Art
Around
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Art COllection
Time Equities Inc. (TEI) is committed to enriching the experience of our properties through the Art-in-Buildings Program (AiB). AiB is an innovative approach that brings contemporary art by emerging and mid-career artists to non-traditional exhibition spaces in the interest of promoting artists, expanding the audience for art, and creating a more interesting environment for our building occupants, residents, and guests.
Art-in-Buildings was founded in 2000, with an inaugural exhibition at 125 Maiden Lane in New York City. The early exhibition history at 125 Maiden Lane includes work by Steven Siegel, Jon Isherwood, Alain Kirili, John Cross, and a survey of Sol LeWitt’s sculptural maquettes, among others. From this auspicious beginning, AiB has expanded to include rotating exhibitions and permanent installations at numerous sites in New York City and beyond. Art-in-Buildings is directed by Tessa Ferreyros.
The following works are on permanent display throughout 1000M, alongside rotating exhibitions in the Art Gallery space.
Photos
Video & Tours
Chin Chih Yang: 123PollutionSolution Santa Fe Art Institute 2021, 2021
Aluminum cans
150 x 84 x 7 in
Level 1 East Lobby
Chin Chih Yang was born in Taiwan, and has resided for many years in New York City. He is a graduate of Parsons School of Design (BFA, 1986) and Pratt Institute with a Master of Science in 1994.
Yang received a fellowship from The New York Foundation for the Arts and the New York State Council on the Arts; as well as many other awards and commendations from prestigious organizations and institutes. Among his recent accomplishments are a solo show at MoCA Taipei, the artist residency at MASS MoCA now and Art Takes Manhattan Award 2019. His work has been exhibited widely in North America, Europe, and Asia, in such spaces as Rockefeller Center, Warsaw, Poland and Art Taipei Fair, Miami Basel, and A documentary about the past years of his work, Chin Chih Yang: Face the Earth, won the Best Documentary award at the 2018 Southampton International Film Festival in the UK.
(b. Taiwan and lives in New York, NY)
150 x 84 x 7 in
Level 1 East Lobby
Chin Chih Yang was born in Taiwan, and has resided for many years in New York City. He is a graduate of Parsons School of Design (BFA, 1986) and Pratt Institute with a Master of Science in 1994.
Yang received a fellowship from The New York Foundation for the Arts and the New York State Council on the Arts; as well as many other awards and commendations from prestigious organizations and institutes. Among his recent accomplishments are a solo show at MoCA Taipei, the artist residency at MASS MoCA now and Art Takes Manhattan Award 2019. His work has been exhibited widely in North America, Europe, and Asia, in such spaces as Rockefeller Center, Warsaw, Poland and Art Taipei Fair, Miami Basel, and A documentary about the past years of his work, Chin Chih Yang: Face the Earth, won the Best Documentary award at the 2018 Southampton International Film Festival in the UK.
(b. Taiwan and lives in New York, NY)
Ron Klein: Power of the Small, 2023-24
Appropriated objects
144 x 121 1/2. x 24 in.
Level 1 East Lobby
Ron Klein chooses images, icons, and things that seem to exemplify a particular quality in and of themselves. The objects that he selects come from the culture of nature and humans. Both are borderless and are rooted in human and natural conditions. The smallest molecular structures of these objects are a source of infinite strength, generating the larger world in which we live. The power of these tiny particles creates our physical realities. Klein believes that by observing and organizing these small visual components, he may find my own connection to the larger world.
(Lives in Elkins Park, PA)
144 x 121 1/2. x 24 in.
Level 1 East Lobby
Ron Klein chooses images, icons, and things that seem to exemplify a particular quality in and of themselves. The objects that he selects come from the culture of nature and humans. Both are borderless and are rooted in human and natural conditions. The smallest molecular structures of these objects are a source of infinite strength, generating the larger world in which we live. The power of these tiny particles creates our physical realities. Klein believes that by observing and organizing these small visual components, he may find my own connection to the larger world.
(Lives in Elkins Park, PA)
Jon Isherwood: The Earth laughs, 2020-21
Rosa Portogallo and Breccia Viola Marble on a stone base 57 x 87 x 50 in.
Born in Britain, Jon Isherwood studied art at Leeds College of Art in Leeds, England and earned a BA with honors from the Canterbury College of Art in Canterbury, England. He later completed his MFA at Syracuse University in Syracuse, NY. In the early 1980s, Isherwood constructed multi-part steel and cast concrete assemblages that drew formal parallels to the work of Anthony Caro and David Smith. By the 1990s, Isherwood turned his attention to stone.
Isherwood currently resides in the United States and has participated in solo and group exhibitions at venues on three continents, some of which include: C. Grimaldis Gallery, Baltimore, MD; Peggy Guggenheim Museum, Venice, Italy; Denver City Art Museum, Denver, CO; Omi Sculpture Park, Omi, NY; Kunsthalle, Manheim, Germany; Hertogenbosch, Holland; Hualien County Cultural Center, Taiwan; and many galleries in the New York City and Chicago areas. In 2003, he was awarded an honorary doctorate in Fine Arts from the University of Plattsburgh, NY. He has also received fellowships from the Jerome Foundation and the Pollock-Krasner Foundation. His work is featured in the collections of the International Sculpture Center II, Washington, D.C.; Krasel Art Center, St. Joseph, MI; the Schwenfurth Museum, Auburn, NY; and in many university collections as well. Isherwood’s most recent sculptural endeavors combine the use of computer numerical control technology with hand craftsmanship to produce what are described as “tumescent vessels.”
(b. 1960, Yorkshire, GB; lives in Hudson, NY)
Born in Britain, Jon Isherwood studied art at Leeds College of Art in Leeds, England and earned a BA with honors from the Canterbury College of Art in Canterbury, England. He later completed his MFA at Syracuse University in Syracuse, NY. In the early 1980s, Isherwood constructed multi-part steel and cast concrete assemblages that drew formal parallels to the work of Anthony Caro and David Smith. By the 1990s, Isherwood turned his attention to stone.
Isherwood currently resides in the United States and has participated in solo and group exhibitions at venues on three continents, some of which include: C. Grimaldis Gallery, Baltimore, MD; Peggy Guggenheim Museum, Venice, Italy; Denver City Art Museum, Denver, CO; Omi Sculpture Park, Omi, NY; Kunsthalle, Manheim, Germany; Hertogenbosch, Holland; Hualien County Cultural Center, Taiwan; and many galleries in the New York City and Chicago areas. In 2003, he was awarded an honorary doctorate in Fine Arts from the University of Plattsburgh, NY. He has also received fellowships from the Jerome Foundation and the Pollock-Krasner Foundation. His work is featured in the collections of the International Sculpture Center II, Washington, D.C.; Krasel Art Center, St. Joseph, MI; the Schwenfurth Museum, Auburn, NY; and in many university collections as well. Isherwood’s most recent sculptural endeavors combine the use of computer numerical control technology with hand craftsmanship to produce what are described as “tumescent vessels.”
(b. 1960, Yorkshire, GB; lives in Hudson, NY)
Rakuko Naito: (l-r) RN736-3, 5-19, 2019; RN936-3, 5-19. 2019; RN1336-3, 5-16, 2016
Washi Paper
each 36 x 36 x 3 1/2 in
Level 1 East Lobby
Born in Tokyo, Japan, Rakuko Naito studied at the Tokyo National University of Art. After her graduation, in 1958, she moved to New York, where she has lived and worked ever since. Naito’s first solo exhibition was at the World House Gallery in New York in 1965. Featured throughout the United States, Europe and Japan, Naito’s work is represented in numerous galleries and public collections including the San Francisco Museum of Modern Art (San Francisco), the Voorlinden Museum (Wassenaar, the Netherlands), the Kemper Art Collection (Chicago), Miami-Dade Community College (Miami), The Larry Aldrich Museum (Ridge eld, CT), the Roland Gibson Art Foundation (SUNY Potsdam) and the Davis Museum and Cultural Center at Wellesley College, Massachusetts. She was an artist in residence at the Josef and Anni Albers Foundation in 2003. Naito held a solo exhibition at the Karuizawa New Art Museum (Karuizawa, Japan) in 2016 and was included in a group exhibition at Blum & Poe (Tokyo) in 2017.
(b. Tokyo, Japan; lives in New York, NY)
each 36 x 36 x 3 1/2 in
Level 1 East Lobby
Born in Tokyo, Japan, Rakuko Naito studied at the Tokyo National University of Art. After her graduation, in 1958, she moved to New York, where she has lived and worked ever since. Naito’s first solo exhibition was at the World House Gallery in New York in 1965. Featured throughout the United States, Europe and Japan, Naito’s work is represented in numerous galleries and public collections including the San Francisco Museum of Modern Art (San Francisco), the Voorlinden Museum (Wassenaar, the Netherlands), the Kemper Art Collection (Chicago), Miami-Dade Community College (Miami), The Larry Aldrich Museum (Ridge eld, CT), the Roland Gibson Art Foundation (SUNY Potsdam) and the Davis Museum and Cultural Center at Wellesley College, Massachusetts. She was an artist in residence at the Josef and Anni Albers Foundation in 2003. Naito held a solo exhibition at the Karuizawa New Art Museum (Karuizawa, Japan) in 2016 and was included in a group exhibition at Blum & Poe (Tokyo) in 2017.
(b. Tokyo, Japan; lives in New York, NY)
Michael Thompson: Slip Crash Craning, 2023
Oil on Canvas
48 x 36 in
Level 1 Leasing Office
Michael Thompson is a painter living and working in Ontario, Canada. In 2019, he completed a Bachelor of Fine Art from Western University and became a resident artist at the Slade School of Fine Art in partnership with the Camden Art Centre in London, England. In 2022, he received a Master of Fine Art from the University of Guelph, and has been included in exhibitions in Canada, the United States, and the United Kingdom. Thompson’s practice investigates the translation of photographic images into painting, often informed broadly by the idea of history. His recent work raises questions about the documentary nature of photography and offers painting as a space to occupy multiple realities simultaneously.
(b. 1997, London, Canada; lives in Toronto, Canada)
48 x 36 in
Level 1 Leasing Office
Michael Thompson is a painter living and working in Ontario, Canada. In 2019, he completed a Bachelor of Fine Art from Western University and became a resident artist at the Slade School of Fine Art in partnership with the Camden Art Centre in London, England. In 2022, he received a Master of Fine Art from the University of Guelph, and has been included in exhibitions in Canada, the United States, and the United Kingdom. Thompson’s practice investigates the translation of photographic images into painting, often informed broadly by the idea of history. His recent work raises questions about the documentary nature of photography and offers painting as a space to occupy multiple realities simultaneously.
(b. 1997, London, Canada; lives in Toronto, Canada)
Graciela Hasper: Untitled, 2000-2001
Acrylic on canvas
66 x 165 in.
Level 1 West Lobby
Although not formally trained, Graciela Hasper (b. 1966, Buenos Aires, Argentina) studied with artist Diana Aisenberg in Buenos Aires from 1988 to 1991. The same year she finished training with Aisenberg, she was among the first participants in Guillermo Kuitca’s residency program for young Argentinian artists. Hasper first exhibited at the Rojas Gallery in Buenos Aires in 1992 and emerged with a generation of artists during a time of sociopolitical transformation in Argentina following the oppressive military dictatorship. Hasper’s work was included in the 1994 landmark exhibition, Crimen y Ornamento (Crime and Ornament), at the Centro Cultural Rojas de Buenos Aires. The presentation codified the Rojas group, of which Hasper was one of the sole female members.
(b. Buenos Aires, Argentina; lives in Buenos Aires, Argentina)
66 x 165 in.
Level 1 West Lobby
Although not formally trained, Graciela Hasper (b. 1966, Buenos Aires, Argentina) studied with artist Diana Aisenberg in Buenos Aires from 1988 to 1991. The same year she finished training with Aisenberg, she was among the first participants in Guillermo Kuitca’s residency program for young Argentinian artists. Hasper first exhibited at the Rojas Gallery in Buenos Aires in 1992 and emerged with a generation of artists during a time of sociopolitical transformation in Argentina following the oppressive military dictatorship. Hasper’s work was included in the 1994 landmark exhibition, Crimen y Ornamento (Crime and Ornament), at the Centro Cultural Rojas de Buenos Aires. The presentation codified the Rojas group, of which Hasper was one of the sole female members.
(b. Buenos Aires, Argentina; lives in Buenos Aires, Argentina)
Joel Meyerowitz: From Route 40 at 20th, 1979-1982
Color photograph
16 x 20 in.
Level 2 Management Office
(b. 1938, New York, New York; Lives in New York, New York)
16 x 20 in.
Level 2 Management Office
(b. 1938, New York, New York; Lives in New York, New York)
Susan Vecsey: Big Waves at Georgica Beach, East Hampton, 2012
Oil on paper
31 3/4 x 79 1/2 in.
Level 2 Management Office
(b. Somerville, New Jersey; Lives in East Hampton, New York)
31 3/4 x 79 1/2 in.
Level 2 Management Office
(b. Somerville, New Jersey; Lives in East Hampton, New York)
Damaris Pan: Male Male, 2023
Oil on Canvas
77 x 51 in.
