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 136
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Volume 23, Issue 3 Recent Jurors:
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Contents
6 Editor’s Note
Steven Zevitas
13 Winners: Juror’s Selections
Southern Competition 2018

8 Noteworthy
Editor’s and Juror’s Picks
155 Winners: Editor’s Selections
Southern Competition 2018

10 Juror’s Comments
Katie Pfohl, Curator of Modern and Contemporary Art,
176 Pricing
Asking prices for selected works
New Orleans Museum of Art, New Orleans, LA

136
June/July 2018
Editor’s Note
Twenty-five years ago, almost to the day that I am writing this, I
was ushered into my new office at Offshore Publications in
Needham, Massachusetts. The man who hired me, Herbert Gliick,
had an idea for a new art publication, one that would connect
artists and those who might be interested in their work. As Herb
is fond of saying, when he hired me he took a chance on a kid
who had no publishing experience and whose exposure to the
art world was, at that point, limited to having earned a BA in Art
History from Boston University. The office I entered on that day was
sparsely appointed. There was a desk and chair, a filing cabinet, a
phone, some pens and pencils, and a reference book—remember
those?—called the American Art Directory. There was no computer.
Herb spoke to me for a couple of minutes and, as he was exiting
the office, pulled out a crumpled and stained piece of paper that I
have to this day. On it, he had written things such as “How do we
find artists?” and “Where can we distribute the magazine?” He
handed me the sheet of paper, smiled, and said: “You have the use
of my staff. Good luck.” That was day one of New American Paintings.
The first issue was released a year later.
Over the past quarter-century, we have reviewed the work of tens
of thousands of artists, published the work of more than four
thousand artists, and released 136 issues of New American
Paintings. The magazine’s mission has been the same since its
earliest days: to identify artists whose work deserves widespread
exposure and provide them with a vehicle that can connect them
with an audience that is passionate about contemporary painting.
That is what the publication has and always will be about. The most
rewarding part of my job is receiving e-mails and calls from artists
whom New American Paintings has helped. Being a practicing artist
is a difficult path to follow, and one that should be taken only by
those who have no other choice. I am thrilled that New American
Paintings has helped many artists on their respective journeys,
sometimes in dramatic ways.
There are many people I would like to thank for helping make
New American Paintings a reality and a viable enterprise over
the years. I will start with the aforementioned Herb Gliick, who
is essentially responsible for the trajectory of my professional
life. I want to thank my parents, Richard Marcus and Sandy Weil,
for their unwavering lifelong support. I have been blessed to
have gifted and passionate people work for me, and would like
to thank the following individuals, in no particular order:
Jessica Lee, Amy Rhilinger, Dana Cordova, Andrew Katz, Jessica
Fortin, Alexa Kinne, Kayelani Ricks, Evan Garza, Lucy Flint,
Alexandra Simpson, Liz Morlock, and Michael Wilson. A huge
thank you to the dozens of curators who have collaborated with
us over the years and to all our vendor partners, especially my
longtime print rep, Sabra Chili, who has been extraordinary to
work with. Lastly, to the thousands of artists who have submitted
their work over the years, it is truly an honor to have your trust.
At the end of the day, the integrity of our jurying process is the
MOST important component of New American Paintings. There are
a lot of places to “discover” emerging artists these days, but, I think,
no other venue, in print or online, has a better track record.
The juror for this issue of New American Paintings is Katie Pfohl,
Curator of Modern and Contemporary Art at the New Orleans
Museum of Art. Her selections are extremely thoughtful and, in
terms of the range of aesthetic viewpoints, constitute what may be
the most diverse Southern issue we have ever published. A number
of the artists published herein are already firmly on my radar. Q
Steven Zevitas
Editor & Publisher
Noteworthy:

Ashley A.
Doggett Juror’s Pick p54
Ashley A. Doggett’s work smartly alludes to the history of abstract
painting while at the same time speaking to current political issues
surrounding race and representation. Though her saturated palette
and subtle washes of color look back to the work of painters such as
Sam Gilliam and Alma Thomas, her silhouetted figures speak more
directly to the contemporary discourse on identity politics. Her work
foregrounds very real histories—of slavery, of racial inequality, of
social disenfranchisement—while also making a powerful argument
for abstraction as a political tool.

Dave
Eassa Editor’s Pick p160
Every time I walk by a Hudson River school painting, I want to
step into it and hang out for a while, and there are definitely a few
abstract expressionist works that I would like to have a swim in.
Maybe it is just me, but I have the sense that many people have
a similar urge to physically commune with certain works of art.
David Eassa’s work offers one the opportunity to, in a literal sense,
walk through painting, and, by extension, the artist’s thought
process. Working with a formal vocabulary that draws heavily from
cartoons and outsider art, his installation-based practice corrals
a variety of media. There is a naïve joyfulness to Eassa’s work, but
his installations are ultimately about the myriad ways in which
painting can function on a visual, conceptual, and haptic level.
Winners: >
Southern
Competition 2018
Juror: Katie Pfohl, Curator of Modern and Contemporary Art,
New Orleans Museum of Art, New Orleans, LA

Juror’s Selections:
Zina Al-Shukri | David Bailin | Daniel Calder | Dane Carder | AC Carter | Eliseo Casiano
Aaron Collier | Benjamin Cook | Cesar Cornejo | Dylan DeWitt | Ashley A. Doggett | Brian Guidry
Kyle Hackett | Matthew Hance | Elizabeth Holtry | Kelley Johnson | Magnolia Laurie
Louise Kenga Mandumbwa | Katherine Tzu-Lan Mann | Rachel Meginnes | Marc Mitchell
Laura Mongiovi | Daniel Moore | Liz Moore | Meredith Olinger | James Perrin | Charles Ritchie
Robert Scobey | Benjamin David Steele | Denise Stewart-Sanabria | Taylor Anton White
Melissa Wilkinson | Charles Edward Williams | David Evan Withers | Mike Wsol

Editor’s Selections:
Caitlin Blomstrom | Dave Eassa | Caleb Kortokrax | Karen Ösp Pálsdóttir | Nathan Skiles
Juror’s Comments
Katie Pfohl
Curator of Modern and Contemporary Art, New Orleans Museum of Art, New Orleans, LA
The artists in this issue of New American Paintings speak, in large
measure, from the margins of mainstream Southern culture.
Decentering traditional narratives and challenging dominant histories,
their art makes space for voices and perspectives rarely included in
the stories we tell about the American South. At a moment when the
history of the region is being dramatically reconsidered—historical
monuments removed, public space reclaimed—their work positions
painting as a form that can offer important new ideas about the
region’s art and history. The selected artworks do not just champion
the voices of those on the margins (women, people of color, LGBTQIA
communities) but also mine the materiality of paint—its fluidity, its
viscosity, its capacity to run and bleed and spread—to offer a similarly
fluid conception of cultural identity. Throughout this issue, painting
10
is a cipher that seeks to unseat any straightforward conception of
Southern identity, culture, or history. The artists represented offer us
an art of the South that is not set in stone, but instead operates in a
state of constant flux.
Ashley A. Doggett’s investigations of history and memory take
the form of vibrant washes of color—bright orange, pink, yellow, and
red—that recall the Technicolor hues of Kodachrome photographs
from her childhood, but also reference a much longer history of racial
tension and strife. She silhouettes inscrutable figures painted in
stark matte black against vibrant but almost aqueous backdrops that
exist as traces of unrecoverable pasts. Matthew Hance’s paintings
likewise embrace the amorphous and inchoate, setting searing gazes
within seas of color and form that cause his portraits to slip between
genders, between species, and between startling realism and quiet,
lyrical abstraction. Similarly, Zina Al-Shukri’s expressive brushwork
emphasizes and affirms difference—as in a work where the faces of
a group of friends are painted familiar shades of white and brown,
but also a disorienting lime green—while at the same time creating a
sense of shared connection across cultural divides. In one of her most
evocative works, Physics Makes Friends, two young men appear locked
in an embrace, joined as much by an almost embryonic cloud of hot
pink paint as by their hands and arms.
Painting through processes of layering, sampling, and synthesis,
many of these artists also seek to reimagine the natural and built
environments of the South, as if to make room for the more expansive
conception of identity offered by artists such as Doggett, Hance,
and Al-Shukri. Katherine Tsu-Lan Mann’s paintings are landscapes
refracted through the lens of the digital world as well as her own
Cornejo p46 Doggett p54 Guidry p58
“Throughout the work in this issue, painting is a
cipher that seeks to unseat any straightforward
conception of Southern identity, culture, or history.”
roots in historical Chinese landscape painting traditions. Existing
in between many different cultures and places, her work speaks at
once to the disorienting experience of immigration as well as to the
constant flow of images that constitute our experience of landscape
in the contemporary world. Brian Guidry’s “dissolved” landscapes
push this idea further by sampling and synthesizing colors drawn
from disparate elements within the landscape (petal, pebble, leaf) to
create painting that reflects multiple perspectives and points of view
simultaneously. In her large-scale murals and public art projects,
Meredith Olinger repetitively affixes and rips away different wallpaper
patterns to show how layers of meaning accumulate in public space,
offering a vision for public art that can accommodate a diversity of
forms and temporalities all at once.
Many works in this issue also exist in the margins quite literally by
mining the edges, interiors, and insides of things: elements that often
escape our notice or hide from public view. In paintings that revisit
the history of Southern quilt-making, Rachel Meginnes deconstructs
antique quilts stitch by stitch, exposing their torn and tattered insides
to reveal the hidden histories of use and meaning buried within.
Liz Moore’s immense and vividly colored fiber sculptures recall the
brilliant color and evocative abstraction found in Ashley Doggett’s
painting, but in this case hang heavy in real space in order to highlight
the importance of the body and the power of the female voice. Cesar
Cornejo’s paintings of bare sheetrock panels patched with white
spackle look to the interior linings of walls to consider the way
Hance p66 Mann p86 Moore p106
architecture creates both literal and metaphorical barriers to access
and inclusion. Aaron Collier’s paintings are constructed from lines
taken from the actual edges of things, so his work takes shape from
forms that usually lurk at the periphery but are here brought front and
center.
Revisiting traditional media and forms, this group of artists
represent some of the most exciting work coming out of the
American South today. Their work rises to the challenge of making
contemporary art in a region whose past histories remain so present
and so pressing. This issue shows how artists in the South are
balancing the need to reckon with the region’s past with the urgency
of confronting the present cultural and political moment. In the work
of artists like Louise Kenga Mandumbwa, whose intimate, personal
portraits of everyday people possess pockets of abstraction that
reflect her personal experience of migration to the region, we see a
South whose cultural and artistic landscape is rapidly expanding to
reflect a new vision of the place and its people. This issue, in large
part, represents an art of the South that (to paraphrase Mandumbwa’s
artist statement) still dares to hope. Q
11
Juror’s Selections >

The following section is presented in alphabetical order.

Biographical information has been edited.
Prices for available work may be found on p176.
Zina Al-Shukri
Once an Asshole, Always a Nice Guy | gouache and charcoal on tinted paper, 30 x 22 inches

14
 Zina Al-Shukri
Physics Makes Friends | gouache, acrylic, spray paint, metallic pigment, and charcoal on paper, 30 x 22 inches

15
Zina Al-Shukri
Earthquake Kisses and Dolma Dreams | gouache, acrylic, ink, metallic pigment, and charcoal on paper, 22 x 30 inches

16
Zina Al-Shukri
Roland, AR
510.788.5860 (Patricia Sweetow Gallery)
zhalshukri@gmail.com / www.zinaalshukri.com / @zinazenzoon

Al-Shukri
b. 1978 Baghdad, Iraq Zina Haydar Al-Shukri combines materials to emphasize
the topography of individual people. Her process takes into
Residencies consideration the notions of transition, conflicts, and hybridity
2016 Krowswork, Oakland, CA in relation to culture and religion, individuality and shared
2014 Berkeley Art Museum and Pacific Film Archive, experience, psychology and social determination. Al-Shukri’s
Berkeley, CA portrait practice provides a psychological “check-in” to create
a space for dialogue, illustrating the relationship between the
Solo Exhibitions subjects and their experience of social conditions.
2016 Krowswork, Oakland, CA
Lone Glen, Oakland, CA
2014 Pictures, Featuring, Pro Arts, Oakland, CA
2012 The Long Brevity, Patricia Sweetow Gallery,
San Francisco, CA
Rapport, Adobe Books Backroom Gallery, San Francisco, CA

Group Exhibitions
2017 Nasty Woman, University of Arkansas at Little Rock,
Little Rock, AR
2014 The Possible, Berkeley Art Museum and Pacific Film
Archive, Berkeley, CA
2013 The SOMETHING, Marfa, TX
2012 Art Basel Miami, Patricia Sweetow, Miami, FL
Artefacts of Failure, QUAD, Derby, London
Museum Frauen Circus Phase 3, Pavelhaus, Laafeld, Austria
The SOMETHING, The Luggage Store Gallery,
San Francisco, CA
2010 An American Orifice, Arttransponder, Berlin, Germany
2009 The SOMETHING, Jack Hanley Gallery, San Francisco, CA

