New American Paintings Pacific Coast Issue #175

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Dec/Jan

New American Paintings was founded in 1993 as an experiment in art publishing. Working closely with a range of art-world pro­fess­­ionals, we

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review the work of thousands of artists each year in order to discover

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America’s most promising emerging and under-­recognized painters.

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Each bimonthly issue presents forty exceptional artists who are selected on the basis of artistic merit and provided space for free.

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RECENT JURORS:

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Anita N. Bateman Museum of Fine Arts, Houston Rosario Güiraldes Walker Art Center Jennifer Inacio Perez Art Museum Devon Zimmerman, PhD Ogunquit Museum of American Art Amy Sherald Artist Jennifer King Los Angeles County Museum of Art Vivian Li Dallas Museum of Art Misa Jeffereis Contemporary Art Museum St. Louis Michael Rooks High Museum of Art Ana Clara Silva Faena Art Leila Grothe Baltimore Museum of Art Jenny Gheith San Francisco Museum of Modern Art Tyler Blackwell Blaffer Art Museum at the University of Houston Nadiah Rivera Fellah

The Cleveland Museum of Art Amanda Morgan Institute of Contemporary Art, Miami Bana Kattan Museum of Contemporary Art, Chicago Bill Powers Half Gallery Dominic Molon RISD Museum of Art Lauren R. O’Connell Scottsdale Museum of Contemporary Art Hannah Klemm St. Louis Art Museum Molly Boarati Nasher Museum of Art, Duke University Lauren Haynes Nasher Museum of Art, Duke University Liz Munsell Museum of Fine Arts, Boston Anna Katz The Museum of Contemporary Art, Los Angeles Suzanne Weaver San Antonio Museum of Art Henriette Huldisch

Walker Art Center Emily Stamey Weatherspoon Art Museum Beth Rudin DeWoody Art Patron, Collector and Philanthropist Jerry Saltz

New York Magazine Christine Y. Kim Los Angeles County Museum of Art Rebecca Matalon Contemporary Arts Museum, Houston Staci Boris

Elmhurst Art Museum Michael Rooks High Museum of Art Amber Esseiva Institute of Contemporary Art at VCU Ruth Erickson Institute of Contemporary Art, Boston

All rights in each work of art reproduced herein are retained by the artist.

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CONTENTS

7

EDITOR’S NOTE Steven Zevitas

9

COMMENTS Jerry Saltz Senior Art Critic, New York Magazine

11

NOTEWORTHY Juror’s and Editor’s Picks

13

JUROR’S SELECTIONS Pacific Coast Review 2024

179

EDITOR’S SELECTIONS Pacific Coast Review 2024

203

PRICING GUIDE Asking prices for selected works

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Rendon p142

Dec/Jan

EDITOR’S NOTE

I am writing these words on the day after the results of the 2024 election.

For many people, this is not a particularly happy occasion; I would venture to say that the majority of our readership is devastated. With two wars raging, a shaky economy, and the all-consuming and pervasive nature of this year’s election drama, complements of a much divided 24-hour news cycle, most of us are simply exhausted. I believe that the art world has internalized much of this, the result being that 2024 has been a dismal year for our fragile ecosystem. Artists are hurting, galleries are hurting, and all of us, collectively, just want to move on. It might be a quantum of solace, but in my now numerous trips around the sun, I have found that these periods have a way of working themselves out. I look forward to 2025 and wish everyone a happy and successful year on every level.

We had the extraordinary pleasure to work once again with Jerry Saltz on Issue #175 of New American Paintings. Needless to say, Jerry is one of the only people in the art world who has become known to a wider public.

(It is difficult to call anyone in the art world a “celebrity,” but Jerry is, perhaps, the closest person we have who has attained such a status.) On a personal level, Jerry was extremely important to me when I began my nervous and awkward journey into the art world three decades ago; it was through his writing that I began to understand not only how to think about contemporary art, but how to put the complicated pieces of the art world together. I have always thought that one of the greatest feats a writer can perform is simplifying complex and abstract ideas. Time and time again, I

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have been in awe of Jerry’s ability to boil things down to their essential truth. I want to sincerely thank him for working with us once again.

One of the great things about working with Jerry is the intensity of his involvement. With many of our jurors, once they are given their marching orders we wait to receive their decision two weeks later. With Jerry, however, I find myself on the phone quite a bit, discussing certain artists and thinking about the overall content of the publication. I really think that Jerry knocked it out of the park with Issue #175 in every way. Given that our jurying process has always been blind, it is interesting to note that of the 40 artists featured on the pages herein, 28 identify as female and 22 are non-Caucasian. The diversity of Jerry’s selections goes beyond demographic considerations. It will be no surprise that three-quarters of the featured artists work with representational imagery, but within that set you will find a bewildering number of aesthetic viewpoints. Kudos Jerry!

Enjoy the issue!

Steven Zevitas Publisher & Editor

ANDERSON YEZERSKI GALLERY 460 Harrison Ave., Boston andersonyezerski.com 617.262.0550

RO SI E R AN A URO March 28 - May 3, 2025

COMMENTS

JERRY SALTZ Senior Art Critic, New York Magazine

Conrad Cortez Wise

Much of the art in this issue looks a lot like the art that has already been made. This, however, is neither bad nor shocking. Instead, maybe this act of referencing previous works is itself a coping mechanism or, perhaps, a way to take back history, to make art of one’s own time on one’s own terms. It represents a turning of historical precedent in art, one with the potential of promise. History is not repeating itself so much as it is being reset to some other time standard.

The idea of progress, which was lord and master throughout Modernism, is now seen as psychotic. The tradition of one, presumably, white male artist pronouncing the preceding white male artist obsolete is obsolete— it’s even seen as ridiculous and beside the point now, much as it probably always has been. Progress—the notion of change, originality, history and mediums, slippages of time, and consciousness—is now taking place in the deeply strange but magic filled recesses of artists’ studios.

Gone is the “anxiety of influence.” We have an ecstasy of influence now: investigations of influence, critiques of influence, a desire for influence.

Of course, there’s also a certain cluelessness of influence, the mindset of “I am not aware that this may have been made before and I don’t care about influence.”

Think back to your earliest times in art. You didn’t yet know about art history or the wider canon. History was you. You were less restrained by

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p60 p65 p174

what you didn’t know you didn’t know. We begin to learn from, fall in love with, and compete against the artworks made before our time. This is as it should be; all art comes from other art.

Ours is a very different time. Not so long ago, most artists were exclusively white and male. Although women make up more than half the U.S. population, in 2004, when The Museum of Modern Art relocated and reopened its first new, billion-dollar campus, the permanent collection contained less than four percent of art by women. In retrospect, this hostile undervaluing was the beginning of the end of Modernism. The movement ran out of gas, undid itself. It was now the 21st century and the world’s most vaunted collection of Modern art—the sacred garden where we artists go to commune with our artistic ancestors—was practicing artistic apartheid.

The final nail in this aesthetic coffin came with the murder of George Floyd on May 25, 2020. The dam broke; pent-up energies and frustration with the system were released everywhere at once. Artists of color were all but absent from the white domain of galleries and museums and, according to David Hammons, they saw them as spaces where you put mad people. There was an absence of outsiders, those in minorities viewed as “other.” Indeed, art is not a democracy—no one said anything about fair—but this was psychotic.

“Progress—the notion of change, originality, history and mediums, slippages of time, and consciousness—is now taking place in the deeply strange but magic filled recesses of artists studios” Art had become predictable. Ideas of style, form, and even medium were measured almost entirely in terms of ‘originality’. The establishing style of Roy Lichtenstein was his Ben-Day dots; Dan Flavin owned fluorescent light, while Robert Ryman got the color white. In 1961, Ad Rheinhardt famously crowed, “I am merely making the last painting which anyone can make.”

An era in Art had ended: To deem an artist “The Greatest” was no longer a precursor for quality. Yet, a lot of great art was never allowed to see the light of day, the practice of which was a form of aesthetic totalitarianism and territorialism.

Then there was the market, but when we talk about the market, we aren’t talking about anything that even remotely has to do with art. We have no theory of the market—it’s all happy gibberish that keeps journalists writing—and it’s easier than really viewing, making, or critiquing art.

My belief is that aesthetic quality is a constant. To explain, say 85% of all the art you see in Chelsea is shite. Yet, during the High Renaissance about 85% of what was made was shite. We just never see it. Museums collect the final top few percentages of what is deemed ‘great’. When we go to museums, however, most pass over another 85% of that art.

Perhaps this is built in. Regardless, it has gotten much worse over the last 20 years. Look online: Only about 1% of 1% of 1% of 1% of

artists ever find favor or make any real money from their art. Yet, 99% of attention is paid to this infinitesimal sliver, which is then subdivided, written about, and shown and sold everywhere.

What, however, does all this mean to the eclectically curated selections in this issue of painters from the Pacific Coast? There are green shoots everywhere here, art that feels credible if only in how it was made, what it may be about, and/or in the materials used to make it. Much of the art in this show may or may not be your cup of tea, but I found all of it to each have moments of convincement.

Artists are like shamans living at the edges of their villages. They dress peculiarly, have ‘strange’ habits, practices, and languages. Theirs is a practice of making objects that they believe can help people. We as a people, though, trust them and could not live without what they create.

All art is contemporary art for the moments you are looking at it. Time doesn’t exist for art. Artists are makers of things that have not yet been made. Their actions put color to thought; their creations are and are not them. After all, no one asks, “What does Mozart mean?”

We experience Mozart. We experience art.

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NOTEWORTHY

JUROR’S PICK: KELLY BJORK

p21

The secret lives of women; of women together, as lovers, friends, and autonomous beings in a world that is dangerous to them. Creating safe spaces or those for doing nothing at all—except maybe grooming, thinking, lounging—for bodies not under the blade. Flattened shapes, carefully rendered semi-abstract with representational clarity, brilliantly mottled local color, and strange proportions that ring true for their strangeness: These are the magical, protective worlds of Kelly Bjork.

We see beautiful bodies of many colors, some having sex or on the toilet, others laying like Ingres Odalisques, looking over shoulders at curious cats. Bjork’s work sings a private song very publicly with graphic power, subtle inflection, and deep insight. With abiding respect and something like love, she slows time down and gets us to stop, see, and consider that perhaps some things we think we know are in fact more profound than we could imagine.

EDITOR’S PICK: YUWEI TU

p161

Tu’s paintings are delicate, visual essays on the subjects of intimacy and fragility. From a purely formal standpoint, her abilities are extraordinary, yet the power of Tu’s paintings does not arrive from a bravura technique; rather, it emanates from her willingness to allow the viewer into her private space. Each of us has an interior world that, for better or worse, we are forced to spend much of our time reckoning with. Tu is interested in exploring human conditions of love, loss, loneliness, and longing as a way of better understanding herself and the world around her. For me, these paintings have a poignant, achy quality that somehow makes me feel more connected to myself.