Level 3 Elevator Landing
Damaris Pan lives and works in Bilbao. Her paintings reveal a peculiar language of shapes, densities, and colour palettes whose outcome is not subject to specific themes. Along with her clear concern for materiality and corporality, Damaris Pan works with persistence on the possibilities of constructiveness, going for the autonomy of the pictorial work. This way, she claims art as a place for knowledge from experience, from where she questions the limits of the pictorial and life.
Among her most recent exhibitions is worth mentioning the solo shows ‘Un martillo en la cabeza’ at Ana Mas Projects (Barcelona, 2022), ‘Veri Pery’ at Halfhouse (Barcelona, 2022), ‘Cuernos a la Vista’ at BilbaoArte (2020), the duo Sugaar with Fiona Mackay at the Cibrián gallery (Donostia, 2021), and the group show ‘Turno de Réplica’ at Patio Herreriano Museum curated by Javier Hontoria (Valladolid, 2021). She has recently been awarded the Gure Artea 2021 Prize, in the category of recognition of artistic practice. In addition, in 2021, she was one of the recipients of the annual Eremuak’s Artistic Practice Grant.
(b. 1983, Mallabia, Spain; lives in Bilbao, Spain)
77 x 51 in.
Level 3 Elevator Landing
Damaris Pan lives and works in Bilbao. Her paintings reveal a peculiar language of shapes, densities, and colour palettes whose outcome is not subject to specific themes. Along with her clear concern for materiality and corporality, Damaris Pan works with persistence on the possibilities of constructiveness, going for the autonomy of the pictorial work. This way, she claims art as a place for knowledge from experience, from where she questions the limits of the pictorial and life.
Among her most recent exhibitions is worth mentioning the solo shows ‘Un martillo en la cabeza’ at Ana Mas Projects (Barcelona, 2022), ‘Veri Pery’ at Halfhouse (Barcelona, 2022), ‘Cuernos a la Vista’ at BilbaoArte (2020), the duo Sugaar with Fiona Mackay at the Cibrián gallery (Donostia, 2021), and the group show ‘Turno de Réplica’ at Patio Herreriano Museum curated by Javier Hontoria (Valladolid, 2021). She has recently been awarded the Gure Artea 2021 Prize, in the category of recognition of artistic practice. In addition, in 2021, she was one of the recipients of the annual Eremuak’s Artistic Practice Grant.
(b. 1983, Mallabia, Spain; lives in Bilbao, Spain)
Norma Markley: Choc O Late, 2024
Neon, Wire, Transformer
4 x 30 x 3 in.
Level 4 Elevator Landing
Norma Markley's works are carefully designed pieces that invoke the legacy of pop art, focusing on social intersections and Americana. Markley’s work transforms products from ephemeral commercial encounters into stylishly produced, thoughtful symbols of throwaway culture. Norma Markley received her MFA from Columbia University and BFA from the Cleveland Institute of Art. She has exhibited extensively both in the United States and abroad. Notable exhibitions include Current Undercurrent: Working in Brooklyn at BAM (the Brooklyn Academy of Music) and Everything All at Once at the Queens Museum of Art.
(Lives in New York, NY)
4 x 30 x 3 in.
Level 4 Elevator Landing
Norma Markley's works are carefully designed pieces that invoke the legacy of pop art, focusing on social intersections and Americana. Markley’s work transforms products from ephemeral commercial encounters into stylishly produced, thoughtful symbols of throwaway culture. Norma Markley received her MFA from Columbia University and BFA from the Cleveland Institute of Art. She has exhibited extensively both in the United States and abroad. Notable exhibitions include Current Undercurrent: Working in Brooklyn at BAM (the Brooklyn Academy of Music) and Everything All at Once at the Queens Museum of Art.
(Lives in New York, NY)
Sara Emerson: (l–r) It Had Been Like Dying, 2019; I Have Never Seen the Moon Yet, 2019; This is Given. It is Not Learned, 2019
Monotype on curved panel, oil-based inks, Rives BFK heavy-weight white paper
each 29 1/4 x 20 3/4 x 2 1/4 in.
Level 8 Elevator Landing
Sara Emerson's experience with printmaking has driven her towards collaborative creative endeavors with others—master printers, print publishing houses, nonprofits, educational institutions, and artists from around the world. She studied as an apprentice printer at Overpass Projects, joined the printmaking department as a technician at Williams College, and completed Tamarind Institute’s Lithography Intensive in 2021.
Sara’s work speaks to the borderlands of the seen and the unseen, inhabiting a world where the tangible and the imagined converge. Her prints explore the delicate interplay between the ephemeral and the eternal. She embraces minimalism and abstraction, creating moments of stillness and introspection. A defining aspect of her work is the use of gradients, which embody the ambiguity and depth of the human experience, allowing for an exploration of the Indefinite and the Sublime.
(b. Brooklyn, NY; lives in Great Barrington, MA)
each 29 1/4 x 20 3/4 x 2 1/4 in.
Level 8 Elevator Landing
Sara Emerson's experience with printmaking has driven her towards collaborative creative endeavors with others—master printers, print publishing houses, nonprofits, educational institutions, and artists from around the world. She studied as an apprentice printer at Overpass Projects, joined the printmaking department as a technician at Williams College, and completed Tamarind Institute’s Lithography Intensive in 2021.
Sara’s work speaks to the borderlands of the seen and the unseen, inhabiting a world where the tangible and the imagined converge. Her prints explore the delicate interplay between the ephemeral and the eternal. She embraces minimalism and abstraction, creating moments of stillness and introspection. A defining aspect of her work is the use of gradients, which embody the ambiguity and depth of the human experience, allowing for an exploration of the Indefinite and the Sublime.
(b. Brooklyn, NY; lives in Great Barrington, MA)
Joanna Przybyla: Sculpture Drawing 1, 2018
Chromogenic print, acrylic on alu-dibond, weathered wood
110 1/8 x 157 3/8 in.
Level 8 Grant Park Lounge
After completing dual study in the Visual Arts and Music colleges in Opole, Joanna Przybyla attended the Academy of Fine Arts in Poznan, at the Faculty of Painting, Graphic Design and Sculpture. She graduated with distinction in 1984. Her work reveals her multiple interests through a variety of media: installation, photography, design, drawing, sound, and architecture. The artist’s observations of nature are reflected in the way she introduces light into her work. Her installations in public spaces are monumental, always closely related to the structure of architecture. The artist’s most recent projects explore how sound moves through the different membranes of architectural spaces. Through contiguous compositions, she reveals the many facets hidden in buildings.
(b. 1959, Racibórz, Poland; lives in Berlin, Germany)
110 1/8 x 157 3/8 in.
Level 8 Grant Park Lounge
After completing dual study in the Visual Arts and Music colleges in Opole, Joanna Przybyla attended the Academy of Fine Arts in Poznan, at the Faculty of Painting, Graphic Design and Sculpture. She graduated with distinction in 1984. Her work reveals her multiple interests through a variety of media: installation, photography, design, drawing, sound, and architecture. The artist’s observations of nature are reflected in the way she introduces light into her work. Her installations in public spaces are monumental, always closely related to the structure of architecture. The artist’s most recent projects explore how sound moves through the different membranes of architectural spaces. Through contiguous compositions, she reveals the many facets hidden in buildings.
(b. 1959, Racibórz, Poland; lives in Berlin, Germany)
Yoojin Cho: Swinging
Oil on Canvas
63 3/4 x 44 in.
Level 8 Grant Park Lounge
Yoojin Cho's whimsical oil paintings draw inspiration from abstract expressionism, employing generous brush strokes and gestural mark-making. Cho's use of color takes cues from the likes of Helen Frankenthaler, building up sheer washes of paint overlaid upon one another to create complex layers of color. Born and raised in Seoul, South Korea, Cho's compositions seek to echo the sophisticated and diverse sensibility of the city and the people that inhabit it.
(b. 1990, Seoul, South Korea; Lives in Seoul, South Korea)
63 3/4 x 44 in.
Level 8 Grant Park Lounge
Yoojin Cho's whimsical oil paintings draw inspiration from abstract expressionism, employing generous brush strokes and gestural mark-making. Cho's use of color takes cues from the likes of Helen Frankenthaler, building up sheer washes of paint overlaid upon one another to create complex layers of color. Born and raised in Seoul, South Korea, Cho's compositions seek to echo the sophisticated and diverse sensibility of the city and the people that inhabit it.
(b. 1990, Seoul, South Korea; Lives in Seoul, South Korea)
Judy Pfaff: Time is Another River, 2012
Honeycomb, cardboard, expanded foam, plastics, fluorescent light
68 x 68 x 14 in.
Level 8 Grant Park Lounge
Referenced by critics as a pioneer of installation art, this oft-cited label for the sprawling career of Judy Pfaff provides an introductory sense of Pfaff’s legacy, but proves limiting to the ever-changing work she has been making for decades and still today. Born in London in 1946, Pfaff received a BFA from Washington University, Saint Louis (1971), and an MFA from Yale University (1973), where she studied with Al Held. Her work spans across disciplines from painting to printmaking to sculpture to installation, but is perhaps best described as painting in space. These spatial paintings inhabit and transform their environments, becoming ad hoc homes for viewers and the artist. Drawing upon a wealth of spiritual, botanical, and art historical imagery, Pfaff’s installations simultaneously and without contradiction reference the austerity of a cathedral and the temporality of a mandala.
Like a mandala, the life of Pfaff’s work is brief and burning, deconstructed, and sections discarded after a show comes down.
(b. 1946, London, GB; lives in Tivoli, NY)
68 x 68 x 14 in.
Level 8 Grant Park Lounge
Referenced by critics as a pioneer of installation art, this oft-cited label for the sprawling career of Judy Pfaff provides an introductory sense of Pfaff’s legacy, but proves limiting to the ever-changing work she has been making for decades and still today. Born in London in 1946, Pfaff received a BFA from Washington University, Saint Louis (1971), and an MFA from Yale University (1973), where she studied with Al Held. Her work spans across disciplines from painting to printmaking to sculpture to installation, but is perhaps best described as painting in space. These spatial paintings inhabit and transform their environments, becoming ad hoc homes for viewers and the artist. Drawing upon a wealth of spiritual, botanical, and art historical imagery, Pfaff’s installations simultaneously and without contradiction reference the austerity of a cathedral and the temporality of a mandala.
Like a mandala, the life of Pfaff’s work is brief and burning, deconstructed, and sections discarded after a show comes down.
(b. 1946, London, GB; lives in Tivoli, NY)
Lawre Stone: undefined, 2020
Acrylic on canvas on board
78 x 90 in.
Level 8 Grant Park Lounge
Lawre Stone makes paintings, works on paper, and textile works that combine natural imagery and the language of abstraction in otherworldly landscapes. Her practice explores environmental issues and relationships between interior worlds and outer experience. Stone earned a BFA from The Rhode Island School of Design and an MFA from The Milton Avery Graduate School of the Arts at Bard College. She has attended residencies at Art Omi, NY, Pocoapoco, Oaxaca, MX and Chateau d’Orquevaux, FR. Stone recently received a NYSCA Regrant for her project, “Invasive Beauty, Painting the Displaced Species of Columbia County, NY,” administered by the Create Council on the Arts. Her work has been exhibited at galleries and non-profit spaces, including White Columns, NY; P.S.1 The Institute for Contemporary Art, NY; Silvermine Galleries, New Canaan, CT; Tanja Grunert Gallery, Hudson, NY; and Joyce Goldstein Gallery, Chatham, NY. Lawre Stone lives and works in Ghent, NY.
(Lives in Columbia County, New York)
78 x 90 in.
Level 8 Grant Park Lounge
Lawre Stone makes paintings, works on paper, and textile works that combine natural imagery and the language of abstraction in otherworldly landscapes. Her practice explores environmental issues and relationships between interior worlds and outer experience. Stone earned a BFA from The Rhode Island School of Design and an MFA from The Milton Avery Graduate School of the Arts at Bard College. She has attended residencies at Art Omi, NY, Pocoapoco, Oaxaca, MX and Chateau d’Orquevaux, FR. Stone recently received a NYSCA Regrant for her project, “Invasive Beauty, Painting the Displaced Species of Columbia County, NY,” administered by the Create Council on the Arts. Her work has been exhibited at galleries and non-profit spaces, including White Columns, NY; P.S.1 The Institute for Contemporary Art, NY; Silvermine Galleries, New Canaan, CT; Tanja Grunert Gallery, Hudson, NY; and Joyce Goldstein Gallery, Chatham, NY. Lawre Stone lives and works in Ghent, NY.
(Lives in Columbia County, New York)
Margaret Evangeline: Solar Eclipse, 2013
Oil on Canvas
72 x 108 in.
Level 8 Grant Park Lounge
Margaret Evangeline received her MFA from the University of New Orleans (UNO) in 1978, where she was the first woman to graduate from the program. Margaret studied with Calvin Harlan, who introduced her to Robert Bly, a visiting artist to UNO. Bly’s translations of Kabir, the 15th-century mystic poet, have influenced Margaret throughout her career. Throughout the 1960s and early ’70s, Margaret relocated numerous times with her three young children and Air Force pilot husband before moving to New Orleans. After receiving her MFA, she established her painting practice in New Orleans, exhibiting at Gallery Simone Stern and then Ferrara Showman Gallery. She developed the Fine Arts Department and Gallery Program at Delgado Community College, where she continued to teach painting and life drawing courses until moving permanently to New York City in 1992.