Represented by
Patricia Sweetow Gallery, San Francisco, CA

17
David Bailin
Coffee Cup | charcoal, pastel, acrylic, and coffee on prepared paper, 72 x 73 inches

18
 David Bailin
505 | charcoal, pastel, colored pencils, and coffee on prepared paper, 81 x 83 inches

19
David Bailin
Passover | charcoal, pastel, acrylic, and coffee on prepared paper, 72 x 107 inches

20
David Bailin
Little Rock, AR
310.415.6172 (Koplin Del Rio Gallery)
info@bailinstudio.com / www.bailinstudio.com / @BWDatlanta

Bailin
b. 1954 Sioux Falls, SD As an artist who witnessed the waning of my father’s personhood
through the dissolution of his memory, I wrestled with conveying
Education the devastating personal and human experience of this loss
1984 MA, Hunter College, New York, NY without relying on visual clichés. The final image in my drawings is
1976 BFA, University of Colorado, Boulder, CO largely the result of the pentimenti that have moved the narrative
along, without resolving it. Sometimes, the layers of earlier
Solo Exhibitions drawings overpower the last, like quicksand under a surface of
2017-18 The Erasing, Boswell Mourot Fine Art, Little Rock, AR; marks and erasures.
Wingate Art & Design Gallery, University of Arkansas-Fort
Smith, Fort Smith, AR; Koplin Del Rio Gallery, Seattle, WA These unresolved drawings were the visual and technical cues for
the series Erasing. The frustration of trying to define what was
Group Exhibitions unformed yet intimated by what appeared earlier—the back-
2017 11th International Drawing Annual, exhibition-in-print, and-forth process of drawing in and erasing out, having an idea
Manifest, Cincinnati, OH or image reveal itself one minute only to fall back into obscurity
Liberty, July, Koplin Del Rio Gallery, Seattle, WA the next—mimicked what I saw happen to my father in his heroic
58th Annual Delta Exhibition, The Arkansas Arts Center, effort to recognize in the present moment his own narrative. The
Little Rock, AR work presented here is the result of my final collaboration with
2016 Tales That Must Be Told; Contemporary Narrative Art, my father. As with his memories, only the ghosts are left.
Cypress College Art Gallery, Cypress, CA

Awards
2014 Arkansas Visionary 2014, Arkansas Times
1989 National Endowment for the Arts Visual Arts Fellowship
Arkansas Arts Council Fellowship
1988 Mid-America Arts Alliance/NEA Fellowship Award

Publications
2017 “The Undulation of Memory,” Arkansas Times, May 25
“Into The Void,” Arkansas Democrat Gazette, May 7
2016 Tales That Must Be Told: Contemporary Narrative Art,
Cypress College Art Gallery, exh. cat.

Represented by
Koplin Del Rio Gallery, Seattle, WA
Boswell+Mourot Fine Art, Little Rock, AR

21
Daniel Calder
Smooth Criminal | wood, paint, ink, and chalk, 48 x 72 inches

22
 Daniel Calder
Monumental Shame (General Lee) | slate and Wite-Out, 12 x 12 inches

23
Daniel Calder
George Never Smiles | wood, paint, ink, and chalk, 48 x 72 inches

24
Daniel Calder
Richmond, VA
therrellcalder@gmail.com / www.danielcalder.com

Calder
b. 1965 Petersburg, VA In this series of paintings, I use the icon of the blackboard to
reexamine some of what we know about a group of our most
Education familiar historical figures, myths, and cultural phenomena. Our
1990 MFA, Virginia Commonwealth University, Richmond, VA understanding of this should not stop at what we were told in
elementary school.
Solo Exhibitions
2016 Lessons Learned, Virginia Museum of Fine Arts, The impetus for this series is my confusion when confronted
Richmond, VA with the discord between what we are taught and what seems to
2014 Blackboards, OK Harris Works of Art, New York, NY be the case. Or perhaps what we are not taught—our selective
collective memory. It seems to parallel our personal efforts to
Group Exhibitions control the story of our own lives and personas. I use incongruity
2016 New Work, New York, Woodward Gallery, New York, NY and sometimes humor to encourage the viewer to reconsider . . .
1993 Options, Washington Projects for the Arts, Washington, DC everything. Though these works are not actual blackboards, chalk
and erasers are often provided, allowing viewers to add or delete
Awards information, rewriting history or providing their own. In the end,
2015 Virginia Museum of Fine Arts Professional Fellowship even in the gallery setting, the artist’s voice will not necessarily
1992 Virginia Commission for the Arts Grant have the last say.

Publication
2010 “Daniel Calder,” review, Art Papers

Collections
Capital One
Amazon
WPA/Corcoran
City of Richmond

25
Dane Carder
Boom | acrylic and oil on panel, 48 x 48 inches

26
 Dane Carder
Inauguration Day II (Crowd) | acrylic on canvas, 62 x 60 inches

27
Dane Carder
Inauguration Day | acrylic on canvas, 60 x 60 inches

28
Dane Carder
Nashville, TN
dane@danecarder.com / www.danecarder.com / @danecarderstudio

Carder
b. 1972 Nashville, TN In my paintings, for over a decade I have utilized Civil War–era
photographs to help illustrate my exploration of contemporary
Solo Exhibitions issues, both personal and universal. My father’s death when I was
2017 Better Angels, The Red Arrow Gallery, Nashville, TN sixteen forced me to seriously consider my mortality, which led to
2015 Selected Paintings, Morris Museum of Art, Augusta, GA a long investigation into my spiritual core and what it means to be
War Wounds, The Parthenon Gallery, Nashville, TN human. The work has never been specifically about the Civil War,
2013 Ghosts and Hopes, Customs House Museum, Clarksville, TN but I have found the war’s imagery ideal for symbolic storytelling
2013 Proof of Ghosts, Leu Gallery, Belmont University, dealing with themes of courage, woundedness, home, ego, and
Nashville, TN faith.

Group Exhibitions During the last presidential election, I created a series of paintings
2015 200 Miles Away, David Lusk Gallery, Memphis, TN based on a photograph of Lincoln’s first inauguration. I tried to
2014 Small Things Considered, Laurence Miller Gallery, grasp the relationship between our contemporary situation and
New York, NY that of 1861, both of which appeared to mark a certain turning
2013 Price Is Right, David Lusk Gallery, Memphis, TN point in our human evolution. My hope is that a new sort of unity
2010 The Painter’s Eye, Vanderbilt University, Nashville, TN emerges from our current events, as the United States came
Young Turks, Cumberland Gallery, Nashville, TN together following the Civil War.

Publications
2017 Nashville Arts Magazine
2015 Burnaway: The Voice of Art in the South
2014 Garden and Gun
Native Magazine

29
AC Carter
Untitled | polyester shirt, orange barrier, plastic drop cloth, zip ties, polyester felt, light, packaging tape, fender amp ornament, puff paint, designed fabric,

and bucket, dimensions variable

30
 AC Carter
Untitled (detail) | polyester shirt, orange barrier, plastic drop cloth, zip ties, polyester felt, light, packaging tape, fender amp ornament, puff paint, designed fabric,

and bucket, dimensions variable

31
AC Carter
Untitled | copy paper, Sharpie, and photograph, 11 x 8.5 inches

32
AC Carter
Athens, GA
lambdacelsius@gmail.com / www.accarter.net / @lambda_celsius

Carter
b. 1993 Birmingham, AL I recombine and recontextualize consumer products, fabricated
garments, and kitsch-based craft materials through stacking,
Education dressing, styling, and painting. I draw influences from pop culture,
2017- MFA candidate, Lamar Dodd School of Art (UGA), splicing together anything from green/sustainable aesthetics to
Athens, GA art-historical references, with a contradictory attitude of irony and
sincerity. I make modular arrangements that can be presented in
Professional Experience many different ways, either on the body, through performance, in
2018 Costume Design for of Montreal’s Plateau Phase/No a photograph, or in physical space. I deal with concepts of gender,
Careerism No Corruption subversion, and transformation. Combinations are personified as
Ana Echo and the Beauty of Indifference, Scorpion Beach, androgynous, anxious, and complicated characters who long to
Athens, GA speak out on center stage rather than be lost in the choral voice,
2017 Lambda Celsius, Scorpion Beach, Athens, GA and yet are discordantly advocating for inclusivity and democracy.
IN THE EYES OF VIOLENCE IRIS LIES IN SILKS (comp), By balancing, draping, and breaking my own systems, I constantly
Fraternity As Vanity, Nashville, TN question ideas of sexuality, vulnerability, and uncertainty. My
2016 “Chaise,” Cassette Release, Phinery, Denmark work is a process and an extension of my ethics, one that is open
Always Already Here Vol. 2, Gallery Protocol, Gainesville, FL to learning, conversation, and the unknown.
2014-15 Curator of the Packing Plant (now mild climate),
Nashville, TN

Group Exhibitions
2018 Big Ears Festival 12-Hour Drone, Basilica Hudson,
Knoxville, TN
Group Show, Regina Rex, New York, NY
43rd Juried Exhibition, Lyndon House, Athens, GA
2016 Always Already Here Vol. 2 Exhibition, Gallery Protocol,
Gainesville, FL
2015 I Wish I Felt This Way at Home, Torrance Shipman Gallery,
Brooklyn, NY
Nostalgia in Reverse, Chinatown Soup, New York, NY
2013 Unit 2: Part 1, Coop, Nashville, TN

33
Eliseo Casiano
Beach Bod | acrylic on canvas, 48 x 36 inches

34
 Eliseo Casiano
Neon Moon | acrylic on canvas, 60 x 48 inches

35
Eliseo Casiano
Cochino | acrylic on canvas , 60 x 48 inches

36
Eliseo Casiano
Baton Rouge, LA
940.256.3063
www.eliseocasiano.com

Casiano
b. 1989 Clinton, OK My work is an examination of pejorative societal devices that
pronounce positions of racial inferiority and feelings of alienation,
Education providing a context for the dissonance between my Tejano
2018 MFA, Louisiana State University, Baton Rouge, LA heritage and childhood aspiration to feel “normal” in a white
2013 BFA, East Central University, Ada, OK space. I recontextualize family stories in relation to cultural
signifiers, social mobility, and ethnic representation to decipher
Professional Experience my understanding of our present political climate.
2016-17 Instructor of Record, Louisiana State University,
Baton Rouge, LA

Solo Exhibitions
2018 Yes We Can-Can, Glassell Gallery, LSU School of Art,
Baton Rouge, LA
Cholo Jackson: Eliseo Casiano & Justin Tyler Bryant,
Gallery 229, LSU School ofArt, Baton Rouge, LA
2017 The Queen of Texas, Resonator Institute, Norman, OK

Group Exhibitions
2017 Louisiana Contemporary, Odgen Museum of Southern Art,
New Orleans, LA
Politicoastal: A Political Party, Ten Gallery, New Orleans, LA
Fictive Selves of Color, Lightwell Gallery, University of
Oklahoma, Norman, OK
2016 Animal Magnetism, Campfire Gallery, San Francisco, CA
Wet Paint MFA Biennial, Zhou Art Center, Chicago, IL
2014 No Self, Campfire Gallery, San Francisco, CA

Awards
2018 Michael Daugherty Memorial Fund Award,
Louisiana State University
2nd Place in Louisiana Contemporary, Odgen Museum
of Southern Art
2017 Tom & Asa Johnson Scholarship, Penland School of Crafts
2017-18 Louisiana State University Full Academic Scholarship and
Teaching Assistantship

37
Aaron Collier
Only the Descent | Flashe on canvas, 62 x 50 inches

38
 Aaron Collier
Landscape and Lamentation | Flashe on canvas, 60 x 60 inches

39
Aaron Collier
A Certain Uncertainty | Flashe on canvas with shelf and owl decoy, 54 x 60 x 12 inches

40
Aaron Collier
New Orleans, LA
acollier@tulane.edu / www.aaronrcollier.com / @acolliernola

Collier
b. 1979 Beckley, WV My recent paintings employ a multiplicity of contours that
delineate the edges of things I find in a variety of source
Education materials: glossy documentation of disaster, vintage guides to
2005 MFA, Tulane University, New Orleans, LA entertaining house guests, Sargent’s portraits of high society,
2001 BA, Presbyterian College, Clinton, SC or color copies of penitent saints by Spanish masters. These
sources speak to a heightened order or disorder in the world, or
Residencies embody a pronounced comfort or discomfort. (These dichotomies
2017 Open Ateliers Zuidoost, Amsterdam, The Netherlands compound my own day-to-day experience with the natural order.)
2015 International Studio and Curatorial Program, Brooklyn, NY By layering observed contours to the point that the identity of the
2013-14 New Orleans Local Artists Studio Program, thing becomes interrupted or no longer recognizable, the image
Joan Mitchell Center, New Orleans, LA becomes consonant with a shifting, unsettling, mysterious world
2012 Virginia Center for the Creative Arts, Amherst, VA where what is known consistently shares an edge with what is not.
2011 The Ragdale Foundation, Lake Forest, IL My work, which can also include drawing and collage, traffics
more in glimpse, suggestion, or fragment than in chronicle.
Professional Experience Images that indefinitely propose or imply allow me to situate the
2006- Professor of Practice/Assistant Professor, Tulane University, viewer and myself as deferential participants, adventuring with
New Orleans, LA the image rather than exercising omnipotence over it. What are
we to make of the beauty that can accompany not knowing in full?
Solo Exhibitions
2017 What to Make of Silence, Hyman Fine Arts Center,
Francis Marion University, Florence, SC
2016 Something There, Carroll Gallery, Tulane University,
New Orleans, LA
2015 Staple Goods, New Orleans, LA
2012 Cole Pratt Gallery, New Orleans, LA
2009 Cole Pratt Gallery, New Orleans, LA
2007 Cole Pratt Gallery, New Orleans, LA