SELECTED ARTISTS: PACIFIC COAST REVIEW 2024

JUROR: JERRY SALTZ SENIOR ART CRITIC, NEW YORK MAGAZINE

JUROR’S SELECTIONS: MIGUEL ARZABE KELLY BJORK MELINDA BRAATHEN IONE BLEU BUSTOS J. CARINO ANDREA CASTILLO SRIJON CHOWDHURY VIVIEN EBRIGHT CHUNG ALLI CONRAD DARREN CORTEZ ARIEL DILL EDWARD EMERY MAYA FUJI AZADEH GHOLIZADEH RACHEL HAKIMIAN EMENAKER WENDY HELDMANN SKYLAR HUGHES RACHEL KAYE VICTOR LEE MIGUEL LÓPEZ YEZI LOU ELIZABETH MALASKA NICK MCPHAIL ADE OGUNMOWO MALAVIKA RAO CARIS REID MARIA RENDÓN LEAH ROSENBERG IZIK SAHAGÚN ARVIE SMITH ELIZABETH COERT SOUZA YUWEI TU MIA WEINER EMILY WISE RACHAEL ZUR

EDITOR’S SELECTIONS:

EKTA AGGARWAL HEATHER DAY YI GAO JAMIE L. LUOTO SOL SUMMERS

Lee p104

JUROR’S SELECTIONS

Artists are presented in alphabetical order.

Artist biographies have been edited to prioritize recent highlights.

Pricing Guide can be found on p203.

MIGUEL ARZABE

510.444.9140 (Johansson Projects) studio@miguelarzabe.com miguelarzabe.net @miguel.arzabe

b. 1975 St. Louis, MO | lives in Oakland, CA Residencies

Miguel Arzabe’s colorful woven paintings are a remix of European and Indigenous cultures that draw from the textile tradition of his Bolivian heritage. His process begins by creating acrylic paintings on canvas that reference the Western canon of modernist abstract painting. These works are cut into strips, which he weaves together by hand.

Arzabe’s unique weaving patterns, a result of both planning and improvisation, are inspired by Andean motifs and symbology rooted in the oldest active textile tradition in the world. Simultaneously, his patterns also resemble lowres pixelated digital content. Arzabe brings together the cultural differences present in his work for a dynamic, contentious, and reciprocal conversation.

2023

Sam & Adele Golden Foundation, New Berlin, NY Solo Exhibitions

2023

Animales Familiares, Johansson Projects, Oakland, CA

2021

Tejido Cultural, Nazarian / Curcio, Los Angeles, CA Selected Group Exhibitions

2024

Desire Lines, David B. Smith Gallery, Denver, CO The Poetics of Dimensions, ICA SF, San Francisco, CA CUMBI: Textiles, Society, and Memory in Andean South America, Tucson Museum of Art, Tucson, AZ Collections de Young Museum, San Francisco, CA Harn Museum of Art, Gainesville, FL Percent for Art Program, Queens, NY Art in Embassies, U.S. Department of State, Gaborone, Botswana Googleplex, Mountain View, CA Represented by Johansson Projects, Oakland, CA

La Jaguar Alada woven acrylic on canvas and linen, 80 x 54 inches

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ARZABE

Animales Familiares woven acrylic on canvas and linen, 78 x 108 inches La Pata Cuidadora woven acrylic on canvas and linen, 56 x 78 inches

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ARZABE

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Palitos Errantes woven acrylic on canvas, 56 x 78 inches

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KELLY BJORK

206.467.4508 (J. Rinehart Gallery) bjork.kelly@gmail.com kellybjork.com @kelly_bjork

b. 1984 Tacoma, WA | lives in Seattle, WA Education

Kelly Bjork is a queer artist making queer art in a[nother] time when the LGBTQIA+ community is facing discrimination at the social, physical, and political level. In this way, Bjork positions themself within a lineage of artists who have shared the same focus while in the face of violence.

2009

BFA, Western Washington University, Bellingham, WA

2023

Rockland Woods, Bremerton, WA

Bjork creates space for viewers to leave the harsh world of now, for a moment, and enter their world to be held and seen. Their work serves as a reminder to both those who struggle to remember—and those who refuse to accept—that queer people aren’t going anywhere; that they will continue to experience joy, tenderness, and love.

2020

The Fellow Ship, Guemes Island, WA

Residencies

Solo Exhibitions 2023

Sketches, Common Area Maintenance, Seattle, WA

2022

Swimming Naked, J. Rinehart Gallery, Seattle, WA Selected Group Exhibitions

2023

Cheek and Hole, Specialist, Seattle, WA

2021

2 Gather, studio e gallery, Seattle, WA Collections Starbucks Permanent Art Collection, Seattle, WA; Dulce Nombre, Costa Rica Represented by J. Rinehart Gallery, Seattle, WA

Emotional Oasis (Domestic Scene) gouache, watercolor, acrylic, wax pastel, and pencil on paper, 20 x 15 inches

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BJORK

23

Opening gouache, watercolor, acrylic, wax pastel, and pencil on paper, 15 x 20 inches The Dream gouache, watercolor, acrylic, wax pastel, and pencil on paper, 8 x 10 inches

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BJORK

Two of Cups (After Matisse) gouache, watercolor, acrylic, pastel, crayon, and pencil on paper, 15 x 20 inches Scotty Cayton, Betty Wetter (Reflection) gouache, watercolor, acrylic, wax pastel, and pencil on paper, 22.5 x 30 inches

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MELINDA BRAATHEN

213.537.0737 (Baert Gallery) melindabraathenart@gmail.com melindabraathen.com @melindabraathen

b. 1985 Oslo, Norway | lives in Los Angeles, CA Education

The atmosphere is a hidden protagonist in my paintings. With its ever-changing nature it casts information of varying qualities and intensities into the environment, creating a disturbance either quietly or abruptly.

2007

BA, Bard College, Annandale-on-Hudson, NY

Sometimes it is the presence of a person or the conjuring of a person that transforms the atmosphere; their memories, sensations, and emotions become ephemerally tied to the rhythms of the landscape in unforeseen ways.

This can give rise to a mysterious light, a new source of movement, a temporal shift, or a denatured color palette. In this way, my paintings are more reflective of the subject’s psychology—or of the atmosphere passing through— than the landscape’s actual textures and colors.

2024

Atmosphere, Baert Gallery, Los Angeles, CA

2023

Charged Bodies, Golsa, Oslo, Norway

2022

Currents, Baert Gallery, Los Angeles, CA

Solo Exhibitions

Selected Group Exhibitions 2024

Alice Folker x Golsa, with Golsa, Alice Folker,

2021

Summer Group Exhibition, Baert Gallery,

2020

Works on Paper, Baert Gallery, Los Angeles, CA

2019

sluice over the braids sweet forming, Eastside

Copenhagen, Denmark Los Angeles, CA

International, Los Angeles, CA Represented by Baert Gallery, Los Angeles, CA

Entwined oil on canvas, 72 x 60 inches

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BRAATHEN

Molly oil on canvas, 72 x 60 inches Inwards oil on canvas, 72 x 60 inches

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IONE BLEU BUSTOS

ione.bleu@yahoo.com ionebleustudio.com @ione.bleu

b. 2000 Los Angeles, CA | lives in Glendale, CA Education

Ione Bleu Bustos is a Los Angeles-based artist with a multidisciplinary studio practice that includes painting, drawing, ceramics, and printmaking. Her work is rooted in the evolution of her specific identities and their nuances, Bustos regularly mining herself and her lived experiences as source material. The figures that fill her works, which are almost always manifestations of herself, speak to the artist’s relationship with herself and the larger world at hand.

Bustos is also informed by the history and practice of electronic music and its highly sophisticated subculture, as well as the experiences of navigating her own place within it. By weaving these two central themes together, Bustos’s larger body of work aims to orchestrate an entirely new and subverted reality in which she is the central character.

2024

BFA, ArtCenter College of Design (ACCD), Pasadena, CA

2021

AoA, Citrus College, Glendora, CA Selected Group Exhibitions

2023

Echoes Berlin, Gallery aquabitART, Berlin, Germany

2021

Student Gallery, ACCD, Pasadena, CA

Tender acrylic and oil paint on canvas, 48 x 36 inches

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BUSTOS

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Can somebody tell me how the fuck to get to the next room? (2) acrylic paint and mixed media on paper, 35 x 23 inches Can somebody tell me how the fuck to get to the next room? (3) acrylic paint and mixed media on paper, 23 x 35 inches

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BUSTOS

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True Euphoria oil on canvas, 36 x 48 inches

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J. CARINO

jcarinoart2@gmail.com jcarinoart.com @j.carino.art

b. 1988 Littleton, CO | lives in Riverside, CA Education

I am interested in the interactions between people and nature and how the creation of our sense of self connects to the natural world. Wrestling with ideas of traditional fertility and queer intimacy, my work depicts monumental nude, queer figures in landscapes that are both idyllic and tinged with danger.

2011

BFA, The New School, Parsons School of Design,

Often in society, queer people are viewed as “unnatural” and so are not afforded the luxury of permanence. In my work, however, the figures become a part of the landscapes on different scales of time: the fleeting lives of wildflowers, the century-long lives of trees, and the eternity of the mountains. This work expresses the ‘naturalness’ of nudity, sexuality, and queerness, which is as elemental a component of the landscape as the rocks and trees. Through a mixture of drawings of nature, of the self, and of my husband and friends, the bodies and faces undulate through the landscapes and bring the different parts of myself together on the canvas.

2024

PM/AM, London, England

2023

Art House San Clemente, San Clemente, CA

New York, NY Residencies

Solo Exhibitions 2024

56, PM/AM, London, England Emuparadise, Monya Rowe Gallery, New York, NY

2023

Frontiers and Boundaries, Sow & Tailor, Los Angeles, CA Selected Group Exhibitions

2024

The Armory Show, with Yossi Milo Gallery, New York, NY Arcadia Elsewhere, James Cohan, New York, NY Collections Weissman Family Collection, Mount Kisco, NY

Lovers oil and acrylic on linen, 30 x 24 inches

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CARINO

Ripening oil and acrylic on linen, 40 x 30 inches The Last Raven oil and acrylic on linen, 66 x 47 inches

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CARINO

I Saw Myself In You Like a Distant Shadow oil and acrylic on linen, 32 x 37.75 inches Fallen oil and acrylic on linen, 46 x 63 inches 41

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ANDREA CASTILLO

andrecastillo88@gmail.com @andiiicastillo

b. Los Angeles, CA | lives in Los Angeles, CA Education

I am interested in representing the experience of what it means to take up space in a racialized body. My practice allows safety and celebration of the body, where its existence otherwise might be undermined by a set of social experiences. The painted, contorted figures act as the interior life of a body, set in contemporary quotidian environments that reference art history and consumer culture and represent a merging of personal and collective memories.