Evangeline established her studio practice in Chelsea on the Hudson River in 1995, where she worked until 2015.
(b. 1943, Baton Rouge, LA; lives in New York, NY)
72 x 108 in.
Level 8 Grant Park Lounge
Margaret Evangeline received her MFA from the University of New Orleans (UNO) in 1978, where she was the first woman to graduate from the program. Margaret studied with Calvin Harlan, who introduced her to Robert Bly, a visiting artist to UNO. Bly’s translations of Kabir, the 15th-century mystic poet, have influenced Margaret throughout her career. Throughout the 1960s and early ’70s, Margaret relocated numerous times with her three young children and Air Force pilot husband before moving to New Orleans. After receiving her MFA, she established her painting practice in New Orleans, exhibiting at Gallery Simone Stern and then Ferrara Showman Gallery. She developed the Fine Arts Department and Gallery Program at Delgado Community College, where she continued to teach painting and life drawing courses until moving permanently to New York City in 1992.
Evangeline established her studio practice in Chelsea on the Hudson River in 1995, where she worked until 2015.
(b. 1943, Baton Rouge, LA; lives in New York, NY)
Max Cole: Marble Canyon, 1985
Acrylic on Canvas
52 x 92 in.
Level 8 Grant Park Lounge
Max Cole is an American painter best known for her gray-toned canvases. Her paintings suggest an approach to infinity through the use of vertical repetitive lines, a record of intense focus that is said to contain energy as embedded content. Cole describes this process, which she has worked in for over 50 years, as meditative.
Though sometimes compared to the work of Agnes Martin, the similarities between the practices are superficial. “There is no other way to produce the work except for a depth of engagement requiring the abandonment of self," she has explained, "and this process opens the door to infinity enabling reach outside the physical. For me art must transcend the material.” Born in 1937 in Hodgeman County, KS, she received her BFA from Fort Hays State University in Kansas and her MFA from the University of Arizona in Tucson. Influenced by the Suprematist works of Kazimir Malevich during the late 1950s, she began producing paintings which reflected on time with simple forms. The artist currently lives and works in Somerset, CA. Today, Cole’s works are held the collections of the Metropolitan Museum of Art and The Museum of Modern Art in New York, and the Los Angeles County Museum of Art, among others.
(b. 1937, Hodgeman County, KS; lives in New York, NY)
52 x 92 in.
Level 8 Grant Park Lounge
Max Cole is an American painter best known for her gray-toned canvases. Her paintings suggest an approach to infinity through the use of vertical repetitive lines, a record of intense focus that is said to contain energy as embedded content. Cole describes this process, which she has worked in for over 50 years, as meditative.
Though sometimes compared to the work of Agnes Martin, the similarities between the practices are superficial. “There is no other way to produce the work except for a depth of engagement requiring the abandonment of self," she has explained, "and this process opens the door to infinity enabling reach outside the physical. For me art must transcend the material.” Born in 1937 in Hodgeman County, KS, she received her BFA from Fort Hays State University in Kansas and her MFA from the University of Arizona in Tucson. Influenced by the Suprematist works of Kazimir Malevich during the late 1950s, she began producing paintings which reflected on time with simple forms. The artist currently lives and works in Somerset, CA. Today, Cole’s works are held the collections of the Metropolitan Museum of Art and The Museum of Modern Art in New York, and the Los Angeles County Museum of Art, among others.
(b. 1937, Hodgeman County, KS; lives in New York, NY)
Yojiro Imasaka: Bicycle, 2007
Gelatin Silver Print
31 1/2 x 40 in.
Level 8 Grant Park Lounge
Yojiro Imasaka was born in 1983 in Hiroshima, Japan and relocated to the United Sates in 2007. He currently lives and works in Brooklyn, New York. He received a BFA in photography from Nihon University College of Art Photography Department in Tokyo, Japan in 2007, and an MFA from the Pratt Institute in Brooklyn, New York in 2010.
(b. 1983, Hiroshima, Japan; Lives in Brooklyn, NY)
31 1/2 x 40 in.
Level 8 Grant Park Lounge
Yojiro Imasaka was born in 1983 in Hiroshima, Japan and relocated to the United Sates in 2007. He currently lives and works in Brooklyn, New York. He received a BFA in photography from Nihon University College of Art Photography Department in Tokyo, Japan in 2007, and an MFA from the Pratt Institute in Brooklyn, New York in 2010.
(b. 1983, Hiroshima, Japan; Lives in Brooklyn, NY)
Frances Goodman: Girl in the Pearl Necklaces, 2021
Hand-stitched sequins on canvas
49 1/4 x 48 x 2 3/4 in.
Level 8 Cocktail Lounge
Frances Goodman is an interdisciplinary artist based in Johannesburg, whose work involves materials, processes and forms associated with dressmaking, adornment, and the beauty industry. These include acrylic nails, false eyelashes, sequins, needlework, and crochet.
Through her practice, Goodman reflects on conventional definitions of femininity and its trappings, alternately critiquing and celebrating what it means to identify as a woman in contemporary society. Her work also looks more broadly at the ways in which the self is projected and reflected in social and virtual space.
Physical presentation and transformation are both a crushing expectation and a source of empowerment for the archetypes in Goodman’s elaborate sculptures and installations. Glossy, sparkling, sensual textures and a lurid, intoxicating palette imbue her work with the libidinal energy of material consumption. The latter is at the root of Goodman’s inquiry into womanhood. She manipulates the tools and language of the beauty industry in an attempt to understand the commodification of identity.
(b. 1975, Johannesburg, South Africa)
49 1/4 x 48 x 2 3/4 in.
Level 8 Cocktail Lounge
Frances Goodman is an interdisciplinary artist based in Johannesburg, whose work involves materials, processes and forms associated with dressmaking, adornment, and the beauty industry. These include acrylic nails, false eyelashes, sequins, needlework, and crochet.
Through her practice, Goodman reflects on conventional definitions of femininity and its trappings, alternately critiquing and celebrating what it means to identify as a woman in contemporary society. Her work also looks more broadly at the ways in which the self is projected and reflected in social and virtual space.
Physical presentation and transformation are both a crushing expectation and a source of empowerment for the archetypes in Goodman’s elaborate sculptures and installations. Glossy, sparkling, sensual textures and a lurid, intoxicating palette imbue her work with the libidinal energy of material consumption. The latter is at the root of Goodman’s inquiry into womanhood. She manipulates the tools and language of the beauty industry in an attempt to understand the commodification of identity.
(b. 1975, Johannesburg, South Africa)
Maria Marshall: Blindfolded Painting 1, 2022; Blindfolded Painting 2, 2022
Acrylic on canvas
each 47 1/8 x 35 3/8 in
Multimedia artist Maria Marshall has been exploring ‘Shadow’ and ‘Mirror work’ from the inception to date, bringing her anxieties into the active experience. Initially intersecting innocence with discomfort through poignant, celebrated video works, featuring her children and herself by creating dreamlike narratives. Immersive digital illusions and unique aesthetics. Referencing classical painting, both challenging and provocative, in the political, familial, and emotional realms. Her recent works continue with ‘Shadow’ and ‘Mirror work’ on the subject of thought, through other mediums, including sculpture, by placing elements together that have poignant titles. Meditative action paintings. ‘Blindfolded’ inscape drawings and paintings, and works focus on a physical representation of ‘what the mind looks like’, mainly emulating explosive planets in the universe and immersive landscapes.
(b. India; lives in Berlin, Germany)
each 47 1/8 x 35 3/8 in
Multimedia artist Maria Marshall has been exploring ‘Shadow’ and ‘Mirror work’ from the inception to date, bringing her anxieties into the active experience. Initially intersecting innocence with discomfort through poignant, celebrated video works, featuring her children and herself by creating dreamlike narratives. Immersive digital illusions and unique aesthetics. Referencing classical painting, both challenging and provocative, in the political, familial, and emotional realms. Her recent works continue with ‘Shadow’ and ‘Mirror work’ on the subject of thought, through other mediums, including sculpture, by placing elements together that have poignant titles. Meditative action paintings. ‘Blindfolded’ inscape drawings and paintings, and works focus on a physical representation of ‘what the mind looks like’, mainly emulating explosive planets in the universe and immersive landscapes.
(b. India; lives in Berlin, Germany)
Martin Touzon: Affective Pulse, 2023
Neon, Wire, Transformer
42 x 47 x 4 in.
Born just after the fall of the Argentine dictatorship, Martin Touzon grew up in a fragile new democracy plagued by economic crisis and hyperinflation. His personal motivations led him to study economics at the Torcuato Di Tella University, and in 2013 he completed the Artists Program at the same institution. His education is not just focused on a formal institutional level, it was also nourished by working with other artists in their projects and exhibitions. Since then, his work has addressed the crossroads between art and economics using media such as sculpture, installation, performance, and painting to question aspects of today’s society.
He participated in several individual and collective exhibitions: "La nueva esperanza" at Fundación El Mirador and Parque Lezama (Argentina), "Los días pasan como segundos enteros" curated by Martín Craciun in La Pecera (Uruguay), "La continuidad del deseo" in Viadellafucina16 (Italy), "La suspensión del deseo" curated by Susan Caraballo in Havana (Cuba), "Los derivados" curated by Alan Segal in Zmud Gallery (Argentina), "Medias Hojas" in RO Galería (Argentina), “En unión y libertad” in Fiebre Galería (Argentina), “A park is a park” in Banff Center (Canada) and in the V Biennial of Photography ArtexArte, among others. In addition, he made residences abroad in Torino (Italy, 2017) and in The Banff Center (Canada, 2013).
(b. 19785, Buenos Aires, Argentina; Lives in Buenos Aires, Argentina)
42 x 47 x 4 in.
Born just after the fall of the Argentine dictatorship, Martin Touzon grew up in a fragile new democracy plagued by economic crisis and hyperinflation. His personal motivations led him to study economics at the Torcuato Di Tella University, and in 2013 he completed the Artists Program at the same institution. His education is not just focused on a formal institutional level, it was also nourished by working with other artists in their projects and exhibitions. Since then, his work has addressed the crossroads between art and economics using media such as sculpture, installation, performance, and painting to question aspects of today’s society.
He participated in several individual and collective exhibitions: "La nueva esperanza" at Fundación El Mirador and Parque Lezama (Argentina), "Los días pasan como segundos enteros" curated by Martín Craciun in La Pecera (Uruguay), "La continuidad del deseo" in Viadellafucina16 (Italy), "La suspensión del deseo" curated by Susan Caraballo in Havana (Cuba), "Los derivados" curated by Alan Segal in Zmud Gallery (Argentina), "Medias Hojas" in RO Galería (Argentina), “En unión y libertad” in Fiebre Galería (Argentina), “A park is a park” in Banff Center (Canada) and in the V Biennial of Photography ArtexArte, among others. In addition, he made residences abroad in Torino (Italy, 2017) and in The Banff Center (Canada, 2013).
(b. 19785, Buenos Aires, Argentina; Lives in Buenos Aires, Argentina)
Kinga Czerska: Golden Forest, 2024
Acrylic on panel
48 x 108 in.
Level 8 The Den
Kinga Czerska devotes her time to the study of patterns and structures found all around us: in architecture, engineering, flora, fauna, stars, galaxies, the human body, and within her own psyche. Understanding the intricacies of both our natural and manmade environments and the way the myriad details found within interlock, thus creating our elegant and balanced world, is her life’s work. Czerska’s quest is to understand how it all fits, what holds it together and, most importantly, how one can affect the whole as the elements interlace, change, shift and reconfigure.
(b. 1973, Krakow, Poland; lives in Aspen, CO)
48 x 108 in.
Level 8 The Den
Kinga Czerska devotes her time to the study of patterns and structures found all around us: in architecture, engineering, flora, fauna, stars, galaxies, the human body, and within her own psyche. Understanding the intricacies of both our natural and manmade environments and the way the myriad details found within interlock, thus creating our elegant and balanced world, is her life’s work. Czerska’s quest is to understand how it all fits, what holds it together and, most importantly, how one can affect the whole as the elements interlace, change, shift and reconfigure.
(b. 1973, Krakow, Poland; lives in Aspen, CO)
Lilian Garcia-Roig: Cumulative Nature: Washington Woods Trio, 2019
Oil on Canvas
48 x 108 x 1 1/2 in.
Level 8 The Den
Lilian Garcia-Roig was born in Havana, Cuba, in 1966. She earned her BFA in 1988 at Southern Methodist University in Dallas, Texas, and her MFA from the University of Pennsylvania in 1990. She was the Director of Graduate Studies in Visual Art at Florida State University, Tallahassee from 2002 to 2008, and is currently a tenured art professor in this institution.
Garcia-Roig is a plein-air landscape artist, the French expression for “in the open air” painting. Just like the French impressionists used to depict the landscape in an immediate way, from direct observation, Garcia-Roig reflects in her representations a passionate engagement with both the given visual terrain and the painting process. Her body of work essentially befogs the boundaries between abstraction and representation.
(b. 1966, Havana, Cuba; lives in Tallahassee, FL)
48 x 108 x 1 1/2 in.
