DAVID AIPPERSPACH CLAUDIA BITRÁN DIKE BLAIR DENNIS CONGDON ANGELA DUFRESNE DANNY FERRELL JACKIE GENDEL MAGGIE HAZEN CHRISTOPHER K. HO TRISTRAM LANSDOWNE STUART LANTRY SHONA McANDREW WHITNEY OLDENBURG SARAH PATER JAGDEEP RAINA PAUL ROUPHAIL CRAIG TAYLOR ROGER WHITE ZIYANG WU PING ZHENG
MAGGIE HAZEN
B. 1989, Los Angeles, CA, lives and works in Catskill, NY
Maggie Hazen’s multi-media practice spans sculpture, video, collage, performance, and installation. Through synthesizing narratives drawn from popular culture and institutional systems, Hazen reconstructs the familiar to reveal what might be hidden. These works are made using transparent bags similar to the ones correctional officers and staff are allowed to use at the Columbia Center for Girls to bring personal items in to the facility. Hazen collaborates with young artists from the @columbia_collective_ and filled the bags with “identity contraband” or priviledged objects not allowed inside the secure facility—items young adult girls simply use to express and form identities, like beauty supplies, candy, and accessories.
Hazen holds a BFA in sculpture from Biola University and an MFA in sculpture from Rhode Island School of Design. She is the founder of the Columbia Collective where she collaborates on projects with incarcerated girls. She has exhibited, screened, and performed works at The Bronx Museum (New York), Vox Populi (Philadelphia), The Museum of Tolerance (Los Angeles), Microscope Gallery (Brooklyn), The Granoff Center (Brown University) and CICA Museum (South Korea) among others. She has received residencies and fellowships from Pioneer Works (Brooklyn), The Shanghai Institute of Visual Art, I:O at the Helikon Art Center (Turkey) and the Vermont Studio Center.
Maggie Hazen’s multi-media practice spans sculpture, video, collage, performance, and installation. Through synthesizing narratives drawn from popular culture and institutional systems, Hazen reconstructs the familiar to reveal what might be hidden. These works are made using transparent bags similar to the ones correctional officers and staff are allowed to use at the Columbia Center for Girls to bring personal items in to the facility. Hazen collaborates with young artists from the @columbia_collective_ and filled the bags with “identity contraband” or priviledged objects not allowed inside the secure facility—items young adult girls simply use to express and form identities, like beauty supplies, candy, and accessories.
Hazen holds a BFA in sculpture from Biola University and an MFA in sculpture from Rhode Island School of Design. She is the founder of the Columbia Collective where she collaborates on projects with incarcerated girls. She has exhibited, screened, and performed works at The Bronx Museum (New York), Vox Populi (Philadelphia), The Museum of Tolerance (Los Angeles), Microscope Gallery (Brooklyn), The Granoff Center (Brown University) and CICA Museum (South Korea) among others. She has received residencies and fellowships from Pioneer Works (Brooklyn), The Shanghai Institute of Visual Art, I:O at the Helikon Art Center (Turkey) and the Vermont Studio Center.
SHONA McANDREW
B. 1990, Paris, lives and works in Philadelphia, PA
McAndrew is known for paintings and sculptures that depict women in their personal spaces. Drawing from a variety of historical and personal references, the artist renders fleeting yet intimate moments of vulnerability in the daily lives of women seldom portrayed in art history.
Carmen Maria Machado is the author of the bestselling memoir In the Dream House, the graphic novel The Low, Low Woods, and the award-winning short story collection Her Body and Other Parties. She has been a finalist for the National Book Award and the winner of the Bard Fiction Prize, the Lambda Literary Award for Lesbian Fiction, the Lambda Literary Award for LGBTQ Nonfiction, the Brooklyn Public Library Literature Prize, the Shirley Jackson Award, and the National Book Critics Circle's John Leonard Prize. In 2018, the New York Times listed Her Body and Other Parties as a member of "The New Vanguard," one of "15 remarkable books by women that are shaping the way we read and write fiction in the 21st century."
She holds an MFA in Painting from the Rhode Island School of Design and a BA in Psychology and Painting from Brandeis University. She has had solo exhibitions at Art Omi, Ghent, NY (2021), The Abroms-Engel Institute of the Visual Arts at UAB, Birmingham, AL (2021), the Moore College of Art and Design, Philadelphia, PA (2020); CHART, New York, NY (2019, 2021, 2023); and Spring/Break Art Show, New York, NY (2019). She has also exhibited in group shows at Nassima Landau, Tel Aviv, IL; the New York Academy of Art, New York, NY; wallspaceplease, Dubai, UAE; Newchild Gallery, Antwerp, BE; Kunstraum Potsdam, Potsdam, DE; Lyles & King, New York, NY, Taymour Grahne Projects, London, UK; Stems Gallery, Brussels, BE; Mindy Solomon Gallery, Miami, FL; Allouche Benias Gallery, Athens, GR; and Museum of Sex, New York, NY.
McAndrew is known for paintings and sculptures that depict women in their personal spaces. Drawing from a variety of historical and personal references, the artist renders fleeting yet intimate moments of vulnerability in the daily lives of women seldom portrayed in art history.