The imagined archetypes depicted in contemporary scenes examine the sense of self authenticity to observe the potential without external anxieties influencing how we perceive ourselves. They allow space to explore imagination and a sense of self-constructed imagery to fill the ambiguity in the paintings, escaping some of the binaries that come with limiting representations.

2014

MFA, Lesley University College of Art & Design, Cambridge, MA Residencies

2024

Penland School of Craft, Penland, NC

2018

Grand Central Art Center, Santa Ana, CA Virginia Center for the Creative Arts, Amherst, VA

2017

Vermont Studio Center, Johnson, VT Solo Exhibitions

2024

In Between Hours, SPRING/BREAK Art Fair, Los Angeles, CA Selected Group Exhibitions

2023

Black, Brown and Beige, Watts Towers Arts Center, Los Angeles, CA Apophenia, Los Angeles Municipal Art Gallery, Los Angeles, CA

2022

Salt Fish, New Image Art, Los Angeles, CA Rostro, Charlie James Gallery, Los Angeles, CA

Lunch Break oil on canvas, 36 x 48 inches

44

CASTILLO

Lounging oil on canvas, 36 x 36 inches

45

The Visit oil on canvas, 30 x 30 inches 46

CASTILLO

47

2 Hour Limit gouache on paper, 10 x 14 inches

48

SRIJON CHOWDHURY

b. 1987 Dhaka, Bangladesh | lives in Portland, OR Education

My paintings present, as a feeling, an idea of a version of a reality.

2013

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

2009

BFA, University of Minnesota, Twin Cities, Minneapolis, MN Solo Exhibitions

2024

Tapestry, P.P.O.W., New York, NY

2023

The Nude, Ciaccia Levi, Milan, Italy

2022

Same Old Song, Frye Art Museum, Seattle, WA

2021

Dandelion Song, Foxy Production, New York, NY A Still Life, Ciaccia Levi, Paris, France

Selected Group Exhibitions 2024

Artists’ Biennial, Oregon Contemporary, Portland, OR

2023

Friends & Lovers, The FLAG Art Foundation,

2022

Durian on the Skin, François Ghebaly, Los Angeles, CA

New York, NY

Represented by P.P.O.W., New York, NY Ciaccia Levi, Paris, France

Andreas with Wildflowers oil on linen, 72 x 60 inches

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CHOWDHURY

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Eye (Birth) oil on linen, 72 x 114 inches Justin Latourell Falls oil on linen, 48 x 96 inches

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VIVIEN EBRIGHT CHUNG

323.537.6736 (The Trophy Room) vivienpaints@gmail.com vivienchung.com @vivienpaints

b. 1980 Santa Cruz, CA | lives in Los Angeles, CA Education

My work throws viewers into art history, where they can transcend their bodies and move into the infinite. My understanding and interest in the body—whether clothed or unclothed—through my experiences in fashion and theater have hugely influenced the direction of my painting practice. My deep desire is in engaging with the eternal ‘now’ by incorporating imagery that conjures both the familiar and the unknowable.

Drawing on tropes from art history and literature, my work aims to document the raw joy and sorrow of being human. I use life drawing as well as personal experience, queer culture, marriage, motherhood, and friendships as subjects for my works. I hope to capture the transcendent pleasure found in the corporeal form, while simultaneously addressing all that paintings hold within them. It is ultimately a love affair with painting that I depict in each embrace of soft flesh or lounging figure on a lawn.

2003

BFA, California College of the Arts, San Francisco, CA Solo Exhibitions

2024

Verdant Arcadia, The Trophy Room LA, Los Angeles, CA Selected Group Exhibitions

2024

My Hollywood, gallery mariposa, Los Angeles, CA May Flowers, The Trophy Room LA, Los Angeles, CA

2023

Power, Transport Gallery, Los Angeles, CA Hoarders at Quarters, Quarters Gallery, Los Angeles, CA

2022

Flower Shop, smoke the moon, Santa Fe, NM

2021

Onward 2.0, La Luz de Jesus Gallery, Los Angeles, CA

2020

Salt & Vinegar, La Luz de Jesus Gallery,

2019

Barker Hangar, BOZOMAG, Los Angeles, CA

Los Angeles, CA

Represented by The Trophy Room LA, Los Angeles, CA

Gathering in the Woods oil on canvas, 18 x 16 inches

54

CHUNG

Joyous Day oil on canvas, 34 x 24 inches In the Meadow or Team Sports oil on canvas, 50 x 60 inches

55

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ALLI CONRAD

alli@alliconrad.com alliconrad.com @alliconradstudio

b. 1995 Raleigh, NC | lives in Los Angeles, CA Residencies

Alli Conrad is a Chinese American artist whose work focuses on both private and universal nostalgia. Her paintings often depict observed and imagined realities, freezing moments of time from personal memory to produce compositions imbued with emotionality and romanticism.

Conrad’s fascination with pastiche, sentimentality, and yesteryear symbolism derives from her own upbringing as a ‘third culture’ kid. The work comes from a rigorous method of archiving: augmenting historical photographs, journaling, and collaging. From there, a singular image arises that feels faintly distant but overwhelmingly recognizable. Cropped vignettes of fabric come alive and act as a container for indirect emotion. Repetition and an obsession with mark making envelopes the viewer and sparks an awareness of their place and time.

Through the subtle absence of human faces in her paintings, Conrad allows her audience to transport themselves into a sensorial experience of relatable tableaus, creating an endless possibility of narratives.

2022

RAMA, Lisbon, Portugal Solo Exhibitions

2024

The Four Lives, BOZOMAG, Los Angeles, CA Café Society, Steve Turner, Los Angeles, CA

2023

Altar Boy!, Août Gallery, Beirut, Lebanon Selected Group Exhibitions

2024

Gentle Glow, MINT Gallery, Munich, Germany As Friends & Partners Vol. 2, WOAW Gallery, Singapore Dreams and Reflections, Richard Heller Gallery, Los Angeles, CA

2023

Adorned Self, Sow & Tailor, Los Angeles, CA Vibrant Escape, WOAW Gallery, Hong Kong, China Represented by Steve Turner, Los Angeles, CA BOZOMAG, Los Angeles, CA

Cabeled and Wooled oil on canvas, 40 x 30 inches

58

CONRAD

Like A Sister oil on canvas, 40 x 30 inches It’s Complicated oil on canvas, 40 x 30 inches

59

60

CONRAD

61

Marvin’s Capris oil on canvas, 36 x 60 inches

62

DARREN CORTEZ

darrencortez.studio@gmail.com darrencortez.studio

b. 1994 San Francisco, CA | lives in Los Angeles, CA Selected Group Exhibitions

I imbue my paintings with a contemplative nature; the act itself of making them serves as a form of meditation. Rendered through soft brush work that slowly builds, layer by layer, and gradually shifts from dark to light, then light to dark in a repetitive cycle until form appears and a contemplative tone is attained. I use symbols as conduits for intrapersonal themes from my daily life and identity as a first-generation American.

2024

Becoming a Swan (Going Through the Veil), NOON Projects, Los Angeles, CA International Free Gaza Show, House of Gül, Portland, OR

Isy oil on canvas, 16 x 20 inches

64

CORTEZ

praying mantis oil on canvas, 16 x 20 inches

65

fish skillet oil on canvas, 14 x 16 inches 66

ARIEL DILL

arieldill.com @arieldill

b. 1976 Los Angeles, CA | lives in Los Angeles, CA Education

Ariel Dill paints abstractions that include visual occlusions, hiccups, and whorls.

Bleary shapes spread across her canvases with moments of movement or focus that imply her compositions could be entered psychically. An intuitive process leads with color and pulls from a vocabulary of forms developed during the artist’s regular drawing sessions. Dill’s paintings invite the viewer to explore her anthropomorphized imagery and revel in their slippery nature.

2006

MFA, Hunter College, New York, NY

1998

BA, Skidmore College, Saratoga Springs, NY Solo Exhibitions

2021

Four O’clocks, LADIES’ ROOM, Los Angeles, CA

2016

Cosmic Springs, Turn Gallery, New York, NY

2012

Oscillations, SOUTHFIRST, Brooklyn, NY Selected Group Exhibitions

2024

David Hammons, David Horvitz’s 7th Ave Garden, Los Angeles, CA Viewpoints 1, Starr Suites, Brooklyn, NY Roses, Printed Matter / St. Marks, New York, NY

2023

February Curation, Platform, New York, NY Generations, Brand Library & Art Center, Glendale, CA

2022

Ten Sentences, Turn Gallery, New York, NY Collections Zillman Art Museum, University of Maine, Bangor, ME

Dappled acrylic, Flashe, and pencil on canvas, 48 x 36 inches

68

DILL

69

Blue acrylic, Flashe, and ink on canvas, 11 x 14 inches Face of Leaves acrylic, Flashe, ink, and pencil on canvas, 14 x 11 inches

70

EDWARD EMERY

edgepaintings@gmail.com edwardemeryart.com @ed.g.e

b. 1999 San Francisco, CA | lives in San Francisco, CA Education

Edward Emery is a San Francisco-based painter whose work focuses on people and the scenery of everyday life in the United States. Growing up he was heavily influenced by San Francisco’s vibrant history of street art and underground comics; thus, his portraits frequently combine whimsy and storytelling with a style that oscillates between figurative realism and caricature. For himself, Emery’s work serves as a form of visual recordkeeping; it documents the various spaces in his life and the multitude of characters that inhabit them.

2022

BA, University of St Andrews, St Andrews, Scotland

2020

AA, Orange Coast College, Costa Mesa, CA Solo Exhibitions

2024

Puro Y Curado, Wrong Marfa, Marfa, TX

2023

City Folk, The Fish Tank Gallery, San Francisco, CA

Motel acrylic and gouache on wood panel, 18 x 24 inches

72

EMERY

73

Pulqueria acrylic on wood panel, 48 x 36 inches Mission BBQ gouache and acrylic on wood panel, 24 x 18 inches

74

MAYA FUJI

fuji1kenobe@gmail.com mayafuji.com @fuji1kenobe

b. 1988 Kanazawa, Japan | lives in San Francisco, CA Residencies

Maya Fuji explores cultural hybridity through her experiences of being an issei (first-generation Japanese), mixed-race woman in the United States.