Level 8 The Den
Lilian Garcia-Roig was born in Havana, Cuba, in 1966. She earned her BFA in 1988 at Southern Methodist University in Dallas, Texas, and her MFA from the University of Pennsylvania in 1990. She was the Director of Graduate Studies in Visual Art at Florida State University, Tallahassee from 2002 to 2008, and is currently a tenured art professor in this institution.
Garcia-Roig is a plein-air landscape artist, the French expression for “in the open air” painting. Just like the French impressionists used to depict the landscape in an immediate way, from direct observation, Garcia-Roig reflects in her representations a passionate engagement with both the given visual terrain and the painting process. Her body of work essentially befogs the boundaries between abstraction and representation.
(b. 1966, Havana, Cuba; lives in Tallahassee, FL)
Claudia Chaseling: high plane escape, 2011
Egg tempera and oil on canvas
66 7/8 x 98 3/8 in.
Claudia Chaseling was born in Munich, Germany. She holds a Master’s degree in Visual Arts, Painting from the Berlin University of the Arts (HdK), and a Doctor of Philosophy in Visual Art from the Australian National University in Canberra (ANU).
Chaseling is known for “Spatial Painting”, site-mutative biomorphic murals that optically distort the familiar geometry of the space, whilst carrying socio-political content. In 2013 she published the graphic novel Murphy the mutant that became an anchor for her work to follow.
Her work has been featured at over sixty exhibitions internationally, including X-Border Biennial, Finland, LAB11 Biennial, Sweden, and the Lorne Biennial, Australia. Recent solo exhibitions were held at Art Gallery Nadezda Petrovic, Serbia; Wollongong Art Gallery, and Yuill Crowley Gallery, Australia; Kunstverein Duisburg and Staatliche Kunsthalle Baden-Baden, Germany; and AiB, NYC. “Vfzkt Berlin” published her monograph in 2016. Grants include DAAD, Karl-Hofer Award, Samstag Scholarship, OZCO and artsACT. Residencies include Art Omi and ISCP, NYC.
(b. 1973, Munich, Germany; lives in Berlin, Germany)
66 7/8 x 98 3/8 in.
Claudia Chaseling was born in Munich, Germany. She holds a Master’s degree in Visual Arts, Painting from the Berlin University of the Arts (HdK), and a Doctor of Philosophy in Visual Art from the Australian National University in Canberra (ANU).
Chaseling is known for “Spatial Painting”, site-mutative biomorphic murals that optically distort the familiar geometry of the space, whilst carrying socio-political content. In 2013 she published the graphic novel Murphy the mutant that became an anchor for her work to follow.
Her work has been featured at over sixty exhibitions internationally, including X-Border Biennial, Finland, LAB11 Biennial, Sweden, and the Lorne Biennial, Australia. Recent solo exhibitions were held at Art Gallery Nadezda Petrovic, Serbia; Wollongong Art Gallery, and Yuill Crowley Gallery, Australia; Kunstverein Duisburg and Staatliche Kunsthalle Baden-Baden, Germany; and AiB, NYC. “Vfzkt Berlin” published her monograph in 2016. Grants include DAAD, Karl-Hofer Award, Samstag Scholarship, OZCO and artsACT. Residencies include Art Omi and ISCP, NYC.
(b. 1973, Munich, Germany; lives in Berlin, Germany)
Jim Holl: Both a Point and a Wave, 11.10.19
Oil on Board
60 x 60 in.
Level 8 Social Kitchen
The artwork of Jim Holl has been widely exhibited and collected. He has mounted solo and group exhibitions with public institutions such as The New Museum, PS1 Museum, Creative Time, Samuel Dorsky Museum of Art, and Artists Space in New York. Additional selected exhibitions include ‘T’ Space, Rhinebeck, New York; Garvey/Simon Gallery, New York, Prographica/KPR Gallery, Seattle, WA; Architecture for Art Gallery, Hillsdale, New York; Cross Contemporary Art, Saugerties, NY, Philadelphia Art Alliance, PA; The Arts Center Gallery, Saratoga Springs, NY; Thompson Giroux Gallery, Chatham, NY; Lehman College Art Gallery, NY; BCB Gallery, Hudson, NY; Denise Bibro Gallery, NY; and the Woodstock Byrdcliffe Guild's Kleinart/James Center for the Arts, Woodstock, NY.
(b. 1949, Bremerton, WA; lives in New York and Washington)
60 x 60 in.
Level 8 Social Kitchen
The artwork of Jim Holl has been widely exhibited and collected. He has mounted solo and group exhibitions with public institutions such as The New Museum, PS1 Museum, Creative Time, Samuel Dorsky Museum of Art, and Artists Space in New York. Additional selected exhibitions include ‘T’ Space, Rhinebeck, New York; Garvey/Simon Gallery, New York, Prographica/KPR Gallery, Seattle, WA; Architecture for Art Gallery, Hillsdale, New York; Cross Contemporary Art, Saugerties, NY, Philadelphia Art Alliance, PA; The Arts Center Gallery, Saratoga Springs, NY; Thompson Giroux Gallery, Chatham, NY; Lehman College Art Gallery, NY; BCB Gallery, Hudson, NY; Denise Bibro Gallery, NY; and the Woodstock Byrdcliffe Guild's Kleinart/James Center for the Arts, Woodstock, NY.
(b. 1949, Bremerton, WA; lives in New York and Washington)
Lisa Hunt: Cross Sections: Untitled 2, 2017; Cross Sections: Untitled 4, 2017; Cross Sections: Untitled 6, 2017
Ed. Silkscreen and 24-carat gold leaf on paper
each 30 x 26 in.
Level 8 Social Kitchen
Lisa Hunt is a visual artist whose screen printed works on paper, canvas, and collage explore the spatial and meditative relationships between patterns. Her work employs lines, symbols, and typographic elements that reveal the infinite possibilities of shape and repetition. Drawing inspiration from textiles, her distinctive use of gold leaf further expands upon these relationships. The influence of traditional West African textiles and African American quilt-making are touch stones in her practice through collage.
Hunt has participated in group exhibitions at national museums and galleries, including the Asheville Art Museum in North Carolina; Claire Oliver Gallery in New York; Highpoint Center for Printmaking in Minnesota; Trout Museum in Wisconsin; and the International Print Center New York. Acquisitions of her artworks are held at the Asheville Art Museum, North Carolina; Weisman Art Museum, Minnesota; Google Headquarters, New York.
(b. 1968; lives in Brooklyn, New York)
each 30 x 26 in.
Level 8 Social Kitchen
Lisa Hunt is a visual artist whose screen printed works on paper, canvas, and collage explore the spatial and meditative relationships between patterns. Her work employs lines, symbols, and typographic elements that reveal the infinite possibilities of shape and repetition. Drawing inspiration from textiles, her distinctive use of gold leaf further expands upon these relationships. The influence of traditional West African textiles and African American quilt-making are touch stones in her practice through collage.
Hunt has participated in group exhibitions at national museums and galleries, including the Asheville Art Museum in North Carolina; Claire Oliver Gallery in New York; Highpoint Center for Printmaking in Minnesota; Trout Museum in Wisconsin; and the International Print Center New York. Acquisitions of her artworks are held at the Asheville Art Museum, North Carolina; Weisman Art Museum, Minnesota; Google Headquarters, New York.
(b. 1968; lives in Brooklyn, New York)
Jimena Schlaepfer: Meteorites, 2022
Drawing with watercolor and ink, woven with hand-dyed cotton paper
25 1/2 x 19 2/5 in.
Level 20 Harbor Bar + Lounge
Jimena Schlaepfer Graduated from the National School of Painting, Sculpture and Engraving “La Esmeralda” (2001-2006). She works in various mediums, drawing, sculpture, installation, video and animation.
Solo and group shows include Cosmogonía Trilobite at the Santo Domingo Cultural Center, Oaxaca, 2016 and Ossis Lux at the Museum of Oaxacan Painters MUPO, 2016. In collectives such as Sculptures of the Earth in the Complex Cultural los Pinos, in Mexico City, 2019 and Delirios Urbanos at the Cuarto de Machines Gallery, 2017. She was a FONCA scholarship recipient for Young Creators in the period 2006-2007 and in the period 2011-2012 in Alternative Media and in the year In 2014 he obtained an artistic residency at the Banff Center in Canada.
(b. 1982, Mexico; Lives in Mexico City, Mexico)
25 1/2 x 19 2/5 in.
Level 20 Harbor Bar + Lounge
Jimena Schlaepfer Graduated from the National School of Painting, Sculpture and Engraving “La Esmeralda” (2001-2006). She works in various mediums, drawing, sculpture, installation, video and animation.
Solo and group shows include Cosmogonía Trilobite at the Santo Domingo Cultural Center, Oaxaca, 2016 and Ossis Lux at the Museum of Oaxacan Painters MUPO, 2016. In collectives such as Sculptures of the Earth in the Complex Cultural los Pinos, in Mexico City, 2019 and Delirios Urbanos at the Cuarto de Machines Gallery, 2017. She was a FONCA scholarship recipient for Young Creators in the period 2006-2007 and in the period 2011-2012 in Alternative Media and in the year In 2014 he obtained an artistic residency at the Banff Center in Canada.
(b. 1982, Mexico; Lives in Mexico City, Mexico)
Rebecca Salter: Untitled AB47, 2011
Acrylic, gesso, pigments on linen
47 x 59 in.
Level 20 Private Party Lounge
Rebecca Salter studied at Bristol Polytechnic and then at Kyoto City University of the Arts in Japan, where she lived for six years. While living in Kyoto, Salter studied traditional Japanese woodblock printing with Professor Kurosaki Akira and has since written two books on the subject. Her interest in printmaking is combined with her main practice in painting. Until 2016 she was Associate Lecturer on the MA Printmaking Course at Camberwell College of Art, University of the Arts, London.
Salter exhibits regularly in London and internationally, and in 2011 she had a major retrospective into the light of things at the Yale Center for British Art, New Haven, Connecticut. A monograph was published to coincide with the show. An accompanying exhibition at Yale University Art Gallery explored links between Western artists and Japan. She has also been artist in residence twice (2003 and 2011) at the Josef and Anni Albers Foundation, Connecticut. Salter has undertaken several architectural commissions including 15 Sackville Street, London W1, St George’s Hospital, Tooting and NGS Macmillan Cancer Unit, Chesterfield Royal Hospital. She has work in many private and public collections including Tate, British Museum, Yale Center for British Art and Yale University Art Gallery.
(b. 1955, Sussex, UK; lives in London, UK)
47 x 59 in.
Level 20 Private Party Lounge
Rebecca Salter studied at Bristol Polytechnic and then at Kyoto City University of the Arts in Japan, where she lived for six years. While living in Kyoto, Salter studied traditional Japanese woodblock printing with Professor Kurosaki Akira and has since written two books on the subject. Her interest in printmaking is combined with her main practice in painting. Until 2016 she was Associate Lecturer on the MA Printmaking Course at Camberwell College of Art, University of the Arts, London.
Salter exhibits regularly in London and internationally, and in 2011 she had a major retrospective into the light of things at the Yale Center for British Art, New Haven, Connecticut. A monograph was published to coincide with the show. An accompanying exhibition at Yale University Art Gallery explored links between Western artists and Japan. She has also been artist in residence twice (2003 and 2011) at the Josef and Anni Albers Foundation, Connecticut. Salter has undertaken several architectural commissions including 15 Sackville Street, London W1, St George’s Hospital, Tooting and NGS Macmillan Cancer Unit, Chesterfield Royal Hospital. She has work in many private and public collections including Tate, British Museum, Yale Center for British Art and Yale University Art Gallery.
(b. 1955, Sussex, UK; lives in London, UK)
Daniel Hill: Untitled 11, 2010
Acrylic polymer emulsion on paper, mounted on canvas
40 x 50 in
Level 20 Private Party Lounge
Daniel Hill received a Master’s Degree in Fine Arts from the School of Visual Arts in New York, NY in 1996 and a Bachelor’s Degree in Fine Arts in 1993 from Kent State University in Ohio. He is a painter, sound artist, writer, educator, and curator whose work explores the relationship between visual art, sound, and science. His paintings and sound-works often employ a generative rules-based system in which the notion of embodied/extended cognition is an inquiry, as well as discovering a balance between the aesthetic and the conceptual.
He is currently an Adjunct Associate Professor of Art at Pace University in Manhattan. He lives in Long Island City, New York with his wife and artist Angie Drakopoulos and their two sons.
(b. Cleveland, OH; lives in Long Island City, NY)
40 x 50 in
Level 20 Private Party Lounge
Daniel Hill received a Master’s Degree in Fine Arts from the School of Visual Arts in New York, NY in 1996 and a Bachelor’s Degree in Fine Arts in 1993 from Kent State University in Ohio. He is a painter, sound artist, writer, educator, and curator whose work explores the relationship between visual art, sound, and science. His paintings and sound-works often employ a generative rules-based system in which the notion of embodied/extended cognition is an inquiry, as well as discovering a balance between the aesthetic and the conceptual.
He is currently an Adjunct Associate Professor of Art at Pace University in Manhattan. He lives in Long Island City, New York with his wife and artist Angie Drakopoulos and their two sons.
(b. Cleveland, OH; lives in Long Island City, NY)
Sarah Esme Harrison: Untitled, 2023
Oil on panel
60 x 36 x 7 in.
