New American Paintings South Issue #172

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CONTENTS

7

EDITOR’S NOTE Steven Zevitas

9

COMMENTS Michael Wilson, Writer & Critic

11

NOTEWORTHY Juror’s and Editor’s Picks

13

JUROR’S SELECTIONS South Review 2023

171

EDITOR’S SELECTIONS South Review 2023

195

PRICING GUIDE Asking prices for selected works

172

Peñafiel p120

Jun/Jul

EDITOR’S NOTE

Firstly, I want to thank the artists included in Issue #172 and our subscribers for their patience with our delayed release schedule. We have essentially been off schedule since the heydays of COVID-19 and fighting to right the ship. I am well aware that this has caused a great deal of confusion with our audience, and although we have done our best to communicate with artists and subscribers over the past three years, the situation has been far from ideal. I am happy to say that we expect to be back on our normal release schedule by year’s end.

a scheduling conflict, Michael once again generously offered to step in a contribute an essay that sets the tone for Issue #172. I have worked with many writers over the years, but I am consistently amazed by Michael’s text. In his essay, he keys in on how many featured artists draw upon personal memory and experience to address a variety of expanded issues.

His thoughts and observations are well worth the read.

Issue #172 was juried by Jennifer Inacio, Associate Curator at the Perez Art Museum in Miami, FL. Her selections are reflective of her own predilections, but also tell us a lot about the history and culture of the South. I have commented on this numerous times over the years, but every time we re-engage with the South, I am struck by the unique character of the work produced there. Even in a time when we are all thinking “globally,” artists based in the South seem to tap into something unique to their region, both in terms of the subjects they choose to address and the ways in which they choose to address them. There is an immediacy and directness to much of the work you will find in the pages herein; put another way, many of the featured artists seem to privilege direct experience above conceptual maneuvering.

Steven Zevitas Publisher & Editor

We have been fortunate enough to work with independent critic, writer and curator Michael Wilson on numerous occasions over the years. Because of

7

Enjoy the issue!

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HANNAH RUST

8

COMMENTS

MICHAEL WILSON Writer & Critic

The question of scale has always been an important part of the business of both making and viewing paintings and drawings. Beyond straightforward considerations of size, however, ideas about how the isolation and exploration of specific, outwardly modest phenomena might intersect with and inform our perspectives on the wider world also come into play. Critical to the practices of many of the artists represented in this issue of New American Paintings are juxtapositions between personal memory and experiences with larger, overarching conditions and conflicts.

Justin Tyler Bryant, for example, here employs the ideas and aesthetics of cosmology—if cosmology can be said to have aesthetics, that is— to characterize the Black experience. While the paintings themselves, relatively small and possessed of a certain sweetness evocative of children’s book illustrations, appear modest, Bryant’s layering of cultural and historical references over images of the heavens produces a surprisingly expansive, even epic result in which different narratives collapse into one another like supermassive stars imploding into black holes.

For Lindy Cook, it is the small, quiet, often uncommunicated moments of childhood that continue to color the present day and the contemporary world at large. Although few experiences can be characterized as truly universal, the feelings evoked by early encounters with fabric surely come close; and Cook remembers with fondness the blanket forts

9

common to many infancies, the look and homey feel of sheets on a washing line. In addition to drapery’s formal qualities—i.e. the ways in which it acts as a vessel for endlessly mutable patterns of light and shade—the material has been a key formal and symbolic component of painting for hundreds of years, often used to accentuate the human form, to create drama, and/or to underscore the status of a portrait’s subject. Again, this is something intimately human that is shown to play a part in a shared social and cultural narrative.

Personal memory also informs the work of Leticia Sánchez Toledo, but here it intersects with imagery derived from films and photographs in an accessible exploration of womanhood. Using atmospheric color to accentuate her scenes’ aura of nostalgic introspection, Sánchez Toledo pictures her subjects alone but with hints to a variety of offstage connections and breaks. In the work on paper “Study Between Blue,” a woman sits by a kitchen window, gazing mournfully at the viewer as she clutches a telephone receiver; we are left to reconstruct the conversation she has just had or has yet to begin. The subject of “Some Body That I Used to Know” sits unaccompanied at a restaurant table with two place settings, half the composition occupied by a bleak, wintery landscape outside the large window to her right. The panoramic view underscores the scene’s cinematic feel, its sense of internal and external dramas playing out in parallel, private, and public lives divided by the thinnest of barriers.

“Crtical to the practices of many of the artists represented in this issue...are juxtapositions between personal memory and experiences with larger, overarching conditions and conflicts”

In other artists’ works the discourse of scale is embodied by more explicit interactions between notions of culture and environment.

Christina Pettersson’s drawings focus on the landscapes that surround her home in Miami, mapping in sublime detail the often fraught meeting of “wild” nature and human intervention. The sheer visual intensity of works such as “Canaveral National Seashore,” in which an antique, burnt-wood frame surrounds an intricate charcoal drawing of tangled tree branches, immerses the viewer in a world that finds routes to survival and growth under even the toughest of circumstances. Many things are weighed and balanced against one another in these striking works: realism and romanticism; the organic and the artificial; the existing order of a place and the ways in which we have attempted to bend it to our will.

Meris Drew, too, is intimately familiar with the swamps of Florida and recognizes their unique mystery and volatility in images that embody the entropic quality of tropical growth and decay. Characterizing her project as “an inquiry into not just how the earth appears, but what potential lies within it, what it means, and what we will make of it,” Drew depicts a landscape that ebbs and flows according to conditions not only of climate, but also those of human society and interpretation; she recognizes landscape as something that seems to expand and contract according to the status we afford it within systems of ideas and interpretations, as well as within conditions of ecological interdependence. Thus,

the visual closeness to pure abstraction in paintings such as “pond” and “the listener” only underscores their outwardly humble subjects’ vital role in an enduring planet.

Finally, Ernesto Gutiérrez Moya traces his fascination with the intersection of landscape and human culture in the form of architecture to his upbringing in Cuba and the subsequent relocation he frequently experienced. Pushed from space to space by changes to his surroundings, Gutiérrez Moya acquired an enduring flexibility but has never left his sense of curiosity behind. The imaginary sites that he pictures are based on gardens he has visited, and their juxtapositions of built and grown components again position scale as a critical ingredient.

The dimensions, location, and significance of the features in paintings such as “The Dome” and “Untitled Fountain” are difficult to fix as the subjects seem to fluctuate between microcosmic and macrocosmic realms, yet their sheer presence is undeniable. Like memories set loose from their original contexts, they embody an experience of time and motion that remains applicable, even when we don’t quite know where we’ve ended up.

Bryant Cook Drew

p22 p30 p39

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NOTEWORTHY

JUROR’S PICK: MASON OWENS

p113

Owens’ light bathed paintings are resolutely contemporary, yet deeply connected to the intimism found in the work of artists such as Matisse and Bonnard. After receiving a BFA in 2013, Owens went on to work as a farmer, gardener and landscaper for the next seven years; his day to day experiences during those years permeate his work. It is a simple truth that all of our lives are made up of a countless number of discrete moments, some wildly memorable and most routine. In Owens’ work, the everyday is elevated to the memorable. His paintings ask us to pause, contemplate and revel life’s underappreciated moments.

EDITOR’S PICK: ROSCOE HALL

p173

Hall, a self-taught artist, produces work that has absolutely zero pretense. As someone who looks at a tremendous amount of artwork on an annual basis, much of it produced by artists who have gone through substantial formal training, it is refreshing to come across work that is so unabashedly instinctual in both its facture and content. Hall is well aware of the racial divisiveness that has plagued his native South, and his paintings reference and remix certain narratives buried in Black American culture. For me though, Hall’s paintings are not overtly political…they are about building community, inclusiveness and joy.

SELECTED ARTISTS: SOUTH REVIEW 2023

JUROR: JENNIFER INACIO ASSOCIATE CURATOR, PEREZ ART MUSEUM, MIAMI, FL

JUROR’S SELECTIONS: DENNA AMEEN JUSTIN TYLER BRYANT GABINO A. CASTELÁN LINDY COOK MOREL DOUCET MERIS DREW MATTHEW FOREHAND AHMAD GEORGE SHULING GUO ERNESTO GUTIÉRREZ MOYA RONNA S. HARRIS MIRO HOFFMANN FATEMEH HOSSEINI RISA HRICOVSKY MONICA IKEGWU MARCUS JANSEN ALEXA KLEINBARD KHÁNH H. LÊ LUCY LUCKOVICH CARA LYNCH JIHA MOON MASON OWENS EDISON PEÑAFIEL CHRISTINA PETTERSSON BEVERLY RESS DONALD ROBSON LETICIA SÁNCHEZ TOLEDO BEN STEELE DENISE STEWART-SANABRIA NORA STURGES ADIRA THARAN MARLON TOBIAS PALOMA VIANEY ANTOINE WILLIAMS ADAM GABRIEL WINNIE

EDITOR’S SELECTIONS:

ROSCOE HALL DANIELLE MYSLIWIEC TJ RINOSKI MATT “SEVEN” RYAN AMELIE WANG

Sánchez Toledo p136

JUROR’S SELECTIONS

Artists are presented in alphabetical order.

Artist biographies have been edited to prioritize recent highlights.

Pricing Guide can be found on p195.

DENNA AMEEN

301.938.3255 dennaameen@gmail.com dennaameen.com @independentwoman1776

b. 1994 Washington, DC | lives in New Orleans, LA Education

From a young age, Denna Ameen, born to Iranian immigrants and raised in Maryland, was familiar with working with her hands, as her father was a carpenter. Her passion for art led her to study Open Media at the Rhode Island School of Design. Through her work, Ameen explores themes of sustainability, the complexities of identity, and the beauty that can be found in overlooked and forgotten materials.

Her artistic process is one of repurposing and recycling; as there is always waste in the art of costuming, all the materials Ameen uses are leftover from previous projects. Using only these available textiles, she arranges and overlays fragments in a manner that is not unlike layering paint.

Through this process, Ameen sets out to move the techniques she applied to making costumes in New Orleans several dimensions further, while also paying homage to traditional Persian imagery.

2016

BFA, Rhode Island School of Design (RISD), Providence, RI Residencies

2023

Contemporary Arts Center, New Orleans, LA Solo Exhibitions

2023

Peeking Through the Gates: A Fabric Exploration of Hidden New Orleans, Contemporary Arts Center, New Orleans, LA Selected Group Exhibitions

2023

In Bloom (online), The Gallery by MUI

2016

Lil’ Anybodies, RISD, Providence, RI

2015

Hang Onto Your Ego, RISD, Providence, RI

Melancholy Princess Diaries fabric collage, 35 x 25 inches

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AMEEN

17

Bourbon’s Courtyard (exterior) fabric collage, found materials, wood, cardboard, and joint compound, 120 x 144 inches Billy’s Secret Garden (Exterior) fabric collage, found materials, wood, cardboard, and joint compound, 168 x 168 inches

18

JUSTIN TYLER BRYANT

justintylerbryant@gmail.com justintylerbryant.com

b. 1987 Stuttgart, AR | lives in Little Rock, AR Education

Central to this body of work is the use of cosmology—both metaphorically and literally—to describe the Black experience. Various references are derived from art history, pop culture, and the Black radical tradition to create a sardonic melding. The aesthetic is allusive in nature and is not defined by a single style or visual characteristic. Instead, the work seeks to only be defined by its fugitive character.