Carmen Maria Machado is the author of the bestselling memoir In the Dream House, the graphic novel The Low, Low Woods, and the award-winning short story collection Her Body and Other Parties. She has been a finalist for the National Book Award and the winner of the Bard Fiction Prize, the Lambda Literary Award for Lesbian Fiction, the Lambda Literary Award for LGBTQ Nonfiction, the Brooklyn Public Library Literature Prize, the Shirley Jackson Award, and the National Book Critics Circle's John Leonard Prize. In 2018, the New York Times listed Her Body and Other Parties as a member of "The New Vanguard," one of "15 remarkable books by women that are shaping the way we read and write fiction in the 21st century."
She holds an MFA in Painting from the Rhode Island School of Design and a BA in Psychology and Painting from Brandeis University. She has had solo exhibitions at Art Omi, Ghent, NY (2021), The Abroms-Engel Institute of the Visual Arts at UAB, Birmingham, AL (2021), the Moore College of Art and Design, Philadelphia, PA (2020); CHART, New York, NY (2019, 2021, 2023); and Spring/Break Art Show, New York, NY (2019). She has also exhibited in group shows at Nassima Landau, Tel Aviv, IL; the New York Academy of Art, New York, NY; wallspaceplease, Dubai, UAE; Newchild Gallery, Antwerp, BE; Kunstraum Potsdam, Potsdam, DE; Lyles & King, New York, NY, Taymour Grahne Projects, London, UK; Stems Gallery, Brussels, BE; Mindy Solomon Gallery, Miami, FL; Allouche Benias Gallery, Athens, GR; and Museum of Sex, New York, NY.
CLAUDIA BITRÁN
B. 1986 Chile, lives and work in Brooklyn, NY
Claudia Bitrán has long been interested in the circulation and consumption of viral imagery, specifically in how women are often the subjects of mass distributions’ violent system. Working primarily in painting and video, she uses DIY aesthetics to represent the hyperbolic worlds of social media and pop culture.
Using excerpts from Britney Spears’ Instagram of her dancing in her home, Bitrán’s animation depicts Spears twirling for eternity in endless loops. Lasting less than a minute, the animation is comprised of 169 paintings of Spears repeatedly imposed over one another. In repainting this viral imagery, viewers are invited to simultaneously reconsider narratives of mass consumption and how we might empathize with the subject itself.
Bitrán holds an MFA in Painting from Rhode Island School of Design (2013), a BFA from the Universidad Catolica de Chile (2009). She was recently an artist-in-residence at Pioneer Works, New York, and teaches painting at Pratt Institute and Rhode Island School of Design.
Claudia Bitrán has long been interested in the circulation and consumption of viral imagery, specifically in how women are often the subjects of mass distributions’ violent system. Working primarily in painting and video, she uses DIY aesthetics to represent the hyperbolic worlds of social media and pop culture.
Using excerpts from Britney Spears’ Instagram of her dancing in her home, Bitrán’s animation depicts Spears twirling for eternity in endless loops. Lasting less than a minute, the animation is comprised of 169 paintings of Spears repeatedly imposed over one another. In repainting this viral imagery, viewers are invited to simultaneously reconsider narratives of mass consumption and how we might empathize with the subject itself.
Bitrán holds an MFA in Painting from Rhode Island School of Design (2013), a BFA from the Universidad Catolica de Chile (2009). She was recently an artist-in-residence at Pioneer Works, New York, and teaches painting at Pratt Institute and Rhode Island School of Design.
JACKIE GENDEL
B. 1973, Houston, TX, lives and works in Providence, RI
Jackie Gendel’s works engage texture, line, color, and form to create alluring, narrative moments. Individual figures in Gendel's work play off groupings; people exist in pictorial spaces, drawn as if pulled through dance or theatrical design. Much of her recent work contradicts conventions of image production: serial repetition of form and the sequential image of narrative. “I keep on painting the heads and faces over and over again until they get to a place that feels resolved and poignant and mysterious,” Gendel comments. “I try to get to a place that is unexpected to me.”
Gendel received her BFA in 1996 from Washington University, St. Louis, MO and her MFA in 1998 from Yale University, New Haven, CT. Recent solo exhibitions of her work have been shown at the Jeff Bailey Gallery in New York City, Loyal Gallery in Malmö, Sweden and Bryan Miller Gallery in Houston, TX. Her work is included in the collections of the Wadsworth Atheneum Museum of Art in Hartford, CT and the Progressive Collection and has been written about in Art in America, Artforum, The New York Times and The New Yorker. The American Academy of Arts and Letters awarded Gendel an Academy Award in Art in 2007. She lives and works in Brooklyn.
Jackie Gendel’s works engage texture, line, color, and form to create alluring, narrative moments. Individual figures in Gendel's work play off groupings; people exist in pictorial spaces, drawn as if pulled through dance or theatrical design. Much of her recent work contradicts conventions of image production: serial repetition of form and the sequential image of narrative. “I keep on painting the heads and faces over and over again until they get to a place that feels resolved and poignant and mysterious,” Gendel comments. “I try to get to a place that is unexpected to me.”
Gendel received her BFA in 1996 from Washington University, St. Louis, MO and her MFA in 1998 from Yale University, New Haven, CT. Recent solo exhibitions of her work have been shown at the Jeff Bailey Gallery in New York City, Loyal Gallery in Malmö, Sweden and Bryan Miller Gallery in Houston, TX. Her work is included in the collections of the Wadsworth Atheneum Museum of Art in Hartford, CT and the Progressive Collection and has been written about in Art in America, Artforum, The New York Times and The New Yorker. The American Academy of Arts and Letters awarded Gendel an Academy Award in Art in 2007. She lives and works in Brooklyn.