Level 20 Private Party Lounge
Sarah Esme Harrison (b. 1990, New York, New York) lives and works in Brooklyn and Long Island, New York. She graduated from the Yale School of Art with an MFA in Painting in 2017. Both working in and subverting the tradition of plein air landscape painting, her works ask us to interrogate who is looking, and from what perspective. Beginning her paintings outdoors, she makes observational responses to her surroundings. She then moves the paintings into the studio, where she sees them as distinctly human-made, rather than as a piece of the natural world, as it appears while working outside. Building wedge-shaped supports for the painted panels, she exaggerates that they are unnatural, their shape prompting viewers to move around them in an exploratory way. The second layer of her paintings, completed in the studio, takes the form of a gate, a symbol of duality. To invite a close look, they adorn and echo, but at the same time, they keep the viewer out. Conventions of beauty tell us to look, and then they distort what we see. These imposing tangles of wrought iron often take a floriate form, blending with the garden, all the while standing in opposition. Harrison’s paintings point to our imperfect love for nature, which is possessive, extractive, and violent.
(b. 1990, New York, NY; lives New York, NY)
60 x 36 x 7 in.
Level 20 Private Party Lounge
Sarah Esme Harrison (b. 1990, New York, New York) lives and works in Brooklyn and Long Island, New York. She graduated from the Yale School of Art with an MFA in Painting in 2017. Both working in and subverting the tradition of plein air landscape painting, her works ask us to interrogate who is looking, and from what perspective. Beginning her paintings outdoors, she makes observational responses to her surroundings. She then moves the paintings into the studio, where she sees them as distinctly human-made, rather than as a piece of the natural world, as it appears while working outside. Building wedge-shaped supports for the painted panels, she exaggerates that they are unnatural, their shape prompting viewers to move around them in an exploratory way. The second layer of her paintings, completed in the studio, takes the form of a gate, a symbol of duality. To invite a close look, they adorn and echo, but at the same time, they keep the viewer out. Conventions of beauty tell us to look, and then they distort what we see. These imposing tangles of wrought iron often take a floriate form, blending with the garden, all the while standing in opposition. Harrison’s paintings point to our imperfect love for nature, which is possessive, extractive, and violent.
(b. 1990, New York, NY; lives New York, NY)
Justine Hill: Inseparable, 2016
Acrylic and pencil on canvas
54 x 46 in.
Level 20 Sunrise Lounge
Justine Hill (b.1985) is based in New York City. Recent solo exhibitions include Omphalos at DIMIN in New York City (2023), Alternates at MAKI Gallery in Tokyo (2022), and Touch at Denny Dimin Gallery in New York (2020) reviewed in The New York Times. In 2022, Hill completed a large scale commission for the College of the Holy Cross's new Cantor Window on view through July 2023 (Watch a 3-minute video about the project). Hill’s other recent exhibitions include Surface Level at DIMIN (2023), Fringe at Denny Dimin Gallery (2021), Wild Frontiers at The Pit LA (2021), Fanfare at Fordham University’s Ildiko Butler Gallery (2020), Bookends at David B. Smith Gallery in Denver (2019), and Backdrops at Art-in-Buildings in New York (2019). Hill has also collaborated on a ballet duet titled Shapeshifters with choreographer Michelle Thompson Ulerich as part of Counterpointe7 organized by Norte Maar in Brooklyn (2019). Her work has been reviewed or featured in The New York Times, Art in America, Hyperallergic, New York Magazine, among others. She received her MFA from the University of Pennsylvania and her BA from the College of the Holy Cross.
(b. 1985; lives in Brooklyn, New York)
54 x 46 in.
Level 20 Sunrise Lounge
Justine Hill (b.1985) is based in New York City. Recent solo exhibitions include Omphalos at DIMIN in New York City (2023), Alternates at MAKI Gallery in Tokyo (2022), and Touch at Denny Dimin Gallery in New York (2020) reviewed in The New York Times. In 2022, Hill completed a large scale commission for the College of the Holy Cross's new Cantor Window on view through July 2023 (Watch a 3-minute video about the project). Hill’s other recent exhibitions include Surface Level at DIMIN (2023), Fringe at Denny Dimin Gallery (2021), Wild Frontiers at The Pit LA (2021), Fanfare at Fordham University’s Ildiko Butler Gallery (2020), Bookends at David B. Smith Gallery in Denver (2019), and Backdrops at Art-in-Buildings in New York (2019). Hill has also collaborated on a ballet duet titled Shapeshifters with choreographer Michelle Thompson Ulerich as part of Counterpointe7 organized by Norte Maar in Brooklyn (2019). Her work has been reviewed or featured in The New York Times, Art in America, Hyperallergic, New York Magazine, among others. She received her MFA from the University of Pennsylvania and her BA from the College of the Holy Cross.
(b. 1985; lives in Brooklyn, New York)
Paolo Arao: Healer, 2020; Seer, 2020; Armor, 2020
Sewn cotton, denim, corduroy, canvas, handwoven fibers on shaped support
each 19 3/4 x 22 in.
Level 20 Sunrise Lounge
Paolo Arao is a Brooklyn-based, Filipino-American artist working with textiles. He received his BFA from Virginia Commonwealth University and attended the Skowhegan School of Painting and Sculpture. Arao has shown his work widely and has presented solo exhibitions at David B. Smith Gallery (Denver), Western Exhibitions (Chicago), and Jeff Bailey Gallery (NYC) amongst others. Residencies include: Bemis Center for Contemporary Arts, The Museum of Arts and Design (NYC), the Millay Colony, the Studios at MASS MoCA, Vermont Studio Center, Lower East Side Printshop Keyholder Residency, NARS Foundation, Wassaic Project, BRIC Workspace, Atlantic Center for the Arts and the Fire Island Artist Residency. He is a recipient of an Artist Fellowship from The New York Foundation for the Arts. His work has been published in New American Paintings, Maake Magazine, ArtMaze, Esopus, and Dovetail.
(b. 1977, Manila, Philippines; Lives in Brooklyn, NY)
each 19 3/4 x 22 in.
Level 20 Sunrise Lounge
Paolo Arao is a Brooklyn-based, Filipino-American artist working with textiles. He received his BFA from Virginia Commonwealth University and attended the Skowhegan School of Painting and Sculpture. Arao has shown his work widely and has presented solo exhibitions at David B. Smith Gallery (Denver), Western Exhibitions (Chicago), and Jeff Bailey Gallery (NYC) amongst others. Residencies include: Bemis Center for Contemporary Arts, The Museum of Arts and Design (NYC), the Millay Colony, the Studios at MASS MoCA, Vermont Studio Center, Lower East Side Printshop Keyholder Residency, NARS Foundation, Wassaic Project, BRIC Workspace, Atlantic Center for the Arts and the Fire Island Artist Residency. He is a recipient of an Artist Fellowship from The New York Foundation for the Arts. His work has been published in New American Paintings, Maake Magazine, ArtMaze, Esopus, and Dovetail.
(b. 1977, Manila, Philippines; Lives in Brooklyn, NY)
Melanie Authier: Flash Point, 2014
Watercolor, ink on paper
22 x 30 in.
Level 20 Sunrise Lounge
Melanie Authier (Canadian, b. Montreal) received a BFA from Concordia University (2002) and an MFA from University of Guelph (2006). Authier has shown in numerous public galleries including The National Gallery of Canada, Ottawa, ON and Galerie UQAM, Montreal, QC, Canada. In 2023 Authier was one of ten Canadians to participate in the Napoule Artist Residency in the South of France. A major touring solo exhibition Contrarieties & Counterpoints curated by Robert Enright (2016-2018) travelled to seven venues across Canada (publication). Recent group shows include Northern Exposure at Praz-Delavallade Gallery, Los Angeles, CA (2024), Friendship’s Death at Andrew Rafacz Gallery, Chicago, IL (2023), This Sacred Vessel Pt.1 at Arsenal Contemporary, New York, NY (2020) and The Tremendous Elusive: Emily Carr and the Canadian Imaginary, The Canada Gallery, Canada House, London, UK (2016). Her work is in numerous collections, including the National Gallery of Canada, Musée régional de Rimouski, QC, Canada House, London (UK) and the ARBZ- Visual Art Collection-Global Affairs Canada in Madrid and Berlin. Authier currently lives and works in the Montreal, Quebec. She is represented by Olga Korper Gallery, Toronto.
(b. 1980, Montreal, Canada; Lives in Montreal, Canada)
22 x 30 in.
Level 20 Sunrise Lounge
Melanie Authier (Canadian, b. Montreal) received a BFA from Concordia University (2002) and an MFA from University of Guelph (2006). Authier has shown in numerous public galleries including The National Gallery of Canada, Ottawa, ON and Galerie UQAM, Montreal, QC, Canada. In 2023 Authier was one of ten Canadians to participate in the Napoule Artist Residency in the South of France. A major touring solo exhibition Contrarieties & Counterpoints curated by Robert Enright (2016-2018) travelled to seven venues across Canada (publication). Recent group shows include Northern Exposure at Praz-Delavallade Gallery, Los Angeles, CA (2024), Friendship’s Death at Andrew Rafacz Gallery, Chicago, IL (2023), This Sacred Vessel Pt.1 at Arsenal Contemporary, New York, NY (2020) and The Tremendous Elusive: Emily Carr and the Canadian Imaginary, The Canada Gallery, Canada House, London, UK (2016). Her work is in numerous collections, including the National Gallery of Canada, Musée régional de Rimouski, QC, Canada House, London (UK) and the ARBZ- Visual Art Collection-Global Affairs Canada in Madrid and Berlin. Authier currently lives and works in the Montreal, Quebec. She is represented by Olga Korper Gallery, Toronto.
(b. 1980, Montreal, Canada; Lives in Montreal, Canada)
Damaris Pan: Likabetus, 2023
Oil on Canvas
75 x 55 in.
Level 20 Horizon Lounge
Damaris Pan lives and works in Bilbao. Her paintings reveal a peculiar language of shapes, densities and colour palettes whose outcome is not subject to specific themes. Along with her clear concern for materiality and corporality, Damaris Pan works with persistence on the possibilities of constructiveness, going for the autonomy of the pictorial work. This way, she claims art as a place for knowledge from experience, from where she questions the limits of the pictorial and life.
Among her most recent exhibitions is worth mentioning the solo shows ‘Un martillo en la cabeza’ at Ana Mas Projects (Barcelona, 2022), ‘Veri Pery’ at Halfhouse (Barcelona, 2022), ‘Cuernos a la Vista’ at BilbaoArte (2020), the duo Sugaar with Fiona Mackay at the Cibrián gallery (Donostia, 2021), and the group show ‘Turno de Réplica’ at Patio Herreriano Museum curated by Javier Hontoria (Valladolid, 2021). She has recently been awarded the Gure Artea 2021 Prize, in the category of recognition of artistic practice. In addition, in 2021 she has been one of the recipients of the annual Eremuak’s Artistic Practice Grant.
(b. 1983, Mallabia, Spain; lives in Bilbao, Spain)
75 x 55 in.
Level 20 Horizon Lounge
Damaris Pan lives and works in Bilbao. Her paintings reveal a peculiar language of shapes, densities and colour palettes whose outcome is not subject to specific themes. Along with her clear concern for materiality and corporality, Damaris Pan works with persistence on the possibilities of constructiveness, going for the autonomy of the pictorial work. This way, she claims art as a place for knowledge from experience, from where she questions the limits of the pictorial and life.
Among her most recent exhibitions is worth mentioning the solo shows ‘Un martillo en la cabeza’ at Ana Mas Projects (Barcelona, 2022), ‘Veri Pery’ at Halfhouse (Barcelona, 2022), ‘Cuernos a la Vista’ at BilbaoArte (2020), the duo Sugaar with Fiona Mackay at the Cibrián gallery (Donostia, 2021), and the group show ‘Turno de Réplica’ at Patio Herreriano Museum curated by Javier Hontoria (Valladolid, 2021). She has recently been awarded the Gure Artea 2021 Prize, in the category of recognition of artistic practice. In addition, in 2021 she has been one of the recipients of the annual Eremuak’s Artistic Practice Grant.
(b. 1983, Mallabia, Spain; lives in Bilbao, Spain)
Louis Verret: Collection Incomplète, 2021
Watercolor on Paper
60 1/8 x 23 1/2 in.
Level 20 Horizon Lounge
Louis Verret's practice is multidisciplinary and variable, currently combining watercolor painting, writing and installation. The use of watercolor paint reflects a desire to counterpoint the subtext. Originally practiced for the fugitive nature of travel painting, on the motif and objective, it retains the fleeting characteristics of notes taken on the spot, as close as possible to emotions and stigmata. The book is thus consecrated for its form (on which the memory of the living, its poetic disposition, rests), not for its function (of reading, of culture).
(b. 1988, Paris, France; lives in Paris, France)
60 1/8 x 23 1/2 in.
Level 20 Horizon Lounge
Louis Verret's practice is multidisciplinary and variable, currently combining watercolor painting, writing and installation. The use of watercolor paint reflects a desire to counterpoint the subtext. Originally practiced for the fugitive nature of travel painting, on the motif and objective, it retains the fleeting characteristics of notes taken on the spot, as close as possible to emotions and stigmata. The book is thus consecrated for its form (on which the memory of the living, its poetic disposition, rests), not for its function (of reading, of culture).