2018

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

2021

Skowhegan School of Painting & Sculpture, Madison, ME Solo Exhibitions

2023

Earth.Seed, Windgate Gallery, UA Pulaski Technical College, North Little Rock, AR Selected Group Exhibitions

2023

Bedroom Bedroom, Triangle Projects, Miami, FL And We Went, Baton Rouge Gallery, Baton Rouge, LA

2022

Moving in Place, Charlotte Street Foundation,

2020

Get Free Telethon (online), Columbus, OH

Kansas City, MO

Collections John and Robyn Horn Collection, University of Arkansas at Little Rock, Little Rock, AR

St. Maurice fresco, 22.5 x 19 inches

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BRYANT

21

Super Star fresco, 22.5 x 19 inches Sick Seed fresco, 19 x 22.5 inches

22

GABINO A. CASTELÁN

castelan.gabino.abraham@gmail.com gabinocastelan.com @castelan_studio

b. 1986, Epatlán, Mexico | lives in Deerfield Beach, FL Education

My paintings and works on paper depict figures in colorful, geometric architectural spaces undergoing the conflicts and desires of the human experience. I explore material and mark making to generate nonlinear dreamscape narratives that provoke perception while challenging the grand narrative tradition. My work oscillates between themes of presence and absence, fact and fantasy, and reason and madness.

Drawing on autobiographical memories, literature, and art history, my artwork is rife with symbolism, ranging from fetish and landscape imagery to Mesoamerican iconography. Combining representation and abstraction with a process of layering drawing, painting, and collage, I create fragmented compositions inspired by the dynamic environments in which I live.

2017

MFA, Hunter College, New York, NY

2012

BFA, Hunter College, New York, NY Residencies

2020

Atelier Mondial, Basel, Switzerland

2019

Children’s Museum of Manhattan, New York, NY

2014

Skowhegan School of Painting & Sculpture, Skowhegan, ME Solo Exhibitions

2023

The Dream of Ometecuhtli, Mahara+Co and Art Space 305, Miami, FL Paintings and Works on Paper, Helen M. Salzberg Gallery, Palm Beach State College, Palm Beach, FL

2022

SFCC Grantee: Gabino A. Castelán, Donald M. Ephraim Family Gallery, Cultural Council for Palm Beach County, Palm Beach, FL Selected Group Exhibitions

2023

South Florida Cultural Consortium Exhibition,

2022

Bronx Calling: The Fifth AIM Biennial, The Bronx

Museum of Contemporary Art, North Miami, FL Museum of the Arts, Bronx, NY

The Sweeper and Fruit Vendor Meeting the Ghost of Berta Caceres...Her Ghost is Staring at Us mixed-media and colored pencil on cotton paper, 11 x 15 inches

24

CASTELÁN

The Dream of Ometecuhtli mixed-media and acrylic paint on canvas, 40.5 x 36 inches

25

The Dream of Omecihautl mixed-media and acrylic paint on canvas, 51 x 36 inches

26

LINDY COOK

@lindym_art

b. 2000 Searcy, AR | lives in Conway, AR Education

My most fond memories of growing up are the quiet ones. As I recall these memories, I not only think of the moment but of the environment in which they occurred: how the evening sun settles in patterns, the way light filters through sheets, and curtains being blown by a breeze. Each moment is characterized by its ambience, and I have always been fascinated by light and how it interacts with different objects and colors.

I love to paint fabric—its movements, how sunlight shines through it, and the way folds and shadows can create all new colors and patterns. When I am feeling nostalgic, I find myself thinking about the textures of my childhood: the blanket forts I would construct, sheets hanging on the clothesline, and playing with shadows and shapes on tented blankets. My childhood memories are dominated by these small and seemingly insignificant moments, but they are the driving force of my artwork.

2023

BFA, University of Central Arkansas (UCA), Conway, AR

2020

ASLAS, Arkansas State University-Beebe, Beebe, AR Solo Exhibitions

2023

Cultivating Nostalgia, College Square Retirement Community, UCA, Conway, AR Selected Group Exhibitions

2023

BA/BFA Senior Exhibition, Baum Gallery, UCA, Conway, AR Waters of the Abyss: An Intersection of Spirit and Freedom, Baum Gallery, UCA, Conway, AR Student Art Competitive, Baum Gallery, UCA, Conway, AR

2022

Advocacy for the Arts, UCA Downtown, Conway, AR Collections UCA Printmaking Archive, Conway, AR

Forgetful oil on canvas, 48 x 36 inches

28

COOK

Homesick oil on canvas, 60 x 48 inches Laundry Day oil on canvas, 60 x 48 inches

29

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MOREL DOUCET

410.235.3711 (Galerie Myrtis) moreldoucet.com @moreldoucet

b. 1990 Pilate, Haiti | lives in Miami, FL Education

A Miami-based multidisciplinary artist and arts educator from Haiti, Morel Doucet’s ceramics, illustrations, and prints explore the impact of climate gentrification, migration, and displacement on Black communities. Through a contemporary lens, Doucet’s Emmy-nominated work documents environmental decay as it intersects economic inequality, pollution, and policy-making.

2013

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

2019

Atlantic Center for the Arts, New Smyrna Beach, FL Oolite Arts, Miami Beach, FL Solo Exhibitions

2023

Water Grieves in the Six Shades of Death, Galerie Myrtis, Baltimore, MD

2019

White Noise: When Raindrops Whisper and Moonlight Screams in Silence, African Heritage Cultural Center, Miami, FL Selected Group Exhibitions

2023

At the Precipice: Responses to the Climate Crisis, Design Museum of Chicago, Chicago, IL Collections Royal Caribbean Cruises, Miami, FL Maker’s Mark Distillery, Loretto, KY Represented by Galerie Myrtis, Baltimore, MD

Night Garden: In Moonlight the Stars Chatter mixed-media on wooden panel, 30 x 40 inches

32

DOUCET

God Told Me Stars Used to Be Audible Through the Window Sills mixed-media on wooden panel, 24 x 18 inches God Told Me Stars Used to Be Audible Through the Window Sills (detail)

33

34

DOUCET

35

Secrets That The Wind Carries Away mixed-media on paper, 45 x 72 inches

36

MERIS DREW

merisdrew.com @mzerisz

b. 1995 Fort Lauderdale, FL | lives in Wilmington, NC Education

“What was scattered gathers. What was gathered blows apart.”

- Heraclitus, On Nature I am curious about the role of human imagination in the natural world. My paintings, like the swampy Floridian landscape where I grew up, are places where volatile organic systems crisscross with storytelling and magical thinking. Through nested cycles of painting and un-painting, each piece seems to grow out of itself like teeming tropical mold. This process often feels like a sort of reenactment of the structures of nature flourishing and decaying from micro-cosm to macrocosm, crashing and merging into each other like heatstroke hallucinations.

My work is an inquiry into not just how the earth appears, but what potential lies within it, what it means, and what we will make of it. With this expanded vision, the ‘nature’ of a landscape becomes at once one that is ecological, social, psychological, and spiritual, everchanging and interpenetrating.

2022

MFA, Indiana University Bloomington (IUB), Bloomington, IN Residencies

2022

Center for Rural Engagement, IUB, Salem, IN Solo Exhibitions

2023

the rift and the ring, Stellarhighway, New York, NY two summers, Bottom Feeder Books, Pittsburgh, PA

2022

particle zoo II, Racecar Factory, Indianapolis, IN things singing, Grunwald Gallery, IUB, Bloomington, IN

2021

particle zoo, Racecar Factory, Indianapolis, IN Selected Group Exhibitions

2023

Platform (online), David Zwirner, New York, NY The Art of Access, with New Collectors and Visionary Projects, Projet Moné, New York, NY New Members Exhibition, with Associated Artists of Pittsburgh, Brew House Arts, Pittsburgh, PA

2022

SEXY XMAS VI, The LODGE, Los Angeles, CA Represented by Stellarhighway, New York, NY

field with gravestones oil and wax on panel, 10 x 8 inches

38

DREW

pond oil and wax on panel, 20 x 16 inches the listener oil on linen panel, 50 x 40 inches

39

40

MATTHEW FOREHAND

305.613.9444 (Homework) matt.4hand850@gmail.com matt4hand.com @matt.4hand

b. 1986 Miami, FL | lives in Miami, FL Education

Matthew Forehand’s artwork explores personal heritage and the influence of the environment on cultural identity. He uses a collage-based approach to combine images from Colombia and his current home in South Florida, revealing the nuances and complexities of his relationship to these places.

In Forehand’s collages, each image serves as a component to a larger composition, which becomes a starting point for his paintings. The resulting works feature contemporary figures immersed in lush, quilted landscapes that reflect the artist’s personal experience and connection to the natural environment.

Through his creative process, Forehand revisits and reimagines memories over time, much like the way we recall and reinterpret our personal histories.

His artwork serves as a testament to the power of memory and the ways in which it shapes our identity. It speaks to a larger conversation about the importance of the environment in shaping cultural identity by depicting the interplay between personal heritage and the natural world.

2017

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

2015

AA, Pensacola State College, FL Residencies

2022

Oolite Arts, Miami Beach, FL

2017

Ox-Bow School of Art, Saugatuck, MI Solo Exhibitions

2017

They are known through conversation, with Oolite Arts, Art and Culture Center of Hollywood, Hollywood, FL Selected Group Exhibitions

2023

Songs of Simple Things, Art Space 305, Miami, FL It Was Always About You…, Oolite Arts, Miami Beach, FL Summer School, Homework Gallery, Miami, FL Landscape of Realities, Oolite Arts, Miami Beach, FL Collections Oolite Arts Permanent Collection, Miami Beach, FL Represented by Homework Gallery, Miami, FL

On The Rock oil on canvas, 72 x 48 inches

42

FOREHAND

Coconut Boys oil on canvas, 45 x 39 inches Cancha oil on paper, 51 x 51 inches

43

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AHMAD GEORGE

ahmad@ahmad-studios.com ahmad-studios.com @ahmad_studios

b. 1994 Memphis, TN | lives in Memphis, TN Education

Folktales communicate scenes about human nature and demonstrate the idea of consequence. I create autobiographical bodies of work that depict scenes of everyday life shrouded in a layer of fantasy. Utilizing themes of community, family, wealth, consequence, and mortality, I merge each scene with multiple folk references pulled from the American South, as well as other worldly tales, and overlapping symbolism to illustrate life experiences. By creating vignettes armed with bright, alluring colors, the pieces feel familiar, even when being viewed for the first time.