DENNIS CONGDON
S. enters the sea of possibilities, 2023, flash over wire mesh, 54 x 41 inches (137.2 x 104.1 cm)
B. 1953, lives and works in Providence, RI
Dennis Congdon is an accomplished artist known for his vibrant and captivating paintings that seamlessly blend classical objects with modern sensibilities. Congdon equates his work with the lost glories of Greco-Roman civilization and modernism with tongue firmly in cheek. His romantic pathos at the passing of empire yields a comic effect in modern times. Congdon’s palette of off pastels and clashing acidic hues reads as resolutely unsober, ill-suited to grief. To the artist, painting offers a grand reconciliation of time and history that it is built to be — he takes this approach as a highly held belief, an admiration of sorts for what image, color and surface can offer.
Congdon holds a BFA in painting from RISD and an MFA from Yale. He is a fellow at the American Academy in Rome and received a Guggenheim Foundation fellowship in 2003. Recent shows have included a solo exhibition at New York’s CUE Gallery, Ignis Fatuus at Smith College, The Machine in the Garden and Mediated Nature at Oberlin College, Sign Language at the RISD Museum and Is, was, will be at the Mona Bismark Foundation in Paris.
Dennis Congdon is an accomplished artist known for his vibrant and captivating paintings that seamlessly blend classical objects with modern sensibilities. Congdon equates his work with the lost glories of Greco-Roman civilization and modernism with tongue firmly in cheek. His romantic pathos at the passing of empire yields a comic effect in modern times. Congdon’s palette of off pastels and clashing acidic hues reads as resolutely unsober, ill-suited to grief. To the artist, painting offers a grand reconciliation of time and history that it is built to be — he takes this approach as a highly held belief, an admiration of sorts for what image, color and surface can offer.
Congdon holds a BFA in painting from RISD and an MFA from Yale. He is a fellow at the American Academy in Rome and received a Guggenheim Foundation fellowship in 2003. Recent shows have included a solo exhibition at New York’s CUE Gallery, Ignis Fatuus at Smith College, The Machine in the Garden and Mediated Nature at Oberlin College, Sign Language at the RISD Museum and Is, was, will be at the Mona Bismark Foundation in Paris.
ANGELA DUFRESNE
B. 1969, Olathe, KS, lives and works in Brooklyn, NY
Angela Dufresne is a painter and video artist whose work articulates non-paranoid, porous ways of being in a world fraught by fear, power, and possession. Dufrenese’s paintings skillfully merge abstract and figurative elements by layering transparent and outlined forms atop fluid, gestural backgrounds. Her loose brushwork lends her canvases a montage-like sense of movement and a chaotic beauty. Situated in frenzied, psychologically-charged spaces, her paintings are constantly in motion.
Borrowing imagery from mythology, film, art history, and pop culture, she creates fantastical tableauxs populated by queer lovers and film stars. Amalgams of aesthetic and historical references, Dufresne’s paintings engage with histories of visual storytelling and cultural production as well as contemporary queer and feminist discourses.
Dufrense received her MFA from the Tyler School of Art in Philadelphia in 1998, and she was awarded a Guggenheim fellowship in 2016. She has exhibited at the Hammer Museum in Los Angeles; P.S.1 Contemporary Art Center in Queens, NY; the Portland Museum of Art in Portland, ME; the RISD Museum in Providence, RI; The National Academy of Arts and Letters in New York; The Leslie-Lohman Museum in New York; the Kemper Museum in Kansas City, MO; Brooklyn Academy of Music in Brooklyn, NY; The Cleveland Institute of Art in Cleveland, OH; The Aldridge Museum in Ridgefield, CT; Sarah Lawrence College in Yonkers, NY; the Rose Museum in Waltham, MA; Mills College in Oakland, CA; and Minneapolis School of Art and Design among others.
Angela Dufresne is a painter and video artist whose work articulates non-paranoid, porous ways of being in a world fraught by fear, power, and possession. Dufrenese’s paintings skillfully merge abstract and figurative elements by layering transparent and outlined forms atop fluid, gestural backgrounds. Her loose brushwork lends her canvases a montage-like sense of movement and a chaotic beauty. Situated in frenzied, psychologically-charged spaces, her paintings are constantly in motion.
Borrowing imagery from mythology, film, art history, and pop culture, she creates fantastical tableauxs populated by queer lovers and film stars. Amalgams of aesthetic and historical references, Dufresne’s paintings engage with histories of visual storytelling and cultural production as well as contemporary queer and feminist discourses.
Dufrense received her MFA from the Tyler School of Art in Philadelphia in 1998, and she was awarded a Guggenheim fellowship in 2016. She has exhibited at the Hammer Museum in Los Angeles; P.S.1 Contemporary Art Center in Queens, NY; the Portland Museum of Art in Portland, ME; the RISD Museum in Providence, RI; The National Academy of Arts and Letters in New York; The Leslie-Lohman Museum in New York; the Kemper Museum in Kansas City, MO; Brooklyn Academy of Music in Brooklyn, NY; The Cleveland Institute of Art in Cleveland, OH; The Aldridge Museum in Ridgefield, CT; Sarah Lawrence College in Yonkers, NY; the Rose Museum in Waltham, MA; Mills College in Oakland, CA; and Minneapolis School of Art and Design among others.