(b. 1988, Paris, France; lives in Paris, France)
Alain Kirili: In the Round, 2015
Forged Iron
79 x 52 x 28 in.
Alain Kirili was a French American sculptor recognized for his post-minimalist abstract sculptures in forged iron and his large-scale public sculptures. His work emphasizes an “aesthetics of spontaneity” and sought its formal unity through the variety of materials he employed in a quest for “organic simplicity.” Kirili used traditional blacksmithing techniques to create his lauded forged-iron sculptures, which afforded his work a measure of spontaneity: he urgently hammered the hot, malleable iron, and it preserved the rhythm of his gestures. He desired to retain sensuality and expression while discovering new ways to work with traditional sculptural methods.
He created his first large-scale public work, Grand commandement blanc, for the Tuileries in Paris in 1986. Kirili’s work is held in the collections of the Museum of Modern Art, New York; the Centre Pompidou, Paris; the Museum Ludwig, Cologne; and the Institut Valencià d’Art Modern, in Valencia, Spain, among numerous other institutions. In December of 2020, he was made a French Commandeur de l’Ordre de Arts et Lettres, receiving France’s highest cultural honor for his contribution to the arts.
(b. 1946, Paris, France; d. 2021, New York, NY)
79 x 52 x 28 in.
Alain Kirili was a French American sculptor recognized for his post-minimalist abstract sculptures in forged iron and his large-scale public sculptures. His work emphasizes an “aesthetics of spontaneity” and sought its formal unity through the variety of materials he employed in a quest for “organic simplicity.” Kirili used traditional blacksmithing techniques to create his lauded forged-iron sculptures, which afforded his work a measure of spontaneity: he urgently hammered the hot, malleable iron, and it preserved the rhythm of his gestures. He desired to retain sensuality and expression while discovering new ways to work with traditional sculptural methods.
He created his first large-scale public work, Grand commandement blanc, for the Tuileries in Paris in 1986. Kirili’s work is held in the collections of the Museum of Modern Art, New York; the Centre Pompidou, Paris; the Museum Ludwig, Cologne; and the Institut Valencià d’Art Modern, in Valencia, Spain, among numerous other institutions. In December of 2020, he was made a French Commandeur de l’Ordre de Arts et Lettres, receiving France’s highest cultural honor for his contribution to the arts.
(b. 1946, Paris, France; d. 2021, New York, NY)
Axel Roy: Extrait de sans titre 05, 2017
Oil and acrylic on canvas
66 7/8 x 78 5/8 in.
Level 20 Horizon Lounge
After a scientific curriculum, Axel Roy turned to the arts and studied at the Beaux-Arts de Dijon, and in Hangzhou and Shanghai, China, where he lived for two years. When he returned, he participated in several exhibitions in France, China, and the Netherlands, where he now lives. In May 2021, he was one of the finalists of the Pierre David-Weill/ Institut de France-Académie des Beaux-Arts Prize and the Royal Award for Modern Painting in the Netherlands. At that time, two of his large paintings were displayed at the Royal Palace in Amsterdam for a few months.
(b. 1989, Paris, France; lives in Utrecht, Netherlands)
66 7/8 x 78 5/8 in.
Level 20 Horizon Lounge
After a scientific curriculum, Axel Roy turned to the arts and studied at the Beaux-Arts de Dijon, and in Hangzhou and Shanghai, China, where he lived for two years. When he returned, he participated in several exhibitions in France, China, and the Netherlands, where he now lives. In May 2021, he was one of the finalists of the Pierre David-Weill/ Institut de France-Académie des Beaux-Arts Prize and the Royal Award for Modern Painting in the Netherlands. At that time, two of his large paintings were displayed at the Royal Palace in Amsterdam for a few months.
(b. 1989, Paris, France; lives in Utrecht, Netherlands)
Michael Thompson: Breaking the Barrier, 2023
Oil on canvas
36 x 48 in.
Level 20 Game Room
Michael Thompson (b. 1997) is a painter living and working in Ontario, Canada. In 2019, he completed a Bachelor of Fine Art from Western University and became a resident artist at the Slade School of Fine Art in partnership with the Camden Art Centre in London, England. In 2022, he received a Master of Fine Art from the University of Guelph, and has been included in exhibitions in Canada, the United States, and the United Kingdom. Thompson’s practice investigates the translation of photographic images into painting, often informed broadly by the idea of history. His recent work raises questions about the documentary nature of photography and offers painting as a space to occupy multiple realities simultaneously.
(b. 1997, London, Canada; lives in Toronto, Canada)
36 x 48 in.
Level 20 Game Room
Michael Thompson (b. 1997) is a painter living and working in Ontario, Canada. In 2019, he completed a Bachelor of Fine Art from Western University and became a resident artist at the Slade School of Fine Art in partnership with the Camden Art Centre in London, England. In 2022, he received a Master of Fine Art from the University of Guelph, and has been included in exhibitions in Canada, the United States, and the United Kingdom. Thompson’s practice investigates the translation of photographic images into painting, often informed broadly by the idea of history. His recent work raises questions about the documentary nature of photography and offers painting as a space to occupy multiple realities simultaneously.
(b. 1997, London, Canada; lives in Toronto, Canada)
Liz Flores: In Good Company, 2024
Custom Vinyl Print
66 x 420 in.
Liz Flores is a painter and muralist based in Chicago. She is deeply influenced by the everyday human experience, storytelling, and the female body. Working primarily with acrylic paint on canvas, her work is a representation of the human condition through lines, shapes, and abstract figures. It’s a reaction to life, an emotion, or a memory and is driven by her interests in community, womanhood, and Latinidad. While the women in her paintings are influenced by her experiences, they remain ambiguous in face and form, giving the viewer the opportunity to see themselves.
(Lives in Chicago, IL)
66 x 420 in.
Liz Flores is a painter and muralist based in Chicago. She is deeply influenced by the everyday human experience, storytelling, and the female body. Working primarily with acrylic paint on canvas, her work is a representation of the human condition through lines, shapes, and abstract figures. It’s a reaction to life, an emotion, or a memory and is driven by her interests in community, womanhood, and Latinidad. While the women in her paintings are influenced by her experiences, they remain ambiguous in face and form, giving the viewer the opportunity to see themselves.
(Lives in Chicago, IL)
Joanne Freeman: (l-r) Squares and Strokes_11, 2022; Square D, 2022; Squares and Strokes_12, 2022; Squares and Strokes_1, 2022; Squares and Strokes_9, 2022
Gouache on handmade paper
each 20 x 18 in.
Level 21 Coworking Lounge
Abstract painter Joanne Freeman's paintings are grounded in architecture, design, popular culture, and art history. Her palette is based on primary, heavily saturated colors and collage-like shapes. Freeman's work utilizes hard edges to create stencil-like forms that mimic collage and screen printing. Each painting has a sense of space that is created through the thoughtful application of color and paint on linen. The simplicity of Freeman's colors and shapes demonstrates an intuitive understanding of the two-dimensional nature of painting, while mimicking three-dimensional space.
(b. 1958; lives in New York, NY)
each 20 x 18 in.
Level 21 Coworking Lounge
Abstract painter Joanne Freeman's paintings are grounded in architecture, design, popular culture, and art history. Her palette is based on primary, heavily saturated colors and collage-like shapes. Freeman's work utilizes hard edges to create stencil-like forms that mimic collage and screen printing. Each painting has a sense of space that is created through the thoughtful application of color and paint on linen. The simplicity of Freeman's colors and shapes demonstrates an intuitive understanding of the two-dimensional nature of painting, while mimicking three-dimensional space.
(b. 1958; lives in New York, NY)
Claus Brunsmann: Untitled, 2022
Oil on canvas
47 1/8 x 55 in.
Level 21 Coworking Lounge
Claus Brunsmann’s work oscillates between figurative and abstract art and covers a broad range of form and content. The paintings are characterized by a multi-layered penetration of the medium and its tradition and are deeply rooted in the history of art. At the same time, they open up traditional imagery to unfamiliar interpretations and ways of seeing modern media.
Claus Brunsmann’s works testify to the power of a painting, which aesthetically manufactures, or even invents, the reality in the image.
(b. 1966 Ahaus, Germany; lives in Berlin, Germany)
47 1/8 x 55 in.
Level 21 Coworking Lounge
Claus Brunsmann’s work oscillates between figurative and abstract art and covers a broad range of form and content. The paintings are characterized by a multi-layered penetration of the medium and its tradition and are deeply rooted in the history of art. At the same time, they open up traditional imagery to unfamiliar interpretations and ways of seeing modern media.
Claus Brunsmann’s works testify to the power of a painting, which aesthetically manufactures, or even invents, the reality in the image.
(b. 1966 Ahaus, Germany; lives in Berlin, Germany)
Robert Rauschenberg: Selection from the series Thirty-Four Illustrations for Dante's Inferno, 2017
Lithograph
Each 14 x 16 in.
Edition: 500. The Museum of Modern Art, New York
Level 21 Coworking
Born in Port Arthur, Texas, Robert Rauschenberg studied at a variety of art schools including the experimental Black Mountain College outside of Asheville, North Carolina, where the artist and former Bauhaus instructor Josef Albers was his teacher. There, his mentors and collaborators included the composer John Cage, the artist Cy Twombly, and the choreographer Merce Cunningham, with whom he would collaborate on more than twenty dance compositions. Rauschenberg’s engagement with performance was enduring and a defining influence in his work. As his career began to gather steam in New York in the mid-1950s, he also began a crucial dialogue with the artist Jasper Johns that shaped the work of both: together the two artists pushed each other away from defined models of practice towards new modes that integrated the signs, images, and materials of the everyday world.
(b. 1925, Port Arthur, TX; d. 2008, Captiva, FL)
Karíma Al-Mukhtarová: 25 from the set Connection almost Found, 2022; 26 from the set Connection almost Found, 2022
Monoprint with thread each
each 22 x 30 in.
Karíma Al-Mukhtar’s work often examines various myths from the domains of the so-called “urban legends” and physical phenomena. Although in this sense much of her work may seem closely related to a type of magic trick on the one hand, and laboratory or social research on the other hand, usually the outcome is not a point or piece of information, but a visual situation. The artist’s articulation of object, process and social situations results in forms presented in a sensitive way, which can be, for a great part, attributed to the influence of her teacher Jiří Kovanda. At the same time, by basing her activities on the cultural codes of superstition and scientific research, and recently by examining her relationship to Arab culture, the artist has been shifting the meaning of this inherited visual language into a newly articulated context.
(b. 1989, Prague, Czech Republic; lives in Prague, Czech Republic)
each 22 x 30 in.
Karíma Al-Mukhtar’s work often examines various myths from the domains of the so-called “urban legends” and physical phenomena. Although in this sense much of her work may seem closely related to a type of magic trick on the one hand, and laboratory or social research on the other hand, usually the outcome is not a point or piece of information, but a visual situation. The artist’s articulation of object, process and social situations results in forms presented in a sensitive way, which can be, for a great part, attributed to the influence of her teacher Jiří Kovanda. At the same time, by basing her activities on the cultural codes of superstition and scientific research, and recently by examining her relationship to Arab culture, the artist has been shifting the meaning of this inherited visual language into a newly articulated context.
(b. 1989, Prague, Czech Republic; lives in Prague, Czech Republic)
Adam Parker Smith: Discobolus, 2016
resin and fiberglass preserved mylar, steel, aluminum, faux rock
89 x 44 x 15 in.
Adam Parker Smith’s practice is primarily sculptural, relating to painting, wall relief and appropriation. Following an extended conceptual project that consisted of Smith stealing his colleagues’ work, the artist turned toward a more traditional – perhaps earnest – approach to art-making. Working largely with ‘faux’ materials of all sorts, Smith creates highly composed, brightly colored sculptures and wall pieces that flirt with the surreal. Smith has exhibited work nationally and internationally, and has been written about in Art in America, Artforum, the New York Times and the New Yorker.
(b. 1989, Prague, Czech Republic; lives in Prague, Czech Republic)
89 x 44 x 15 in.
Adam Parker Smith’s practice is primarily sculptural, relating to painting, wall relief and appropriation. Following an extended conceptual project that consisted of Smith stealing his colleagues’ work, the artist turned toward a more traditional – perhaps earnest – approach to art-making. Working largely with ‘faux’ materials of all sorts, Smith creates highly composed, brightly colored sculptures and wall pieces that flirt with the surreal. Smith has exhibited work nationally and internationally, and has been written about in Art in America, Artforum, the New York Times and the New Yorker.
(b. 1989, Prague, Czech Republic; lives in Prague, Czech Republic)
Adam Parker Smith: Heroine, 2016
resin, fiberglass, mylar, steel, wood
87 x 12 x 12 in.
Adam Parker Smith’s practice is primarily sculptural, relating to painting, wall relief and appropriation. Following an extended conceptual project that consisted of Smith stealing his colleagues’ work, the artist turned toward a more traditional – perhaps earnest – approach to art-making. Working largely with ‘faux’ materials of all sorts, Smith creates highly composed, brightly colored sculptures and wall pieces that flirt with the surreal. Smith has exhibited work nationally and internationally, and has been written about in Art in America, Artforum, the New York Times and the New Yorker.
(b. 1978, California; Lives and works in Brooklyn, New York)
87 x 12 x 12 in.