2016

BFA, Memphis College of Art, Memphis, TN Residencies

2022

Bed Stuy Art Residency, Brooklyn, NY Solo Exhibitions

2023

The Molasses Man & Other Delta Tales, Crosstown Arts, Memphis, TN

2022

Sunday Sales, Ed. Varie, New York, NY

2021

Just Visiting, with TONE, NADA Miami, Miami, FL Selected Group Exhibitions

2023

Far From Perfect, Martha’s Contemporary, Austin, TX

2022

That Nature Within, PRIOR Art Space,

2021

On the Road: Chocolate Cities, TONE, Memphis, TN

Barcelona, Spain

Collections Memphis Brooks Museum of Art, Memphis, TN

The Molasses Man acrylic on panel, 84 x 48 inches

46

GEORGE

47

Chicken Chasers acrylic on panel, 84 x 48 inches Untitled (Still Life with Melon, Head, and Goat) acrylic on panel, 48 x 84 inches

48

GEORGE

49

Blackening acrylic and polytab on panel, 36 x 72 inches

50

SHULING GUO

@shulingguo

b. 1986 Chaozhou, China | lives in Brunswick, GA Education

Painting serves as a daily physical ritual and is a spiritual necessity for me.

Through my work I try to draw out the colors and scenes hidden within the labyrinth of memory and extend the perceptible atmosphere of the canvas into a realm beyond.

2010

My life experience shapes my work. In recent years I have been living and traveling on the sea, slowly passing through time and empty space, gradually absorbing changes in environment and nature. In my paintings I weave together the sight and spirit of my journey, creating a bond between the world outside, my inner self, and the canvas. I want the work to hold a sense of focus, calm, and quiet reflection.

2022

Sotto Voce, Fou Gallery, New York, NY

2020

5—6 pm, Fou Gallery, New York, NY

Recent creations mainly revolve around the experiences of pregnancy, childbirth, and becoming a mother. This experience has awakened my female consciousness, and I have a strong desire to display, through painting, the process of how the female body grows, splits, stitches, and heals, exploring some mysterious resonance between the structure inside the body and that of the outer universe.

BFA, Central Academy of Fine Arts (CAFA), Beijing, China Solo Exhibitions

Selected Group Exhibitions 2023

NADA Art Fair, with LATITUDE Gallery, Miami, FL Displacement and Belonging, Unveil Gallery, Irvine, CA Genesis: A New Generation of Chinese Artists, Chambers Fine Art, New York, NY Paris, Texas, Soka Art, Beijing, China A Happy Beginning, LATITUDE Gallery, New York, NY

2022

CAFA Art Museum, Beijing, China Collections CAFA Art Museum, Beijing, China

Rising colored pencil on paper, 17 x 14 inches

52

GUO

Abdomen-2 colored pencil on paper mounted on board, 24 x 20 inches Born oil on canvas, 35 x 28 inches

53

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ERNESTO GUTIÉRREZ MOYA

305.576.1278 (Emerson Dorsch) ergumo95@gmail.com emersondorsch.com/artist/ernesto-gutierrez-moya @ernestogutierrezmoya

b. 1995 Havana, Cuba | lives in Miami, FL Education

My childhood in Cuba, spent living in a wooden house and seeing the process of deconstruction and reconstruction, has had a great influence on my artistic evolution. From country to country, house to house, I have relocated multiple times throughout my life, which has influenced every step of my development; due to the unforeseen changes in my environment, I’ve always had the ability to adapt and create my own space within my work. Like the steady journey itself of creating these landscapes of wanderlust and mystery, my work leaves the viewer with the same question I am investigating: Where is this place or who will live there?

I do not represent existing places; rather, I explore cosmic or sublime landscapes in which nature is presented in a wild way. Inspired by many gardens I have visited, I inquire about the romantic landscape. The interaction of architectural elements, vegetation, atmospheres, and irrational elements are what give life to my work, expressing the passage of time or depicting events that have happened.

2014

San Alejandro Academy of Fine Arts, Havana, Cuba Residencies

2023

Vermont Studio Center, Johnson, VT

2022

Whale & Star Press, Los Angeles, CA Solo Exhibitions

2021

The Enigma of an Evening in Autumn, Emerson

2017

Endless Space, Vargas Gallery, Vargas University,

2016

Incognito Spaces, Carmelo González Gallery,

Dorsch, Miami, FL Miami, FL Havana, Cuba Selected Group Exhibitions 2023

Lo Bello Está Hecho de un Elemento Eterno, with Emerson Dorsch, Mahara+Co and Art Space 305,

IMAGES: Courtesy of the Artist and Emerson Dorsch Gallery, Miami, FL

Miami, FL 2022

SWAB Barcelona Art Fair, with Emerson Dorsch, Barcelona, Spain Represented by Emerson Dorsch, Miami, FL

Despelucada oil on canvas, 24 x 20 inches

56

GUTIÉRREZ MOYA

The Dome oil on canvas, 24 x 20 inches Untitled Fountain oil on canvas, 24 x 20 inches

57

58

GUTIÉRREZ MOYA

59

The Last Day in the Garden oil on canvas, 34 x 96 inches

60

RONNA S. HARRIS

rharris@tulane.edu ronnaharris.com @harrisronnas

b. 1952 Los Angeles, CA | lives in New Orleans, LA Education

My paintings communicate a state of controlled chaos as I combine two divergent forces and approaches: realism and abstract expression. With a proficient handling of light, a mastery of images, and a skillful mark making method, the paintings confer an illusion of reality to something that’s not real. I am playing with the light and its effect on color. The end result is a spatial between magic and illusion, rooted in the American Realist tradition.

My philosophy is “art is magic, and the magic is illusion.” Throughout my painting career, I have remained a woman concerned with the psychological phases of female development. I paint the figure, still life paintings in which I incorporate the window to the outside, and nature-based works. The common thread that coheres my paintings together has been internal perspective into another realm: a world of intimacy and exploration. To create a narrative conveying my concern on issues that contemporary society visually ignores.

1977

MFA candidate, University of California, Santa Barbara, Santa Barbara, CA Selected Group Exhibitions

2023

Rising Voices 3, Muskegon Art Museum, Muskegon, MI Collections

White House Historical Association, Washington, DC New Orleans Museum of Art, New Orleans, LA

Intruder oil, 60 x 36 inches

62

HARRIS

Subtle affect of man or abstracted reality oil, 36 x 60 inches

63

Memories of the Reflective Past oil, 48 x 65 inches

64

MIRO HOFFMANN

504.522.5988 (LeMieux Galleries) miroh504@gmail.com mirohoffmann.com @miroartnola

b. 1990 Berlin, Germany | lives in New Orleans, LA Education

This body of work stems from the exploration of the term “food apartheid.”

The urban landscape paintings are grounded in issues around climate change, resilience, access to food, self-sustainability, and racial, social, and economic barriers. I draw from personal experiences as well as historical references that thread together painting, light, film, architecture, and sculpture.

2013

BFA, School of the Museum of Fine Arts (SMFA), Tufts University, Boston, MA Residencies

2015

Joan Mitchell Center, New Orleans, LA Solo Exhibitions

2021

Food Apartheid, LeMieux Galleries, New Orleans, LA

2016

Sustainable Development, 5 Press Gallery, New Orleans, LA Selected Group Exhibitions

2023

Adidas Art Show, with Humidity Skate Shop, Antieau Gallery, New Orleans, LA Dog walk, Margaret Place, New Orleans, LA

2021

Form. Color, Studio Waveland + Gallery, Waveland, MS

2020

Full Color, New Orleans Center for Creative Arts,

2019

Indoor garden, Carroll Gallery, Tulane University,

New Orleans, LA New Orleans, LA Blossom, 912 Julia, New Orleans, LA Represented by LeMieux Galleries, New Orleans, LA

I’m At The Fish Fry acrylic, cardboard, and corrugated metal on panel, 76 x 67 inches

66

HOFFMANN

I Almost Got Hit By A Jacked Car On My Dog Walk acrylic, sand, fake grass, car door, and bumper on panel, 74 x 92 inches

67

Our Business Stinks But It’s Picking Up acrylic, sand, steel, plastic bag, and paper on panel, 78 x 115 inches

68

HOFFMANN

69

Walking Past Kentucky St Urban Farm, The Bus Didn’t Come So I’m Walking Home From Making Groceries, Langston’s Community Fridge Was Already Empty For The Day acrylic and sand on panel, 96 x 144 inches

70

FATEMEH HOSSEINI

fatemehosseini7@gmail.com fatemehosseini.com @fatemehosseini7

b. 1985 Mashhad, Iran | lives in Savannah, GA Education

Defined by its infinite nature, time is a substantial element of human life.

Over the span of one’s life, experiences are placed within time and the time we’ve lived settles in our soul. These experiences are processed through the evolution of human existence, with time playing an important role in the creation of human character.

My work endeavors to explore time as a true concept with a specific direction that transcends its scientific and infinite origins. However, this time is not linear in nature, which represents a durational and historical record, but rather the creative time of contemplative awareness, the time of our dreams, our poetry, and our fine arts that man incarnates in a spiritual sense.

To achieve this my artistic practice uses the elements of dreams, memories, and visions to reflect the inner state that defines cyclic, structureless time and to explore the endless spectrum of human emotion—an indication toward something that goes beyond the frame: the poetic association of the beauty and depth of the artistic image.

2019

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

2012

MFA, School of Visual Arts (SVA), Alzahra University, Tehran, Iran

2009

BFA, SVA, Alzahra University, Tehran, Iran Solo Exhibitions

2012

A Sociological Study of Artistcide, SVA, Alzahra

2009

Mother, SVA, Alzahra University, Tehran, Iran

University, Tehran, Iran

Selected Group Exhibitions 2024

Living the Unknown, artspace, Shreveport, LA

2017

Untitled (publication), Port City Review, SCAD, Savannah, GA

I Lost Something In The Hills acrylic and tempera on canvas, 48 x 36 inches

72

HOSSEINI

Dream Your Dreams acrylic and tempera on canvas, 36 x 48 inches

73

How Wild The Wind Blows acrylic and tempera on canvas, 48 x 48 inches

74

RISA HRICOVSKY

hricovsky@gmail.com hricovsky.com @risa.hricovsky

b. 1985 Toledo, OH | lives in Knoxville, TN Education

Risa Hricovsky is a post-discipline installation artist. Their work pushes the boundaries between painting and sculpture and between art, design, and craft. The artworks punctuate space through pattern, color, and their use of the multiple. Working though dichotomies such as order and chaos, attraction and repulsion, and similarity and difference, Hricovsky makes visual poems about perception. Through this mimicry and indexical object making begins a critique of our ideological perceptions of materiality.