DANNY FERRELL
B. 1991, Flint, MI, lives and works in Pittsburgh, PA
Danny Ferrell’s portraits are visions of intimate daydreams representing the artist’s friends and peers. Colorful, gregarious, and with a deep appreciation for beauty, the artist is “humbled by the ineffable cosmic hand that imbues our world with magic.” This is manifested in the artist’s alluring muses, abundant in life and color. Color is the primary method that Ferrell visually communicates the sensitivity and strength of his subjects. Through lush shades of red, purple, and orange, he commemorates and elevates his sitters.
While being a gay man plays its part greatly in Ferrell’s work, ultimately, the artist articulates, “These are my friends and people that I have an emotional resonance with. I want to put positive images of gay men and queer identifying individuals into the world, so we can diversify the often-tragic canon of LGBTQ film and art.” Ferrell’s works depict queer individuals living their lives at ease and doing ordinary things, “but through a wonderful sense of immortality – free from indignity, oppression, and hostility”.
Ferrell received his Master of Fine Arts from the Rhode Island School of Design, Providence, RI, and his Bachelor of Fine Arts from the Pennsylvania State University, State College, PA. Recent solo exhibitions include “Castle in the Sky,” Miles McEnery Gallery, New York, NY; “Storms and Saints,” Galerie PACT, Paris, France; “Honey,” Marinaro, New York, NY; “Magic Hour,” Galerie PACT, Paris, France; “Behind the Curtain” (with Hiba Schahbaz and Sophia Narrett), Mindy Solomon Gallery, Miami, FL; and “He’s American” (with Devan Shimoyama), Pittsburgh Center for the Arts, Pittsburgh, PA. Ferrell has been included in recent group exhibitions at CHART, New York, NY; Miles McEnery Gallery, New York, NY; 1969 Gallery, New York, NY; Kravets Wehby Gallery, New York, NY; Marinaro, New York, NY; Anna Zorina Gallery, New York, NY, amongst others.
PING ZHENG
B. 1989, Zhejiang, China, lives and works in Brooklyn, NY
Ping Zheng’s works on paper in oil stick incorporate elements of landscape, cosmology, bold lines, and geometric shapes, often suggesting portions of the human form. Zheng utilizes the flexible structure of a triangle capped by a circular form of color to organize her compositions. The shapes appear to expand and compress as they animate elements of earth, shelter, and sky. For the artist, repetition of the triangle provides her with different paths for understanding her own consciousness and awareness. The shape is a portal that opens onto new dimensions, as well as a stand-in for female anatomy and self-acceptance.
Zheng received an MFA in Painting from the Rhode Island School of Design in 2016 and a BFA in painting from the University College of London, Slade School of Fine Art in 2014. Her works are included in the collections of JP Morgan Chase Bank, Fidelity Investments Corporate Art Collection, and the Cleveland Clinic Art Program.
Ping Zheng’s works on paper in oil stick incorporate elements of landscape, cosmology, bold lines, and geometric shapes, often suggesting portions of the human form. Zheng utilizes the flexible structure of a triangle capped by a circular form of color to organize her compositions. The shapes appear to expand and compress as they animate elements of earth, shelter, and sky. For the artist, repetition of the triangle provides her with different paths for understanding her own consciousness and awareness. The shape is a portal that opens onto new dimensions, as well as a stand-in for female anatomy and self-acceptance.
Zheng received an MFA in Painting from the Rhode Island School of Design in 2016 and a BFA in painting from the University College of London, Slade School of Fine Art in 2014. Her works are included in the collections of JP Morgan Chase Bank, Fidelity Investments Corporate Art Collection, and the Cleveland Clinic Art Program.
CHRISTOPHER K. HO
TBD, 2023, brass, 8 x 7 x 16 1/2 inches (20.3 x 17.8 x 41.9 cm)
B. 1974, Hong Kong, China, lives and works in Hong Kong
Christopher K. Ho is a speculative artist whose works are site-oriented and collaboratively-produced. He is known for multi-component projects that draw from learned material about, and lived encounters with, power and otherness in an unevenly decolonized, increasingly networked world.
After twenty-plus years of living in the US and making work critiquing dominant narratives, capitalist systems, and racist structures, the series of 25 unique brass sculptures marks a turn and coincides Ho’s own return to Hong Kong in 2021. The title of each sculpture is determined by it’s collector, who is asked what they see. This is the artists’ first body of work made living in Hong Kong, where the context of antagonism that motivated his previous work is absent. New anxieties about being privileged replace old struggles against privilege. What does it mean to be a part of an ethnic majority, to be in a position of relative power, of moving from diaspora to center? Can the diversity of Asia help redefine “majority,” and engender new ways of being with, in, and a part of a majority?
Ho received his BFA in architecture and BS in history of architecture and urbanism from Cornell University, and his MPhil in art history from Columbia University. He has exhibited at Storm King Art Center, the Queens Museum, Cranbrook Art Museum, Para Site, MASSMoCA, and Socrates Sculpture Park, among other venues. He was included in the Incheon Biennial, the Chinese Biennial Beijing, and the Busan Bienniale, and is currently work on a solo project for the Brooklyn Academy of Music. The New York Times, Artforum, Art in America, Modern Painters, LEAP, Hyperallergic, RanDian, and ArtReview have reviewed his solo shows.
Christopher K. Ho is a speculative artist whose works are site-oriented and collaboratively-produced. He is known for multi-component projects that draw from learned material about, and lived encounters with, power and otherness in an unevenly decolonized, increasingly networked world.