Adam Parker Smith’s practice is primarily sculptural, relating to painting, wall relief and appropriation. Following an extended conceptual project that consisted of Smith stealing his colleagues’ work, the artist turned toward a more traditional – perhaps earnest – approach to art-making. Working largely with ‘faux’ materials of all sorts, Smith creates highly composed, brightly colored sculptures and wall pieces that flirt with the surreal. Smith has exhibited work nationally and internationally, and has been written about in Art in America, Artforum, the New York Times and the New Yorker.
(b. 1978, California; Lives and works in Brooklyn, New York)
Debbi Kenote: Leafwing, 2022
Acrylic, dye, and hinges on canvas
48 x 56 in.
Debbi Kenote is a New York-based artist who received her BFA from Western Washington University and her MFA from Brooklyn College. Formally rooted in abstraction, Debbi’s paintings and drawings take on natural and anthropomorphic forms. Filtering her view of the world through her own artistic lens, Debbi develops a visual lexicon that exceeds the limits of shape and communicates something beyond the surface of her painting.
The works are as playful as they are mysterious, conjuring an unsettling feeling of peering into an unknown space. This space is not absolutely defined either; instead of denying the existence of a frame, Debbi works her painting to subtly push against and break free from its borders. Colourful shapes devolve into abstract patterns, curves, and bold blocks of colour, peeking out from the frame. She places multiple works of different structures together, forming puzzling installation pieces that suffuse distinct moods and demand to be explored.
She received her BFA in Painting from Western Washington University and her MFA in Sculpture from Brooklyn College. Kenote has been published through The Art Newspaper, Art Fuse, Maake Magazine, Suboart, Art of Choice, and Hyperallergic. Her work has been placed in several collections, including the OZ Art Collection and the Capital One Corporate Collection. She has been an artist in residence at Stove Works, the Ucross Foundation, Vermont Studio Center, Saltonstall Foundation, PLOP, Nes Artist Residency, DNA, and the Mineral School. In 2022 she was a finalist for the Innovate Grant and in 2021 she was shortlisted for the Hopper Prize. In 2024 she joined as a curator at the NYC based gallery Below Grand.
(b. 1991, Anacortes, WA; Lives and works in Brooklyn, NY)
48 x 56 in.
Debbi Kenote is a New York-based artist who received her BFA from Western Washington University and her MFA from Brooklyn College. Formally rooted in abstraction, Debbi’s paintings and drawings take on natural and anthropomorphic forms. Filtering her view of the world through her own artistic lens, Debbi develops a visual lexicon that exceeds the limits of shape and communicates something beyond the surface of her painting.
The works are as playful as they are mysterious, conjuring an unsettling feeling of peering into an unknown space. This space is not absolutely defined either; instead of denying the existence of a frame, Debbi works her painting to subtly push against and break free from its borders. Colourful shapes devolve into abstract patterns, curves, and bold blocks of colour, peeking out from the frame. She places multiple works of different structures together, forming puzzling installation pieces that suffuse distinct moods and demand to be explored.
She received her BFA in Painting from Western Washington University and her MFA in Sculpture from Brooklyn College. Kenote has been published through The Art Newspaper, Art Fuse, Maake Magazine, Suboart, Art of Choice, and Hyperallergic. Her work has been placed in several collections, including the OZ Art Collection and the Capital One Corporate Collection. She has been an artist in residence at Stove Works, the Ucross Foundation, Vermont Studio Center, Saltonstall Foundation, PLOP, Nes Artist Residency, DNA, and the Mineral School. In 2022 she was a finalist for the Innovate Grant and in 2021 she was shortlisted for the Hopper Prize. In 2024 she joined as a curator at the NYC based gallery Below Grand.
(b. 1991, Anacortes, WA; Lives and works in Brooklyn, NY)
Shaun O'Dell: notTHE.star, 2014
Gouache and archival glue on paper mounted on canvas mounted on pane
43 x 30 in.
Through a diverse range of work—including drawings, videos, music, and sculptures—Shaun O’Dell explores Americans’ fraught relationship with nature. As he describes: “For years my drawings—and paintings as well— have been thoughts about how we engage and interact with nature. Specifically, I have been interested in: how our engagement with nature has influenced the development of the American mind […].” For O’Dell, the American attitude towards nature has been driven by a destroy-and-conquer ethos, which extends to ideology, politics, and international relations. He simultaneously conveys and rejects this attitude and its development in his works, in which he re-interprets American history. Borrowing the iconography of timelines, maps, and geological charts, he crafts meticulous compositions full of abstract and semi-representational forms that read as such natural phenomena as sunsets, or manmade forces like nuclear explosions.
(b. 1968 Beeville, TX; lives and works in San Francisco, CA)
43 x 30 in.
Through a diverse range of work—including drawings, videos, music, and sculptures—Shaun O’Dell explores Americans’ fraught relationship with nature. As he describes: “For years my drawings—and paintings as well— have been thoughts about how we engage and interact with nature. Specifically, I have been interested in: how our engagement with nature has influenced the development of the American mind […].” For O’Dell, the American attitude towards nature has been driven by a destroy-and-conquer ethos, which extends to ideology, politics, and international relations. He simultaneously conveys and rejects this attitude and its development in his works, in which he re-interprets American history. Borrowing the iconography of timelines, maps, and geological charts, he crafts meticulous compositions full of abstract and semi-representational forms that read as such natural phenomena as sunsets, or manmade forces like nuclear explosions.
(b. 1968 Beeville, TX; lives and works in San Francisco, CA)
Sophia Belkin: Eye of the Atmospheric River, 2023
Digitally printed textile and embroidery on dyed denim
32 x 28 x 1 1/2 in.
Sophia Belkin creates intricate textile works using dye painting, embroidery, and collage to explore themes of natural processes. Drawing inspiration from the lush, humid swamps of the Gulf South and the wetlands of the Mid-Atlantic, her compositions reference biological forms and movements. Belkin prints original photographs on chiffon and attaches them to dyed backgrounds using a computerized embroidery machine, blending craft with fine art. The appliqué technique evokes both fashion and the organic structures of nature, with forms that suggest permeability and rigidity—like membranes or cell walls. Her works balance intuitive mark-making with the precision of machine embroidery, creating layered, dynamic environments that reflect constant regeneration and change. Through this process, Belkin constructs immersive, evolving landscapes that echo the rhythms of nature.
(b. 1990, Moscow, Russia; lives in New Orleans, LA)
32 x 28 x 1 1/2 in.
Sophia Belkin creates intricate textile works using dye painting, embroidery, and collage to explore themes of natural processes. Drawing inspiration from the lush, humid swamps of the Gulf South and the wetlands of the Mid-Atlantic, her compositions reference biological forms and movements. Belkin prints original photographs on chiffon and attaches them to dyed backgrounds using a computerized embroidery machine, blending craft with fine art. The appliqué technique evokes both fashion and the organic structures of nature, with forms that suggest permeability and rigidity—like membranes or cell walls. Her works balance intuitive mark-making with the precision of machine embroidery, creating layered, dynamic environments that reflect constant regeneration and change. Through this process, Belkin constructs immersive, evolving landscapes that echo the rhythms of nature.
(b. 1990, Moscow, Russia; lives in New Orleans, LA)
Kinga Czerska: Barcelona, 2020; Organism, 2020; Vignette, 2020
Print on Hahnemuhle German Etching
34 x 40 in, 29 x 40 in, 40 x 34 in
Kinga Czerska devotes her time to the study of patterns and structures found all around us: in architecture, engineering, flora, fauna, stars, galaxies, the human body, and within her own psyche. Understanding the intricacies of both our natural and manmade environments and the way the myriad details found within interlock, thus creating our elegant and balanced world, is her life’s work. Czerska’s quest is to understand how it all fits, what holds it together and, most importantly, how one can affect the whole as the elements interlace, change, shift and reconfigure.
Czerska’s meditative works are enigmatic, balanced, subtle and atmospheric, not only in the nature of the paintings themselves, but in how they interact with surrounding spaces and light. These highly complex works reveal themselves slowly.
Czerska has exhibited extensively throughout the US including San Francisco, Los Angeles, New York, Seattle, Aspen, Dallas, Houston, Miami, Santa Fe and Chicago. She has produced commissions for many collectors across the US, the Caribbean, Europe, Australia and throughout Asia. She has been awarded numerous public commissions and attended multiple prestigious residency programs, including Art Omi and International Studio and Curatorial Program in New York.
(b. 1973, Krakow, Poland; lives in Aspen, CO)
34 x 40 in, 29 x 40 in, 40 x 34 in
Kinga Czerska devotes her time to the study of patterns and structures found all around us: in architecture, engineering, flora, fauna, stars, galaxies, the human body, and within her own psyche. Understanding the intricacies of both our natural and manmade environments and the way the myriad details found within interlock, thus creating our elegant and balanced world, is her life’s work. Czerska’s quest is to understand how it all fits, what holds it together and, most importantly, how one can affect the whole as the elements interlace, change, shift and reconfigure.
Czerska’s meditative works are enigmatic, balanced, subtle and atmospheric, not only in the nature of the paintings themselves, but in how they interact with surrounding spaces and light. These highly complex works reveal themselves slowly.
Czerska has exhibited extensively throughout the US including San Francisco, Los Angeles, New York, Seattle, Aspen, Dallas, Houston, Miami, Santa Fe and Chicago. She has produced commissions for many collectors across the US, the Caribbean, Europe, Australia and throughout Asia. She has been awarded numerous public commissions and attended multiple prestigious residency programs, including Art Omi and International Studio and Curatorial Program in New York.
(b. 1973, Krakow, Poland; lives in Aspen, CO)
Naomi Clark: Electric Kinetics, 2018
300# Lanaquarelle paper
13 x 19 in each
Naomi Clark is a painter and installation artist working in various found materials and paint. Clark deploys her materials in ways that search for the limitations of optic vision, illuminating the opportunities we miss when looking with eyes alone. Her methods reflect a dual abstract expressionist-conceptual approach that centers the visible and invisible factors that affect, contribute to, and inform human experience. Clark paints her surroundings though an abstracted filter, using bold coloration, fragmented forms and gestural brushstrokes.
Electric Kinetics is a collaborative print series between Clark, Du-Good Press and the Trade Union Cafe in Bedstuy, Brooklyn. The 8 print series is a color investigation using 4 template prints with two color options for each print. Clark hand painted and arranged the compositions while Du-Good Press took color cues from Clark's previous work to investigate the many color manipulations that can be done with a multi color screen print.
(b. 1982, Denver, CO; lives in Brooklyn, NY)
13 x 19 in each
Naomi Clark is a painter and installation artist working in various found materials and paint. Clark deploys her materials in ways that search for the limitations of optic vision, illuminating the opportunities we miss when looking with eyes alone. Her methods reflect a dual abstract expressionist-conceptual approach that centers the visible and invisible factors that affect, contribute to, and inform human experience. Clark paints her surroundings though an abstracted filter, using bold coloration, fragmented forms and gestural brushstrokes.
Electric Kinetics is a collaborative print series between Clark, Du-Good Press and the Trade Union Cafe in Bedstuy, Brooklyn. The 8 print series is a color investigation using 4 template prints with two color options for each print. Clark hand painted and arranged the compositions while Du-Good Press took color cues from Clark's previous work to investigate the many color manipulations that can be done with a multi color screen print.
(b. 1982, Denver, CO; lives in Brooklyn, NY)
Benjamin Edmiston: Color Grid, 2019
6 color screenprint on French 100lb cover paper
24 x 16 in.
‘Color Grid’ originates from Benjamin Edmiston's ongoing drawing practice of simple geometric forms on found paper. This piece reinterprets multiple drawings into a grid, utilizing the print process for bold color relationships. Torn edges of the grid counter the hard-edged forms that are imposed upon them, creating a tactile visual experience.
Benjamin Edmiston is an artist living and working in Brooklyn, NY. He earned his BFA from Tyler School of Art in Philadelphia, and received his MFA from Brooklyn College.
(Lives in Brooklyn, NY)
24 x 16 in.
‘Color Grid’ originates from Benjamin Edmiston's ongoing drawing practice of simple geometric forms on found paper. This piece reinterprets multiple drawings into a grid, utilizing the print process for bold color relationships. Torn edges of the grid counter the hard-edged forms that are imposed upon them, creating a tactile visual experience.
Benjamin Edmiston is an artist living and working in Brooklyn, NY. He earned his BFA from Tyler School of Art in Philadelphia, and received his MFA from Brooklyn College.
(Lives in Brooklyn, NY)
Carolyn Salas: Caryatid, 2019
5 color screenprint on 100lb French paper
24 x 18 in.
Caryatid forms a wall of shapes, both geometric and figurative. Named from a term in classical architecture, in which marble sculptures of draped female figures are used as supports instead of columns, Caryatid references the balance and weight of this idea, both formally and sociologically.
Carolyn Salas earned a BFA in sculpture from the College of Santa Fe, NM and an MFA from Hunter College, NY. Recent exhibitions include, Mrs., Maspeth, NY, SPRING/BREAK Art Show, Koenig & Clinton and Brookfield Arts, New York, NY; Terrault Contemporary and Towson University, Baltimore, MD; Páramo Gallery, Guadalajara, México.
(b. 1975, Los Angeles, CA; lives in Brooklyn, NY)
24 x 18 in.