Drawing upon mythology and folklore and referencing the Showa era, Heisei era, and Bay Area subcultures, she embodies the shift in tradition that she’s witnessed within her family and community after immigrating to the states.

2024

2023

Double, YOD Gallery, Osaka, Japan

Peaceful, domestic scenes of women relaxing in total comfort are common in Fuji’s paintings. Her nude figures exist communally, untethered from social norms of nakedness and shame of one’s own bodies. Like spirits, the scenes embody both joy and grief, celebration and loss, and are framed by activities and memories of a traditional Japanese household.

2022

Fujimara Tobacco Shop, SWIM Gallery,

Fuji explores the evolution of how one’s sense of identity is formed in a diasporic generation living abroad; reflecting back are the intersections of her experience as a multicultural, multinational, multiracial woman. Her paintings portray nostalgia as childhood memories, in tandem with feelings of being a foreigner in both Japanese and American communities. She contemplates how ethnically mixed people, immigrants, and children of immigrants retain practices and traditions as their habits shift and morph, often re-emerging as new ways of being.

Community Arts Stabilization Trust, San Francisco, CA Wassaic Projects, Wassaic, NY Solo Exhibitions

San Francisco, CA Selected Group Exhibitions 2024

A Life Sentence, Good Mother Gallery, Los Angeles, CA Provócame, Charlie James Gallery, Los Angeles, CA Oddkin, Hashimoto Contemporary, Los Angeles, CA Angelitos De Plata, Charlie James Gallery, Los Angeles, CA

2023

Moons, Enari Gallery, Amsterdam, Netherlands Fembot, The Hole, New York, NY Taipei Dangdai, The Hole, Taipei, Taiwan The New Contemporaries, Residency Art Gallery, Los Angeles, CA

2022

Salt Fish, New Image Art, Los Angeles, CA

A cicadas lifecycle (蝉の一生) acrylic and rhinestone on canvas, 48 x 60 inches

76

FUJI

I Wash My Rice Until The Water is Clear I acrylic and rhinestone on canvas, 40 x 30 inches Saudade・母の味 acrylic and rhinestone on canvas, 60 x 48 inches

77

78

FUJI

Love Language acrylic on canvas, 48 x 60 inches

79

Uncanny Coexistence acrylic and rhinestone on canvas, 48 x 60 inches

80

AZADEH GHOLIZADEH

azadehtree@gmail.com azadehgholizadeh.com @azadehgholizadeh

b. 1982 Tehran, Iran | lives in Seattle, WA Education

Gholizadeh’s work explores the intricate relationship between landscape and memory, delving into how absence, distance, desire, and longing influence our experiences. Employing traditional, women-centric fiber art techniques, Gholizadeh anchors her needlepoint tapestries and sculptural installations in themes of light, time, color, and memory that evoke nostalgia. The works utilize horizontal and vertical lines to form pixelated imagery, the artist reflecting on the concept of home and viewing it as fragile, inconsistent, and perspectival.

Inspired by contemporary views, her tapestries and installations evoke memories of her past life in Tehran. Natural elements like clouds, mountain peaks, and trees serve as sources of solace and refuge, awakening memories and fostering new perspectives when assembled onto landscapes. By employing architectural language and abstraction, Gholizadeh explores point of view, perspective, and scale, distilling landscapes into geometric shapes that strip away extraneous details. This process reveals the essence of memory and emotion, portraying the relationship between landscape and recollection as a path to rediscovering what we already possess.

2012

MFA, School of the Art Institute of Chicago (SAIC), Chicago, IL

2009

MA, Iran University of Science and Technology, Tehran, Iran Residencies

2023

Yaddo, Saratoga Springs, NY

2023

Twelve12 Views, University Club of Chicago,

2022

Dawn to Dusk, Goldfinch, Chicago, IL

2024

The Spaces We Call Home, DePaul Art Museum,

Solo Exhibitions Chicago, IL

Selected Group Exhibitions Chicago, IL Collections Fidelity Investments Corporate Art Collection, Boston, MA TD Bank Corporate Art Collection, Toronto, Canada Represented by Goldfinch, Chicago, IL

Fog cotton, wool, and felt on canvas mesh and wood, 77 x 63 x 3.5 inches

82

GHOLIZADEH

83

Fall superwash merino, suri alpaca, wilk, paper, and alder wood on canvas mesh, 30.5 x 27 inches

Citron Yellow wool, silk, and cotton on canvas mesh, 29 x 36 inches

84

RACHEL HAKIMIAN EMENAKER

rachel.emenaker@gmail.com rachelemenaker.com @rachelemenaker

b. 1992 Los Angeles, CA | lives in Los Angeles, CA Education

As an Armenian American raised between Suriname and Russia, I have always had to navigate the complexities of language, diasporas, migration, home, and globalization. My work utilizes traditional Eastern and Western methods of art and craft that have rich histories along global trade routes, such as textile and tile making, to further examine these ideas.

In my installations I reimagine architecture as more than just physical structures. For me, they become symbolic spaces where histories collide and erasure and migration intersect with diasporic memory, ultimately creating something that is entirely new.

2024

MFA, University of California, Los Angeles (UCLA), Los Angeles, CA Solo Exhibitions

2024

Swallowing the Sun, New Wight Gallery, UCLA, Los Angeles, CA The Mountains Carry Your Whispers, Bardwell Project Space, Biola University, La Mirada, CA

2023

We Will Dance in the Garden Again, Guest House, Inglewood, CA Selected Group Exhibitions

2023

A Room with a View, Vardan Gallery, Los Angeles, CA GLAMFA, California State University, Long Beach, Long Beach, CA

2017

25 and Under, Museum of Contemporary Art San Diego, San Diego, CA Collections Beth Rudin DeWoody

Untitled (Moscow & Kessab) batik and dye on canvas, 70 x 156 inches

86

HAKIMIAN EMENAKER

Untitled (Yerevan) batik and dye on canvas, 70 x 156 inches

87

Untitled (Los Angeles) batik and dye on canvas, 70 x 156 inches

88

WENDY HELDMANN

wendyheldmann@gmail.com wendyheldmann.com @wendyheldmann

b. 1975 Charlotte, NC | lives in Eugene, OR Education

My recent paintings that focus on the subjects of place, home, and identity sometimes include people but often do not. Figures are either affixed, occupied and distracted, within their spaces or appear to have just vacated them, leaving evidence of their absence and anticipation for their eventual return.

2001

MA, Goldsmiths, University of London, London, England

1999

BFA, San Francisco Art Institute, San Francisco, CA

1995

Hamburg University of Technology, Hamburg, Germany

This impression of someone having recently departed or one who’s about to arrive amplifies the experience of the empty spaces, which are otherwise full of detail. The paintings take as a starting point the limit of photography and use photos as a catalog of memories to allow for an extended readdressing of a moment. The vantage takes the broadest possible view of the space depicted—like an establishing shot in cinema, looking through a doorway or from a far—and cultivates a personal sensibility. The titles are often reflections on and collaborations with poetry, prose, and lyrics; they begin the telling of a story where an interior space becomes a portrait of its inhabitants.

2024

Almost Forever, Never Coffee Lab, Portland, OR

2023

All Small Stories, Ditch Projects, Springfield, OR

Solo Exhibitions

2022

End of Palette Rainbows Mural + Art Works, Tahanan Supportive Housing, San Francisco, CA

2018

Untitled, Arcana, Los Angeles, CA

2013

Fragile Kit, Marine Contemporary, Venice, CA Selected Group Exhibitions

2023

Ordinary People, Long Beach Museum of Art,

2021

Architecture of Dreams, Eugene Contemporary Art,

Long Beach, CA Eugene, OR 2012

Architectural Deinforcement: Constructing Disaster and Decay, Cerritos College Art Gallery, Cerritos College, Norwalk, CA The Janet x Janet Shop, ForYourArt, Los Angeles, CA Museum of Temporary Art, See Line Gallery, Los Angeles, CA

Mystery and Melancholy acrylic on canvas, 36 x 28 inches

90

HELDMANN

91

There’s never less, there’s always more acrylic on canvas, 38 x 28 inches Just bc you’re over it doesn’t mean it’s over yet acrylic on canvas, 24 x 19 inches

92

SKYLAR HUGHES

626.272.8730 (La Loma Projects) skylarhughes.com @skylaryphughes

b. 1986 New Britain, CT | lives in Los Angeles, CA Education

I am interested in art making as a means of embodying nature’s process of chance, change, and growth. My aim is to paint how it feels to be in nature, connected to something outside of ourselves and the confines of life’s everyday structures.

2009

BFA, Hartford Art School, Hartford, CT

2023

Walking Poem, La Loma Projects, Los Angeles, CA

My recent work focuses on terrain, division, and suggestion as visual framework for explorations into the concurrent nature of structure and temporality, fullness and emptiness, awareness and unconsciousness, limitation and possibility, and the present and what’s next.

2022

Wren in the Privet, Alias Books East, Los Angeles, CA

2019

Warm Into the Day, The LODGE, Los Angeles, CA

2018

New Torn Collage, Day Space Night, Los Angeles, CA

Solo Exhibitions

Selected Group Exhibitions 2024

Future Fair, with La Loma Projects, Chelsea Industrial, New York, NY Dream Syndication, La Loma Projects, Los Angeles, CA

2023

Please, Don’t Wake Me, Eric Schindler Gallery, Richmond, VA LAND., Merchant Modern, Venice, CA Collections Weissman Family Collection, New York, NY Night Gallery, Los Angeles, CA New Britain Museum of American Art, New Britain, CT Represented by La Loma Projects, Los Angeles, CA

Open Field with a Window 2 oil on canvas, 16 x 12 inches

94

HUGHES

Walking Poem oil on canvas, 12 x 12 inches

95

Greenie oil on canvas, 12 x 12 inches

96

RACHEL KAYE

rachelakaye.com @ray_ray_kaye

b. 1981 Mountain View, CA | lives in San Francisco, CA Education

Kaye’s work delves into the body as a dynamic environment. Through her daily drawing practice, she regards the body as fragmented elements, then reconstructs these fragments repeatedly to form new shapes and landscapes. Each shape is cataloged, creating a visual alphabet that recurs across her body of work. These drawings serve as the foundation for her paintings. Kaye seeks to balance a tension between familiarity and disorientation in her art, creating a space where the recognizable and the enigmatic coexist.

