Warren Neidich
American artist and theorist Warren Neidich works between Berlin and New York City. He was trained in fine art, architecture, and neuroscience. In the past five years he has used texts, neon-light sculptures, paintings and photographs to create cross-pollinating conceptual works that reflect upon situations at the border zones of art, critical neuroscience and cognitive justice. He is founder and director of the Saas-Fee Summer Institute of Art since 2015. Awards include Maison Sugar Research Fellowship, Paris (2023), Getty Research Foundation Award (2022), Stiftung Kunstfonds NEUSTART KULTUR (2020 and 2021), Hauptstadtkulturfonds (2021), Katalogförderung des Berliner Senats (2017), and Vilém Flusser Theory Award, Transmediale (2010). Selected solo and group exhibitions include the Venice Biennale, Whitney Museum of American Art, MoMA PS1, Walker Art Center, MIT List Visual Art Center, Museum of Contemporary Art Chicago, Los Angeles County Museum of Art, Smithsonian National Museum of American Art (Washington D.C., US), Palais de Tokyo, Villa Arson Nice, Museum Ludwig Köln, Haus Der Kunst Munich, Zentrum für Kunst and Media (Karlsruhe, DE), Haus der Kulturen der Welt (Berlin, DE), Kunstmuseum Wolfsburg and Kunsthalle Nürnberg. He is former tutor at Goldsmiths, University of London, and professor of visual art at the Weißensee Kunsthochschule in Berlin. He has been a visiting lecturer at Brown University, GSD Harvard University, Columbia University, Princeton University, Sorbonne University in Paris, and University of Oxford and Cambridge University among many others. His work has been the subject of over 150 magazine and newspaper articles including The New York Times, Time Magazine, Artforum, Art in America, Kunstforum International, The Art Newspaper, Hyperallergic, Artnet, GQ, Forbes, and Monopol. The fourth edition of his Glossary of Cognitive Activism will be released in the fall by Eris Press (UK) in collaboration with Columbia University Press (US). An Activist Neuroaesthetic Reader was published by Archive Books (DE) in 2021. Neidich is represented by Priska Pasquer Gallery in Paris and Barbara Seiler Gallery in Zurich.
SELECTED SOLO EXHIBITIONS:
2020 Warren Neidich, Artist Are Essential Workers, Art Is An Essential Service, Guild Hall, East Hampton, NY, USA
2019 Noise and the Possibility of a Future, Venice Conservatory of Music, Venice, Italy
2019 Rumor to Delusion, Zuecca Project Space, La Biennale di Venezia, in Venice, Italy
2018 Neuromacht, Pirska Pasquer Gallery, Cologne Germany
2017 The Politics of Color, Kunstverein Rosa-Luxemburg-Platz e.V., Berlin, DE
2016 The Statisticon, Miami Contemporary Projects, Bogota, Colombia
2016 Infinite Spectres and the Anarchy of Time Plus 1, Barbara Seiler Gallery, Zurich, CH
2016 The Palinopsic Field, LACE, Los Angeles, CA, US
2016 The Artists’ Library LAXART, Los Angeles, CA, US
2015 Equal not Equal, LAXART, Los Angeles, CA, US
2015 Hollywood Blacklist, Printed Matter Los Angeles Art Book Fair, Los Angeles, CA, US
2013 How do you translate a text that is not a text? How do you perform a score that is not a
score? Townhouse Gallery, Cairo, EG
2012 Resistance is Futile/Resistance is Fertile, SKOR, Public Sculpture, Amsterdam, NL
2012 The Noologist’s Handbook, Gallery P74, Lujbjiana, SI
2012 The Noologists Handbook, Cabinet, Archive Books, Berlin, DE
2011 Horizon Swell, Fons Welters Gallery, Amsterdam, NL
2011 Emancipating the Archive, Galería Moriarty, Madrid, ES
2011 Acceptable Difference, Pluripotentiality and Painting, Belgrade Cultural Center, curated by Maja Ciric, Belgrade RS
2010 Book Exchange, Glenn Horowitz Gallery, East Hampton, NY, US
2010 Re-enacting Unknown Artist at the Paris Bar, Berlin, DE (originally installed with Martin Kippenberger at the Paris Bar, 1994)