Caryatid forms a wall of shapes, both geometric and figurative. Named from a term in classical architecture, in which marble sculptures of draped female figures are used as supports instead of columns, Caryatid references the balance and weight of this idea, both formally and sociologically.
Carolyn Salas earned a BFA in sculpture from the College of Santa Fe, NM and an MFA from Hunter College, NY. Recent exhibitions include, Mrs., Maspeth, NY, SPRING/BREAK Art Show, Koenig & Clinton and Brookfield Arts, New York, NY; Terrault Contemporary and Towson University, Baltimore, MD; Páramo Gallery, Guadalajara, México.
(b. 1975, Los Angeles, CA; lives in Brooklyn, NY)
Anne Vieux: Variable Dimensions, 2016
5 color screenprint on Mohawk 110lbs cover
24 x 18 in.
American painter and sculptor Anne Vieux intentionally misuses tools like scanners and holographic paper to create psychedelic digital paintings with a technological Moiré effect. Appearing at times both metallic and aqueous, her abstract paintings capture something not possible in an analog world, but give warmth and even soul to the randomized data. Her glowing abstract compositions mimic a warped computer screen as a substitute for the way in which a window was traditionally understood in Western art as a window onto another world. Holding an MFA from the Cranbrook Academy of Art, Vieux has participated in group shows at The Willows, CES Gallery, and the Brooklyn Academy of Music. Vieux’s artist books are part of the collections of the Metropolitan Museum of Art Library, MoMA Library, and Facebook Corporate Collection.
(b. 1985, Michigan, USA; lives in Brooklyn, NY)
24 x 18 in.
American painter and sculptor Anne Vieux intentionally misuses tools like scanners and holographic paper to create psychedelic digital paintings with a technological Moiré effect. Appearing at times both metallic and aqueous, her abstract paintings capture something not possible in an analog world, but give warmth and even soul to the randomized data. Her glowing abstract compositions mimic a warped computer screen as a substitute for the way in which a window was traditionally understood in Western art as a window onto another world. Holding an MFA from the Cranbrook Academy of Art, Vieux has participated in group shows at The Willows, CES Gallery, and the Brooklyn Academy of Music. Vieux’s artist books are part of the collections of the Metropolitan Museum of Art Library, MoMA Library, and Facebook Corporate Collection.
(b. 1985, Michigan, USA; lives in Brooklyn, NY)
Ben Murray: Hall, 2015
Ink wash on paper
67 x 60 in
Ben Murray earned his MFA from University of Illinois at Chicago in 2013 and his BFA from Herron School of Art and Design, Indianapolis in 2011. Murray is currently the Adjunct Assistant Professor, Indiana University Northwest, Gary, IN. Murray was the 2014 Artist in Residence at the Bemis Center for Contemporary Art in Omaha, Nebraska and a 2012 MFA Resident at Ox-Bow in Saugatuck, Michigan.
Murray’s paintings engage in an ongoing dialogue between memory, material, and time, where past and present remain in constant transformation. Through richly layered compositions, his work reconstructs the act of remembering—how fleeting moments, personal histories, and lived spaces are never fixed but always shifting. Murray’s return to Gary, Indiana, where he spent his childhood, has reignited his engagement with place as both a personal archive and a site of reinvention. His paintings distill the essence of industrial landscapes, shifting light over water, and fleeting moments into vivid abstractions. Rooted in gesture as a record of presence, his approach to abstraction mirrors the fluidity of memory itself. As Merleau-Ponty’s Phenomenology of Perception suggests, seeing is not a passive act but an embodied negotiation with the world—a principle Murray extends into his compositions, inviting an active encounter with his work.
(b. 1977, Merrillville, IN; lives and works in Chicago, IL)
67 x 60 in
Ben Murray earned his MFA from University of Illinois at Chicago in 2013 and his BFA from Herron School of Art and Design, Indianapolis in 2011. Murray is currently the Adjunct Assistant Professor, Indiana University Northwest, Gary, IN. Murray was the 2014 Artist in Residence at the Bemis Center for Contemporary Art in Omaha, Nebraska and a 2012 MFA Resident at Ox-Bow in Saugatuck, Michigan.
Murray’s paintings engage in an ongoing dialogue between memory, material, and time, where past and present remain in constant transformation. Through richly layered compositions, his work reconstructs the act of remembering—how fleeting moments, personal histories, and lived spaces are never fixed but always shifting. Murray’s return to Gary, Indiana, where he spent his childhood, has reignited his engagement with place as both a personal archive and a site of reinvention. His paintings distill the essence of industrial landscapes, shifting light over water, and fleeting moments into vivid abstractions. Rooted in gesture as a record of presence, his approach to abstraction mirrors the fluidity of memory itself. As Merleau-Ponty’s Phenomenology of Perception suggests, seeing is not a passive act but an embodied negotiation with the world—a principle Murray extends into his compositions, inviting an active encounter with his work.
(b. 1977, Merrillville, IN; lives and works in Chicago, IL)
Sandra Lapage: Mantodea, 2023
recycled aluminum, copper, wire
91 x 68 x 16 in.
Sandra Lapage Sandra Lapage creates sculptures from recycled and discarded materials. These assemblages are often malleable and even wearable, and unfold into installations and photo-performances. Reusing industrial materials on a large scale addresses the problem of consumption, trash, ideas of luxury and status, and what society holds valuable versus what it deems irrelevant and disposable. While emphasizing the results of large-scale use and refuse, she celebrates the materiality and resilience of discarded ephemera commonly categorized as trash. Cleaning and scrubbing each scrap until it gleams, Lapage elevates discarded refuse, creating sculptural works that evoke mystical objects made of precious metals and stones.
Sandra Lapage lives and works in São Paulo, Brazil. Sandra is a Pollock-Krasner Foundation grantee 2022-23. She was a recipient of the Repaint History Artist Fund, summer 2021. She got her MFA from the Maine College of Art in 2013. She has participated in collective and solo exhibitions in Brazil, Europe, Asia and the United States, including the Institute of Contemporary Art, Portland-ME, Galerie Salon H in Paris, Galeria Eduardo Fernandes in São Paulo and Complexo Cultural Funarte São Paulo, and a solo show at Kapow Gallery in New York in 2024.
(b. 1974, São Paulo, Brazil; lives in São Paulo, Brazil)
91 x 68 x 16 in.
Sandra Lapage Sandra Lapage creates sculptures from recycled and discarded materials. These assemblages are often malleable and even wearable, and unfold into installations and photo-performances. Reusing industrial materials on a large scale addresses the problem of consumption, trash, ideas of luxury and status, and what society holds valuable versus what it deems irrelevant and disposable. While emphasizing the results of large-scale use and refuse, she celebrates the materiality and resilience of discarded ephemera commonly categorized as trash. Cleaning and scrubbing each scrap until it gleams, Lapage elevates discarded refuse, creating sculptural works that evoke mystical objects made of precious metals and stones.
Sandra Lapage lives and works in São Paulo, Brazil. Sandra is a Pollock-Krasner Foundation grantee 2022-23. She was a recipient of the Repaint History Artist Fund, summer 2021. She got her MFA from the Maine College of Art in 2013. She has participated in collective and solo exhibitions in Brazil, Europe, Asia and the United States, including the Institute of Contemporary Art, Portland-ME, Galerie Salon H in Paris, Galeria Eduardo Fernandes in São Paulo and Complexo Cultural Funarte São Paulo, and a solo show at Kapow Gallery in New York in 2024.
(b. 1974, São Paulo, Brazil; lives in São Paulo, Brazil)
Andy Piedilato: Wave, 2014
Alkyd and acrylic on canvas
108 x 126 in.
Andy Piedilato Andy Piedilato’s paintings are imbued with terrestrial force, capturing the ravage of elemental forces of nature and their apocalyptic detritus. Trained as a medical illustrator, his paintings capture the essence of the style with their incisive and detailed surfaces that oscillate between human and manmade forms. Piedilato’s vividly colored canvases are filled with intricate line work to create dramatic compositions that capture both the beauty and destructiveness of nature.
Piedilato started his career in Brooklyn New York, and his work has been exhibited in across the country. He is the recipient of the 2015 Rosenthal Family Foundation Award in Painting honoring “a young American painter of distinction. He also received the George Segal Grant in 2005, and was nominated for the Lambent Fellowship in 2006.
Piedilato has been in solo and group shows at Amanita Gallery, New York, The American Academy of Arts and Letters, New York; Patrick Painter, Los Angeles; HVCCA, English Kills, and Black & White Gallery, New York. Piedilato received his MFA in Painting, from Pratt Institute, NY & has a BFA in Painting from the University of Georgia, GA.
(b. 1974, Athens, GA; lives in Brooklyn, NY)
108 x 126 in.
Andy Piedilato Andy Piedilato’s paintings are imbued with terrestrial force, capturing the ravage of elemental forces of nature and their apocalyptic detritus. Trained as a medical illustrator, his paintings capture the essence of the style with their incisive and detailed surfaces that oscillate between human and manmade forms. Piedilato’s vividly colored canvases are filled with intricate line work to create dramatic compositions that capture both the beauty and destructiveness of nature.
Piedilato started his career in Brooklyn New York, and his work has been exhibited in across the country. He is the recipient of the 2015 Rosenthal Family Foundation Award in Painting honoring “a young American painter of distinction. He also received the George Segal Grant in 2005, and was nominated for the Lambent Fellowship in 2006.
Piedilato has been in solo and group shows at Amanita Gallery, New York, The American Academy of Arts and Letters, New York; Patrick Painter, Los Angeles; HVCCA, English Kills, and Black & White Gallery, New York. Piedilato received his MFA in Painting, from Pratt Institute, NY & has a BFA in Painting from the University of Georgia, GA.
(b. 1974, Athens, GA; lives in Brooklyn, NY)
Erwin Redl: Benchmark 1000, 2024
Custom LED Light Installation
Erwin Redl’s work reflects upon the condition of art making after the “digital experience.” The formal and structural approach to various media he employs, such as installation, drawings, CD-ROM, Internet and sound, engages in binary logic, because he assembles the material according to a narrow set of self-imposed rules which often incorporate complex algorithms, controlled randomness and other methods inspired by computer code.
Since 1997, Redl has investigated the process of “reverse engineering” by (re-)translating the abstract aesthetic language of virtual reality and 3 -D computer modeling back into architectural environments by means of large-scale light installations. In this body of work, space is experienced as a second skin, our social skin, which is transformed through my artistic intervention. Due to the very nature of its architectural dimension, participating by simply being “present” is an integral part of the installations. Visual perception works in conjunction with corporeal motion, and the subsequent passage of time.
The medium light refers directly to the aesthetic of virtual reality. The ephemeral nature of this particular medium is the ideal representation of the pure structural logic which underlies his work. At the same time the active light in his installations transforms structural logic directly into an intense corporeal sensation without traditional art media’s detour through the materiality of objects and reflected light.
(b. 1963, Gföhl, Austria; lives in Pennsylvania)
Erwin Redl’s work reflects upon the condition of art making after the “digital experience.” The formal and structural approach to various media he employs, such as installation, drawings, CD-ROM, Internet and sound, engages in binary logic, because he assembles the material according to a narrow set of self-imposed rules which often incorporate complex algorithms, controlled randomness and other methods inspired by computer code.
Since 1997, Redl has investigated the process of “reverse engineering” by (re-)translating the abstract aesthetic language of virtual reality and 3 -D computer modeling back into architectural environments by means of large-scale light installations. In this body of work, space is experienced as a second skin, our social skin, which is transformed through my artistic intervention. Due to the very nature of its architectural dimension, participating by simply being “present” is an integral part of the installations. Visual perception works in conjunction with corporeal motion, and the subsequent passage of time.
The medium light refers directly to the aesthetic of virtual reality. The ephemeral nature of this particular medium is the ideal representation of the pure structural logic which underlies his work. At the same time the active light in his installations transforms structural logic directly into an intense corporeal sensation without traditional art media’s detour through the materiality of objects and reflected light.
(b. 1963, Gföhl, Austria; lives in Pennsylvania)
Austin Eddy: The passage of time, A lake scene, 2018
7 color screenprint on French 100lb cover paper
24 x 18 in.
In The passage of time, A lake scene “The Duck swims alone on the steely surface of the lake. He is reflecting on his reflection as the flower grows, the clouds pass, and darkness turns to light. The other birds have left, and he will too soon.”
Since 2018, the painter and sculptor Austin Eddy has been reevaluating the dwindling conversations of modern painting in a world juxtaposed somewhere between abstraction and reality. After graduating from the Art Institute in Chicago in 2009, Eddy spent several years living and working in Chicago before moving to New York City.
(b. 1986, Boston, MA; lives in Brooklyn, NY)
24 x 18 in.
In The passage of time, A lake scene “The Duck swims alone on the steely surface of the lake. He is reflecting on his reflection as the flower grows, the clouds pass, and darkness turns to light. The other birds have left, and he will too soon.”
Since 2018, the painter and sculptor Austin Eddy has been reevaluating the dwindling conversations of modern painting in a world juxtaposed somewhere between abstraction and reality. After graduating from the Art Institute in Chicago in 2009, Eddy spent several years living and working in Chicago before moving to New York City.
(b. 1986, Boston, MA; lives in Brooklyn, NY)