Currently, Hricovsky is working on a series titled “Fringe.” These paintings, made from fired, pigmented porcelain, are as hard as they look soft. Shag rugs are synonymous with the 1960s and its counterculture; these free flowing and overly optimistic carpets and rugs represented progressive change, peace, and love. However, sixty years later not much has changed in terms of true equality. These paintings are a metaphor for the ideals of the 1960s, fossilized in sentiment rather than real progress or social equity, yet they still represent the contemporary idealism of radical transformation.

2016

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

2008

BFA, Bowling Green State University, Bowling Green, OH Residencies

2018

Guldagergaard – International Ceramic Research Center, Skælskør, Denmark MASS MoCA, North Adams, MA Solo Exhibitions

2023

Then Is Now, Arkansas Museum of Fine Arts,

2021

Counter Carpet, Catron Gallery, Walter State Community

Little Rock, AR College, Morristown, TN 2020

Relational Attunement, Paul V. Hamilton Center for the Arts, Cumberland Gap, TN Parlor, The Central Collective, Knoxville, TN

2018

Deconstructing Sameness, Woodland Hall, Chatham University, Pittsburgh, PA Collections The Tennessean Lobby, World’s Fair Park, Knoxville, TN Guldagergaard – International Ceramic Research Center, Skælskør, Denmark

Counter Carpet pigmented porcelain, 92 x 64 x 3 inches

76

HRICOVSKY

77

Passing the Buck pigmented porcelain, 33 x 33 x 3 inches Dissonance pigmented porcelain, 42 x 125 x 3 inches

78

MONICA IKEGWU

monicaikegwu@gmail.com monicaikegwu.wixsite.com/monicaikegwu @monica165

b. 1998 Baltimore, MD | lives in Baltimore, MD Education

The primary focus of my work is African American youth and how current fashion trends are used as a form of celebrating the Black aesthetic and selfidentity. When creating the portraits, I collaborate with the sitter. I allow them to determine their pose and choose their clothing as a way to take charge of their image.

2022

MFA, New York Academy of Art (NYAA), New York, NY

2020

BFA, Maryland Institute College of Art (MICA),

Black youth are often judged negatively by their appearance; an afro, braids, barbershop cut, tattoo, hoodie, and other traditional dress styles place them in the immediate threat zone. When people outside of the Black community observe my paintings, I want them to try and imagine who the individual is, while placing all preconceived notions and stereotypes aside. And after, when they encounter Black youth, I hope they will consider them in the same way as they did the subjects in my work: that the individual’s outward appearance is a positive form of self-expression.

2023

Duo, Band of Vices, Los Angeles, CA

2019

We’ve Always Been Here, Band of Vices,

Baltimore, MD Solo Exhibitions

Los Angeles, CA Selected Group Exhibitions 2023

The Culture: Hip Hop and Contemporary Art in the 21st Century, Baltimore Museum of Art, Baltimore, MD Rising Voices 3, Muskegon Museum of Art,

I aim to produce work that is a culmination of people, not as subjects to paint, but as people with their own sense of self.

Muskegon, MI 2022

The Afro-Futurist Manifesto: Blackness Reimagined, Venice Biennale, Venice, Italy Collections The Columbus Museum, Columbus, GA Muskegon Museum of Art, Muskegon, MI Represented by Galerie Myrtis, Baltimore, MD Band of Vices, Los Angeles, CA

Nia June oil, 38 x 36 inches

80

IKEGWU

81

Devin oil, 48 x 36 inches Jojo x Junior oil, 48 x 60 inches

82

MARCUS JANSEN

212.804.8496 (Almine Rech) alminerech.com @marcusjansenofficial

b. 1968 Manhattan, NY | lives in Fort Myers, FL Education

In times of globalization, when an era of domination is frequently challenged, my paintings question previously fixed cannons—stylistically and painterly— and propose a reassessment of both. My painting practices investigate the connection of today’s systemic power structures, predominantly rooted in Colonialism, that maintain their multilayered structure despite still being a challenge to various minority groups.

At the root is a painterly re-examination of the medium’s often glorified content, from landscapes to figurative portrait—iconography historically used to project power. In these new works, traditional symbolism is turned into critical visuals that deconstruct history through the eyes of contemporary concerns.

Similar to the high regard still held for classical landscape paintings, in many museums you can typically see Colonialists depicted on a pedestal. In my paintings these portraits are often unveiled and stripped of power and the landscapes often become areas of mystery, questions, and conflict.

1986

Gewerbliche Schulen der Stadt Moenchengladbach, Berufsfachschule, Gestaltung, Germany Solo Exhibitions

2021

Marcus Jansen: Two Decades of Relevance, with

2020

Marcus Jansen: E Pluribus Unum, Rollins Museum of

Artis—Naples, Baker Museum, Naples, FL Art, Winter Park, FL 2016

Marcus Jansen: Decade, La Triennale di Milano, Milan, Italy

Selected Group Exhibitions 2023

Selections from the Collection, with Artis—Naples, Baker Museum, Naples, FL The Voice of the People: Freedom of Speech, Rollins Museum of Art, Winter Park, FL Collections Bronx Museum of the Arts, Bronx, NY New Britain Museum of American Art, New Britain, CT Moscow Museum of Modern Art, Moscow, Russia Represented by Almine Rech, New York, NY

History of an Imperialist oil enamel, oil stick, and spray paint on canvas, 60 x 48 inches

84

JANSEN

Foothold on Colonialist oil enamel, oil stick, and spray paint on canvas, 48 x 48 inches Soldier of the Avant-garde oil enamel, oil stick, and spray paint on canvas, 74 x 50 inches

85

86

JANSEN

Supremacy and Propoganda oil enamel, oil stick, and spray paint on canvas, 72 x 60 inches

87

Falling Empires oil enamel, oil stick, spray paint, and collage on canvas, 108 x 88 inches

88

ALEXA KLEINBARD

alexakleinbard@gmail.com @alexakleinbard

b. 1952 Abington, PA | lives in Tallahassee, FL Education

Since experiencing a near fatal auto accident in 1982, my work has focused on humanity’s impact on Earth’s exceptional garden and what we must do to protect it. The titles of my most recent bodies of paintings are “Songbirds Nesting at Twilight” and “Storm Songs.” They cover the issues of dwindling habitat due to the massive overdevelopment of every space—and in particular, Florida and Georgia.

We are observing a tremendous loss of biodiversity, from plants, animals, insects, birds, entire forests, and their communities. For many years I have been tracking an area in the northern Georgia mountains where my husband and I own a small cabin in the woods. We have noticed a huge loss of the birds whom we’ve listened to for twenty years. My work concentrates on showing the incredible beauty and diversity of this land and its native inhabitants, as well as the changes caused by humans.

I hope to inspire people to stand up for the natural world, to be her voice and protect the land, water, air, and all her species.

1974

BFA, University of the Arts, Philadelphia, PA Residencies

2013

Acadia National Park, Mount Desert Island, ME

2011

Acadia National Park, Mount Desert Island, ME Solo Exhibitions

2022

Storm Songs, McEachern Art Center, Mercer University, Macon, GA

2020

Songbirds Nesting at Twilight, Gadsden Arts Center and Museum, Quincy, FL

2018

Songbirds Nesting at Twilight, Clarke & Associates, Houston, TX

2016

Observations of the Natural World, 621 Gallery, Tallahassee, FL Selected Group Exhibitions

2023

Spirit in the Land, Nasher Museum of Art, Duke University, Durham, NC Earthkeeper’s Handbook (online), ecoartspace, New York, NY Collections Southeastern Center for Contemporary Art, Winston Salem, NC Philadelphia Museum of Art, Philadelphia, PA

Mountain Sanctuary on Our Ridge oil on wood, 48 x 60 inches

90

KLEINBARD

Windy Awakenings oil on wood, 40 x 48 inches

91

When All of the Spiraling Rhythms Collide oil on wood, 40 x 48 inches

92

KHÁNH H. LÊ

202.569.4327 khanh09le@gmail.com khanhartist.com @the_khanhartist

b. 1981 Long Ðinh, Vietnam | lives in Washington, DC Education

I create mixed-media collages based on deteriorating photographs and collective memories of my personal and familial history as a refugee in Vietnamese internment camps. Inspired by storytelling, crafting, and myth-making, my mixedmedia base is a nod to my immigrant experience. My collage patterning and layering use craft culture as a metaphor for constructing identity. However, my work is imbued with tension in its materiality and the source of its composition.

The craft store jewels sparkle as if real, emphasizing the scene’s idyllic nature and belying the traumas of exile. Working from images found in family albums, digital photographs, and fashion and decor magazines, I explore an identity formed amongst and from the memories of others.

2008

MFA, Syracuse University, Syracuse, NY

2005

BFA, Southern Illinois University Edwardsville, Edwardsville, IL Residencies

2023

S&R Evermay Foundation, Washington, DC

2022

VisArts, Rockville, MD Solo Exhibitions

2023

Making Memories While We Wait, Frederick Arts Council, Frederick, MD

2022

From Lake Needwood, with Love, VisArts,

2021

Day Dream, with Tephra Institute of Contemporary Art,

Rockville, MD Signature, Reston, VA Selected Group Exhibitions 2022

The Outwin 2022: American Portraiture Today, National Portrait Gallery, Smithsonian Institution, Washington, DC Collections Meta Open Arts, Reston, VA

Their New Bedroom in the Warehouse mixed media, 42 x 30 inches

94

LÊ

Sitting There to Wait For mixed-media, 36 x 52 inches

95

United mixed-media, 36 x 52 inches

96

LUCY LUCKOVICH

lucyluckovich@gmail.com lucyluckovichart.com @lucyluckovich

b. 2001 Atlanta, GA | lives in Atlanta, GA Education

Lucy Luckovich creates oil paintings that deal with image consumption and alienation from death and from the body, particularly the female body.

Meticulously rendering in oil paint, she uses technique and illusion to draw a line between the digital objectification of women’s bodies and collective detachment from our tangible, physical environments. By sourcing imagery from online forums, film stills, and social media, combined with cherries, chains, and pearls to partially obstruct the background, she reinforces that each subject is just an object—not a girl or a body.