After twenty-plus years of living in the US and making work critiquing dominant narratives, capitalist systems, and racist structures, the series of 25 unique brass sculptures marks a turn and coincides Ho’s own return to Hong Kong in 2021. The title of each sculpture is determined by it’s collector, who is asked what they see. This is the artists’ first body of work made living in Hong Kong, where the context of antagonism that motivated his previous work is absent. New anxieties about being privileged replace old struggles against privilege. What does it mean to be a part of an ethnic majority, to be in a position of relative power, of moving from diaspora to center? Can the diversity of Asia help redefine “majority,” and engender new ways of being with, in, and a part of a majority?
Ho received his BFA in architecture and BS in history of architecture and urbanism from Cornell University, and his MPhil in art history from Columbia University. He has exhibited at Storm King Art Center, the Queens Museum, Cranbrook Art Museum, Para Site, MASSMoCA, and Socrates Sculpture Park, among other venues. He was included in the Incheon Biennial, the Chinese Biennial Beijing, and the Busan Bienniale, and is currently work on a solo project for the Brooklyn Academy of Music. The New York Times, Artforum, Art in America, Modern Painters, LEAP, Hyperallergic, RanDian, and ArtReview have reviewed his solo shows.
SARAH PATER
B. 1987, Wilmington, DE, lives and works in Philadelphia, PA
Sarah Pater’s paintings refer to experiences in everyday spaces—the aesthetics of boredom and attention blur into office-leisure-domestic design, mediated by the ubiquitous inherited values of American modernism. The paintings allude to shadows on empty walls, Venetian blinds, windows, paper lying on a desk, fluorescent lighting, laptop screens, and various times of day, seemingly on loop.
The artist seek to synthesize, question, and contradict some of the historically proposed tasks or utilities for painting: as discursive medium, as device for narrative, as record of subjective experience, as symbolic image, as research tool, and as expression of unconscious or spiritual practice.
Pater received an M.F.A. in painting from Rhode Island School of Design and a B.F.A. in painting and printmaking from Boston University. Her work has been included in recent solo and group exhibitions at the Lighthouse Works (Fishers Island, NY); Peep Projects (Philadelphia); Ortega y Gasset (New York); Pulp (Holyoke, MA); and Taymour Grahne Projects (London). Her work has been featured in New American Paintings and Bat City Review, and she has been awarded residencies at the Lighthouse Works, the Elizabeth Murray Artist Residency, the Sam & Adele Golden Foundation, and the Ora Lerman Charitable Trust.
DIKE BLAIR
B. 1952, New Castle, PA, lives and work in New York, NY
Dike Blair is a New York-based artist who has been documenting quotidian, mostly American scenes since the 1980s. Working in oil and gouache, his photorealistic tableaus derive from his own photographs, many of which are captured with flash. Blair’s sensitivity and keen attention to the ordinary and the commonplace is both romantic and ironic. Featuring cocktails, ashed cigarettes, and split hot dogs, his images cast a wistful glow on the unexceptional phenomena of daily life.
Blair studied art at the Skowhegan School of Painting and Sculpture, Whitney Museum independent study program, and University of Colorado, Boulder, and earned an MFA from School of the Art Institute of Chicagoin 1977. In 2022, Blair’s work was featured in a two person exhibition, Edward Hopper and Dike Blair, Gloucester, at Karma New York. Blair’s work is featured in the collections of the Whitney Museum, New York, New York; Brooklyn Museum, New York, New York; The Morgan Library & Museum, New York, New York; Los Angeles County Museum of Art, Los Angeles, California; Dallas Museum of Art, Dallas, Texas; and the Museum of Contemporary Art, Los Angeles, California, among others.
Dike Blair is a New York-based artist who has been documenting quotidian, mostly American scenes since the 1980s. Working in oil and gouache, his photorealistic tableaus derive from his own photographs, many of which are captured with flash. Blair’s sensitivity and keen attention to the ordinary and the commonplace is both romantic and ironic. Featuring cocktails, ashed cigarettes, and split hot dogs, his images cast a wistful glow on the unexceptional phenomena of daily life.
Blair studied art at the Skowhegan School of Painting and Sculpture, Whitney Museum independent study program, and University of Colorado, Boulder, and earned an MFA from School of the Art Institute of Chicagoin 1977. In 2022, Blair’s work was featured in a two person exhibition, Edward Hopper and Dike Blair, Gloucester, at Karma New York. Blair’s work is featured in the collections of the Whitney Museum, New York, New York; Brooklyn Museum, New York, New York; The Morgan Library & Museum, New York, New York; Los Angeles County Museum of Art, Los Angeles, California; Dallas Museum of Art, Dallas, Texas; and the Museum of Contemporary Art, Los Angeles, California, among others.
PAUL ROUPHAIL
B. 1987, Chicago, IL, lives and works in Philadelphia, PA
Based in the tradition of still-life painting, Paul Rouphail’s canvases subtly undermine their own realism with details reaching just beyond logical comprehension. Rouphail’s works present genre-bending scenes within scenes reminiscent of seventeenth-century European and twentieth-century American landscape painting renewed with psychologically and politically pointed components. Drawn from life, memory, and the history of painting, the everyday objects in Rouphail’s images intimately inform and contradict one another through an atmospheric blend of sharp light and various visual layering devices.
Based in the tradition of still-life painting, Paul Rouphail’s canvases subtly undermine their own realism with details reaching just beyond logical comprehension. Rouphail’s works present genre-bending scenes within scenes reminiscent of seventeenth-century European and twentieth-century American landscape painting renewed with psychologically and politically pointed components. Drawn from life, memory, and the history of painting, the everyday objects in Rouphail’s images intimately inform and contradict one another through an atmospheric blend of sharp light and various visual layering devices.