2010 In the Mind’s I, curated by Linus Elmes, UKS-Unge Kunstneres, Samfund/Young Artist Society, Oslo, NO
2009 In the Mind’s I, curated by Emmanuel Lambion, Maison Gregoire, Brussels, BE
2008 Each Rainbow Must Retain the Chromatic Signature, Magnus Müller Gallery, Berlin, DE
2006 Earthling 2, Andrew Mummery Gallery, London, UK
2005 Earthling, Michael Steinberg Fine Arts, New York, NY, US
2002 Warren Neidich: The Mutated Observer, Part 2. California Museum of Photography, Riverside, CA, US
2002 Remapping, Storefront for Art and Architecture, New York, US
2002 Remapping, Edward Mitterrand Gallery, Geneva, CH
2001 Warren Neidich: The Mutated Observer, Part 1, California Museum of Photography, Riverside, CA, US
2001 The Camp O.J. Installation, Laguna Art Museum, Laguna Beach, California, US
2000 Beyond the Vanishing Point: Media and Myth in America, University of Virginia Bayle Art
Museum, Charlottesville, Virginia, US
1997 Re-cognition, Steffany Martz Gallery, New York, NY, US
1996 Pollock: Holding a Crow With Alchemy, Steffany Martz Gallery, New York City, NY, US 1994 Cultural Residue, Villa Arson, Nice, FR
1993 Perspectif Space, Rotterdam, NL
1991 Historical Interventions, MIT List Visual Arts Center, Cambridge, MA, US
1991 The Battle of Chickamauga, Photographic Resource Center, Boston, MA, US
1989 American History Reinvented, Aperture Foundation, New York, NY, US
Susanne Wibroe
Collaboration with John Sanders
When Susanne Wibroe-Fost was teaching at the Greenwich House Pottery 1989, through a contact there, was able to recuperate ten tons, ten pallets of the finest firebrick from a local steel scrap yard and transported it to Lookout. In the last couple of decades Susanne has accompanied Ryusei and other anagama firemasters at firing their kilns, thus consecrating her sculptural expression to the combination of anagama fired ceramic and steel carved forms.
In the winter months, when there is too much snow in Pennsylvania, Susanne lives and works in Paris, France with her husband, a mold maker and foundryman and his two children.
COLLECTIONS
Quartier du Seine, Asnieres, France
Jacqueline Rouillon, Maire de Saint-Ouen, France
Abrams collection, New Jersey, USA
Hemlepp Art Brut, Pennsylvanie, USA
Patricia Pelehach, Texas, USA
Karen & Michel Chojnicki, New York, USA
Annie LaForge, Paris, France
Paul Traub, New Jersey, USA
M. et Mme. Grumbacher, Pennsylvanie, USA
Marie-Jo Bourron, Barjols, France
Yvan Gauzy, Portrait d'Entree, Saint-Ouen, France
Gilbert Clementi, Meudon, France
Saloma and Robert A. Fisher, Belvedere, CA
Marc-Elie Gosse, Meudon, France
Stewart Katz, Paris France
Tom Kramer, New York, NY
San Francisco State University, Tiburon, CA
Ritchie Commercial, San Jose, CA
Kleiner, Caulfield, Perkins and Byers, San Francisco, CA
The Oakland Museum, Oakland, CA
Rene and Veronica di Rosa Museum, Napa, CA
Langenskiolds, Belvedere, CA
La Movida Restaurant, San Francisco, CA
Kuleto Consulting & Design, Boulevard Restaurant, San Francisco, CA La Vie des Formes, Chalon-sur-Saone, France
Peter Selz, Berkeley, CA
Art Source, San Francisco, CA
Den Jyske Bank, Aarhus, Danmark Andersen, Munich, Germany Kullenkampff, Bremen, Germany
Jim and Joanne Cooper, Glen Ellen, CA Ivasilevitch Auction Gallery, Paris, France Atelier sul Mare, Tusa, Provera, Roma, Italy
Soon-Yeal Young
Yang, Soon-Yeal is a contemporary South Korean artist born in 1959 in Uiseong County. Her upbringing amidst the serene landscapes of her hometown deeply influenced her artistic vision, leading her to explore the profound connections between humanity, nature, existence, and spirit. Beginning with traditional Korean painting, Yang has expanded her practice to include painting, sculpture, installation, and media art, crafting a distinctive and poetic visual language.