Group Exhibitions
2017 Louisiana Contemporary, Ogden Museum of Southern Art,
New Orleans, LA
Two Blocks From Elysian Fields, The Clemente,
New York, NY
2016 Experiments in Anarchitecture, Contemporary Arts Center,
New Orleans, LA
2015 Reparation, New Orleans Museum of Art, New Orleans, LA

41
Benjamin Cook
Being Apollo | acrylic on panel, 24 x 18 inches

42
 Benjamin Cook
Blink (blue) | acrylic on panel, 24 x 18 inches

43
Benjamin Cook
Column Pedestal | acrylic on panel, 24 x 18 inches

44
Benjamin Cook
Covington, KY
312.654.9900 (Zg Gallery)
benjamincook.art@gmail.com / www.benjamincookart.com / @benjamincookart

Cook
b. 1989 Edgewood, KY My paintings feature backgrounds of pieced-together drawings
of imagery taken from my everyday life layered on top of one
Solo Exhibitions another, sketchbook-style, with colorful hard-edged lines painted
2017 Image Construction (from my friends, with a little help), on top. Through multiple forms of application, the paintings jump
IRL gallery, Cincinnati, OH back and forth between references to traditional painting and
2016 How Do I Know You, Zg Gallery, Chicago IL mindless doodles. This process mimics the fluidity of browsing
2015 Paintings for the Internet, Rochester Museum of Fine Arts, the Internet, moving from thoughtful political articles with global
Rochester, NH ramifications to humorous GIFs and skate videos. I am interested
2014 Amusing Myself, Swanson Contemporary, Louisville, KY in how protocols of digital processes play out, and blend with an
analog life. Image duplication, content layering, and identity-
Group Exhibitions crafting through staged images blend and clash with one another
2017 Terrain Biennial, Oak Park, IL within the figure–ground relationship. Through these paintings, I
Thesis Exhibition, Krannert Art Museum, Champaign, IL create abridged versions of a life that flows between many forms
Pattern Recognition, fort gondo, St. Louis, MO of mediation but remains unified through a single experience.
2016 Emerging Illinois Artists, McLean County Arts Center,
Bloomington, IL
2015 MUTE, Gallery COA, Montreal, Canada
New Terrains: The Landscape Reviewed,
Krannert Art Museum, Champaign, IL
2014 Contemporaneous Commentary, Wichita State University,
Wichita, KS

Publications
2018 New American Paintings, #135
2016 New American Paintings, #125
2015 Fresh Paint Magazine
Maake Magazine

Represented by
Zg Gallery, Chicago, IL

45
Cesar Cornejo
Sheetrock panel Heathrow #2 | acrylic on canvas, 48 x 48 inches

46
 Cesar Cornejo
Sheetrock Panel Heathrow #1 | acrylic on canvas, 48 x 24 inches

47
Cesar Cornejo
Sheetrock Panel Lima #2 | acrylic on canvas, 72 x 36 inches

48
Cesar Cornejo
Tampa, FL
646.468.2510 (artist) / +81 (03).3476.4868 (Art Front Gallery)
mail@cesarcornejo.com / www.cesarcornejo.com / @cesarcornejostudio

Cornejo
b. 1966 Lima, Peru I am a Peruvian American artist who works on the relationship
between art, architecture, and society.
Education
2003 PhD, Tokyo University of the Arts, Tokyo, Japan
1993 Professional License in Architecture, Ricardo Palma
University, Lima, Peru

Residencies
2017 Yaddo Artists in Residency Program
2015-16 Sharpe Walentas Studio Program

Professional Experience
2008-18 Associate Professor, School of Art and Art History,
University of South Florida, Tampa, FL

Solo Exhibitions
2013 A project by Cesar Cornejo, Puno Museum of Contemporary
Art, Florida Gulf Coast University Art Galleries, Ft. Myers, FL
2011 Art Positions, Puno Museum of Contemporary Art,
Art Basel Miami, Galeria Lucia de la Puente, Miami, FL
2010 Puno Museum of Contemporary Art, Galería Lucía de
la Puente, Lima, Peru

Group Exhibitions
2017 California-Pacific Triennial, Orange County, CA
2015 XII Havana Biennial, Havana, Cuba
2008 Busan Biennial, Sculpture Project, Busan, South Korea

Awards
2018 Howard Fellowship
2009 Grant for Artists, Creative Capital Foundation

Publications
2017 Artillery Magazine
2016 Art Nexus 99

Represented by
Art Front Gallery, Tokyo, Japan
49
Dylan DeWitt
Rorschach | inkjet on wrinkled paper, site-specific light, and shadow, 8.5 x 11 inches

50
 Dylan DeWitt
Stutter | inkjet on wrinkled paper, site-specific light, and shadow, 8.5 x 11 inches

51
Dylan DeWitt
Echo | Latex, inkjet, site-specific light, and shadow, 40 x 30 inches

52
Dylan DeWitt
Fayetteville, AR
www.dylandewitt.com

DeWitt
b. 1980 Fayetteville, AR These are images with indefinite boundaries. They refer to
themselves yet point beyond their own borders. They are
Education precarious, contingent on specific conditions for their very
2009 MFA, Yale University, New Haven, CT existence. A painting reiterates its own overlapping shadows;
2006 BFA, Rhode Island School of Design, Providence, RI wrinkled paper presents a printed image of the same wrinkles,
each feature visible twice. They request attention to that which
Residencies we usually ignore.
2005 Yale/Norfolk Summer School of Art, Norfolk, CT
Yo-Yo Ma/Silk Road Ensemble Collaborative Residency, These works are conundrums. They are riddles one can answer
Providence, RI only by shifting one’s awareness.

Professional Experience
2014- Drawing Area Head, University of Arkansas School of Art,
Fayetteville, AR
2013 Critic, Rhode Island School of Design, Providence, RI
Visiting Artist, The Ohio State University, Columbus, OH
2012 Visiting Artist, Indiana University School of Fine Arts,
Bloomington, IN

Solo Exhibition
2011 Plain Sight, Waldron Arts Center, Bloomington, IN

Group Exhibitions
2018 McNeese Works on Paper Exhibition, McNeese State
University, Lake Charles, LA
M5, MINT Gallery, Atlanta, GA
9th International Drawing Discourse, S. Tucker Cooke Gallery,
University of North Carolina at Asheville, Asheville, NC
The Contemporary Print, Flatbed Press and Gallery,
Austin, TX
2017 Paradox, Spark Gallery, Denver, CO
Paper Works, Fort Works Art, Fort Worth, TX
2009 Verge, Galapagos Art Space, New York, NY

Award
2018 1st place, The Contemporary Print, Flatbed Press and Gallery

53
Ashley A. Doggett
Allegory to the Bourgeoise: Who Said You Can Put Your Shoes on the Bed? | oil and acrylic on canvas, 28 x 35 inches

54
 Ashley A. Doggett
Allegory to the Bourgeoise: Conversations over Black Inheritance | oil and acrylic on canvas, 28 x 35 inches

55
Ashley A. Doggett
Allegory to the Bourgeoise: Run, Run Into My Arms! | oil and India ink on clay board, 48 x 60 inches

56
Ashley A. Doggett
Nashville, TN
adoggett@watkins.edu / ashleydoggett.tumblr.com / @theashleydoggett

Doggett
b. 1995 Killeen, TX Ashley A. Doggett is a Black Nashville-based artist whose work
explores and confronts issues surrounding race, religion, and
Education gender by highlighting aspects of the Black experience within
2018 BFA, Watkins College of Art, Nashville, TN the Americas. Doggett gives credence to the experiences of their
people and ancestors while being conscious of the histories that
Solo Exhibitions have defined the world as Black people have known it, both past
2017 A History, Channel to Channel, Nashville, TN and present. Using art as a platform for social activism, Doggett’s
2016 Master Leeroy’s Mansion: Selected Works, Fort Houston, images and writings educate, inspire, and develop conversations
Nashville, TN around minority struggles and empowerment.

Group Exhibitions
2018 What’s Love Got to Do Wwth It?, O’More College of Design,
Franklin, TN
2017 Glimpse, Silo Spaces, Watkins College of Art, Nashville, TN
2016 Keep it Warm, Zeitgeist Gallery, Nashville, TN
Heaven Tonite, Zeitgeist Gallery and Hendersonville Art
Collective, Hendersonville, TN

Publications
2017 The New Engagement, vol. 1, #1
The Pinch Journal, vol. 37, #1
Nashville Arts Magazine, February and March
2016 Rhizome (online)
The New Museum (online)
Creamer, vol.1, #1
Native Magazine
Afropunk (online)
2016-18 Nashville Arts Magazine

57
Brian Guidry
Absolute Zero | acrylic on canvas, 60 x 68 inches

58
 Brian Guidry
Entangled | acrylic on canvas, 84 x 70 inches

59
Brian Guidry
Blueshift | hand-lined acrylic on canvas, 43.25 x 33.25 inches

60
Brian Guidry
Lafayette, LA
bkg@brianguidry.com / www.brianguidry.com

Guidry
b. 1968 New Iberia, LA My paintings range from compressed lines of color to geometric
and abstract eruptions. I synthesize color, sound, and texture
Education to create “digitized” or “dissolved” landscapes, using a specific
1997 MFA, Pratt Institute, Brooklyn, NY palette sampled from a variety of natural sources in the
1994 BFA, University of Louisiana, Lafayette, LA landscape/environment, particularly flora: reflections in water,
storm clouds, leaves, sugar cane, dead foliage, flowers, lichens,
Solo Exhibitions soil. I blend the colors on-site and then take the samples into
2017 Entangled, Arthur Roger Gallery, New Orleans, LA the studio, where I mix larger quantities of matched colors.
2016 Cool Down Active, Good Children Gallery, New Orleans, LA This is my primary palette. Working in a variety of mediums
2015 Invisible Ping, Jonathan Ferrara Gallery, New Orleans, LA and processes, I utilize many different techniques to apply paint
to the surfaces of my canvases.
Group Exhibitions
2017 NEW at NOMA: Recent Acquisitions in Modern and
Contemporary Art, New Orleans Museum of Art,
New Orleans, LA
Profligate Beauty: Selections from the Collection,
Ogden Museum of Southern Art, New Orleans. LA
2016 RE: Tell, Atlanta Contemporary, Atlanta, GA
2015 Delta Dawn, FL!GHT Gallery, San Antonio, TX
2014 Abstraction and Its Discontents, Storefront Ten Eyck,
Brooklyn, NY
Momento Mori, Field Projects, New York, NY
The Church of Man Love, Box 13 ArtSpace, Houston, TX

Award
2015 Career Advancement grant, Louisiana Division of the Arts

Collections
New York Public Library
New Orleans Museum of Art
Odgen Museum of Southern Art

Represented by
Arthur Roger Gallery, New Orleans, LA
Good Children Gallery, New Orleans, LA

61
Kyle Hackett
After Countenance | oil on aluminum, 20 x 16 inches

62
 Kyle Hackett
After Brown | oil on aluminum, 20 x 16 inches

63
Kyle Hackett
After Arrival | oil on panel, 8 x 10 inches

64
Kyle Hackett
Washington, DC
khackstudio@gmail.com / www.kylehackettstudio.com / @kylehackettstudio

Hackett
b. 1989 Still Pond, MD Manipulating the authority of representational portraiture, I
deconstruct historical ideas of secure identity and fixed painting
Education techniques. I highlight contingencies between self and the
2013 MFA, Maryland Institute College of Art, Baltimore, MD constructed image as I attempt to clarify my contemporary hopes,
fears, and insecurities about racial and socioeconomic progress.
Solo Exhibitions By putting myself in the position of sitters from precarious
2018 Negation, Goya Contemporary, Baltimore, MD nineteenth- and twentieth-century modes of portrayal, I create
2016 Forward Restraint, The Waddell Gallery, work rooted in the need for empathy and a historical desire for
Northern College of Virginia, Sterling, VA connection and feeling.
2014 Progress, Downtown Cultural Arts Center, Baltimore, MD
Using multilayered academic painting approaches, I deconstruct
Group Exhibitions the technical and social fabric created by, but not limited to,
2018 30 under 30, Viridian Gallery, New York, NY art-historical traditions. Through a form of self-representation,
2017 So What We Have Learned Black Visual Cultures @ UD, I emphasize conflicts between the inner and the outer in order
University Museums, Newark, DE to foster new realities and new ways of being understood as not
2016 In My Likeness, Goucher College, Baltimore, MD brown or white, wealthy or poor, but human. Often acknowledging
2015 Face to Face, Ethan Cohen New York, New York, NY the incapacity of classical methods for telling the truth, I stress
Strange Paradise, First Street Gallery, New York, NY ideas of vulnerability, false glamorization, and the anxiety of
2014 Bethesda Painting Awards, Gallery B, Bethesda, MD reconciling the past with the present.
2013 Sharper Image, Ethan Cohen New York, New York, NY