Rouphail received his BFA from Carnegie Mellon University, Pittsburgh and his MFA from the Rhode Island School of Design, Providence in 2016. Recent solo exhibitions include A Nearer Sun, Jack Barrett, New York (2022); Another Night, Smart Objects, Los Angeles (2022); The Passenger, Stems Gallery, Brussels (2021). Recent group exhibitions include Galerie Sultana, Paris, FR; Carl Kostyál, Stokholm, SE. Nicelle Beauchene Gallery, Fisher Parrish Gallery, George Adams Gallery, Nancy Margolis Gallery, and Microscope Gallery, New York, NY; The Miller ICA at Carnegie Mellon University, Pittsburgh, PA; and White Columns online.
Tomato Soup, 2022, oil on linen, 14 x 11 inches (35.6 x 27.9 cm)
STUART LANTRY
COFFEE COFFEE COFFEE COFFEE COFFEE, 2023, steel, aluminum, spray paint, maple, ceramic, spoons, motor, hardware, 11 x 32 x 6 inches (27.9 x 81.3 x 15.2 cm)
B. 1990, Lives and works in Philadelphia, PA
Stuart Lantry’s sculptural machines are purposelessly complicated, contradictory and self-referential. They contain mechanical parts, human body parts and at first glance, appear to move randomly. His body of work explores the tenuous connections between internal feedback loops of thoughts and emotions juxtaposed with the external daily routines that construct human experience. The mechanical basis of Stuart Lantry’s sculptures explores the notion of feedback loops. Feedback loops occur when the outputs of a system are routed back as inputs as part of a chain of cause-and-effect that form a continuous circuit.
Lantry received his MFA in Painting from the Rhode Island School of Design in 2016, and his BA from Dartmouth College in 2012. His work has been shown across the U.S. with exhibitions in New York City, Los Angeles, Philadelphia, Providence and New Hampshire.
Stuart Lantry’s sculptural machines are purposelessly complicated, contradictory and self-referential. They contain mechanical parts, human body parts and at first glance, appear to move randomly. His body of work explores the tenuous connections between internal feedback loops of thoughts and emotions juxtaposed with the external daily routines that construct human experience. The mechanical basis of Stuart Lantry’s sculptures explores the notion of feedback loops. Feedback loops occur when the outputs of a system are routed back as inputs as part of a chain of cause-and-effect that form a continuous circuit.
Lantry received his MFA in Painting from the Rhode Island School of Design in 2016, and his BA from Dartmouth College in 2012. His work has been shown across the U.S. with exhibitions in New York City, Los Angeles, Philadelphia, Providence and New Hampshire.
TRISTRAM LANSDOWNE
B. 1983, Victoria, BC, lives and works in Toronto, Canada
Tristram Lansdowne’s practice explores the historical and cultural representations of organized space, considering the ways in which architecture is used to express desire and control. His recent work examines the psycho-spatial content of the contemporary modernist home, paying particular attention to the effects of globalized design culture and digital rendering technologies. Detailed watercolors explore the construction of the home as an image, tugging at the artifice of surface by re-coding digital processes through the handmade. Reversals of two- and three-dimensional forms coupled with shifts in perspective destabilize the viewer’s position, asking for whom, if anyone, this ideal home is intended.
Lansdowne holds an MFA from the Rhode Island School of Design and a BFA from the Ontario College of Art & Design. His work has been exhibited in various museums and galleries in North America and the UK, including the Kitchener Waterloo Art Gallery, Bonington Gallery, and the Mendel Art Gallery. His work is in prestigious public collections such as the National Gallery of Canada, TD Bank Collection, Royal Bank of Canada Collection, Bank of Montreal Collection, Federal Reserve Bank of Chicago, and the Kimmel Harding Nelson Center.
Tristram Lansdowne’s practice explores the historical and cultural representations of organized space, considering the ways in which architecture is used to express desire and control. His recent work examines the psycho-spatial content of the contemporary modernist home, paying particular attention to the effects of globalized design culture and digital rendering technologies. Detailed watercolors explore the construction of the home as an image, tugging at the artifice of surface by re-coding digital processes through the handmade. Reversals of two- and three-dimensional forms coupled with shifts in perspective destabilize the viewer’s position, asking for whom, if anyone, this ideal home is intended.
Lansdowne holds an MFA from the Rhode Island School of Design and a BFA from the Ontario College of Art & Design. His work has been exhibited in various museums and galleries in North America and the UK, including the Kitchener Waterloo Art Gallery, Bonington Gallery, and the Mendel Art Gallery. His work is in prestigious public collections such as the National Gallery of Canada, TD Bank Collection, Royal Bank of Canada Collection, Bank of Montreal Collection, Federal Reserve Bank of Chicago, and the Kimmel Harding Nelson Center.
DAVID AIPPERSPACH
B. 1987, Des Moines, IW, lives and works in Philadelphia, PA
David Aipperspach is a painter drawn to moments where weirdness pokes through the quotidian. In this new series, he depicts quiet vignettes that capture the passage of time on a summer afternoon and evening, exploring how subtle shifts in memory can alter our perceptions of place. Sharply rendered details share surfaces with upending perspectival incongruities. Together they reveal a world with unexpected ambiance and drama looming within the familiar.