2004

BFA, California College of the Arts, San Francisco, CA Residencies

2010

The Blunk Estate, Inverness, CA Solo Exhibitions

2023

Green Flash, Sarah Shepard Gallery, Larkspur, CA

2021

Drawings from the Pacific, Sarah Shepard Gallery, Larkspur, CA Sweeping, Pt. 2 Gallery, Oakland, CA Selected Group Exhibitions

2024

WOW MOM: Making Art / Making Life, Gallery 120710, Berkeley, CA Family Shows, Blunk Space, Point Reyes Station, CA Pure Beauty, Eleanor Harwood Gallery, San Francisco, CA CULT TURNS 10, CULT, San Francisco, CA

2023

100 Hooks, Blunk Space, Point Reyes Station, CA Time is a Tangled Web, CULT, Oakland, CA

Going Home oil on canvas, 48 x 36 inches

98

KAYE

99

Firebird oil on canvas, 60 x 48 inches Mirror oil on canvas, 48 x 36 inches

100

VICTOR LEE

seunghavlee@gmail.com victorleestudio.com @victorsleepy

b. 2001 Garden Grove, CA | lives in Cerritos, CA Education

Victor Lee is a Korean American artist whose paintings act as snapshots into his personal life and surroundings. He paints images based on his own experiences and opinions he holds on life events both personal and global.

Tying his experiences as a Korean American into his paintings, Lee seeks to enter the discussion of identity. His loose strokes abbreviate the people, pets, and objects into shapes and lines, inviting the viewer into his world of abstraction.

2024

ArtCenter College of Design (ACCD), Pasadena, CA

2023

Welcome Home, ACCD, Pasadena, CA

The Blessing oil on canvas, 36 x 48 inches

102

LEE

Dinner with Friends oil on canvas, 48 x 72 inches

103

Bossam oil on canvas, 72 x 96 inches

104

MANUEL LÓPEZ

213.687.0844 (Charlie James Gallery) mnlxlpz@gmail.com @meaunl_lpoez

b. 1983 Los Angeles, CA | lives in Los Angeles, CA Education

At the moment, my practice is one that originates from drawings done via observation; I adhere to the three most classical genres—still life, landscape, and portraiture—to then turn those drawings into paintings.

I tend to refer to old memories; my works depend on certain cultural objects or markers, places or spaces, and arbitrary images in my head to inform them.

In relying on personal experiences to visually compose something, I aim to build into my paintings a connection to other people–some sort of universal, visual shared experience.

2010

BFA, School of the Art Institute of Chicago (SAIC), Chicago, IL Solo Exhibitions

2023

Stepping into the Light, Charlie James Gallery,

2022

Still Life Goes On, Charlie James Gallery,

Los Angeles, CA Los Angeles, CA Selected Group Exhibitions 2024

Dallas Art Fair, with Charlie James Gallery, Los Angeles, CA Felix Art Fair, with Charlie James Gallery, Los Angeles, CA

2023

New Landscapes Part I, Atkinson Gallery, Santa Barbara City College, Santa Barbara, CA The Angels, Baik Art, Seoul, South Korea Collections Xiao Museum of Contemporary Art, Rizhao, China Benton Museum of Art, Pomona College, Claremont, CA Represented by Charlie James Gallery, Los Angeles, CA

Interior with Diego Rivera Poster acrylic on canvas, 40 x 40 inches

106

LÓPEZ

South Central LA corner (El Mago on Fig and 97th) acrylic on canvas, 72 x 60 inches

107

My father’s white shirts (line drying) acrylic on canvas, 96 x 72 inches

108

LÓPEZ

Where do I Begin? (Books, plant, and blank paper) acrylic on canvas, 48 x 36 inches Outside of Time and Space (The stories within stories) acrylic on canvas, 48 x 36 inches

109

110

YEZI LOU

uglyz327@gmail.com yezilou.com @departurepoem

b. 1997 Wenzhou, China | lives in Los Angeles, CA Education

Lou challenges the propensities of classical oil painting with decisions as subtle as a color palette shift and as radical as her choice of subject. With a rare deftness and sensitivity, her studied eye translates the legibility of everyday life into something muddier and more opaque.

The artist sees herself not as a person animated by collective, social perceptions so much as an avatar for approximate meaning, or an object hovering in the periphery of awareness—a mass of abstract constructions conjectured always by someone else.

Lou’s gestures mimic the political act of remembering: She crops bodies and frames, zooms in on soft and curious details, and intricately, almost intimately, isolates and attends to public fixtures. The objects of Lou’s scrutiny are unflinching, while simultaneously abject; they allude to certain failures of cultural assimilation and placemaking, meshing uncomfortably in a fog of submission and assertion. Each subject idles in a trick of light, dreamlike in its ability to unsettle, disorient, and misalign, and each has forfeited the possibility of achieving full and autonomous representation.

2022

MFA, University of California, Los Angeles, Los Angeles, CA

2016

BFA, School of Visual Arts (SVA), Los Angeles, CA Solo Exhibitions

2024

Under the Surface, A/W Space, Nanjing, China The Corner of My Eye, Xela Institute of Art, Long Beach, CA Selected Group Exhibitions

2024

All Things Being Equal, Good Mother Gallery, Los Angeles, CA The Realm of Possibilities, Sasse Museum of Art, Pomona, CA

2023

Reverie Retrouvée, Unveil Gallery, Irvine, CA The MFA’s of LA, Good Mother Gallery, Los Angeles, CA

Well Done oil on canvas, 20 x 16 inches

112

LOU

The Other End of the Tunnel oil on canvas, 40 x 30 inches I’ve Never Told You That I Regret My Tattoo oil on canvas, 40 x 30 inches

113

114

LOU

115

Portrait No. 1 oil on canvas, 24 x 36 inches

116

ELIZABETH MALASKA

213.553.9190 (Wilding Cran) elizabethmalaska.com @elizabethmalaska

b. 1978 Portland, OR | lives in Portland, OR Education

Women, mothers, and Great Mother goddesses are victims of centuries of ongoing, violent patriarchal repression. Contemporary life is filled with so many images of dismembered female bodies that they have become unexceptional, accepted, and banal. In this brutality, I see a collective expression of grief and a longing for reunion with some or all aspects of Mother—be that one’s own mother, ancient divine beings, or states of oneness with all life. I paint into that longing.

My paintings explore un-male subjects—femme, trans, animal—in states (motherhood, menstruation, captivity, creativity) that mark them as unmistakably ‘other’ under a patriarchy. I seek to illuminate how these experiences complicate identity and eradicate clear boundaries between self and other, as well as to trouble the easy distinctions between contemporary, industrialized life and pre-modern, mythopoetic traditions. I see my work with the figure as a profound opportunity to engage painting’s past, while also conjuring more just, complex, and dynamic futures. It is my hope to make space for a more whole and liberated subject, both in the paintings and in the world.

2011

MFA, Pacific Northwest College of Art, Portland, OR Residencies

2024

Sitka Center for Art and Ecology, Otis, OR

2018

Yaddo, Saratoga Springs, NY Solo Exhibitions

2025

Chimeras, Wilding Cran, Los Angeles, CA

2024

All Be Your Mirror, Seattle Art Museum, Seattle, WA Selected Group Exhibitions

2022

Claiming Space, Archer Gallery, Clark College,

2021

Time Being, Oregon Contemporary, Portland, OR

Vancouver, WA

Collections Seattle Art Museum, Seattle, WA Portland Art Museum, Portland, OR Represented by Wilding Cran, Los Angeles, CA

All Be Your Mirror oil, Flashe, and pencil on canvas over panel, 78 x 120 inches

118

MALASKA

Delivered (Among the Meadow Grass) oil, Flashe, and pencil on canvas over panel, 60 x 48 inches No Place in This Garden oil, Flashe, and pencil on canvas over panel, 70 x 88 inches

119

120

MALASKA

121

Mothers Mirror oil, Flashe, and pencil on canvas over panel, 72 x 120 inches

122

NICK MCPHAIL

nickmcphail.com @nickmcphail

b. 1982 Laingsburg, MI | lives in Los Angeles, CA Education

The peripheral is at the core of my practice: what we see but do not focus on; what we overlook or take for granted. The quiet subject matter—empty streets, architecture meeting vegetation, power lines dividing the sky, dancing shadows on a wall—emphasizes the voyeuristic nature of urban life.

2006

BFA, Michigan State University, East Lansing, MI Residencies

2019

Untitled 1983, Geneva, Switzerland OCHI, Ketchum, ID

Every work begins as an observation; seen by the eye and memorialized through the lens of a camera, each image is then altered through paint.

Personal memory and intuition guide each composition, creating a duality of location between what is remembered and what is real.

100 WEST, Corsicana, TX Solo Exhibitions 2024

Channel, Maybaum Gallery, San Francisco, CA

2023

Shifting, Reynolds Gallery, Richmond, VA Entry, Massey Klein Gallery, New York, NY

2020

Windows, OCHI, Los Angeles, CA Selected Group Exhibitions

2023

Luminous Realms, Good Mother Gallery, Los Angeles, CA Painted Fired Clay, the Landing, Los Angeles, CA Summerscapes, Maybaum Gallery, San Francisco, CA

2022

Spiraling, Reynolds Gallery, Richmond, VA Architektur und Malerei, Nidus Kosmos, Düsseldorf, Germany

Hillside oil on canvas, 38 x 49 inches

124

MCPHAIL

Path oil on canvas, 40 x 30 inches Sprinkler oil on canvas, 48 x 36 inches

125

126

ADE OGUNMOWO

213.266.8672 (Good Mother Gallery) adeogunmowo@gmail.com @polo_cutty

b. 1989 Van Nuys, CA | lives in Los Angeles, CA Education

Growing up in the internet age, I was deeply immersed in the world of memes, YouTube, and viral content, all of which profoundly shaped my approach to cultural commentary. My art is a reflection of the cultural soul, blending everyday life with deeper explorations of race, inequality, and societal behaviors. Through a lens of humor, I create works that offer both relief and reflection, inviting viewers to see the world differently.

My work is about nurturing a connection and sparking conversations that matter. By addressing serious issues through a relatable, sometimes personal perspective, I aim to create a space where people can contemplate the world around them and feel less alone. My art encourages viewers to rethink the content they consume and offers my personal perspective on the complexities of our shared experiences.

2015

BFA, Academy of Art University, San Francisco, CA

2013

BA, California State University, Dominguez Hills, Carson, CA Solo Exhibitions

2023

Ode to the Fool, Good Mother Gallery, Los Angeles, CA Selected Group Exhibitions

2024

Under Pressure, CONTROL Gallery, Los Angeles, CA Angelitos de Plata, Charlie James Gallery, Los Angeles, CA Group Shoe 4, VETA, Madrid, Spain

2023

Hard Drive, Good Mother Gallery, Los Angeles, CA Represented by Good Mother Gallery, Los Angeles, CA

Merrie Melody acrylic on canvas, 36 x 24 inches

128

OGUNMOWO

129

Jimmy Eat World acrylic on canvas, 75 x 59 inches Bigen acrylic on canvas, 36 x 24 inches

130

MALAVIKA RAO

malavikarao.com @malt.liqua

b. 1994 Chennai, India | lives in Los Angeles, CA Education

My gouache paintings are glimpses into portals through time, deeply influenced by the single-point perspective and geometric architecture of Mughal miniature paintings. Through these works, I build and rebuild moments in time, revisiting the past and envisioning futures yet to unfold, in order to explore how these narratives shape my current reality.