2023

BFA, Georgia State University, Atlanta, GA Solo Exhibitions

2023

Pop My Cherry!, Cat Eye Creative, Atlanta, GA Selected Group Exhibitions

2023

Sex and Sensibility, Harsh Collective, New York, NY High Maintenance, tchotchke gallery, New York, NY

2022

Little Things, Swan Coach House Gallery, Atlanta, GA

Girls Gone Wild (Beach Interview) oil on canvas, 52 x 42 inches

98

LUCKOVICH

Lolita (1997) I oil on canvas, 68 x 60 inches

99

Lolita (1962) oil on canvas, 64 x 68 inches

100

CARA LYNCH

cara@caralynchstudio.com caralynchstudio.com @cara_lynch_

b. 1990 Manhasset, NY | lives in Nashville, TN Education

My recent paintings are psychological landscapes. These fractured abstractions consider the literary term “pathetic fallacy,” which is used to describe the attribution of human emotion to nature.

Contradicting associations of beauty, comfort, leisure, and stability, the patterns and fragments of my darkened, splintering landscapes come together to form flowers and gardens. I am influenced by historic craft processes, including theorem painting, stained glass, metalsmithing, mosaic, appliqué, and embroidery. I utilize these methodologies and their aesthetics as a way to manifest autonomy and experience visual pleasure.

2020

MFA, Columbia University (CU), New York, NY

2012

BFA, Adelphi University, Garden City, NY Selected Group Exhibitions

2024

Less Is A Bore, Blah Blah Gallery, Philadelphia, PA

2023

Rise, Modfellows Art Gallery, Nashville, TN School’s Out for Summer, T-7 Gallery, Fort Tilden, NY

2022

Out of Body, Paradice Palase, Brooklyn, NY 9th Annual Skylight Exhibition, with Bonnaroo Works Fund, Nashville International Airport, Nashville, TN

2021

Rolling, Rolling, Rolling, LeRoy Neiman Gallery, CU, New York, NY Clearing the Air, Southampton Arts Center, Southampton, NY MFA Thesis Exhibition, Wallach Gallery, CU, New York, NY

2020

Minorly Magical, K&P Gallery, CU, New York, NY Alone Together (online), Steve Turner, Los Angeles, CA Collections NYC Health + Hospitals, New York, NY Special Collections, University of Miami, Miami, FL

Head in the Clouds acrylic and black velvet on panel, 36 x 30 inches

102

LYNCH

103

Equinox acrylic on panel, 36 x 48 inches Déjà vu acrylic on panel, 24 x 30.5 inches

104

JIHA MOON

jihamoonwilson@hotmail.com jihamoon.com @moonjiha

b. 1973 Daegu, South Korea | lives in Tallahassee, FL Education

The arguably simple question “Where are you from?” can be tricky to answer these days. Identity as a concept tends to morph when linked to geography, citizenship, ethnicity, and race, and this shift strongly affects my work’s imagery as an Asian American living in the Deep South. Taking cues from both Eastern and Western images, folklore, art histories, and popular cultures, my art features cultural landscapes that look simultaneously familiar and strange.

I twist and hybridize these sources to tell new stories about various global lives.

Throughout my work, these inspirations range from Korean folk art and temple paintings to Mexican masks, Milagros, and fortune cookies; from pop artist Roy Lichtenstein’s yellow brushstrokes of blonde women, to banana peels and peaches, the state fruit of Georgia, where I have lived for the past fifteen years. I tease and change these lexicons so that they are familiar yet difficult to identify in these new contexts.

I want all my work to be playful and meaningful at the same time.

2002

MFA, University of Iowa, Iowa City, IA Solo Exhibitions

2023

Storyteller Yellow, Shoshana Wayne Gallery,

2022

Stranger Yellow, Derek Eller Gallery, New York, NY

Los Angeles, CA

Selected Group Exhibitions 2023

The Less We Say About It The Better, Olympia, New York, NY Clay Pop, Jeffrey Deitch, Los Angeles, CA Collections Renwick Gallery, Smithsonian American Art Museum, Washington, DC Fort Wayne Museum of Art, Fort Wayne, IN Represented by Derek Eller Gallery, New York, NY Mindy Solomon Gallery, Miami, FL

Skin (You Left) ink and acrylic on Hanji mounted canvas, 48 x 24 inches

106

MOON

Haetae (Nocturnal) ink, acrylic, and ceramic on Hanji mounted on panel, 24 x 24 x 3 inches Yellowave (Spirit Pond) ink and acrylic on Hanji mounted on canvas, 40 x 40 inches

107

108

MOON

109

Yellowave (Stranger Yellow) ink and acrylic on Hanji mounted on canvas, 60 x 120 inches

110

MASON OWENS

mason.w.owens@gmail.com masonowens.com @mason_owenss

b. 1991 Vineland, NJ | lives in Baltimore, MD Education

My paintings are a way for me to acknowledge and cherish the subtle, transitory nature of everyday life. I am particularly drawn to the simple yet meaningful experiences that I share with friends and loved ones. Imbued with a warm sense of nostalgia, humor, and childlike curiosity, I find these experiences quietly enchanting and awe-inspiring; they persist in my memory and are reborn while I look over old pictures or catch up with a friend.

In each painting, I depict a singular moment within the larger narrative of these experiences. Using egg tempera paint I can quickly and playfully add or retract elements as I determine how to translate the intimacy of these moments to an observer, while staying true to the lighthearted nature of the inspiration.

2013

BFA, University of the Arts, Philadelphia, PA

2012

The Glasgow School of Art, Glasgow, Scotland Residencies

2014

Virginia Center for the Creative Arts, Amherst, VA Selected Group Exhibitions

2021

Pop Up Show, Wyman Park, Baltimore, MD Art Night, with Washington Project for the Arts, Hickok Cole, Washington, DC Walking Show, Druid Hill Park, Baltimore, MD Love Groove Festival, Baltimore, MD

two weeks at the farm egg tempera on panel, 10 x 10 inches

112

OWENS

midnight swim egg tempera on panel, 30 x 30 inches

113

view from my childhood window egg tempera on panel, 36 x 36 inches

114

OWENS

sleeping in at the flower farm egg tempera on panel, 8 x 8 inches

115

boy sleeping on the heating vent/remembering the old farmhouse egg tempera on panel, 10 x 10 inches

116

EDISON PEÑAFIEL

+34.910.69.03.22 (Sabrina Amrani) edisonpenafiel.com @edisonpenafielstudio

b. 1985 Guayaquil, Ecuador | lives in Miami, FL Education

Peñafiel’s works unravel the grim tapestry of our world, a chaotic realm entrenched in the cyclical grip of history and politics. His immersive installations serve as a raw mirror reflecting the relentless struggles faced by the marginalized and downtrodden, revealing the insidious workings of prevailing power structures.

Across a diverse array of mediums, from sculpture to animation, Peñafiel crafts visceral experiences that thrust viewers into a disconcerting confrontation with the unsettling paradoxes of contemporary existence. Through a fusion of projection and physicality, he blurs the line between reality and illusion, forcing audiences to grapple with the tangible consequences of our shared reality.

Drawing from the disquieting aesthetics of German Expressionism and the omnipresent gaze of surveillance, Peñafiel’s visual language captures the pervasive anxieties that haunt our society. Distorted lines and disorienting angles embody the oppressive forces of bureaucracy, the ruthless control over human movement, and the dehumanizing rituals of labor.

2016

BFA, Florida International University, Miami, FL Residencies

2023

Mass MOCA, with Oolite Arts, North Adams, MA

2021

Anderson Ranch, with Oolite Arts, Snowmass, CO Solo Exhibitions

2023

Run, Run, Run, Like the Wind, Museum of Contemporary Art, North Miami, FL

2022

MARE MAGNVM, Sabrina Amrani, Madrid, Spain

2020

Land Escape, Piero Atchugarry Gallery, Miami, FL Selected Group Exhibitions

2023

Bajo Presión: Trienal Poli/Gráfica de San Juan, Instituto de Cultura Puertorriqueño, San Juan, Puerto Rico

2021

BIENALSUR: Punto de Fuga, Centro de Arte

2020

Make America What America Must Become,

Universidad Nacional de La Plata, La Plata, Argentina Contemporary Arts Center, New Orleans, LA Represented by Sabrina Amrani, Madrid, Spain

Ni Los Perros Que Jamás Me Olvidaron, Ni Los Caballos, Ni Los Abrazos Que Me Dan Mis Hermanos #25 acrylic on raw canvas, fabric, and iron-on transfers, 54 x 44 inches

118

PEÑAFIEL

Ni Los Perros Que Jamás Me Olvidaron, Ni Los Caballos, Ni Los Abrazos Que Me Dan Mis Hermanos #27 acrylic on raw canvas, fabric, and iron-on transfers, 54 x 44 inches

119

Ni Los Perros Que Jamás Me Olvidaron, Ni Los Caballos, Ni Los Abrazos Que Me Dan Mis Hermanos #19 acrylic on raw canvas, fabric, and iron-on transfers, 54 x 44 inches

120

CHRISTINA PETTERSSON

954.609.9474 christina@christinapettersson.com christinapettersson.com @christina_pettersson

b. 1976 Stockholm, Sweden | lives in Miami, FL Education

I have always been enchanted by the romantic history of humanity’s relationship to the natural world. As Florida increasingly becomes a paradise lost, my art practice over the last decade has centered on the Everglades and coastal landscapes I grew up in. Through research, direct exploration, and deeper observation, my artwork aims to reconnect audiences with the wilderness in our own backyards, resurrecting our primeval instincts and joyful animal origins.

We love what we find beautiful, and we protect what we love. As an activist, gardener, historian, naturalist, and explorer, I am most alive when I’m tramping around barefoot and muddy. I long to restore that epic and mythological dimension, a sense of awe and reverence for the world. I want to be a storyteller and a messenger of plants. I want to believe that life is still wild.

1998

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

2023 2022

KinoSaito Arts Center, with Oolite Arts, Verplanck, NY Alfred and Trafford Klots International Program, MICA, Brittany, France Solo Exhibitions

2023

Take This Waltz, Faena Arts, Miami Beach, FL

2021

We Inherit the Earth, Miami International Airport, Miami, FL Selected Group Exhibitions

2023

No Vacancy, Cadillac Hotel & Beach Club, Miami Beach, FL Biscayne, The Kampong, Miami, FL Collections Pérez Art Museum Miami, Miami, FL Miami International Airport, Miami, FL

Fairchild Oak (from Memory Palaces of Florida series) charcoal drawing on carved and burnt wood panels, 48 x 29 inches

122

PETTERSSON

Canaveral National Seashore (from Memory Palaces of Florida series) charcoal drawing on wood panels, burnt antique frame, 29 x 36 inches

123

Kissimmee Prairie (from Memory Palaces of Florida series) charcoal drawing on wood panel, burnt antique frame, 29 x 48 inches

124

BEVERLY RESS

bevress@gmail.com beverlyress.com @bevress

b. 1955 Cleveland, OH | lives in Silver Spring, MD Education

These most recent drawings focus on several ideas, rather than the single subject matter on which my previous work focused. As I have become interested in exploring the haziness and nonlinearity of dreams and memories, vellum film has become my go-to surface. I continue to draw in a highly representational and closely observed mode, mostly in colored pencil, with the recent addition of oil pastels. I am curious about a drawing’s ability to exist in space, whether that’s folded into a corner, overlapping itself, or cascading down a wall onto the floor. Drawing representationally and observationally connects me to the physicality of the world; drawing as an exploration of ideas connects me to the continuity of the human experience.