Aipperspach earned an MFA in Painting from the Rhode Island School of Design and a B.A. in Landscape Architecture from the University of California, Berkeley. He is currently an Assistant Professor at Ursinus College. His work has been shown in a variety of gallery and academic contexts, including the Woodmere Art Museum, Anderson Ranch Art Center, RISD Museum, West Chester University, UC Berkley, Berman Museum of Art, Newport Art Museum, Pilot Projects, Fjord Gallery, Nancy Margolis Gallery, and elsewhere.
David Aipperspach is a painter drawn to moments where weirdness pokes through the quotidian. In this new series, he depicts quiet vignettes that capture the passage of time on a summer afternoon and evening, exploring how subtle shifts in memory can alter our perceptions of place. Sharply rendered details share surfaces with upending perspectival incongruities. Together they reveal a world with unexpected ambiance and drama looming within the familiar.
Aipperspach earned an MFA in Painting from the Rhode Island School of Design and a B.A. in Landscape Architecture from the University of California, Berkeley. He is currently an Assistant Professor at Ursinus College. His work has been shown in a variety of gallery and academic contexts, including the Woodmere Art Museum, Anderson Ranch Art Center, RISD Museum, West Chester University, UC Berkley, Berman Museum of Art, Newport Art Museum, Pilot Projects, Fjord Gallery, Nancy Margolis Gallery, and elsewhere.
WHITNEY OLDENBURG
B. Jacksonville, FL, lives and works in New York, NY
Whitney Oldenburg’s work explores the complex relationship between humans and objects in contemporary culture. Her sculptures incorporate personal belongings and delve into the emotional and psychological responses tied to material possessions. Oldenburg challenges the viewer to question our attachments to objects and consider the ways in which they impact our lives and relationships. Through her thought-provoking sculptures, she invites us to reflect on the complex interplay between material possessions, social dynamics, and our shared humanity.
Oldenburg holds a B.F.A. from Cornell University and an M.F.A. from the Rhode Island School of Design. She has exhibited her sculptures in various group shows, including Dread in the Eyes and Freedom in an Act at The Elizabeth Foundation for the Arts in New York, NY for the Arts Studio Program.
Whitney Oldenburg’s work explores the complex relationship between humans and objects in contemporary culture. Her sculptures incorporate personal belongings and delve into the emotional and psychological responses tied to material possessions. Oldenburg challenges the viewer to question our attachments to objects and consider the ways in which they impact our lives and relationships. Through her thought-provoking sculptures, she invites us to reflect on the complex interplay between material possessions, social dynamics, and our shared humanity.
Oldenburg holds a B.F.A. from Cornell University and an M.F.A. from the Rhode Island School of Design. She has exhibited her sculptures in various group shows, including Dread in the Eyes and Freedom in an Act at The Elizabeth Foundation for the Arts in New York, NY for the Arts Studio Program.
without fire, 2021, clay, rock, cardboard, wood, resin,
14 x 14 x 8 inches (35.6 x 35.6 x 20.3 cm)
give it, 2018, oil, rock, clay, wood, resin, 14 x 11 x 8 inches (35.6 x 27.9 x 20.3 cm)
CRAIG TAYLOR
Rustication Mirror (sulphur), 2023, oil on canvas, 72 x 54 inches (182.9 x 137.2 cm)
B. 1971, Wisconsin, lives and works in Brooklyn, NY
Craig Taylor’s continued investigations into painting and drawing offer both the aesthetic experience arrived at through historical approaches to abstraction and the interplay of image associations. Subject matter appears, dissolves, and reemerges into a broader meditation on the nature of abstraction and the painted object as emotive. His abstract oils on canvas are built up in layers of small gestures and amorphous shapes. The use of bright and contrasting color has become a hallmark of Taylor’s work. His compositions are the result of improvisation, though they frequently manifest in registers with soft geometry; some works appear to have faintly figural forms almost resembling writing. While his work is freighted with a 20th-century American concern for the role and nature of abstract painting, it is simultaneously buoyed by a romantic touch rooted in 19th-century French tradition.
Taylor earned his BFA from Maine College of Art and his MFA from Yale University. He has had solo shows at March Gallery and Sue Scott Gallery in New York, La Montagne in Boston, CB1 Gallery Los Angeles and Test: Showroom, Berlin. He has contributed work to numerous group exhibitions in such galleries as CTRL Gallery, Houston; 106 Greene, Brooklyn; The Massachusetts College of Art and Fred (London), Leipzig.
Craig Taylor’s continued investigations into painting and drawing offer both the aesthetic experience arrived at through historical approaches to abstraction and the interplay of image associations. Subject matter appears, dissolves, and reemerges into a broader meditation on the nature of abstraction and the painted object as emotive. His abstract oils on canvas are built up in layers of small gestures and amorphous shapes. The use of bright and contrasting color has become a hallmark of Taylor’s work. His compositions are the result of improvisation, though they frequently manifest in registers with soft geometry; some works appear to have faintly figural forms almost resembling writing. While his work is freighted with a 20th-century American concern for the role and nature of abstract painting, it is simultaneously buoyed by a romantic touch rooted in 19th-century French tradition.
Taylor earned his BFA from Maine College of Art and his MFA from Yale University. He has had solo shows at March Gallery and Sue Scott Gallery in New York, La Montagne in Boston, CB1 Gallery Los Angeles and Test: Showroom, Berlin. He has contributed work to numerous group exhibitions in such galleries as CTRL Gallery, Houston; 106 Greene, Brooklyn; The Massachusetts College of Art and Fred (London), Leipzig.