Awards
2016 BP Portrait Award: Semifinalist, National Portrait Gallery
2014 Best in Show Award, Bethesda Painting Awards

Collections
Ethan Cohen New York
Goya Contemporary
University Museums, University of Delaware

65
Matthew Hance
The Golden Queen | oil, pastel, and pencil, 65 x 75.5 inches

66
 Matthew Hance
The Twins | acrylic, oil, pastel, and pencil, 58 x 59 inches

67
Matthew Hance
MLL | oil and spray paint, 60 x 48 inches

68
Matthew Hance
New Orleans, LA
512.850.0806 (artist) / 504.565.3739 (Graphite Galleries)
www.hanceart.design@yahoo.com / www.hanceart-design.com / @matthewhanceart

Hance
b. 1977 Washington, DC Matthew Hance’s current body of work is focused on the concept
of memory. The ability to store and recall information is one of
Education the most amazing capacities of higher organisms. Our memories
2000 BFA, Maryland Institute College of Art, Baltimore, MD encapsulate our sense of personal and cultural identity, and
the meaning of our lives. Involuntary memory is not immediate
Group Exhibitions memory, but something that seeps in when you’re not aware.
2018 NSFW, Treo, New Orleans, LA Hence, the experience of an image is different each time, which
2017 Dirty Linen, Graphite Galleries, New Orleans, LA ultimately offers fresh perspectives on something so familiar as a
Face to Face, LeMieux Galleries, New Orleans, LA portrait. One way Hance achieves this in his work is by organizing
Exposed: Group Show, Treo, New Orleans, LA a painting around unpredictable changes in composition, rhythm,
and weight. Other themes that he explores are auras, dynamism,
Represented by cognitive psychology, anthropomorphism, gender identity,
Graphite Galleries, New Orleans, LA and anthroposcopy, which is defined as the act of determining
19 Karen Contemporary Artspace, Mermaid Beach, Australia character or personal characteristics from the form or features
of the body, especially the face.

69
Elizabeth Holtry
Bonneville Salt Flats: Parched / Flooded III | oil on canvas, 48 x 60 inches

70
 Elizabeth Holtry
Bonneville Salt Flats: Flooded II | oil on panel, 20 x 20 inches

71
Elizabeth Holtry
Bonneville Salt Flats: Parched I | oil on panel, 6 x 6 inches

72
Elizabeth Holtry
Frederick, MD
holtry@msmary.edu / www.elizabethholtry.com

Holtry
b. 1970 Newport News, VA My recent series of paintings, titled Salt, explores the beauty
and underlying fragility of the Bonneville Salt Flats in remote
Professional Experience northwestern Utah. The remnant of an ancient saline lake and
2001- Professor, Mount St. Mary’s University, Emmitsburg, MD one of the flattest places on earth, this bleached and barren
landscape is strikingly otherworldly.
Solo Exhibitions
2013 High Society, Hillyer, Washington, DC Climate change, nearby potash mining, and motor racing are
2012 Toile de Jouy, Hillyer, Washington, DC imperiling the stability of the salt flats, and natural processes
6th Anniversary: A Retrospective of Hillyer Artists, continually transform the landscape. Rain covers the blinding
Hillyer Art Space, Washington, DC white flats with a reflective pool of shallow water, causing the
2010 Toile d’Animaux, Delaplaine Visual Arts Center, ground and sky to visually merge. Evaporation reveals the glittery
Frederick, MD salt crust. Erosion carves new textures and alters the terrain.
2006 Paradoxical Beauty and Harshness, Carroll Community
College, Westminster, MD My paintings focus on the landscape’s ethereal visual effects.
Some juxtapose patterns in the crust with reflections of the sky in
Group Exhibitions standing water. Others depict cracks in the parched earth, halite
2017 The Children’s Hour, Pelham Art Center, Pelham, NY formations, or discordant tire tracks. To emphasize the mystery
Art Night 2017, Washington Project for the Arts / Hickok of the place, I exclude the sky and mountains. My aim is to foster
Cole Architects, Washington, DC environmental awareness and express my fascination with
2014 Expressions of the Natural World, Monmouth Museum, a landscape that is harsh, beautiful, and vulnerable.
Lincroft, NJ
Cherry Blast, Washington Project for the Arts / Blind Whino,
Washington, DC
The 14th Annual Juried Exhibit, Delaplaine Visual Arts Center,
Frederick, MD
2009 Continuum, George Segal Gallery, Montclair State University,
Montclair, NJ
Art Biologic, Limner Gallery, Hudson, NY
2007 The Secret Garden, Center for the Visual Arts, Wausau, WI
2003 Curious Nature, Watkins Gallery, American University,
Washington, DC
Women Making History, Hemingway Gallery,
Boise State University, Boise, ID

73
Kelley Johnson
Star Kite | acrylic, Flashe, and PVC, 77 x 131 x 63 inches

74
 Kelley Johnson
Untitled | acrylic, Flashe, metal, paper, and glue, 60 x 40 x 30 inches

75
Kelley Johnson
Fold | acrylic, Flashe, and PVC, 77 x 98 x 33 inches

76
Kelley Johnson
Miami, FL
kelleyjohnsonstudio@gmail.com / www.johnson-kelley.com / @kelleyjohnsonart

b. 1973 Houston, TX
Solo Exhibitions
2018 Slow Hum, Freight + Volume Gallery, New York, NY
2017 Kelley Johnson: Somewhere Between Here and There,
Bruno David Gallery, St. Louis, MO
2016 Somewhere Between Here and There / Somewhere
Between You and Me, David Castillo Gallery,
Miami Beach, FL
Kelley Johnson, Dupont Building Diorama, Miami, FL
Flickering and Floating / Here and There,
Arts+Leisure Gallery, New York, NY
Something That Hovers and Pulses Just Under the Surface,
Hollywood Art and Culture Center, Hollywood, FL
2015 Kelley Johnson: Paintings, Bruno David Projects,
St. Louis, MO
2014 Kelley Johnson: Paintings, Greenlease Gallery,
Rockhurst University, Kansas City, MO
2013 Kelley Johnson: New Paintings, Bruno David Gallery,
St. Louis, MO
2012 Kelley Johnson: Recent Paintings, Twin Kittens Gallery,
Atlanta, GA
Johnson
I am interested in the viewer’s experience with painting as both
physical and optical. I make paintings that merge two- and three-
dimensional space, creating a type of interactive painting. I usually
start a work using repetitive shapes and/or linear structures that
are built organically over time. Eventually, larger forms begin to
emerge, and the direction of the work unfolds. For me, it is like
drawing and painting in space, allowing the work to become.
I am influenced by op art, color field painting, and modern
furniture design and textiles, among other things. By investigating
the formal language of painting and applying my findings to
installation and sculpture, I hope to build a relationship between
the participant and the painted object. I want the works to have a
type of hum or vibration that evokes a meditative state, balancing
a feeling of escapism with being in the present moment.

Group Exhibitions
2018 If You Would Just Shut Up and Listen, Mindy Solomon Gallery,
Miami, FL
2016 Welcome to Miami, Fountainhead, Miami, FL
2015 NADA Art Fair, Locust Projects, Miami, FL
100+ Degrees in the Shade, Miami, FL
DCG Summer Show, David Castillo Gallery, Miami, FL
2014 Bruno David Gallery, St. Louis, MO

77
Magnolia Laurie
to be further yet closer still | oil on painting, 18 x 18 inches

78
 Magnolia Laurie
slapstick, a coincidence of humor and melancholy | oil on panel, 24 x 24 inches

79
Magnolia Laurie
measured against our bodies | oil on panel, 36 x 36 inches

80
Magnolia Laurie
Baltimore, MD
646.820.9068 (frosch & portmann)
www.magnolialaurie.com

Laurie
b. 1974 Hyannis, MA My current work is based in painting, yet I incorporate
installation and drawing to explore the landscape, vantage
Education point, the human instinct to build, and our complex relationship
MFA, Maryland Institute College of Art, Baltimore, MD to the land. Free of people, the paintings depict gestures of the
built environment as both literal evidence and metaphor for
Residencies human impact.
2018 PLAYA, Art & Science Residency, Summer Lake, OR
2015 Virginia Center for the Creative Arts, Amherst, VA The images often draw from history and current events,
2013 Jentel Foundation, Banner, WY recomposing the remnants of forest fires, aerial views of
flooded communities, and the billowing plumes of oil train
Solo Exhibitions derailments. These are events that have an impact on all of us
2017 Magnolia Laurie, frosch&portmann, VOLTA, New York, NY in some way or another, although our opinions and views of
your land / my land, The Phillips Museum of Art, Franklin & them are shaped by our proximity, our needs, our losses, and
Marshall College, Lancaster, PA our gains.
2016 we roam and lie still, Rice Gallery, McDaniel College,
Westminster, MD I work in sheer layers of oil paint that slip back and forth
GROUND SHIFT, frosch&portmann, New York, NY between gesture and illusion. The resulting images reveal a
history of actions and erasures. The paintings evolve through
Group Exhibitions a process of making and unmaking, much like the changing
2016 Convergences, McLean Project for the Arts, McLean, VA landscape and our evolving human history.
Infrastructure, Addison/Ripley Gallery, Washington, DC
Persistence of Flora, Hemphill Gallery at Carroll Square,
Washington, DC
2015 Sondheim Artscape Prize Finalists 2015,
Baltimore Museum of Art, Baltimore, MD
A Series of Silent Remarks, frosch&portmann,
VOLTA Basel, Basel, Switzerland

Awards
2016 Individual Artist Grant, Maryland State Arts Council
2015 Mid Atlantic Arts Foundation Creative Fellow,
Virginia Center for the Creative Arts
2014 The Belle Foundation for Cultural Development

Represented by
frosch&portmann, New York, NY

81
Louise Kenga Mandumbwa
Denn Warren | acrylic on wood panel, 20 x 16 inches

82
 Louise Kenga Mandumbwa
The Sun Loved You More | acrylic on wood panel, 20 x 16 inches

83
Louise Kenga Mandumbwa
Stuurman | acrylic and gold leaf on wood panel, 20 x 16 inches

84
Louise Kenga Mandumbwa
Conway, AR
louisemandumbwa@gmail.com / www.artistlmandumbwa.com / @louise_mandumbwa

Mandumbwa
b. 1996 Francistown, Botswana My paintings celebrate the beauty and tenacity of everyday
people; they are intimate snapshots through which I explore
Education ideas of individual identity and the human condition. I strive to
2019 BFA, University of Central Arkansas, Conway, AR humanize my subjects, people who all too often are represented
as a sum of their tragedies and victimization by circumstance.
Solo Exhibition Growing up in a developing nation, I often found myself in the
2017 With Feeling, Hearne Fine Art, Little Rock, AR company of resilient, driven personalities, whose qualities now
inform the ways in which I present my portrait subjects.
Group Exhibitions
2018 Annual Student Art Competitive, Baum Galllery, The works are rendered with a combination of oil and acrylic
Conway, AR applied to gessoed wood panel. More recently, I have added
Daughters of the Diaspora: Women of Color Speak, plexiglass in front of the paintings, providing a reflective surface
Landmark Building, Hotsprings, AR over an emotive work in which the viewer might recognize facets
2017 Universal Belonging, Prizm Art Fair, Miami, FL of themselves, regardless of their background, as an individual
XXIX Prime, Hearne Fine Art, Little Rock, AR who dares to hope.

85
Katherine Tzu-Lan Mann
Bow | acrylic, Sumi ink, and collage on paper, 59 x 60 inches

86
 Katherine Tzu-Lan Mann
Private Domain | acrylic and Sumi ink on collaged paper, 54 x 52 inches

87
Katherine Tzu-Lan Mann
Wall | acrylic and Sumi ink on paper, 59 x 45 inches

88
Katherine Tzu-Lan Mann
Washington, DC
www.katherinemann.net / @ktzulan

Mann
b. 1983 Madison, WI With roots in Chinese landscape painting traditions, my paintings
and installations offer a fantastic, abstract vision of the natural
Education world. My work confronts a challenge: the resuscitation of
2009 MFA, Maryland Institute College of Art, Baltimore, MD landscape painting in a world where “landscape” is represented
2005 BA, Brown University, Providence, RI and defined through an ever-widening field of digital, graphic,
and visual formats. How can a painting capture flux, abundance,
Residencies waste, fertility, and the collision and collusion of diverse forms?
2013 Djerrassi Residents Artist Program, Woodside, CA How can it respond to the pressure we place on our era’s fragile
Bemis Center for Contemporary Arts, Omaha, NE ecosystem? My paintings explore both questions by sustaining a
tension between the artificial and the natural, the chemical and
Solo Exhibitions the biological, the organic and inorganic.
2017 Alloy, Laura Korman Gallery, Los Angeles, CA
2016 Overabundance, Lonsdale Gallery, Toronto, Canada In my most recent work, I embrace the tradition of landscape
Empire Builder, Gallery nine5, New York, NY painting, experiencing it for what it has always been: an occasion
2014 Multitude, Galerie Kashya Hildebrand, London, England for radical experimentation and confrontation with the world, in
2013 Tupelo, Galerie Kashya Hildebrand, Zurich, Switzerland the broadest sense of the term, that sustains us.