2023

The spaces depicted in this series are often inhabited by my past selves; here I must learn to coexist with the ghosts of who I used to be. Each painting functions as a map, guiding my thoughts and actions in this world and reminding me that to be in true community with others, I must first cultivate a sense of community within myself. In this way, my work becomes a journey of reconciliation, weaving together fragments of memory and trauma to build a space of refuge where past wounds find resolution and peace.

2018

MFA, California Institute of the Arts (CalArts), Valencia, CA

2017

BA, Kalamazoo College, Kalamazoo, CA Residencies Virginia Commonwealth University, Richmond, VA Solo Exhibitions

2023

dear ponnu, CalArts, Valencia, CA

2022

Welcome Zenana, CalArts, Valencia, CA Selected Group Exhibitions

2023

Air Conditioning, New Arts Foundation, Los Angeles, CA La Conventa, The Reef, Los Angeles, CA Earth is Just a Rock, Yiwei Gallery, Cranbrook Academy of Art, Los Angeles, CA

2022

To Love and Be Loved in Return, SOMArts, San Francisco, CA My Next Incarnation, IDOLWILD Gallery, Los Angeles, CA

2018

West Michigan Area Show, Kalamazoo Institute of Arts, Kalamazoo, MI

dream house gouache on paper, 29 x 21.5 inches

132

RAO

a courtesan reads anti-national literature in her chambers gouache on paper, 12 x 8.5 inches amma’s garden gouache on paper, 12 x 8.5 inches

133

134

RAO

135

welcome to zenana (detail) acrylic on canvas, 42 x 84 inches

136

CARIS REID

carisreid.com @carisr

b. 1983 Washington, DC | lives in Los Angeles, CA Education

Caris Reid creates an ethereal, symbolic world of blooming flowers, mirrored birds, and hypnotic ripples. Influenced by her interest in mysticism, the California landscape, queer ecology, and meditation, the paintings feel both familiar and mysterious. Each subject represents the nexus between the physical world and the spiritual world; every detail is coded and ripe with meaning, inviting viewers to commune with the subconscious.

2005

BFA, Boston University, Boston, MA Residencies

2017

Wassaic Project, Wassaic, NY

2015

100 WEST, Corsicana, TX Solo Exhibitions

2022

Too Much To Dream, Over the Influence,

2017

Subrosa, Denny Gallery, New York, NY

Los Angeles, CA Healer. Feeler. Seer. Seen., OCHI, Los Angeles, CA Selected Group Exhibitions 2024

The Listening World, Louis Buhl & Co., Detroit, MI

2023

Boundless, Over the Influence, Hong Kong, China

2022

Impact: LA, Anat Ebgi, Los Angeles, CA Thaw, the Landing, Los Angeles, CA

2017

Mount of Venus, Monya Rowe Gallery, Saint Augustine, FL

Nocturne acrylic on linen, 48 x 40 inches

138

REID

Midnight Choir acrylic on linen, 40 x 30 inches We Only Bloom at Night acrylic on linen, 40 x 30 inches

139

140

MARIA RENDÓN

805.730.1460 (Sullivan Goss) maria.rendon03@gmail.com mariarendon.net @mariarendon03

b. 1965 Mexico City, Mexico | lives in Santa Barbara, CA Education

The thread that connects my paintings and works on paper is how they originate from a specific reference—such as a memory, photo, or words, yet are transformed by recollections, struggle, and the process of painting.

Sometimes the pieces assert themselves quickly, but more often they go through a good amount of uncertainty. I don’t abandon them; I step back and wait until they reveal my next move.

I believe that paint has the capacity to capture a sense of history. I want my paintings to carry the passage of time and ultimately, to be quietly powerful and open to interpretation.

2014

MFA, University of California, Santa Barbara, Santa Barbara, CA

1992

BFA, ArtCenter College of Design (ACCD), Pasadena, CA Solo Exhibitions

2024

Holy Water, Sullivan Goss Gallery, Santa Barbara, CA

2023

At Daybreak, Korea Craft & Design Foundation, Seoul,

2021

Rain, Sullivan Goss Gallery, Santa Barbara, CA

2020

But Only So An Hour, HeyThere Projects,

South Korea

Joshua Tree, CA Selected Group Exhibitions 2024

IdentificarX, ACCD, Pasadena, CA

2023

Cartographies of Images in Exile, ScandiLa x Artbug, Konsthallen ABC, Stockholm, Sweden

2021

Bio/Mass: Contemporary Meditations on Nature,

2017

espacio entre/entre espacio, SUR:biennial, Río Hondo

California Nature Art Museum, Solvang, CA College Art Gallery, Los Angeles, CA Represented by Sullivan Goss, Santa Barbara, CA HeyThere Projects, Joshua Tree, CA

Y que venga la calma acrylic and Flashe on panel, 36 x 24 inches

142

RENDÓN

143

Light Landing acrylic and Flashe on panel, 12 x 16 inches Luna acrylic and Flashe on panel, 9 x 12 inches

144

LEAH ROSENBERG

leahrosenberg.com @leahmartharosenberg

b. 1979 Ann Arbor, MI | lives in San Francisco, CA Education

Color is my primary medium. I start each project by developing a ritualized process of what I call “color collecting.” Then, I use these collected colors to create dialogues between viewer and artist, time and place, and past and present. The specific color choices for my collections are based on my consideration for local and social histories, built and natural environments, and the conversations and stories shared among the community. I use these location-based palettes to create dynamic, abstracted representative portraits of a place.

The process of finding, displaying, and calling attention to colors has become a primary way I seek to cultivate empathetic engagement. I make things in many forms, from paintings and experiences with food to site-specific installations and public art activations. No matter the scale or context, I hope to make a lasting impact on people’s perception of the worlds around them.

Amid growing social tensions and extreme injustices, I aim to create spaces for remembering the vital roles that color, nature, and community play in shaping our consciousness and in fostering shared memories.

2008

MFA, California College of the Arts, San Francisco, CA

2003

BFA, Emily Carr University of Art + Design, Vancouver, Canada Residencies

2023

Sointula Art Shed, Sointula, Canada

2022

The Harker School, San Jose, CA Solo Exhibitions

2024

When One Sees a Rainbow, Contemporary Jewish Museum, San Francisco, CA Outside In, San Luis Obispo Museum of Art, San Luis Obispo, CA Selected Group Exhibitions

2022

Processing Harmony, Sarah Shepard Gallery, Larkspur, CA We’ve Been Here Before, Romer Young Gallery, San Francisco, CA Collections San Francisco Museum of Art, San Francisco, CA Montage Health Foundation, Monterey, CA

Imperfect Rhyme oil and acrylic on linen, 72 x 120 inches

146

ROSENBERG

Table of Contents oil and acrylic on linen, 18 x 18 inches

147

Spotlight oil and acrylic on linen, 60 x 60 inches

148

IZIK SAHAGÚN

izik.sahagun@gmail.com @iziksahagun

b. 1986 Jalisco, Mexico | lives in Vallejo, CA Education

My body of work is informed by a curiosity of disparate worldviews and by questioning those of my own. I often think of myself as an anthropologist observing human behaviors, studying the past, and uncovering patterns. In the process, it all inevitably leads me to have broader questions about my Catholic upbringing and mortality. Although I never discovered any answers, I often find absurdity and humor along the journey, which becomes the basis for much of my work. I use painting as a method to document these thoughts and realizations.

2015

BFA, Sonoma State University (SSU), Rohnert Park, CA Solo Exhibitions

2017

A Day in the Life, El Comalito Collective, Vallejo, CA Selected Group Exhibitions

2017

A Space of Resistance, Diablo Valley College, Pleasant Hill, CA Art from the Heart, SSU, Rohnert Park, CA

2015

7th Annual 50|50 Show, Sanchez Art Center,

2014

Salon at the Triton, Triton Museum of Art,

Pacifica, CA Santa Clara, CA Soapbox, Berkeley Art Center, Berkeley, CA Red Dot: Emerging Artists, Healdsburg Center for the Arts, Healdsburg, CA

Argonaut oil on paper, 5.5 x 7.5 inches

150

SAHAGÚN

La Virgen and I oil on paper, 5.5 x 7.5 inches

151

Que Jesús, María, y José te acompañen oil on paper, 5.5 x 7.5 inches

152

ARVIE SMITH

312.243.2129 (Monique Meloche Gallery) @arviesmithartist

b. 1938 Houston, TX | lives in Portland, OR Education

In an artistic career that spans more than four decades, Arvie Smith transforms the history of oppressed and stereotyped segments of the American experience into lyrical, two-dimensional master works. His paintings use common psychological images to reveal deep sympathy for the dispossessed and marginalized members of society in an unrelenting search for beauty, meaning, and equality.

Smith’s work reflects powerful injustices and the will to resist and survive.

His memories of growing up in the Jim Crow South add to his awareness of the legacy that the slavery of African Americans has left with all Americans today. His intention is to solidify the memory of atrocities and oppression so they will be neither forgotten nor duplicated.

1992

MFA, Maryland Institute College of Art, Baltimore, MD

1985

BFA, Pacific Northwest College of Art, Portland, OR Residencies Guggenheim Foundation Memorial, New York, NY Solo Exhibitions

2022 2021

Call and Response, Monique Meloche Gallery, Chicago, IL Scarecrow, Hallie Ford Museum, Willamette University, Salem, OR

2019

2Up and 2Back, Disjecta Contemporary Art Center,

2017

APEX, Portland Art Museum, Portland, OR

Portland, OR

Selected Group Exhibitions 2023

Black Artists of Oregon, Portland Art Museum, Portland, OR Collections Delaware Art Museum, Wilmington, DE Hallie Ford Museum, Willamette University, Salem, OR Represented by

Monique Meloche Gallery, Chicago, IL

Hymn to Black Venus oil on canvas, 72 x 60 inches

154

SMITH

Manumissions oil on canvas, 68 x 120 inches Fine Sugar Hill oil on canvas, 72 x 60 inches

155

156

ELIZABETH COERT SOUZA

elizabeth.elizartist@gmail.com elizabethcoertsouza.com @elizabethsouzaartist

b. 1957 Utrecht, The Netherlands | lives in Newbury Park, CA

Through my work, I tell stories that trace connections following a maternal line, rather than the patriarchal one that was forced on me by mainstream history. I use various means to manipulate images from my personal and cultural archives to draw cosmic connections that resonate within. Oil painting, collage, textiles, and printed layers intermingle, obscuring and revealing recurring elements that suggest history, migration, and transformation. It is my attempt at rematriating the timeline and tracing an alternative point of view previously erased by the process of colonialism.