1983

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

2013

George Washington University, Washington, DC

1990

Fine Arts Work Center (FAWC), Provincetown, MA Solo Exhibitions

2022

Light: Illusions, Chroma Projects, Charlottesville, VA

2015

The World is a Narrow Bridge, Katzen Arts Center,

2011

Slippage & Openings, Kentler International Drawing

American University, Washington, DC Space, Brooklyn, NY Selected Group Exhibitions 2023 2021

Everyone We Know is Here, FAWC, Provincetown, MA The Free State: Exhibition of the Selected IAA Winners, Baltimore/Washington International Airport, Baltimore, MD Collections Weatherspoon Art Museum, Greensboro, NC Library of Congress, Washington, DC

Window colored pencil and oil pastel on vellum film, 34 x 21 x 1 inches

126

RESS

127

Corner colored pencil and oil pastel on vellum, 36 x 24 inches DreamWall colored pencil and oil pastel on papers and vellum film, 48 x 63 inches

128

DONALD ROBSON

404.376.1910 robsondonald@gmail.com donaldrobson.com @robson.donald

b. 1963 New Kensington, PA | lives in Kennesaw, GA Education

My work is both a rewriting and a combination of familiar or forgotten narratives. Visual history, folktales, human achievements (positive and negative), and “The Late Late Show with James Corden” are just the tip of the iceberg as far as inspirations. The symbolic baggage of images recombines to represent well known stories and to create new ones; it’s as if one is looking at ideas from the other side of the page, holding it up to the light, and reading it from that side. The work connects these various accepted interpretations to either deconstruct them or rebuild them from scratch.

1991

MFA, Pennsylvania Western University, Edinboro, Edinboro, PA

1986

BFA, Indiana University of Pennsylvania, Indiana, PA

1985

Instituto Lorenzo de’ Medici, Florence, Italy

2024

SOLO EXHIBITION: DONALD ROBSON, Eyedrum,

2022

Treacherous Narratives, 378 Gallery, Atlanta, GA

2011

Active Interest, Kibbee Gallery, Atlanta, GA

Solo Exhibitions Atlanta, GA

Selected Group Exhibitions 2023

The FL3TCH3R Exhibit, Reece Museum,

2022

Professors of Art: Georgia, Eyedrum, Atlanta, GA

2018

Class Pictures, Zuckerman Museum of Art,

2017

South, Kibbee Gallery, Atlanta, GA

2016

Gathered: Georgia Artists Selecting Georgia Artists,

Johnson City, TN

Kennesaw, GA

Museum of Contemporary Art of Georgia, Atlanta, GA Collections Gary Gibson, Los Angeles, CA

Death in the Gallery oil on canvas, 32 x 32 inches

130

ROBSON

Heliography oil on canvas, 25 x 25 inches

131

Mass oil on canvas, 22 x 22 inches

132

LETICIA SÁNCHEZ TOLEDO

305.751.2550 (Pan American Art Projects) leticia.sanchez.toledo@gmail.com @leticiavisualartist

b. 1985 Sancti Spíritus, Cuba | lives in Miami, FL Education

Toledo focuses on the feminine universe, and therefore on herself. Painting from memory scenes from photographs and films to create art within her own script, Toledo’s works seek to convey fundamental emotions such as love, sadness, and loneliness through a deep investigation into the female experience with an autobiographical dimension.

2013

Higher Institute of Industrial Design, Havana, Cuba Solo Exhibitions

2023

Intimate Pauses, Pan American Art Projects, Miami, FL

Interested in the nature of painting itself, her works convey an impression of nostalgia and remembrance, using an intuitive approach that separates each work from its origin through the psychological use of color and the expressiveness of lighting. For Toledo, painting works as an introspective diary that describes and reconciles her feelings and experiences. Her art captures the essence of introspection, longing, and human interaction.

2019

The artist invites viewers to find solace in the stillness and sensory richness of each work of art.

2023

Miami, Annex Gallery, Pendleton Art Center, Cincinnati, OH Punctum, Centro de Arte Tomás y Valiente, Madrid, Spain Selected Group Exhibitions Carmen Sends Me, Museum of Contemporary Art of the Americas, Miami, FL 2022

CUBA: Island in the Cold, Island SPACE Caribbean Museum, Plantation, FL ABCDEFG, Pan American Art Projects, Miami, FL Collections Museum of Contemporary Art of the Americas, Miami, FL The Pérez Art Museum Miami, Miami, FL Represented by Pan American Art Projects, Miami, FL

Study for Awkward Age oil on paper, 24 x 18 inches

134

SÁNCHEZ TOLEDO

Study Between Blues oil on paper, 18 x 24 inches Some Body That I Used to Know oil on linen, 48 x 72 inches

135

136

SÁNCHEZ TOLEDO

137

Hand Made oil on linen, 52 x 96 inches

138

BEN STEELE

404.408.9065 bendsteele@gmail.com steeleartist.com @bendsteele

b. 1982 Stoneham, MA | lives in Atlanta, GA Education

The universe inhabited by my paintings is carefully balanced between optimism and ruin. All of time collapses, simultaneously combining within them a sense of humanity’s greatest moments of ingenuity with the reminder that we as humans are subject to fate and to a world that returns us to a state of entropy.

2010

Through many works there is a relationship drawn between earthly concerns and those visible above. Searchlights, rainbows, fireworks, and comets serve as backdrops, indicating a quest for knowledge, redemption, disaster, or celebration. Contemporary concerns involving space exploration, rising water levels, and natural disasters feel of the moment, yet they possess a deep reach back through human imagination.

2011

The Hambidge Center, Rabun Gap, GA

2003

Yale Norfolk School of Art, Norfolk, CT

My work takes inspiration from the vast history of landscape painting, futuristic architecture, designs and inventions, science fiction literature, and special effect cinematography. In the studio I employ a variety of media from which my paintings draw inspiration. Projection, 3D printing, mold making, carvings, laser cut constructions, mirrors, and found objects all form expansive installations that serve as subject matter for an ever-expanding universe of forms and juxtapositions.

MFA, Maryland Institute College of Art (MICA), Baltimore, MD

2004

BFA, Washington University in St. Louis, St. Louis, MO Residencies

Solo Exhibitions 2023

The Shape of Things to Come, Mason-Scharfenstein Museum of Art, Piedmont University, Demorest, GA The Shape of Things to Come, Manifest Gallery, Cincinnati, OH Selected Group Exhibitions

2023

Gathered VI: Georgia Artists Selecting Georgia Artists, Museum of Contemporary Art of Georgia, Atlanta, GA

2015

Sprawl! Drawing Outside the Lines, The High Museum of Art, Atlanta, GA Collections The High Museum of Art, Atlanta, GA

Future Objects wood, soap, wax, plaster, clay, glass, concrete, 3D prints, Styrofoam, found objects, and paint, 96 x 48 x 48 inches

140

STEELE

The Shape of Things to Come, III. ii. (36), Circles Above and Below oil on linen, 30 x 24 inches The Shape of Things to Come, II. ix. (23), Timeless oil on canvas, 84 x 68 inches

141

142

DENISE STEWART-SANABRIA

615.278.9086 (Chauvet Arts) dstewsan@gmail.com stewart-sanabria.com @denisestewartsanabria_

b. 1956 Worcester, MA | lives in Knoxville, TN Education

My paintings are anthropomorphized Epicurean dramas staged across time and cultures. Traumatized baked goods and produce interact with random commercial tchochkes and props in staged interiors or edible landscapes.

Backdrops are sourced from 400 years of wallpaper, fabric, painting, and graphic design.

1978

BFA, University of Massachusetts Amherst,

2023

Epicurean Indulgence, Bennett Galleries, Knoxville, TN

I really want to know how Chattanooga Moon Pies would be received next to macarons at the Court of Versailles. What would a UFO want to beam up from this planet into their spaceship if they were hungry? How can I make ceramic animals eat the gastronomical display in which I’ve placed them?

2022

Virtual Realities, Jones Carter Gallery, Lake City, SC

2023

muti-FIGURE, Manifest Gallery, Cincinnati, OH

I play with the staging until the objects themselves tell me exactly what they want to be doing.

2022

Playing Favorites, Robert Lange Studios,

Amherst, MA Solo Exhibitions

Selected Group Exhibitions

Charleston, SC Currants: Women Artists from the KMA Collection, Knoxville Museum of Art, Knoxville, TN 2021

Lush, Hashimoto Contemporary, New York, NY Collections Tennessee State Museum, Nashville, TN Huntsville Museum of Art, Huntsville, AL Knoxville Museum of Art, Knoxville, TN Represented by Chauvet Arts, Nashville, TN Mitchell Hill, Charleston, SC Bennett Galleries, Knoxville, TN

Garden Party Disagreement oil on linen, 36 x 36 inches

144

STEWART-SANABRIA

145

Patisserie at the Bird Park oil on canvas, 72 x 96 inches The Urgency of Nothing oil on linen, 40 x 58 inches

146

NORA STURGES

nsturges@towson.edu norasturges.com @norasturges

b. 1968 Stamford, CT | lives in Baltimore, MD Education

In my recent work I am inspired by medieval paintings as pathways to abstraction and visions of another world. The imperfection of these works, after hundreds of years of wear and tear, opens them up to new interpretation.

Immediately there are unambiguous details that spring to life—a pointing finger, the shoulder joint of some armor—while the spatial context remains mysterious. As I spend time with the work, the image quickly becomes one that is understandable and meaningful. However, it’s that first moment of confusion, of simultaneous clarity and mystery—a glimpse of something strange and unintelligible—that I most love. My paintings are an attempt to intensify and fix in time this fleeting vision.

1992

MFA, Ohio University, Athens, OH

1990

BA, Bowdoin College, Brunswick, ME Solo Exhibitions

2023

In the Night Garden, C. Grimaldis Gallery,

2022

Things Not Seen, ejecta projects, Carlisle, PA

2019

Levitation, C. Grimaldis Gallery, Baltimore, MD

2018

On Certain Floors, Certain Wonders, C. Grimaldis

2016

Fictional Spaces, David Lusk Gallery, Nashville, TN

Baltimore, MD

Gallery, Baltimore, MD

Selected Group Exhibitions 2022

Charm City, Asya Geisberg Gallery, New York, NY Anonyme Zeichner, Galerie im Körnerpark, Berlin, Germany

2015

Shelter, Lonsdale Gallery, Toronto, Canada

2014

Lost Moments, Gauntlet Gallery, San Francisco, CA The Neighbors, American University Museum, Katzen Arts Center, Washington, DC

Grottoes (after Ambrogio Lorenzetti) gouache on panel, 6 x 8 inches

148

STURGES

On One Side the Desert Blows gouache on panel, 4.5 x 6 inches The Moonstone gouache on panel, 6 x 8 inches

149

150

ADIRA THARAN

renanarose@gmail.com adira.website

b. 1999 Berkeley, CA | lives in Richmond, VA Education

Dense, dreamy, and diagrammatic compositions tie seemingly disparate references together in an unwieldy knot, locking them in combat, conversation, and companionship. Metaphors are made literal, while familiar objects and lifeforms are transmuted into playful, potent symbols.