Group Exhibitions
2018 2018 Across the Divide, State University of New York,
Potsdam Art Museum, Potsdam, NY
2016 Carbon 12, Diggi Palace, Jaipur, India
2013 Common Ground, Grace Teshima Gallery, Paris, France

Awards
2017 Arts and Humanities Grant recipient, DC Commission
on the Arts and Humanities
2013-14 Keyholder Fellowship, Lower East Side Printshop
2011 Fellowship, A.I.R. Gallery Fellowship Program
2005-06 Fulbright Grant: Taiwan

89
Rachel Meginnes
An Inner Weight of Being | deconstructed quilt, cotton batting, hand stitching, image transfer, fabric, and acrylic, 68 x 71 inches

90
 Rachel Meginnes
Revel | deconstructed quilt, cotton batting, hand stitching, image transfer, acrylic, and metal leaf, 31 x 31 inches

91
Rachel Meginnes
The Distillation of Something Near | deconstructed quilt, cotton batting, hand stitching, image transfer, acrylic, and India ink, 23 x 26 inches

92
Rachel Meginnes
Bakersville, NC
704.608.2016 (Hodges Taylor)
rachel@plainweavestudios.com / www.plainweavestudios.com / @rachelmeginnes

Meginnes
b.1977 S. Royalton, VT In its worn and tattered state, the retired quilt reveals a rich
history. With its faded colors marking the passage of time and its
Education torn edges signaling the end of its utility, the quilt is stripped of
2005 MFA, University of Washington, Seattle, WA both personal history and practical functionality. As a signifier of
1999 BA, Earlham College, Richmond, IN past experience, the quilt has become my metaphor for loss and
persistence. Through stitch-by-stitch deconstruction, I remove
Residency the quilt’s central layer to expose the wear and tear within.
2012-15 Penland Resident Artist, Penland School of Crafts, Sometimes gaping, sometimes minor, the holes in the batting
Penland, NC depict inner damage as well as profound beauty.

Group Exhibitions Using thread and paint, I turn these leftover webs of fiber that
2018 What Remains, University of Dallas, Irving, TX once lay on a bed into dimensional paintings for the wall. Color
2017 CONVERSATION | What Remains, Penland Gallery, and pattern mark each surface, highlighting old channels of
Penland, NC stitching and all previous indications of making. My objective
Innovative Fibers: A Survey of Contemporary Textiles, is not to preserve or conserve, but to pay tribute to the ability
The Bascom Center, Highlands, NC to persevere.
Forging Futures, Blue Spiral 1, Asheville, NC
2016 Between: Layering Context & Perception in Patchwork,
The Jelinek, Savannah, GA
VOLUME, Quirk Gallery, Richmond, VA
She Tells a Story, Cameron Art Museum, Wilmington, NC
Impact, Foundry Art Center, Saint Charles, MO
The Scent of Rain on Dry Earth, Detroit Artists Market,
Detroit, MI
2015 Threads, Merzbau Gallery, Miami, FL
I Come to You in Pieces, The Alice Gallery, Seattle, WA

Collections
Cameron Art Museum
University of Arkansas

Represented by
Hodges Taylor, Charlotte, NC
Tracey Morgan Gallery, Asheville, NC

93
Marc Mitchell
Slow Love | acrylic and silkscreen on shaped panels, 68 x 64 inches

94
 Marc Mitchell
Mirrors | acrylic on shaped panels, 52 x 46 inches

95
Marc Mitchell
MKC | Acrylic, silkscreen, and sprayed paint on shaped panels, 46 x 50 inches

96
Marc Mitchell
Fayetteville, AR
contact@mmitchellpainting.net / www.mmitchellpainting.net / @methan18

Mitchell
b. 1978 Clearwater, FL I am influenced by many things—vintage punk rock, VHS tapes,
Internet blogs, World War I battleships, beat-up amps, and
Education custom guitars all play a role in the development of my paintings
2003 MFA, Boston University, Boston, MA and digital prints.

Residencies For the past four years, the notion of cycle has played an
2018 Vermont Studio Center, Johnson, VT increasing role within my studio practice. During this time, I’ve
2016 Hambidge Center for Creative Arts, Rabun Gap, GA became interested in how avant-garde movements succeed and
fail within popular culture.
Professional Experience
2014 Assistant Professor and Director of Exhibitions,
University of Arkansas, Fayetteville, AR

Solo Exhibitions
2017 Add to Bag, Middle Tennessee State University,
Murfreesboro, TN
Image of a Rind or a Curtain Behind, Bloomsburg University,
Bloomsburg, PA
2016 Nothing Ritually, Grin Gallery, Providence, RI
2015 Mon-i-tor, University of Alabama, Tuscaloosa, AL
A Monk Texting, REDUX Contemporary, Charleson, SC
2014 Just Gaming, Laconia Gallery, Boston, MA
2013 wo-way, University of Wisconsin-Madison, Madison, WI
We Two Founts, Indiana University of Pennsylvania,
Indiana, PA

97
Laura Mongiovi
Journey | yarn and beeswax, 55 x 6 x 3 inches

98
 Laura Mongiovi
Collapsed | yarn, ceramic, flocking, and faux fur, 27 x 10 x 3 inches

99
Laura Mongiovi
La Nina | felt, metallic, and silk thread, yarn, 13 x 15 inches

100
Laura Mongiovi
Saint Augustine, FL
904.819.6441
lmongiovi@flagler.edu / www.lauramongiovi.com / @lmongiovi

b. 1968 Queens, NY
Education
MFA, University of Colorado Boulder, Boulder, CO
BFA, Florida State University, Tallahassee, FL
Professional Experience
Associate Professor, Flagler College, St. Augustine, FL
Solo Exhibitions
2010-17 Echo, Ice Cube Gallery, Denver, CO
Voyage, Mercer College Art Department Gallery,
Macon, GA
Touch, Edge Gallery, Denver, CO
Mongiovi
My work is a response to cultural artifacts, rituals, and beliefs.
I investigate the processes, materials, and concepts that have
been used to create objects and architecture. Within these
diverse approaches to the maintenance of traditional practices
there is the human need to satisfy personal desire. Rare objects,
garments laden with color and texture, palaces with lavish
gardens and tantalizing sensations for the palate, have influenced
paradigms of commerce, culture, and science. Historical details
reveal the common urge we have to please the senses. My work
pays homage to origins while alluding to personal experience.

Group Exhibitions
2010-17 Between the Seams, Woman Made Gallery, Chicago, IL
Landscape Revisited, Montgomery College Art Gallery,
Rockville, MD
Gritty in Pink, Bailey Center for Contemporary Art,
Pompano Beach, FL
Shelter, Harlan Gallery, Seton Hill University,
Greensburg, PA
String Along, Antenna Gallery, New Orleans, LA
Illuminated Terrain, Three-person Exhibition, 621 Gallery,
Tallahassee, FL
Tactile Systems, Two-person Exhibition, Kent Gallery,
Florida State College, Jacksonville, FL
Down to Sleep, International, Essex Art Center,
Lawrence, MA

101
Daniel Moore
Temporary Shelter | acrylic on wood, 24 x 72 inches

102
 Daniel Moore
Blue Roofs | acrylic on wood, 24 x 72 inches

103
Daniel Moore
This Light Stays On | acrylic on wood, 28 x 24 inches

104
Daniel Moore
Sterlington, LA
danielmoore254@gmail.com / www.danielmoore.net

Moore
b. 1991 West Monroe, LA This series is a narrative of a place losing the qualities that
distinguish it from a space. The establishment of a sense of
Education place is a psychological event that occurs when a person gains a
2018 MFA, Louisiana Tech University School of Design, connection to a physical location and moment through experience.
Ruston, LA This work explores the relationship between place and time in
2013 BFA, Louisiana Tech University School of Design, this process. I make this work to understand what happens to our
Ruston, LA understanding of a space as it changes.

Professional Experience The series Towers consists of shaped paintings in which I focus
2017-18 Instructor of Record, Louisiana Tech University School on the structure and color of man-made objects protruding from
of Design, Ruston, LA the landscape. Cut from dense fiberboard and then painted, the
Gallery Manager, Louisiana Tech Unversity School of Design, shapes are graphic and minimal. The colors are specific to the
Ruston, LA objects they describe. I use titles and accompanying text to orient
2016-18 Studio Manager, Louisiana Tech University School of Design, the viewer.
Ruston, LA
Teaching Assistant, Louisiana Tech University School of
Design, Ruston, LA
2015-18 Graduate Assistant, Louisiana Tech University School
of Design, Ruston, LA
Art and Architecture Workshop Assistant, Louisiana Tech
University School of Design, Ruston, LA

105
Liz Moore
Flocking | dyed wool, latex, and faux fur, 76 x 48 inches

106
 Liz Moore
Rearticulating if I’m the Accused or Accuser | acrylic on faux fur, wool, embroidery, and needles, 168 x 44 inches

107
Liz Moore
Leaks, Ooze | acrylic and fabric dye on faux fur, silicone, netting, and ceiling foam, 15 x 42 x 34 inches

108
Liz Moore
Lexington, KY
lizmoore43@gmail.com / www.lizmoore.work

Moore
b. 1994 Atlanta, GA My work is very material- and process-based, utilizing languages
associated with painting, fiber, and printmaking. I create
Education soft sculptures, paintings, and installations that point to the
2018 BFA, University of Kentucky, Lexington, KY conversation on the isolated body, one that is going through
BA, University of Kentucky, Lexington, KY mental and emotional etiology. Through the use of synthetic
material such as faux fur, silicone, and other materials and
Professional Experience processes associated with craft and print, I push the experience
2018 Studio Assistant, Ebony G. Patterson’s Studio, Lexington, KY of the viewer to one that is disorienting and conducive of their
2017 Museum intern, University of Kentucky Art Museum, own bodily awareness as it relates to surrounding objects. As
Lexington, KY the fibrous material sits heavy against the wall or floor, it has
Assistant Designer and Stylist, Profile Industries, an alluring quality that raises the question of our fascination
New York, NY with fragile sculptures and imagery, especially when they are
deconstructed and abject. In exploring these situations of the
Group Exhibitions body, the work engages an ongoing dialogue around beauty
2018 National Conference on Undergraduate Research, in the grotesque, while relating to both internal and external
The Melton Gallery, Edmond, OK experiences.
2017 Color: Primary to Tertiary, Site:Brooklyn Gallery,
Brooklyn, NY
Carey Ellis Exhibition, Bolivar Art Gallery, Lexington, KY
University Open, ArtsPlace Gallery, Lexington, KY

Awards
2018 American Advertising Federation ADDY Award
2017 1st place, Oswald Research Grant Competition
1st Place in Carey Ellis Exhibition
2015 College of Fine Arts Merit Scholarship

Publications
2018 “Pushing the Envelope: Mail Art from the Smithsonian’s
Archives of American Art,” Smithsonian American Art
Museum’s Lawrence A. Fleischman Gallery
2017 Winter Sports USA Magazine

109
Meredith Olinger
Room #1: Reconfigured (front) | mixed media on free-standing panels, 96 x 144 inches

110
 Meredith Olinger
Room #1: Reconfigured (back) | mixed media on free-standing panels, 96 x 144 inches

111
Meredith Olinger
Untitled (Great Streets Mural Project) | mixed media on panel, 96 x 96 inches

112
Meredith Olinger
Memphis, TN
731.609.2236
olingermeredith@gmail.com / www.mereditholinger.com / @mereditholinger

Olinger
b. 1988 Memphis, TN I work with wallpaper that I design and produce myself, both
digitally and by hand. Layers of wallpaper are affixed to a surface,
Education ripped away, and then collaged back on. My process is one of
2017 MFA, Memphis College of Art, Memphis, TN digging and building, cutting and pasting. I continue until the
2012 BFA, University of Memphis, Memphis, TN piece feels right. Sometimes it’s when it looks like an actual
artifact, a found wall. And sometimes it’s the exact opposite, a
Solo Exhibitions completely new thing.
2017 Digital Tapestries, Eclectic Eye, Memphis, TN
2012 New and Improved, Pla(i)n(e) Gallery, Memphis, TN I make patterns out of everything. I scan to-do lists, repeat
2010 Mended, 1010 Gallery, Knoxville, TN images of old paintings, or use graphic design work from past
jobs. Nothing is off limits. I also photograph my work while it is
Group Exhibitions in process, make a pattern out of the photograph, and then place
2017 Stopping in Memphis, AMUM Gallery, Memphis, TN the image back in the work. I am interested in the possibilities
2016 Best of Memphis Exhibition, Box Gallery, Memphis, TN of digital representation, the mutual dependence of art and
2015 Annual Kenmore Art Show, The Arts of Kenmore, design, and the elements of chance and control. I walk the line
Kenmore, WA between painting and installation, art and design, blurring and
The Art of Fashion, Blue Line Arts, Roseville, CA ultimately eradicating these distinctions.
PUBLIC/ART/ists I, Crosstown Arts, Memphis, TN
PUBLIC/Art/ists II, ArtsMemphis, Memphis, TN
2014 1st Juried Exhibition, Gallery 56, Memphis, TN
2012 New Talent, Gallery 56, Memphis, TN