The stories I imagine aren’t ones in which documentation reassures cultural memory. Instead, fantasy, women’s postures, faces, and half sentences too embarrassing to be uttered aloud populate my work. My paintings transform shame into vulnerability as I grapple with memories on the brink of erasure. It is meant to function as Herstory and acts as a personal mythology, restoring a balanced interpretation both intellectually and spiritually.

Education 2023

MFA, California State University, Northridge (CSUN), Northridge, CA Residencies

2024

Studio Channel Islands, Camarillo, CA Solo Exhibitions

2023

Whispered Stories, Moorpark College Art Gallery,

2022

Native-Indo-Pure, Shed Gallery, CSUN, Northridge, CA

Moorpark, CA

Selected Group Exhibitions 2024

LA Open, TAG Gallery, Los Angeles, CA

2023

Graduate Exhibition, Main Art Gallery, CSUN, Northridge, CA Accountability, Responsibility, and Sustainability, GLAMFA 23, CSULB SOA Art Galleries, Long Beach, CA Collections University Student Union, CSUN, Northridge, CA

Mitochondria all the Grandmothers, Mothers and Daughters oil, batik fabric, embroidery, and photo transfer, 48 x 35 inches

158

SOUZA

Batavia Jakarta oil, 48 x 36 inches

159

3 Muses oil collage with batik fabric, 30 x 24 inches

160

YUWEI TU

yuweitu.com @yuweitu

b. 1995 Sichuan, China | lives in Los Angeles, CA Education

I am interested in articulating the nuance and complexity of our interior worlds compared to those visible and exterior through oil painting. Using delicate and precise language, my work explores human conditions of love, loss, loneliness, and longing. Often via self-portraiture, my layered paintings study the relationships between individuals and identities—the ones society imposes upon us and those we create for ourselves. My practice is informed by personal experiences and reflections guided by my interests in psychology and Zen Buddhism. These readings and philosophies influence not only my practice but the way I navigate life as a whole. Through my work, I hope to create a visual translation of the intricacies of our fragile, yet resilient psyches as I seek to better understand myself and the world around me.

2017

BBA, University of Notre Dame, South Bend, IN Solo Exhibitions

2024

Wherever Your Mother’s Shadow Falls, Rusha & Co, Los Angeles, CA Selected Group Exhibitions

2024

After Hours, IRL Gallery, New York, NY Whose Muse?, Palo Gallery, New York, NY Sitting and Looking, Rusha & Co, Los Angeles, CA

2023

ModPortrait, European Museum of Modern Art, Barcelona, Spain High Maintenance, tchotchke gallery, New York, NY Oracle, de boer, Los Angeles, CA

Self-Portrait of a Daughter oil on ACM panel, 12 x 9 inches

162

TU

Week-old Lilies oil on ACM panel, 20 x 16 inches

163

Whenever Your Mother’s Shadow Falls oil on ACM panel, 14 x 11 inches

164

TU

Joker oil on ACM panel, 14 x 11 inches Already Behind Us oil on ACM panel, 20 x 16 inches

165

166

MIA WEINER

mia.weiner@gmail.com miaweiner.com @miaweiner

b. 1991 Chicago, IL | lives in Los Angeles, CA Education

Mia Weiner’s tapestries beckon the viewer into a realm where mythology intertwines with contemporary discourse on gender and femininity, inviting them to question and reimagine the world in which we live. Her research focuses on the way the body has been represented in art history and in particular, how female subjects have often been depicted as objects. How do we shift that gaze, that power dynamic, that narrative?

Beginning with photographs she stages of friends and models (often alongside her own body), Weiner digitally converts the image into matrices of pulsating weave patterns. As she handweaves each work, each pixel becomes a crossing of threads, and the figure begins to appear in the form of tapestry. Mostly monochromatic, the works sometimes make unexpected shifts in color or include the visual markers or glitches of production. These glitches and breaks in image become moments for queerness to seep into the cloth and find a new point of access and intimacy.

2020

MFA, School of the Art Institute of Chicago (SAIC), Chicago, IL

2013

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

2024

Unseen, Homecoming Gallery, Amsterdam, Netherlands

2023

Sirens, T293, Rome, Italy

2022

Foreplay, OCHI, Los Angeles, CA Selected Group Exhibitions

2024

Victoria & Albert Parasol Foundation Prize Exhibition, Copeland Gallery, Peckham 24, London, England Prelude, MAMA Projects, New York, NY

2023

Variations on a Theme, Anat Ebgi, Los Angeles, CA

the trees remind me of your softness handwoven cotton, acrylic, silk, dye, crystal, and 14k gold pendants, 35 x 23.5 inches

168

WEINER

169

5:55 (a flash of heat) handwoven acrylic, cotton, paper, silk yarn, raw ruby, and 14k gold pendant, 43 x 69 inches the bathers handwoven acrylic, cotton, and silk, 79 x 130 inches

170

EMILY WISE

emelizwise@gmail.com @emily_elizabeth_wise

b. 1988 Baltimore, MD | lives in Portland, OR Education

Inspired by myth-making and the relationships women build with themselves and each other, Wise uses the act of painting as a way to imagine, explore, and interrogate the existence of a sacred feminine space. Bursting with an electric palette of lush, perhaps imagined botanicals, bodies, and landscapes, her paintings explode with dizzying layers of detail aimed at accessing invisible realms through familiar forms. In each body of work, Wise weaves a surreal, overarching narrative as the viewer follows her protagonists on their journey of self through otherworldly terrain.

2015

BFA, Pacific Northwest College of Art, Portland, OR Solo Exhibitions

2024

You Too Will Become a Dove on Fire, Simard Bilodeau Contemporary, Los Angeles, CA Hair of the Banshee, Chefas Projects, Portland, OR

2023

Hands that Hold the Melting Rope, Chefas Projects, Portland, OR Solo Exhibitions

2024

Toi Moi Nous, Simard Bilodeau Contemporary, Los Angeles, CA Future Fair, with Simard Bilodeau Contemporary, New York, NY

2023

Friend of a Friend, Carnation Contemporary, Portland, OR Represented by Chefas Projects, Portland, OR

Same Moon acrylic and Flashe on canvas, 30 x 40 inches

172

WISE

173

Wake Me Up When We Get There acrylic and Flashe on canvas, 40 x 60 inches The Sun Sets on Everybody Baby acrylic and Flashe on canvas, 40 x 60 inches

174

RACHAEL ZUR

hello@rachaelzur.com rachaelzur.com @rachaelzur

b. 1980 Albany, OR | lives in West Linn, OR Education

Traces of us linger in the physical world, even in our absence. There is an evocative nature to domestic objects and spaces; items within homes hold the residual energy of lives once lived after those people are gone. My work depicts ordinary objects from living rooms that hold the remaining radiance and tenderness of the departed.

I work with materials that have weight to them to ground ephemeral concepts into an artwork that is physically solid. The work holds the ideas and feelings that are light and nearly impossible to contain—similar to homes’ capacity for holding the lingering domestic presence of a long gone former resident. Contour lines move across the surface of the works like phantoms; other times a contour line defines the edge of a work—articulating a wing or hand—as a fully present body.

2019

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

2024

Hours After Winter, Carnation Contemporary,

2021

Haunt, Stone House Art Gallery, Charlotte, NC

2020

Artifacts of Affection, Gallery 114, Portland, OR

Portland, OR

Selected Group Exhibitions 2023

No Bummer Summer Sampler, Museum of Museums, Seattle, WA Home Works, CHART, New York, NY Homemaker, Archer Gallery, Clark College, Vancouver, WA

2022

Painting at Night, Collar Works, Troy, NY

2021

Artworks Northwest Biennial, Umpqua Valley Arts Association, Roseburg, OR What’s Different?, SOIL, Seattle, WA

Final Rights of Passage (3) wood, plaster gauze, resin, acrylic paint, acrylic molding paste, spray paint, crackle paste, and burnt fabric, 97 x 49 x 3.5 inches

176

ZUR

Astronomical Living Room wood, plaster gauze, fabric, resin, acrylic, acrylic molding paste, hot glue, silver leaf, and spray paint, 25 x 35 inches

177

Hours After Winter II plaster gauze, wood, acrylic, spray paint, resin, crackle paste, and burnt fabric, 30 x 37 inches

178

Day p188

EDITOR’S SELECTIONS

Artists are presented in alphabetical order.

Artist biographies have been edited to prioritize recent highlights.

Pricing Guide can be found on p203.

EKTA AGGARWAL

ektaaggarwal.net @e.aggarwal

b. 1978 New Delhi, India | lives in Los Angeles, CA Education

As the base of my paintings, I use khadi, an initiative of Mahatma Gandhi to resist the oppressive and exploitative British rule. Gandhi urged Indian people to spin their own cloth in order to make the country more self-reliant in the manufacturing of cloth, an alternative to the imposition of machinemade fabric from the British Mills.

2018

MFA, California Institute of the Arts, Valencia, CA

2013

MA, Chelsea College of Arts, London, England

2022

Josef & Anni Albers Foundation, Bethany, CT

I make paintings with scrap fabric that I have collected over the years.

Stitching small pieces in repetitive patterns to make textile works, I also embroider khadi to make paintings. I am drawn to hand work, like stitching and embroidery, as it is a signifier of domestic work, yet at the same time it provides women with skills that can be used for self-empowerment.

2018

Bemis Center for Contemporary Arts, Omaha, NE

The process of making these textile works is very labor intensive. I employ women from low income backgrounds near my home in Delhi to assist in making them. For these women, stitching and embroidering together means not only employment but financial independence as well.

Residencies

Solo Exhibitions 2024

Stitches of Care, Emma Gray HQ, Santa Monica, CA

2022

Time Travel, Emma Gray HQ, Santa Monica, CA

2024

Contemporary Asian American Abstraction, Paul

2023

The Feminist Art Program (1970-1975): Cycles of

Selected Group Exhibitions Thiebaud Gallery, San Francisco, CA Collectivity, REDCAT, Los Angeles, CA Collections City of Hope Orange County, Irvine, CA

Rupture small pieces of scrap fabric sewn on khadi (handspun cotton), 48 x 48 inches

182

AGGARWAL

Pieces of the Past: II pieces of scrap fabric sewn on khadi (handspun cotton), 36 x 36 inches Solitude small pieces of scrap fabric, half circles appliqued on Khadi (handspun cotton), 48 x 48 inches

183

184

HEATHER DAY

heatherday.com @heatherday

b. 1989 Honolulu, HI | lives in Joshua Tree, CA Education

Heather Day is an artist whose paintings build on the traditions of abstract expressionism to explore overlapping themes of sensory perception, memory, and elements of the natural world.