In making representational work, I hope to naturally weave complex histories and feelings together. Through the reflexive use of frames and inserts, my paintings become bittersweet, bibliographic documents, linking together my varied artistic and ancestral lineages with the cultural detritus and precious memories that informed their making. By indulging in swells of vibrant color, multimedia experimentation, and stowed away secrets, I aim for this unruly knot to be tightened into a lovely bow.

2022

BFA, Rhode Island School of Design, Providence, RI

Comrade, Companion, Chavruta/ ‫אָתּורְבַח‬ oil on canvas, 24 x 18 inches

152

THARAN

153

Don’t let your babies grow up to be / Like a rhinestone cowboy beads and acrylic on linen, 12 x 9 inches In the Woodpile / American as Apple Pie beads, embroidery, and acrylic on linen, 12 x 12 inches

154

MARLON TOBIAS

marlontobiasart@gmail.com marlontobiasart.com @marlontobiasart

b. 1988 Queens, NY | lives in Callahan, FL Education

I am a visual storyteller capturing the intricate tales woven into the fabric of my subjects’ daily lives. Rooted in the principles of painting and drawing, my work is a tapestry shaped by the often overlooked narratives of the communities to which I belong. A native of New York, with a lineage that blends Southern and Jamaican heritage, I draw inspiration from the historical intricacies and layered complexities of the African diaspora.

My practice is ethnographical, weaving together elements from vintage family photographs, personal snapshots, audio recordings, oral histories, and collected artifacts. This meticulous approach grants a genuine and intimate glimpse into the lives of those who have molded the cultures and traditions of my community.

Exploring themes of Black rural southern traditions, the interplay between spirituality, religion, place, domesticity, and the nuanced dynamics within families and communities, my work aims to resonate as a profound reflection of our shared human experience.

2022

MFA, University of South Florida (USF), Tampa, FL

2018

BA, Florida A&M University, Tallahassee, FL Solo Exhibitions

2023

To Come Together, To Get Together, Art Center

2022

We Live on Old Dixie Hwy Too, Museum of Florida Art

Sarasota, Sarasota, FL and Culture, SFSC, Avon Park, FL Selected Group Exhibitions 2023 2022

Food Story Exhibition, Gallerium, Toronto, Canada INVERSO: MFA Graduation Exhibition, Contemporary Art Museum, USF, Tampa, FL Visions in Black, Suncoast Black Arts Collaborative, Sarasota, FL

2021

44th Annual Juried Exhibition, Carolyn M. Wilson Gallery, USF, Tampa, FL Black Muse, Art Center Sarasota, Sarasota, FL Black Art Matters: Past, Present & Future, Carrollwood Cultural Center, Tampa, FL

2020

Food Fight & Deconstructing (The)Monstrosity of the Other, Carolyn M. Wilson Gallery, USF, Tampa, FL

We G’on Go ‘Head and Put Something on the Grill acrylic on canvas, 36 x 48 inches

156

TOBIAS

157

I Wish Grandma Could See The Whole Family (Fish Fry) acrylic and oil pastel on canvas, 80 x 120 inches

158

PALOMA VIANEY

palomavianeystudio@gmail.com palomavianey.com @palomavianey

b. 1995 Ciudad Juárez, Mexico | lives in Washington, DC Education

As a painter native to the U.S./Mexico border, I explore narratives about my home city of Ciudad Juárez and its geographical, political, and cultural circumstances. I began painting during my teenage years when violence and corruption in Juárez peaked. As the city flooded with both, painting became a cathartic activity that gave me a sense of freedom I had never experienced.

2021

MFA, Cornell University (CU), Ithaca, NY

Since then, I have been using art as a visual language for social justice. I also narrate my experience of crossing the U.S./Mexico border every day for years, exposing the realities of this barrier that aggressively divides the North American landscape. With the paintbrush, a tool I sometimes reference as a metaphorical weapon, I explore alternative processes of painting and experiment with the addition of symbolic materials. Through historical, photographical, and anecdotal references, I create paintings that provide both care and reflection to Ciudad Juárez and the border. Seeing painting as an act of care, I attempt to portray my city with vulnerability and resilience, showcasing it as an extraordinary urban landscape where millions of citizens live.

2021

Lo Que Queremos, Herbert F. Johnson Museum of Art,

2014

Los Colores de La Paloma, Museo de Arqueología e

Solo Exhibitions 2023

Juarez Lindo y Querido, Hylton Performing Arts Center, George Mason University, Manassas, VA CU, Ithaca, NY Historia El Chamizal, Ciudad Juárez, Mexico Selected Group Exhibitions

2023

Border Biennial, El Paso Museum of Art, El Paso, TX

2022

XX, Fundación Antonio Gala, Córdoba, Spain

2019

Badminton Tournament (online), with CU, Bridget Donahue Gallery, New York, NY Collections Fundación Antonio Gala, Córdoba, Spain

Chamarra No. 1: La Esquina de Azúl oil on canvas and zipper, 40 x 30 inches

160

VIANEY

161

Chamarra No. 11: Burritos El Compa oil on canvas and zipper, 60 x 48 inches Chamarra Diptych: Observe and Reverse oil on canvas and zipper, 20 x 10 inches

162

ANTOINE WILLIAMS

rawgoods@gmail.com antoinewilliamsart.com @antoinesart

b. 1980 Lumberton, NC | lives in Gainesville, FL Education

My interdisciplinary practice meets at the intersection of cultural mythologies, Critical Black Study, and Surrealism as a means of exploring methods in which physical, mental, and emotional states of being exist within and in opposition to the status quo. I work with the notion that society is monstrous to question themes of power, class, and the abject within their social, cultural, and political absurdities. Using the uncanny, I am reimagining cultural folklore and narratives in the context of present day late-stage capitalism to challenge myths around American economic and capitalist prosperity and to shed light on their effects on Black working-class people.

This connects directly to my lived experience as someone who grew up the child of factory workers in the rural South. The result is a processbased practice that involves painting, drawing, collage work, installation, and assemblage. I use materiality and concept to weave futures, archives, and radical imagining into speculative economies that investigate the complexities of contemporary working-class Black life.

2014

MFA, University of North Carolina at Chapel Hill (UNC), Chapel Hill, NC

2003

BFA, University of North Carolina at Charlotte, Charlotte, NC Residencies

2023

Loghaven, Knoxville, TN

2022

Joan Mitchell Center, New Orleans, LA Solo Exhibitions

2023

Something in the Way of Things, John and Jane Allcott Gallery, UNC, Chapel Hill, NC

2021

Mythic Beings, Antenna, New Orleans, LA

2023

The Vault, The Mint Museum, Charlotte, NC Marauders, Greenville Museum of Art, Greenville, NC Collections Greenville Museum of Art, Greenville, NC Nasher Museum of Art, Duke University, Durham, NC

Flying Africans ink, printed material, and acrylic on wood panel, 36 x 24 inches

164

WILLIAMS

We Laugh at the Night #1 ink, printed material, and acrylic on wood panel, 24 x 24 inches

165

Putting Breath in the Body #2 ink, printed material, transfer, and acrylic, 28 x 23.5 inches

166

ADAM GABRIEL WINNIE

adamgabrielwinnie@gmail.com adamgabrielwinnie.com @adam_gabriel_winnie

b. 1981 Wayne, MI | lives in Decatur, GA Education

Probing the subterranean depths within, my recent works focus on the descent to the underworld that is integral to the monomyth (“hero’s journey”).

The passage of thresholds, trials, encounters, and symbolic death all find their place in this katabasis mythology. These drawings explore a quest into the cave of the mind through a combination of archetypal symbolism and uncanny aesthetics. They are inspired by narrative themes in ancient mythologies in which “the hero” undergoes a journey of a transformative nature and must confront the unknown within the depths of their psyche, where the active darkness they encounter is one that stares back, alive within all our imaginings.

2023

MFA, Georgia State University (GSU), Atlanta, GA

2012

BFA, Savannah College of Art & Design (SCAD), Savannah, GA Residencies

2022

Burren College of Art, Ballyvaughan, Ireland Solo Exhibitions

2023

During the initial phase of Orphic and shamanic initiation, the dark zone, located in the bowels of the earth beyond the reach of sunlight, has been sought out for its potential to evoke visions and insight. By initiating and integrating the polarities within us—between the oppositions of the Dionysian and Apollonian, instinct and intellect, and emotion and reason—maybe it is possible to glimpse a reflection of our inner selves.

Chthonic Passage, whitespace, Atlanta, GA Piseóg, Campus Gate Art Gallery, Young Harris College, Young Harris, GA Into that Resonant Dark, MFA Thesis Exhibition, GSU, Atlanta, GA Selected Group Exhibitions

2023

More is Never Enough, Field Projects, New York, NY

2022

Supernatural, Gutstein Gallery, SCAD, Savannah, GA Contemporary Landscapes, Marietta Cobb Museum of Art, Marietta, GA Collections Mercedes-Benz Stadium Art Collection, Atlanta, GA Savannah College of Art & Design, Savannah, GA Judge Realty, Savannah, GA

Katabasis charcoal and pastel on paper, mounted to shaped Dibond, artist’s frame, 83 x 38 inches

168

WINNIE

To Know the Dark charcoal and pastel on paper, mounted to shaped Dibond, artist’s frame, 38 x 83 inches Chthonic Passage charcoal and pastel on paper, mounted to shaped Dibond, artist’s frame, 33 x 66 inches

169

170

Wang p192

EDITOR’S SELECTIONS

Artists are presented in alphabetical order.

Artist biographies have been edited to prioritize recent highlights.

Pricing Guide can be found on p195.

ROSCOE HALL

roskohall2@gmail.com roscoexhall.com @roscoe__hall

b. 1978 Chicago, IL | lives in Birmingham, AL Education

I create paintings that remix narratives expressed within and instilled throughout Black America. My work searches for truth within surface and questions the unexamined histories across media, ranging from pigments made from food, paper towels, denim, and burlap. Having been a working chef for decades, I have always melded that world with my artistic practice, due to the intent they share about research into what can build and sustain a community.