ROGER WHITE
B. 1976, Salem, OR, lives and work in Vermont and New York
Roger White’s paintings meet the viewer with a series of visual and conceptual vantages through which they may consider their own current circumstances in relationship to the passing of time. “I think [the paintings are] about a relationship between two things: the immediate details of everyday life, the minutiae of schedules and repetitions; and the endless expanse of future time, which we’re increasingly averse to contemplating. The future is (to say the least) difficult to imagine right now: our models either don’t seem to predict very well, or what they predict is very, very bad. Perhaps the paintings are an effort to help the viewer (and me) imaginatively project a possible everyday onto an unimaginable future. That way, we’re better suited to act with compassion and courage to make this future somewhat better.” — Roger White
White earned a BA from Yale University and an MFA from Columbia University. He has been featured in exhibitions at the American Academy of Arts and Letters, New York, NY; the Institute of Contemporary Art at Maine College of Art, Portland, ME; Weatherspoon Art Museum, Greensboro, NC; Boston University Art Gallery, Boston, MA; and Ballroom Marfa, Marfa, TX; among many others. The artist, in collaboration with Dushko Petrovich, was included in the 2013 deCordova Biennial at the deCordova Sculpture Park and Museum, Lincoln, MA. White is included in permanent collections of the Albright-Knox Art Gallery, Buffalo, NY; Boca Raton Museum of Art, Boca Raton, FL; Cleveland Museum of Art, Cleveland, OH; and The University of Chicago Booth School of Business, Chicago, IL.
Roger White’s paintings meet the viewer with a series of visual and conceptual vantages through which they may consider their own current circumstances in relationship to the passing of time. “I think [the paintings are] about a relationship between two things: the immediate details of everyday life, the minutiae of schedules and repetitions; and the endless expanse of future time, which we’re increasingly averse to contemplating. The future is (to say the least) difficult to imagine right now: our models either don’t seem to predict very well, or what they predict is very, very bad. Perhaps the paintings are an effort to help the viewer (and me) imaginatively project a possible everyday onto an unimaginable future. That way, we’re better suited to act with compassion and courage to make this future somewhat better.” — Roger White
White earned a BA from Yale University and an MFA from Columbia University. He has been featured in exhibitions at the American Academy of Arts and Letters, New York, NY; the Institute of Contemporary Art at Maine College of Art, Portland, ME; Weatherspoon Art Museum, Greensboro, NC; Boston University Art Gallery, Boston, MA; and Ballroom Marfa, Marfa, TX; among many others. The artist, in collaboration with Dushko Petrovich, was included in the 2013 deCordova Biennial at the deCordova Sculpture Park and Museum, Lincoln, MA. White is included in permanent collections of the Albright-Knox Art Gallery, Buffalo, NY; Boca Raton Museum of Art, Boca Raton, FL; Cleveland Museum of Art, Cleveland, OH; and The University of Chicago Booth School of Business, Chicago, IL.
ZIYANG WU
B. 1990, Xuzhou, China, lives and works in Hangzhou
Ziyang Wu’s practice draws from contemporary technology, digital power structures, popular culture and the dynamics between identity and community as the alienation of both body and spirit. Using 3D video, AR, AI simulation, and interactive installations, Wu examines how the virtual world, data, and algorithms ubiquitously “micro-alienate” and reconstruct human interaction.
Wu received his MFA from the Rhode Island School of Design and a BFA the Florence Academy of Fine Arts. He is also a teacher at the School of Visual Arts and a member of NEW INC: New Museum's Experiment on Art and Technology Track.
Clip from Pasig River 2030 - 6 Plus, 2022, color digital video with sound, 8 minutes 30 seconds, Edition 4 of 5
JAGDEEP RAINA
B. 1991 Guelph, Canada, lives and works in Houston, TX
Jagdeep Raina’s interdisciplinary practice spans textile, drawing, writing, ceramics, 35mm film and video animation. Drawing upon anecdotal histories, as well as personal and public archives and as source material, Rania blends familial narratives with historical accounts to illuminate the socioeconomic and political structures that have shaped South Asian communities. In this process, the artist works to offers a more complex understanding of communities formed by migration.
Rania’s lushly rendered tableaux on paper depicts characters in sites of gathering such as neighborhood storefronts, theaters, or domestic spaces—considering how communities create, sustain, and grow a social framework. Forming a material history through pastel and graphite markings, Jagdeep’s work bears witness to lives and histories that he has been entrusted with remembering.
He received his BFA from Western University in 2013, his MFA from the Rhode Island School of Design in 2016.
Jagdeep Raina’s interdisciplinary practice spans textile, drawing, writing, ceramics, 35mm film and video animation. Drawing upon anecdotal histories, as well as personal and public archives and as source material, Rania blends familial narratives with historical accounts to illuminate the socioeconomic and political structures that have shaped South Asian communities. In this process, the artist works to offers a more complex understanding of communities formed by migration.
Rania’s lushly rendered tableaux on paper depicts characters in sites of gathering such as neighborhood storefronts, theaters, or domestic spaces—considering how communities create, sustain, and grow a social framework. Forming a material history through pastel and graphite markings, Jagdeep’s work bears witness to lives and histories that he has been entrusted with remembering.
He received his BFA from Western University in 2013, his MFA from the Rhode Island School of Design in 2016.
INSTALLATION VIEWS
Installation views at CHART. Photos by Elisbeth Bernstein.