2012

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

Day builds vast inventories of painted forms that are taken apart, rearranged, and sewn back together in a concert of opposing forces and color fields. This counterproductive process embraces our limited control over chaos and draws the viewer in through rhyming lyrical gestures and harmonizing fields of pigment.

Her paintings, both in form and in color, are meant to challenge our expectations of the everyday experience and encourage the viewer to meditate on their own personal histories. How does the sound of a grating branch in the wind translate to an errant mark? How does a vibrating, painted wash capture raking light in the moments before sunset? This exploration seeks to push boundaries and evoke contemplation about the dynamic relationship between the tangible and the abstract.

2020

Fort Wayne Museum of Art, Fort Wayne, ID

2019

Vermont Studio Center, Johnson, VT Solo Exhibitions

2024

Liminal Spaces, KÖNIG GALERIE, Berlin, Germany A Moving Window, Almine Rech, Paris, France

Selected Group Exhibitions 2024

Abstract Perspectives, Berggruen Gallery, San Francisco, CA Halfway Sanity, The Pit, Los Angeles, CA

Turning Sky No. 2 mixed-media on canvas, 56 x 47 inches

186

DAY

Winnowing Wind mixed-media on canvas, 56 x 72 inches

187

Vanishing Blue mixed-media on canvas, 52 x 72 inches

188

YI GAO

carrot1987@g.ucla.edu @_yi__

b. 1987 Nanjing, China | lives in Alhambra, CA Education

Yi Gao adopts an experimental approach to transcend conventional boundaries and power structures. She employs color, rhythm, and repetition to create movement and evoke profound emotional responses. Her medium serves as a vessel preserving the experience of migration across multiple dimensions.

2023

MFA, University of California, Los Angeles (UCLA), Los Angeles, CA Solo Exhibitions

2019

Meet Elsewhere, LAN Gallery, Shenzhen, China Selected Group Exhibitions

2024 2023

Seeking Light, Bridge Arts Foundation, San Gabriel, CA Salamanders Use the Stars to Find Their Way Home, LADIES’ ROOM, Los Angeles, CA 2023 MFA Thesis Exhibition, with UCLA, The Mistake Room, Los Angeles, CA MFA Thesis Exhibition, New Wight Gallery, UCLA, Los Angeles, CA

2022

Get Back/Get Out, Reena Spaulings Fine Art,

2017

Works on paper, Connoisseur Art Gallery,

2016

Mid-Autumn Dreams, Connoisseur Art Gallery,

Los Angeles, CA Hong Kong, China Hong Kong, China

Banks03 Chinese pigments, acrylic, and ink on rice paper, 50 x 48 inches

190

GAO

191

Islands Chinese pigments, acrylic, and ink on rice paper, 72 x 73 inches Passages01 Chinese pigments, acrylic, and ink on rice paper, 50 x 48 inches

192

JAMIE L. LUOTO

+44 0203.904.6349 (Kristin Hjellegjerde Gallery) info@jamieluoto.com jamieluoto.com @jamie_luoto

b. 1987 St. Cloud, MN | lives in Healdsburg, CA Selected Group Exhibitions

My ongoing body of painted self-portraits and still lifes offers first-person perspectives into a survivor’s account that creates a deeply intimate encounter between artist, subject, object, and viewer. I illuminate the lasting psychological impact that repeated sexual trauma has on an individual. The #MeToo movement exposed the breadth of sexual violence; this work reveals the depth of impact these acts, and the accompanying dismissal, disbelief, and shaming of them has had on the victims.

In my practice I explore my psyche around experiences with complex posttraumatic stress disorder (C-PTSD), blurring the line between external presentation and internal reality to show the unseen injuries of sexual trauma that invade and haunt my mind and body. Symptoms such as flashbacks, nightmares, dissociation, and intrusive thoughts and images are suggested using mirrors, portraits within portraits, and phallic forms. Using the visual language of European masterworks, I manipulate the familiar to reframe classic imagery and narratives. The body of work seeks to actualize an experience akin to the inescapability of living in a body haunted by sexual trauma.

2024

The Armory Show, Kristin Hjellegjerde, London, England When Dusk Falls, Kristin Hjellegjerde, Berlin, Germany Mirror, Mirror, Kristin Hjellegjerde, London, England EXPO Chicago, with Kristin Hjellegjerde, Navy Pier’s Festival Hall, Chicago, IL

2023

The de Young Open, de Young Museum,

2022

True North, di Rosa Center for Contemporary Art,

San Francisco, CA Napa, CA Stories from My Childhood, Northern Illinois University Art Museum, DeKalb, IL Collections Green Family Art Foundation, Dallas, TX Represented by Kristin Hjellegjerde, London, England; Berlin, Germany; West Palm Beach, FL

At the Event Horizon oil on linen, 36 x 48 inches

194

LUOTO

They Make Us What We Were Not oil on linen, 28 x 21 inches The Black Fell Open oil on linen, 80 x 60 inches

195

196

LUOTO

197

There is Shadow Under the Golden oil on linen, 36 x 72 inches

198

SOL SUMMERS

+44.7971.924322 (Carl Kostyál) solsummers.com @solsummers

b. 1996 Portland, OR | lives in Los Angeles, CA Education

Sol Summers emerges from the sun-soaked landscapes of Los Angeles, wielding a palette that mirrors the vibrant hues of the American West. His energetic landscapes focus on the desert and the spiritual transformations it symbolizes.

In his work he aims to transcend mere representation, seeking instead to capture the feeling of being completely immersed—and subsequently lost—in nature.

“Good art,” says Summers, “is undeniable, like a nuclear siren. It’s an alarm meant to wake us up from the slumber of almost living.”

2015

Rhode Island School of Design, Providence, RI Selected Group Exhibitions

2023

Hat Trick, Rusha & Co, Los Angeles, CA Moments, Long Beach Museum of Art, Long Beach, CA

2022

City Lights, Albertz Benda, Los Angeles, CA 1969 Gallery x Albertz Benda, Albertz Benda, Los Angeles, CA Represented by Carl Kostyál, London, England

Hymn oil on canvas, 60 x 36 inches

200

SUMMERS

201

Cactus at Dusk oil and acrylic on canvas, 77 x 63 inches Awakening oil on canvas, 60 x 48 inches

202

PRICING GUIDE New American Paintings is not intended to be a catalog of offerings per se, but, given that many of our readers are collectors, it has been a tradition to offer pricing information for the artists included in each issue. The ranges published below offer guidance as to the current retail pricing for each artist’s work. Works reproduced herein may or may not be available for acquisition. For information on a specific work, we encourage you to reach out to the artist and/or gallery via the contact information provided in each artist’s spread.

The pricing of artwork is, perhaps, the most enigmatic component of the art market. For artists who have a record of secondary market sales that the public can easily view, arriving at an appropriate price point becomes somewhat easier. For emerging artists, such as the majority of those featured in New American Paintings, determining price points can involve a number of considerations, including: the scale and medium of a work; an artist’s exhibition history and the collections in which their work is held; and an artist’s educational background. Layered on top of these factors is the subjective notion of an artwork’s perceived “quality.” All of these elements will ultimately determine the demand for a given artist’s work and help inform pricing.

203

MIGUEL ARZABE

ARIEL DILL

YEZI LOU

ELIZABETH COERT SOUZA

p15–20 $15,800–$45,000

p67–70 NFS

p111–116 NFS

p157–160 NFS

KELLY BJORK

EDWARD EMERY

ELIZABETH MALASKA

YUWEI TU

p21–26 NFS

p71–74 $1,000–$5,000

p117–122 $14,000–$30,000

p161–166 NFS

MELINDA BRAATHEN

MAYA FUJI

NICK MCPHAIL

MIA WEINER

p27–30 $10,000–$16,000

p75–80 NFS

p123–126 NFS

p167–170 POR

IONE BLEU BUSTOS

AZADEH GHOLIZADEH

ADE OGUNMOWO

EMILY WISE

p31–36 $700–$9,000

p81–84 $3,500–$24,000

p127–130 $4,500–$7,000

p171–174 NFS

J. CARINO

RACHEL HAKIMIAN EMENAKER

MALAVIKA RAO

RACHAEL ZUR

p37–42 $6,500–$15,500

p85–88 NFS

p131–136 $1,000–$10,000

p175–178 NFS

ANDREA CASTILLO

WENDY HELDMANN

CARIS REID

EKTA AGGARWAL

p43–48 $3,000–$10,000

p89–92 $2,400–$3,600

p137–140 NFS

p181–184 $6,500–$8,000

SRIJON CHOWDHURY

SKYLAR HUGHES

MARIA RENDÓN

HEATHER DAY

p49–52 NFS

p93–96 POR

p141–144 $1,800–$9,500

p185-188 NFS

VIVIEN EBRIGHT CHUNG

RACHEL KAYE

LEAH ROSENBERG

YI GAO

p53–56 $2,000–$10,000

p97–100 $1,800–$12,000

p145–148 $1,500–$30,000

p189–192 $5,000–$15,000

ALLI CONRAD

VICTOR LEE

IZIK SAHAGÚN

JAMIE L. LUOTO

p57–62 NFS

p101–104 $2,000–$10,000

p149–152 POR

p193–198 POR

DARREN CORTEZ

MANUEL LÓPEZ

ARVIE SMITH

SOL SUMMERS

p63–66 $900–$2,800

p105–110 NFS

p153–156 POR

p199–202 NFS

SARAH MCENEANEY April 4 - May 17, 2025

STEVEN ZEVITAS GALLERY

450 Harrison Ave. #47, Boston

+1 617 778 5265

stevenzevitasgallery.com

moniquemeloche celebrating 25 years

25!

April 5-May 23, 2025 Luke Agada Candida Alvarez Arocha-Schraenen Sanford Biggers Antonius Tín-Bui David Antonio Cruz Brendan Fernandes Dan Gunn Sheree Hovsepian Rashid Johnson Lavar Munroe Ben Murray Maia Cruz Palileo Ebony G. Patterson Cheryl Pope Karen Reimer Joel Ross David Shrobe Arvie Smith Jake Troyli Nate Young

moniquemeloche.com Chicago

$25