113
James Perrin
A Summation of Apperceptions | oil on linen with acrylic resin, plant resin, and paint scraps, 72 x 64 inches

114
 James Perrin
Removing the Demon from the Rock | oil on linen with acrylic resin, plant resin, and paint scraps, 80 x 71 inches

115
James Perrin
The Time Before the New | oil on linen with acrylic resin, plant resin, and paint scraps, 96 x 79 inches

116
James Perrin
Nashville, TN
731.608.2651
jamwperrin@gmail.com / www.jameswperrin.com / @jamesperrin

Perrin
b. 1975 Nashville, TN My work explores the visual language contained within a created
object, the painting—a tactile image constructed of physical
Education material, with suggestions of depth and flatness, demonstrating
2001 MFA, Boston University, Boston, MA various pictorial constructions originating from how we see
1997 BFA, Kansas City Art Institute, Kansas City, MO and experience real space, objects, matter, and life within the
constraints of time.
Solo Exhibitions
2020 Hope University, Holland, MI I approach painting as a self-contained language system with
2018 Tinney Contemporary, Nashville TN polysemic image suggestions that creates fluctuating events of
2015 Observations, Integrations, Pareidolia, and Polysemy, pareidolia. I am interested in painting as a mode of communication
Tinney Contemporary, Nashville, TN that transverses time and culture—as a sensory communicative
University of Tennessee Knoxville Library, Knoxville TN experience between artist and viewer. My work incorporates a
2013 Recent Work, Gallery 40AU, Nashville TN variety of ideas, frameworks, and strategies. My latest paintings
2010 Conglomerate, New Paintings..., Zeitgeist, Nashville TN incorporate images and ideas derived from retail interiors,
Caribbean beaches, fashion, CT scans, medical photographs,
Group Exhibitions passages from paintings by Giotto, Masaccio, Enguerrand
2018 Chaos and Awe: Painting for the 21st Century, Frist Center, Quarton, and Fra Angelico, segments of my previous work, as well
Nashville, TN and Chrysler Museum, Norfolk, VA as photos from my daily life.
2017 The Shadow’s Body: Painting’s Allegorical Impulse,
Watkins College of Art, Nashville TN
60th Chautauqua Annual Exhibition of Contemporary Art,
Chautauqua Institute, Chautauqua, NY
Annual Retrospective, Tinny Contemporary, Nashville, TN
2016 A Decade in the Making, Tinney Contemporary, Nashville, TN
2013 Abstractomerty, Frist Center, Nashville, TN
2011 Scientists and Artists Picture the Intangible, Gallery F,
Nashville, TN

Award
2015 Joan Mitchell Award

Represented by
Tinney Contemporary, Nashville, TN

117
Charles Ritchie
Self-Portrait with Mirror and Drawings | watercolor, graphite, and ink on Fabriano paper, 6 x 4 inches

118
 Charles Ritchie
Kitchen with Shadows and Reflections | watercolor, graphite, and ink on Fabriano paper, 6.125 x 4.25 inches

119
Charles Ritchie
Star Map with Five Drawings I | watercolor and graphite on Fabriano pape, 4.24 x 6 inches

120
Charles Ritchie
Silver Spring, MD
212.462.4404 (BravinLee programs)
art@charlesritchie.com / www.charlesritchie.com

b. 1954 Pineville, KY
Education
1980 MFA, Carnegie Mellon University, Pittsburgh, PA
1977 BFA, University of Georgia, Athens, GA
Solo Exhibitions
2017 Charles Ritchie: 16 Pages, BravinLee programs,
New York, NY
2014 Charles Ritchie: Drawings, Prints and Journals,
Houghton College, Houghton, NY
2013 Night and Reflection: Drawings by Charles Ritchie,
Georgetown University, Spagnuolo Gallery, Washington, DC
Group Exhibitions
2018 Brrrrrr: Mid-Winter Group Show, Gallery Joe,
Philadelphia, PA
Bon à Tirer: Prints & Monotypes from the Center Street
Studio Archives, Joel and Lila Harnett Museum of Art,
University of Richmond, Richmond, VA
Ballinglen Arts Foundation Collection, Royal Hibernian
Academy, Gallagher Gallery, Dublin, Ireland
2017 Sitting Still, BravinLee programs, New York, NY
Ritchie
My drawings are constructed over extended periods—months and
years. Darks are usually mixed from other colors, not including
black, as a means of keeping warm and cool tonalities in flux. My
primary medium is watercolor, and in recent works I have used
gum arabic to help build tone, add transparency, control washes,
and increase reversibility. At the same time, I have been observing
color more closely and have added more hues to my palette.
Since 1985, I have been drawing from the same window, studying
a limited group of subjects. At night, I find that the streetscape
merges with the reflection of my studio interior, and I am intrigued
with the disorientation and the associations that arise: security
versus freedom, transparency and juxtaposition, the equivalence
of near and far, and evocations of intimate immensity. After years
of scrutiny, these subjects have accrued greater meaning and
mystery for me. As I evolve with them, I come to deeper levels
of awareness and to more fully interpret the magic and mystery
behind the surface of things.

Publications
2017 “Collection: Charles Ritchie,” WLD Foundation
2016 “Interview with Charles Ritchie,” Painting Perceptions

Collections
Baltimore Museum of Art
The Cartin Collection
Fogg Museum, Harvard University Art Museums
Philadelphia Museum of Art
Yale University Art Gallery

Represented by
BravinLee programs, New York, NY
Gallery Joe, Philadelphia, PA
Center Street Studio, Milton, MA 121
Robert Scobey
How I was telling you before | oil on canvas, 30 x 30 inches

122
 Robert Scobey
Luncheon Near the Lakeside Staircase | oil on canvas, 60 x 54 inches

123
Robert Scobey
Room with a View | oil on canvas, 48 x 52 inches

124
Robert Scobey
Nashville, TN
www.robertscobey.com / @robertscobey

Scobey
b. 1980 Knoxville, TN My work ponders memory loss. We inhabit spaces where voids
are filled with nothing; they overflow with emptiness. Gaps always
Education have placeholders. Information travels silently into invisible
2009 MFA, Pennsylvania Academy of the Fine Arts, clouds.
Philadelphia, PA
2002 BA, Lipscomb University, Nashville, TN Recently, while uploading home videos onto my computer, my
camera phone died mid-transfer and erased my wife and toddler.
Professional Experience The half-copied file-remnants on my computer wouldn’t open.
2018 Adjunct Professor, Watkins College of Art, Nashville, TN After some googling, I got them to play. The new files would
stutter and then explode into unpredictable arrays of colorful
Solo Exhibitions digital garbage that were beautiful and illegible. Neuroscience
2017 Smog Opera, Gamut Gallery, Evansville, IN tells us that our archived memories are re-recorded and altered
2016 Daylight Salad Days, Lipscomb University, Nashville, TN each time we recall them. Here was a recording of something I’d
2015 Sweet Nothings, Fort Houston, Nashville, TN seen, a moment I was sad to lose that was uncannily reanimated
2014 Untitled (omg mountains), Channel to Channel, . . . and at the end of all of that, I was looking not at a recording
Nashville, TN but at a memory.
2011 Robert Scobey, Coop Gallery, Nashville, TN
2010 The Past Was Always Better, Freeman’s Auction House, Once, for a laugh I surprise-jumped into a swimming pool. The
Philadelphia, PA smartphone I forgot to take out of my pocket died instantly.
Sometimes, I think of all the images lost in that pool. They were
Group Exhibitions some of my favorites. Even though I can’t remember what they
2017 Intimacy & Abnegation, NoBA Artspace, Bala Cynwyd, PA look like.
2015 The Long Face, Coop Gallery, Nashville, TN
2010 BLUE OF BLACK, Grizzly Grizzly, Philadelphia, PA
2009 1:5:25, Slought Foundation, Philadelphia, PA
5 Into 1, Moore College of Art and Design, Philadelphia, PA
2008 Dirt Made My Lunch, Rebekah Templeton Contemporary Art,
Philadelphia, PA

Publication
2015 Julep Journal, #3

125
Benjamin David Steele
Impossible Objects (17) | oil on paper, 30 x 22 inches

126
 Benjamin David Steele
Impossible Objects (18) | oil on paper, 30 x 22 inches

127
Benjamin David Steele
Impossible Objects 14 (Color) | oil on canvas, 56 x 44 inches

128
Benjamin David Steele
Smyrna, GA
404.408.9065 (artist) / 404.735.1000 (Poem 88)
bendsteele@gmail.com / www.steeleartist.com

Steele
b. 1982 Stoneham, MA Impossible Objects is a series of oil paintings constructed to
faithfully represent installations in my studio. The installations
Education are composed of plaster, wood, mirrors, other optical
2008 MFA, Maryland Institute College of Art, Baltimore, MD instruments, and projected landscape imagery. I am interested
2004 BFA, Washington University in St. Louis, St. Louis, MO in the feeling of infinity, which comes from images of idealized
landscapes, contrasted with the shallow depth of the actual space
Residencies represented.
2003 Yale University, Norfolk Summer Fellowship, Norfolk, CT
2012 Vermont Studio Center, Johnson, VT I have become fascinated with visual-effects cinematography,
2010 Hambidge Center Creative Residency Program, or rather physical techniques employed to create a sense of the
Rabun Gap, GA impossible before digital technology existed. I have used many
of these techniques in installations, such as rear projection,
Professional Experience matte paintings, desilvered mirrors, as well as scale models
2010 Founder, SeekATL, Monthly Studio Visit Group and backdrops, to create scenes that feel digitally manipulated
“SeekATL: Building an Artist Community,” talk at and evoke otherworldly associations but are in fact from the
High Museum of Art, Atlanta, GA natural physical world. These installations serve as inspiration
for oil paintings whose subject refers back to the illusory act of
Solo Exhibitions painting. A viewer is made to believe in a scene that does not
2015 Impossible Objects, Poem 88, Atlanta, GA actually exist.
2014 From This a Mountain, Poem 88, Atlanta, GA
2011 16 Sided Crystal, Kiang Gallery, Atlanta, GA

Group Exhibitions
2017 Gathered 3, Museum of Contemporary Art of Georgia,
Atlanta, GA
Abstracts, Poem 88, Atlanta, GA
2016 Abstraction Today, Museum of Contemporary Art of Georgia,
Atlanta, GA
2015 Sprawl, High Musuem, Atlanta, GA
2014 Gathered, Museum of Contemporary Art of Georgia,
Atlanta, GA

Collection
High Museum of Art

Represented by
Poem 88, Atlanta, GA

129
Denise Stewart-Sanabria
18th Century French Pastoral Toile Culture Shock | oil on canvas, 36 x 72 inches

130
 Denise Stewart-Sanabria
Bauhaus Dali Does Décor | oil on canvas, 42 x 62 inches

131
Denise Stewart-Sanabria
Post Atomic Candy | oil on canvas, 36 x 36 inches

132
Denise Stewart-Sanabria
Knoxville, TN
615.254.2040 (The Arts Company)
dstewsan@gmail.com / www.stewart-sanabria.com

Stewart-Sanabria
b. 1956 Worcester, MA I use contemporary hyperrealism loosely informed by early
European vanitas painting clichés to explore human culture
Education and behavior. Whether my paintings are an outright statement
1978 BFA, University of Massachusetts, Amherst, MA of some anthropological observation or a narrative of human
foibles, I try to insert just enough humor and lushness to make
Solo Exhibitions them as palatable as possible. My recent work involves allegorical
2018 Contemporary Altars of Misappropriated Mythology, narratives driven by historical commercial wallpaper lurking
Customs House Museum, Clarksville, TN behind iconic contemporary baked goods and candy. A classic
Another Virtual Reality, New Harmony Gallery of French pastoral toile print in a decidedly nontraditional color
Contemporary Art, University of Southern Indiana, looms above a stack of artificially colored Moon Pies and junk
Evansville, IN food. A classic Asian toile that I populated with Godzilla and his
2017 Virtual Reality, John P. Weatherhead Gallery, University of fellow–movie monsters sits behind a vast array of candy that
Saint Francis, Ft. Wayne, IN appears to have been subjected to radioactive mutation.