My work is for those who may not know how to talk about art in the ‘correct’ way. Though I am a self-taught painter, I find the most peace within my practice when it aids or helps further the progression of social issues and thought processes within the Southeast region where I live. My hope is that, eventually, when figurative art is produced by a Brown person, it can be viewed as just art, without the expectation to also be a statement of the past. That is one of the hardest achievements to progress. Consider my work as a nod to those I admire for knowing how to wait, to build a culture, and to never break that joy.

2004

BA, University of San Diego, San Diego, CA Residencies

2023

309 Punk Project, Pensacola, FL Solo Exhibitions

2023

Speak Into Existence, SOCO Gallery, Charlotte, NC Thoughts from the Blackbelt, James Barron Art, Kent, CT Two Houses, University of Alabama Museum, Tuscaloosa, AL Selected Group Exhibitions

2023

my Presence is Present: interpretations of afrosurrealism from the American South, The Gantt Center, Charlotte, NC Collections Kalamazoo Institute of the Arts, Kalamazoo, MI Birmingham Museum of Art, Birmingham, AL Represented by SOCO Gallery, Charlotte, NC James Barron Art, Kent, CT

No Farting acrylic, paper, denim, charcoal, and sativa, 72 x 60 inches

174

HALL

Uncle Johnny Circa 91 acrylic, denim, rayon, ink, pastel, tears, and touch, 72 x 60 inches Good Action acrylic, cotton, paper towels, turmeric, ink, pastel, denim, Nina Simone, sativa, love, and kombucha on canvas, 60 x 48 inches

175

176

DANIELLE MYSLIWIEC

daniellemysliwiec.com @daniellemysliwiecstudio

b. 1976 Worcester, MA | lives in Takoma Park, MD Education

I combine the rigorous structure of weaving with the malleable properties of oil paint to produce tactile, visual, and associative abstractions that question the familiarity of either form. Freed from the rules of the loom, I extrude individual ‘threads’ of oil paint until they amass into illusory woven fields, entangled ridges, and corporeal structures that are seemingly pushed, pulled, gathered, and raised by unseen forces. These textured surfaces, formed by the slow accumulation of marks, produce incremental visual ‘events’ that resist painting’s lean toward fixed, two-dimensional imagery.

At their core, the paintings activate metaphorical meaning through visual and textural perception, foregrounding materiality and the experience of touch and presence in our increasingly digitized lives.

2004

MFA, Hunter College, New York, NY

1998

BA, Wesleyan University, Middletown, CT Residencies

2021

Surf Point Foundation, York, ME

2016

Vermont Studio Center, Johnson, VT Selected Group Exhibitions

2021

Something Else To It, Asya Geisberg Gallery, New York, NY Jean Alexander Frater / Danielle Mysliwiec / Rob de Oude, McKenzie Fine Art, New York, NY

2017

Tie Up, Draw Down, Center for Craft, Creativity & Design, Asheville, NC

Pull, VII oil on linen-covered panel, 68 x 50.5 inches

178

MYSLIWIEC

Forth, III oil on linen-covered wood panel, 14 x 11 inches Forth oil on linen-covered wood panel, 14 x 11 inches

179

180

TJ RINOSKI

tj.rinoski@gmail.com rinoski.studio @tj_rinoski

b. 1994 New London, CT | lives in Richmond, VA Education

TJ Rinoski’s work is an uncanny illusion that touches on a humorous edge of his memory. He paints stories without clear narratives, as memories tend to be misleading and not always truthful, yet his images are preconceived, gathered from tattered handwritten notes that only make sense to him.

The words inscribed on Rinoski’s pages refer to his own experiences, and photographs, and, occasionally, a film scene.

The artist blurs color until a textured artifact emerges like a dusty postcard from your grandmother’s bookshelf. These textures mimic the palpable feeling of its subjects.

While Rinoski’s work is derived from personal anecdotes, his paintings evoke shared experiences, whether it’s an elementary school field trip to the aquarium or watching sports on a Sunday evening. The absence of details is an invitation to the viewer to momentarily enter the interpretation of his memories and build their own story within. Rinoski’s pieces convey the flexibility of a memory: that we are all mere visitors in the storytelling of one’s imagination.

2004

Wingate University, Wingate, NC

2023

Charmed, Fortnight Institute, New York, NY

Solo Exhibitions

Selected Group Exhibitions 2023

Nahual, CABIN, Berlin, Germany A Room with a View, Vardan Gallery, Los Angeles, CA Outdoors, Nowhere, in Nothing, Andrew Edlin Gallery, New York, NY

2022

Cut, Cob Gallery, London, UK Homebody, ada Gallery, Richmond, VA Charta, Fortnight Institute, New York, NY

2021

Summer Stage: Act Two, Auxier Kline, New York, NY

Prayer oil on unstretched canvas, 10 x 8.5 inches

182

RINOSKI

Flyball oil on canvas, 40 x 60 inches Deep End oil on canvas, 54 x 72 inches

183

184

MATT “SEVEN” RYAN

seven.deadnyc@gmail.com @seven.dead

b. 1990 New York, NY | lives in North Charleston, SC Education

SEVEN (born Matt Ryan) is a New York City native and self-taught artist whose work is heavily influenced by early 1990s hip-hop culture and his childhood spent in the melting pot. He has always found beauty in the neglected and unconventional, which, consequently, is often his subject of focus. He recasts these uneasy truths with a more appealing palette, while still aligning with their reality of anguish. He tends to work with a realistic or semi-realistic approach, often incorporating eccentric aspects to attain a tension of surreal, spatial ambiguity, but also to strike the viewer with emotion and mystery. Aside from his paintings, SEVEN’s interdisciplinary practice branches into collage, digital media, and street art in an array of styles.

2012

BA, St. Bonaventure University (SBU), St. Bonaventure, NY Selected Group Exhibitions

2014

DISCOVERY, RAW, Brooklyn, NY

2012

The Laurel, Regina A. Quick Center for the Arts, SBU, St. Bonaventure, NY

Crossing King acrylic and latex on canvas, 30 x 40 inches

186

RYAN

187

You Never Know acrylic on canvas, 22 x 42 inches

188

AMELIE WANG

zhaohanwang10@gmail.com ameliewang10.com @ameliewwwww

b. 1997 Qinhuangdao, China | lives in Baltimore, MD Education

My practice investigates the process of how we as individuals encounter our external reality and how that results in the interchangement between both.

The mysterious space where they reshape each other is where my painting resides.

William Kentridge said, “What one is doing in one’s own studio doesn’t sound like the same question as what is happening in the country but very often they are the same question.”

My painting practice deals with specific cultural conundrums that are constituted by the environment of my upbringing. The relationship between the macro (an experience involving the other) and micro (oneself), its nuance and complexity, is the underlying thread in my practice. What intrigues me most is the process of how the events that happen at the macro level translate into those at the micro; and how, then, the micro that was reshaped in turn reshapes the macro. This mysterious space of shaping and reshaping, of interchanging between the self and the other, is the anchor of my practice.

2023

MFA, Maryland Institute College of Art (MICA), Baltimore, MD

2021

BA, University of Washington (UW), Seattle, WA Residencies

2021

Fiskars Village, Raseborg, Finland Solo Exhibitions

2023

where are you at, Lazarus Hall Gallery, MICA, Baltimore, MD Selected Group Exhibitions

2023

Conjure, Sheila Richard Riggs Gallery, Baltimore, MD Level Up, Gateway Art Center, Brentwood, MD We Are Not Similar, Sheila & Richard Riggs Gallery, MICA, Baltimore, MD

2021

Known, Unknowns & the Spaces in Between, Jacob Lawrence Gallery, UW, Seattle, WA

Till death do us part oil on canvas, 7 x 10 inches

190

WANG

191

Blue hour oil on wood panel, 12 x 12 inches Yellow peaches and squash oil on wood panel, 12 x 13.5 inches

192

WANG

193

Frog lady oil on canvas, 73 x 70 inches Go Firebirds oil on canvas, 48 x 38 inches

194

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.

195

DENNA AMEEN

RONNA S. HARRIS

JIHA MOON

ADIRA THARAN

p15–18 $250–$8,500

p61–64 $12,000–$20,000

p105–110 $8,000–$30,000

p151–154 POR

JUSTIN TYLER BRYANT

MIRO HOFFMANN

MASON OWENS

MARLON TOBIAS

p19–22 NFS

p65–70 $2,500–$18,500

p111–116 $800–$6,000

p155–158 NFS

GABINO A. CASTELÁN

FATEMEH HOSSEINI

EDISON PEÑAFIEL

PALOMA VIANEY

p23–26 $5,100–$21,700

p71–74 NFS

p117–120 $7,000–$8,000

p159–162 $2,000–$15,000

LINDY COOK

RISA HRICOVSKY

CHRISTINA PETTERSSON

ANTOINE WILLIAMS

p27–30 NFS

p75–78 $10,000–$65,000

p121–124 POR

p163–166 NFS

MOREL DOUCET

MONICA IKEGWU

BEVERLY RESS

ADAM GABRIEL WINNIE

p31–36 $3,500–$20,000

p79–82 $20,000–$30,000

p125–128 $2,400–$11,000

p167–170 $5,000–$10,000

MERIS DREW

MARCUS JANSEN

DONALD ROBSON

ROSCOE HALL

p37–40 NFS

p83–88 NFS

p129–132 $2,000–$8,000

p173–176 NFS

MATTHEW FOREHAND

ALEXA KLEINBARD

LETICIA SÁNCHEZ TOLEDO

DANIELLE MYSLIWIEC

p41–44 $8,000–$5,000

p89–92 $8,000–$13,000

p133–138 $2,200–$18,000

p177–180 NFS

AHMAD GEORGE

KHÁNH H. LÊ

BEN STEELE

TJ RINOSKI

p45–50 $4,500–$9,500

p93–96 $2,500–$16,000

p139–142 $3,200–$24,000

p181–184 NFS

SHULING GUO

LUCY LUCKOVICH

DENISE STEWART-SANABRIA

MATT “SEVEN” RYAN

p51–54 NFS

p97–100 NFS

p143–146 $4,000–$16,000

p185–188 $200–$5,000

ERNESTO GUTIÉRREZ MOYA

CARA LYNCH

NORA STURGES

AMELIE WANG

p55–60 NFS

p101–104 $550–$6,000

p147–150 POR

p189–194 $1,000–$5,000

Under My Thumb Todd Pavlisko

October 22 - November 30, 2024 Opening reception with Todd Pavlisko October 22 5 - 7pm Wednesday - Saturday 11:00am - 5:00pm 450 Harrison Ave. #1 Boston, MA 02118

STEVEN ZEVITAS GALLERY

450 Harrison Ave. Boston, MA 02118

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+1 617 778 5265

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October 25 - December 14, 2024

stevenzevitasgallery.com

JERED SPRECHER

$25