFS p34 NFS

Ronald Jackson p88 NFS p89 NFS p90 NFS

Sophie Treppendahl p144 NFS p145 NFS p146 NFS

Demetri Burke p36 NFS p37 $4,600 p38 NFS

Natalia Juncadella p92 NFS p93 NFS p94 $14,000

Gaby Wolodarski p148 $5,200 p149 NFS p150 $4,800

Rachel Campbell p40 NFS p41 NFS p42 NFS

Deb Koo p96 NFS p97 NFS p98 NFS

Markeith Woods p152 $3,500 p153 $3,500 p154 $14,000

Namwon Choi p44 POR p45 POR p46 POR

Jean-Paul Mallozzi p100 NFS p101 POR p102 NFS

Sean G. Clark p48 $4,000 p49 $1,800 p50 NFS

Katherine Tzu-Lan Mann p104 NFS p105 NFS p106 NFS

Keith Crowley p52 $4,200 p53 $4,200 p54 $4,200

Crystal Marshall p108 $16,500 p109 $12,500 p110 $10,000

Dave Eassa p56 $9,500 p57 $9,500 p58 $9,500

Edison Peñafiel p112 $10,000 p113 NFS p114 $10,000

Reinier Gamboa p60 $25,000 p61 $20,000 p62 $20,000

Visakha Jane Phillips p116 POR p117 POR p118 POR

Jeffrey Deane Hall p64 $1,850 p65 $1,850 p66 $2,250

Anne Carney Raines p120 $6,800 p121 $2,000 p122 $6,000

Lou Haney p68 $4,500 p69 NFS p70 $4,800

Marisol Ruiz p124 NFS p125 NFS p126 NFS

178

Justin Tyler Bryant p158 NFS p159 NFS p160 NFS Christopher Huff p162 $625 p163 $1,020 p164 $4,800 D’Metrius John Rice p166 $2,200 p167 NFS p168 NFS Olivia Springberg p170 NFS p171 NFS p172 NFS Emma Steinkraus p174 NFS p175 NFS p176 NFS

$20