Group Exhibitions
2018 Along the Horizon: Contemporary Drawing in Tennessee,
Reece Museum & Slocumb Galleries, East Tennessee
State University, Johnson City, TN
2017 Folk Fiction, Clara M Eagle Gallery, Murray State University,
Murray, KY
From These Hills, William King Museum, Abingdon, VA
Feast Your Eyes, Franklin G. Burroughs-Simeon B.
Chapin Art Museum, Myrtle Beach, SC
28th National Drawing & Print Exhibition, Gormley Gallery,
Notre Dame of Maryland University, Baltimore, MD

Publications
2018 2018 INDA 12: International Drawing Annual
2016 New American Paintings, #124
2013 American Art Collector Magazine
2011 INPA 1: International Painting Annual

Collections
Tennessee State Museum
Knoxville Museum of Art

Represented by
The Arts Company, Nashville, TN
Mitchell Hill, Charleston, SC 133
Taylor Anton White
Donna Talks Imperial | acrylic, oil, charcoal, spray paint, paper, and stitching on canvas, 70 x 80 inches

134
 Taylor Anton White
Nothing Touches Bruce Wayne | acrylic, oil, charcoal, spray paint, colored pencil, airbrush, paper, and stitching on canvas, 58 x 65 inches

135
Taylor Anton White
Tokens, Burgers, Academia | acrylic, charcoal, paper, canvas, and stitching on paper, 30 x 22 inches

136
Taylor Anton White
Stafford, VA
631.803.2511 (Marquee Projects)
taylor.a.white@gmail.com / www.taylorwhiteart.com / @taylor.a.white

White
b. 1978 San Diego, CA My work gives form to fleeting memories and the suppressed
mania crawling beneath the carpet of the western home.
Education These images recount crisis and triumph, momentum and
2017 BA, University of Mary Washington, Fredericksburg, VA confinement, lust and low-altitude bombing. Finding stillness
in the recording of arguments within the process of painting
Residencies and drawing, I return to my childhood freezer filled with popsicles
2018 Cycamore Artist Residency, Brooklyn, NY and secret passageways.
2017 Espositivo 7B Residency, Madrid, Spain

Solo Exhibitions
2018 Who Ain’t Got Time for Hickies?, TWFINEART,
Brisbane, Australia
1991 Plymouth Voyager, Like New, Marquee Projects,
Bellport, NY
2017 Biscuits, Biscuits, Biscuits, Marquee Projects, Bellport, NY
2015 Hostages, Leedy, Voulkos Art Center, Kansas City, MO

Group Exhibitions
2018 Paper Positions, Kremers Gallery, Berlin, Germany
2017 75 Works on Paper, BEERS, London, England
FRESH AF, TW Fine Art, Brisbane, Australia
Wet Paint, McGuireWoods Gallery, Lorton, VA
Group No-Show, Marquee Projects, NY
2016 Mid-Atlantic New Painting, Ridderhof Martin Gallery,
Fredericksburg, VA

Award
2016 Emil R. Schnellock Award, University of Mary Washington

Publications
2018 Interview, Whurk Magazine
2017 Interview and cover image, ArtQA Magazine

Represented by
Marquee Projects, Bellport, NY
TW Fine Art, Brisbane, Australia
Kremers Gallery, Berlin, Germany

137
Melissa Wilkinson
Hands | watercolor on paper, 30 x 22 inches

138
 Melissa Wilkinson
Rollin’ | watercolor on paper, 30 x 22 inches

139
Melissa Wilkinson
Runaway | ink wash on paper, 30 x 22 inches

140
Melissa Wilkinson
West Memphis, AR
melissakwilkinson@gmail.com / www.melissawilkinson.net / @mwilky

Wilkinson
b. 1980 Waukegan, IL The title of this series of paintings, Flash Cocotte, roughly
translates as “Fast tart.” Advertised on social media sites,
Education flash cocottes are pop-up parties for queer and gender-flexible
2006 MFA, Southern Illinois University-Carbondale, IL people. I appropriate existing images sourced from disco,
2002 BFA, Western Illinois University, Macomb, IL private Tumblr accounts, and late ’70s–early ’80s “tomboys”
that have informed my identity and sense of self. I further
Professional Experience queer these images by a creating a type of reassembled
2010- Associate Professor, Arkansas State University, painting, one that combines the masculine and the feminine.
Jonesboro, AR I explore micro expressions, gender play, and the simple
heartfelt abandon one feels on a dance floor. This physical
Solo Exhibitions expression of joy and creativity gives me great hope in times
2017 Dark Mirror, New Deal Gallery, Little Rock, AR of divisive tension. Even though these environments are
2016 Fete Galante, Local Color Gallery, Fayetteville, AR insulated from the outside world, they still provide a safe
2015 Gentlemen Wear Black, Hockaday Museum of Art, outlet only a few know and readily access. Influenced heavily
Kalispell, MT by glitch art and data moshing, I create meticulous water-media
2014 CoLab Projects, Austin, TX paintings that straddle the line that between abstraction
Abmasters, Central Missouri University Art Gallery, and representation.
Warrensburg, MO
La Petite Mort, 2squared Gallery, Nashville, TN
Schism, Foundry Art Center, St. Charles, MO
Frontiers, Jan Brandt Gallery, Bloomington, IL

Group Exhibitions
2017 Best of the South, Matt McLeod Fine Art, Little Rock, AR
She, M2 Gallery, Little Rock, AR
2016 Respiro, Boswell Mourot Gallery, Little Rock, AR
Grayscale Wonderland II, bG Gallery, Santa Monica, CA
Organic Matters Arkansas Women to Watch, Kresge Gallery,
Lyon College, Batesville, AR

141
Charles Edward Williams
Freedom Rider #4 | oil on Mylar, 11 x 9 inches

142
 Charles Edward Williams
Eveybody | oil on gesso watercolor paper, 8 x 8 inches

143
Charles Edward Williams
Swim III | oil on panel, 24 x 24 inches

144
Charles Edward Williams
Greensboro, NC
cewpaintings@gmail.com / www.charlesedwardwilliams.com / @charlesedwill84

Williams
b. 1984 Georgetown, SC As an artist I am inspired by the relationship between human
emotion and our natural environment. I often choose subject
Education matter based on life experiences that have been humbling
2017 MFA, University of North Carolina, Greensboro, NC and sometimes traumatic. The psychological elements of my
2006 BFA, Savannah College of Art and Design, Savannah, GA paintings are generated by personal and emotional responses
to people, places, and things. Recent works draw inspiration
Residencies from historical photography of the Civil Rights movement, and,
2017 Otis College of Art and Design, Los Angeles, CA through the use of color and gesture, offer a contemporary
Gibbes Museum of Art, Charleston, SC response to social and political issues of the past and present.
Each piece orchestrates various viewpoints into a shared
Solo Exhibitions message of our human connectedness and commonality in order
2018 Sun + Light, Residency Art Gallery, Inglewood, CA to entice viewers to explore from unfamiliar perspectives.
2017 Put Your Hands Where My Eyes Can See, Winthrop
University, Rock Hill, SC

Group Exhibitions
2016 80x80, Mint Museum, Charlotte, NC
The World Is a Mirror of My Freedom, McColl Center of Art
and Innovation, Charlotte, NC

Publication
2015 “No Day at the Beach,” Washington Post, October 11

Collection
North Carolina Museum of Art (NCMA)

145
David Evan Withers
Current | bleach and dye on canvas, 70 x 50 inches

146
 David Evan Withers
Pass | dye and bleach on canvas, 70 x 50 inches

147
David Evan Withers
Reflection | oil on canvas, 11.5 x 9.25 inches

148
David Evan Withers
Richmond, VA
434.941.0672
davidevanwithers@gmail.com / www.davidevanwithers.com / @davidevanwithers

Withers
b. 1993 Waynesboro, VA I recontextualize imagery in order to relay a fresh sense of
emotion or sincerity, often by combining poetic language with
Education nostalgic cartoons in my paintings. I find that the language of
2016 BFA, Virginia Commonwealth University, Richmond, VA memes uses a similar formula with comedic effect. My interest
in humor comes from its potential underlying seriousness,
Residencies which can disrupt convention, activate repressed emotions and
2016 Artist in Residence, Virginia Commonwealth impulses, and address fears of alienation, displacement, and
University-Qatar Doha, Qatar related anxieties. Cartoons are often abstracted representations
2015 Summer Studio Program, Virginia Commonwealth of humanity, an ambiguous representation of actions and
University, Richmond, VA emotions, a placeholder for a person. One is to constantly make
sense of the nonsense. Humor has the ability to make you laugh
Solo Exhibition with discomfort or even settle into an uneasy sadness. Moments
2017 Hippie Hole, VALET Gallery, Richmond, VA or feelings that seemed to have meaning, we are safe to digest
as meaningless. That is what constitutes the comedic process—
Group Exhibitions maneuvering throughout fear with a gentle sarcasm.
2017 Common Ground, Virginia Commonwealth
University-Qatar, Doha, Qatar
2016 Leap Year, VALET Gallery, Richmond, VA
2015 Free Delivery, Portland State University, Portland, OR

Awards
2017 Common Ground catalogue, Carolina Aranibar-Fernandez
and David Withers
2016 Faculty Research Grant, Virginia Commonwealth
University-Qatar

Publication
2017 Dialogue Richmond, #4

149
Mike Wsol
Wish upon a Star #41 | magazine page and spray paint on paper, 12 x 9 inches

150
 Mike Wsol
Wish upon a Star #46 | magazine page and spray paint on paper, 12 x 9 inches

151
Mike Wsol
Wish upon a Star #45 | magazine page and spray paint on paper, 12 x 9 inches

152
Mike Wsol
Lilburn, GA
mwsol@outlook.com / www.mikewsol.com / @mikewsol

Wsol
b. 1973 Blue Island, IL Wish upon a Star is an ongoing series of over one hundred
paintings that represent objects within a field of color. The
Education paintings are made by placing found objects on top of magazine
2010 MArch, University of Virginia School of Architecture, images of “dream things”: beautiful items, exotic trips, idealized
Charlottesville, VA houses void of dust or clutter. Paint is then sprayed across the
2003 MFA, University of Georgia, Athens, GA page and around the object. The pigmented mist moves like light,
1997 MA, Eastern Illinois University, Charleston, IL ultimately stopping where the object meets the page. The result
shows impact where the object and image touch, a gradation
Professional Experience of shade where the shape of the object can be sensed, in contrast
2017 ART PAPERS Magazine 17th Annual Art Auction, to the ghosts of images of “dream things,” which are barely
Atlantic Station, Atlanta, GA sensed within the painted atmosphere.

Solo Exhibitions
2015 Current Collections, Centennial Olympic Park, Atlanta, GA
2014 Current Collections, St. Petersburg Science Festival,
St. Petersburg, FL
2013 Limited Vision, Ewing Gallery of Art and Architecture,
The University of Tennessee, Knoxville, TN

Group Exhibitions
2018 Miscellany, Alpharetta, GA
2017 31st Rosen Outdoor Sculpture Exhibition, Appalachian
State University, Boone, NC
Grand Rapids Public Museum, ArtPrize Nine,
Grand Rapids, MI
2016 MSA Select 2016: Member’s Exhibition, Gallery 72,
Atlanta, GA
Laborer, Art on the Beltline, Atlanta, GA
2015 Out of the Box, Jule Collins Smith Museum of Fine Art,
Auburn University, Auburn, AL
2013 Lost Horizon v.2, Eastern Illinois University, Charleston, IL
Skulpcher Werkz, Tarble Arts Center, Eastern Illinois
University, Charleston, IL
Coast to Coast by Post: A Sculptural Exploration,
University of Wyoming, Laramie, WY

153
Editor’s Selections >

The following section is presented in alphabetical order.

Biographical information has been edited.
Prices for available work may be found on p176.
Caitlin Blomstrom
The Artists’ Wives | oil and spray paint on canvas, 12 x 9 inches

156
 Caitlin Blomstrom
Ladies | oil and spray paint on canvas, 18 x 16 inches

157
Caitlin Blomstrom
The Attack | oil and spray paint on canvas, 40 x 30 inches

158
Caitlin Blomstrom
Norfolk, VA
blomstrom.ceb@gmail.com / www.cblomstrom.squarespace.com / @blond3storm

Blomstrom
b. 1989 Newport News, VA The content of my recent body of work is fueled by found
drawings left by museum visitors. While working as a gallery
Education attendant, I was accustomed to finding strange, unfinished
2012 BFA, Virginia Commonwealth University, Richmond, VA sketches left in the galleries. Abandoned and out of context,
these drawings possess a sense of humor but also deep sincerity,
Residency as their makers created them while observing works of art in
2015-17 Studio Artist, Glass Wheel Studio, Norfolk, VA the museum. By reproducing these images through trompe
l’oeil–style paintings, I activate a value shift. For example,
Professional Experience children’s scribbles no longer exist as an afterthought, they’ve
2017- Membership Coordinator, Chrysler Museum of Art, been transformed into documentation, evidence of time spent
Norfolk, VA looking. My goal is to convince the viewer to accept these
2015-17 Gallery Host, Chrysler Museum of Art, Norfolk, VA recycled images in their new form and to consider the continuous
2015- Art Docent, Rutter Family Art Foundation, Norfolk, VA cycle of reframing art.
2013 Gallery Intern, Page Bond Gallery, Richmond, VA

Solo Exhibition
2017 Minimal Effort, Cure, Norfolk, VA

Group Exhibitions
2017 Act II, Glass Wheel Studio, Norfolk, VA
Trompe L’oeil, Glass Wheel Studio, Norfolk, VA
2016 Studio Artists’ Show, Glass Wheel Studio, Norfolk, VA
Just Between Us, Glass Wheel Studio, Norfolk, VA
Spectrum, d’Art Center, Norfolk, VA
2015 The Small Works: Miniatures by Tidewater Artists,
Charles Taylor Arts Center, Hampton, VA

Awards
2016 Studio Artist Program, Glass Wheel Studio
2012 Undergraduate Juried Exhibition, Anderson Gallery

159
Dave Eassa
Some people love the beach, but hate the Ocean | wood, insulation foam, Portland cement, AstroTurf, sand, tile, fake palm trees, iPhone photographs, latex,

acrylic and oil paint, dimensions variable

160
 Dave Eassa
Some people love the beach, but hate the Ocean | wood, insulation foam, Portland cement, AstroTurf, sand, tile, fake palm trees, iPhone photographs, latex,

acrylic and oil paint, dimensions variable

161
Dave Eassa
Some people love the beach, but hate the Ocean | wood, insulation foam, Portland cement, AstroTurf, sand, tile, fake palm trees, iPhone photographs, latex,

acrylic and oil paint, dimensions variable

162
Dave Eassa
Baltimore, MD
daveeassa@gmail.com / www.daveeassa.com / @daveassa

Eassa
b. 1991 Ellicott City, MD When all else fails, find the Sun.
A small act that keeps the wheels turning.
Residency
2015 ACRE, Steuben, WI

Solo Exhibitions
2018 Stop and Smell the Roses Sometimes, Space Gallery,
Portland, ME
2017 You Can’t Just Draw a Line in the Sand, School 33
Art Center, Baltimore, MD
2016 The Road to Rio, Platform Gallery at Little Berlin,
Philadelphia, PA
2015 My Mother Always Told Me I’d Grow up to Be a Lawyer,
Vox Populi, Philadelphia, PA
2014 Dreamhouse, Lil’ Gallery, Baltimore, MD
2013 Golden Years, (e)merge Art Fair, Washington, DC

Group Exhibitions
2017 Miami Is Nice, Spacecamp, Baltimore, MD
It was all a Dream, Hemphill Fine Arts at Carroll Square
Gallery, Washington, DC
2016 JRR and Roy, Signal, Brooklyn, NY
Improbable, LVL3, Chicago, IL
2015 We should see each other more often, The Koban Project,
Baltimore, MD
2014 Bawlmer, Crosstown Arts, Memphis, TN
The End, Sophiajacob, Baltimore, MD

Awards
2016 Creative Baltimore Fund, Individual Artist Award,
Baltimore Office of Promotion and the Arts
2014 Individual Artist Award, Maryland State Arts Council

163
Caleb Kortokrax
Passage | oil on linen, 18 x 16 inches

164
 Caleb Kortokrax
Passage 2 | oil on linen, 13 x 11 inches

165
Caleb Kortokrax
Drest in Blue | oil on linen, 34 x 29 inches

166
Caleb Kortokrax
Baltimore, MD
calebkortokrax@gmail.com / www.calebkortokrax.com / @calebkortokrax

Kortokrax
b. 1987 Orlando, FL My paintings are an exercise in unlearning and relearning how
to see.
Education
2014 MFA, Maryland Institute College of Art, Baltimore, MD My current work is an investigation into human perception
2011 BSFA, Valparaiso University, Valparaiso, IN and context, and my studio practice is rooted in the
interdisciplinary spirit. The recent work builds bridges between
Solo Exhibitions disparate painting traditions and time periods. In the process
2018 Quiet Process, Carroll Community College, of making a painting, I resample quality material traditions of
Babylon Great Hall, Westminster, MD the past into the current omnidimensional state of imagery.
2017 Ghost of the Host, Stevenson University, Greenspring Gallery, Through combining past and present visual signals in my
Stevenson, MD studio process, I reanimate the painted image—similar to a DJ
2015 Richard Brauer Portrait Unveiling, Brauer Museum of Art, giving renewed vigor to an old sound sample by placing it in a
Valparaiso, IN fresh context. I use the image and the physical surface of the
2013 New Paintings, Canterbury Salon, Baltimore, MD paintings to navigate a way that offers more possibilities and
more cross-pollination, not particularly favoring any one style
Group Exhibitions or dogma.
2018 Beyond the Medium, Manning Academic Center Gallery,
Stevenson University, Owings Mills, MD
2016 Biennial Faculty Exhibition, Towson University, Towson, MD
2015 Faculty Exhibition, Stevenson University, Stevenson, MD
2014 Everyday Painting (Fantastic Worlds), Sideshow Gallery,
Williamsburg, Brooklyn, NY
Young Blood (Annual Invitational), Maryland Art Place,
Baltimore, MD
MFA Thesis, MICA Grad Show 2014, Decker Gallery,
Baltimore, MD
2013 1st Year MFA Juried Exhibition, Maryland Institute College
of Art, Baltimore, MD

Collections
Brauer Museum of Art
Stevenson University

167
Karen Ösp Pálsdóttir
Cobalt Blue Fronds | oil on paper, 6 x 6 inches

168
 Karen Ösp Pálsdóttir
Halfway Crossed Hands | oil on canvas, 16 x 16 inches

169
Karen Ösp Pálsdóttir
Tray | oil on paper, 26 x 20 inches

170
Karen Ösp Pálsdóttir
Baltimore, MD
karen@karen-palsdottir.com / www.karen-palsdottir.com / @kronosp

Pálsdóttir
b. 1992 Reykajvik, Iceland My paintings are derived from digitally dissected images. I apply
oil paint to the surface in consecutive layers to transfer the
Education abstracted reference information into iconic female forms. The
2013 BFA, Maryland Institute College of Art, Baltimore, MD accrued layers leave visible traces of the process and create a
physical depth in the portrait. The organic properties of the oil
Solo Exhibition paint permeate the rigid digital process.
2015 Halleluwah, Mengi, Reykjavík, Iceland

Group Exhibitions
2017 4 Generations of Icelandic Art, The Icelandic Embassy,
Washington, DC
Art Matters, The Delaplain Museum, Frederick, MD
2016 Launch Pad, Gateway Gallery, Baltimore, MD
2013 Félag Íslenskra Listnema Erlendis, Kaffistofan Gallery,
Reykjavík, Iceland
On Loan Exhibition; Formality, Area 405, Baltimore, MD
Disegno 6, Maryland Institute College of Art; University of
South Carolina; Minneapolis College of Art and Design;
Kansas City Art Institute
2012 Juried Undergraduate Exhibition, Decker Gallery,
Baltimore, MD

Awards
2013 Distinguished International Student Award,
Maryland Institute College of Art
2012 General Fine Arts Department Recognition of Achievement
Award, Maryland Institute College of Art
2010 Presidential Scholarship, Maryland Institute College of Art
National Arts Honors Society Grant, Maryland Institute
College of Art

Publications
2016 Cross Connect Magazine, January 8
2015 NAILED Magazine, July 14
2014 Creative Boom, June 1

171
Nathan Skiles
Am I Born to Die: Trammel #1 (violet) | acrylic and cloth on paper, 23 x 20.5 inches (framed)

172
 Nathan Skiles
Am I Born to Die: Cloven (orange & green) | acrylic and cloth on panel, 23 x 17 inches

173
Nathan Skiles
Am I Born to Die: Trammel #2 (hot pink) | acrylic and cloth on paper, 23.5 x 19.5 inches (framed)

174
Nathan Skiles
Sarasota, FL
nskiles@gmail.com / www.nathanskiles.com / @nathanskiles

Skiles
b. 1980 Anderson, IN All great things should be a complicated, mercurial stew of
bitter sweetness. Along with the simulation, the work should
Education be grounded with an equal portion of concrete reality. Real
2006 MFA, Montclair State University, Montclair, NJ camouflage, in all of its ersatz weirdness, paired with stylized
2003 BFA, Ringling College of Art and Design, Sarasota, FL but lovingly recreated replicas. What is and what could be are
wed in a perfect union of contradiction.
Professional Experience
2006- Fine Arts Faculty, Ringling College of Art and Design, Collage has the ability to immediately announce its means of
Sarasota, FL construction, slyly positioning its greatest physical flaw, the
blemished surface, as its most profound metaphoric virtue.
Solo Exhibitions As an artist I want craft to function as a sly wink, nudge, or
2016 Will the Circle Be Unbroken, Center for Arts and Culture, theatrical aside that knowingly embraces the viewer and
University of Notre Dame, South Bend, IN slowly pulls them into the morass of subjects I’m less adept at
2012 The Clockmaker’s Apprentice, Hunterdon Art Museum, discussing verbally.
Clinton, NJ
2010 Black Forrest / White Lightning, Sloan Fine Art, Hedgerows, border fences, and the untold myriad of boundaries
New York, NY erected to delineate territory and identity—recently there has
2008 Welcome to Tartarus, Welcome to Valhalla, been no greater creative fuel for me than the thought of the
Greene Contemporary, New York, NY pivotal point where the parapet of a protective wall becomes the
insurmountable boundary of a self-imposed prison.
Group Exhibitions
2017 Skyway, Tampa Museum of Art, Tampa, FL Only the insecure need walls and symbols of protection.
2016 Show #35: Julie spoke softly under her long skinny nose,
Field Projects, New York, NY

175
Pricing
Prices published here, for the most part, represent the current price for a work established
by the artist or his/her gallery. If a work has been sold prior to publication and a price is
shown here, it represents the price the work would command if it were available at the time
this book is produced (June - July 2018).

Zina Al-Shukri Elizabeth Holtry Benjamin David Steele

p14 NFS p15 $2,500 p16 $2,500 range of prices: $2,000 - $6,000 p126 $1,600 p127 $1,600 p128 $3,600

David Bailin Kelley Johnson Denise Stewart-Sanabria

p18 $9,000 p19 $9,000 p20 $9,000 range of prices: $5,000-$14,000 p130 NFS p131 $4,500 p132 $3,000

Daniel Calder Magnolia Laurie Taylor Anton White

p22 $7,000 p23 $900 p24 $7,000 p78 $2,100 p79 $2,400 p80 NFS p134 $7,500 p135 NFS p136 $1,400

Dane Carder Louise Kenga Mandumbwa Melissa Wilkinson

p26 NFS p27 NFS p28 $7,250 range of prices: $1,000 - $1,500 p138 $1,200 p139 $1,200 p140 $1,200

AC Carter Katherine Tzu-Lan Mann Charles Edward Williams

p30 POR p31 POR p32 POR p86 $7,000 p87 $7,000 p88 $7,000 p142 NFS p143 NFS p144 $6,000

Eliseo Casiano Rachel Meginnes David Evan Withers

range of prices: $2,500 - $6,000 range of prices: $1,200 - $7,000 p146 NFS p147 NFS p148 NFS

Aaron Collier Marc Mitchell Mike Wsol

p38 $6,400 p39 $7,000 p40 $6,400 p94 $5,000 p95 $5,000 p96 $5,000 p150 $1,000 p151 $1,000 p152 $1,000

Benjamin Cook Laura Mongiovi

p42 POR p43 POR p44 POR p98 $800 p99 $600 p100 $1,000
Caitlin Blomstrom
Cesar Cornejo Daniel Moore range of prices: $2,000 - $8,000
p46 $10,000 p47 $3,500 p48 $7,000 range of prices: $1,000 - $2,000
Dave Eassa
Dylan DeWitt Liz Moore p160 NFS p161 NFS p162 NFS
p50 NFS p51 NFS p52 NFS p106 $600 p107 $800 p108 $500
Caleb Kortokrax
Ashley A. Doggett Meredith Olinger p164 $2,400 p165 $1,200 p166 $7,900
p54 $700 p55 $700 p56 $1,000 p110 $1,000 each p111 $1,000 each p112 NFS
Karen Ösp Pálsdóttir
Brian Guidry James Perrin p168 NFS p169 $500 p170 $800
p58 NFS p59 $10,000 p60 NFS p114 $14,000 p115 $16,000 p116 $18,000
Nathan Skiles
Kyle Hackett Charles Ritchie p172 $2,400 p173 $2,800 p174 $2,400
p62 POR p63 POR p64 POR p118 $6,000 p119 $6,000 p120 $6,000

Matthew Hance Robert Scobey

p66 $3,912 p67 $3,322 p68 $5,000 p122 $800 p123 $1,400 p124 POR

176