From 1996 to 2006, she served as an adjunct professor in the Department of Oriental Painting at the Catholic University of Daegu, nurturing the next generation of artists. Throughout her career, Yang has held over 30 solo exhibitions across Korea and internationally, including in Switzerland, New York, the Netherlands, Japan, and the United States. Notably, her series ‘Ottogi’ and ‘Homo Sapiens’ have been showcased in cities like Seoul and Andong, offering contemplative reflections on human existence that have deeply resonated with audiences.
In addition to her solo exhibitions, Yang has participated in more than 100 group exhibitions worldwide, continually expanding her artistic dialogue across diverse cultures and contexts. Her works transcend mere form, poetically weaving together themes of time and humanity, motherhood and the cosmos, nature and spirit. Rooted in the emotional depths of ‘Jeong’ (a profound Korean concept of affection), sacrifice, and healing, as well as the philosophy of ‘Hongik Ingan’ (the ideal of benefiting all humankind), she delicately captures the flow of unseen presences and emotional textures, transforming Korean sensibilities into a universal artistic language.
Yang’s contributions have been recognized with several awards, including the Best Artist Award from the Korean Council of Art Critics in 2020 and the Baeksang Art Award for Young Artists in 1997. She has also authored multiple art essays, such as ‘Mother’, ‘Awakening the Sea of Time’, and ‘Homo Sapiens’. Her works are part of esteemed collections, including the Ho-Am Art Museum, POSCO Art Museum, Gyeongsangbuk-do Provincial Government, the Embassy of the Republic of Korea in Ukraine, and the Hendrick Hamel Museum in the Netherlands.
Continuously evolving, Yang Soon-Yeal’s art invites viewers to pause and reflect upon the timeless questions of life, guiding them to discover the quiet resonance of truth, emotion, and being within that stillnes
Education
1959 Born in Gyeongsangbuk-do Uiseong
1996-2006 Lecturer and Adjunct Professor of Fine Arts Department at Catholic University of Daegu, College of Fine Arts.
Solo Exhibition
2024-25. ‘Jeong,’ Hotel de Rougemont and Spa, Rougemont, Switzerland
2024 ‘Drawing Art,’ Culture Park, Andong
2023 ‘Till The Stars Shine,’ Gyeongbuk Provincial Office of Education Gallery, Andong
2023 ‘Ottogi, Rainbow Has Come: Sea of Love,’ Gallery INSA 1010, Seoul
2022 ‘Mother, The Force That Raises Motherly Ottogi,’ Hakgojae Gallery, Seoul
2022 ‘玄玄 EPIPHANY,’ The National Assembly of the Republic of Korea, Seoul
2021 ‘玄玄 EPIPHANY,’ INDIPRESS Seoul, Seoul
2021 ‘Mother Earth, OTTOGI,’ Gyeongbuk Andong
2019 ‘Anima/Animus Ottogi,’ Elga Wimmer PCC, New York
2019 ‘本 Rhapsody in Hypostasis,’ Zaha Museum, Seoul
2018 ‘Rhapsody in Red,’ Elga Wimmer PCC, New York
2017 ‘Yang’s Women-Without My Arms to Understand,’ Kunstuitleen Alkmaar, Amsterdam, Netherlands
2017 ‘Make a Journey to the Mother’s Forest,’ Galerie Des Amis, Woudrichem, Netherlands
2016 ‘I Long for My Home,’ Hamelhuis, Gorinchem, Netherlands
2015 ‘Mother goes on an outing to see flowers,’ Gaekju Literary Space, Cheongsong-gun, Korea
2014 ‘Letter of Winter,’ POSCO Gallery, Pohang, Korea
2012 ‘Beyond beyond,’ Gallery at University of Missouri, USA
2011 ‘Leaning against in the world of imagination,’ Hotel Interbulgo Art Gallery, Daegu, Korea
2011 ‘Awakening the Sea of Time,’ Gallery Artlink, Seoul, Korea
2007 ‘Homo Sapiens,’ Hakgojae, Seoul, Korea
2005 ‘The Heart of a Flower,’ Hakgoaje, Seoul, Korea
2003 ‘Unity and Peace’, Independent Arts, New York, USA
2003 ‘Unity and Peace,’ Maronie Gallery, Kyoto, Japan
2003 ‘Unity and Peace,’ Wonmi Gallery, Daegu, Korea
2002 ‘Yang Soon-yeal,’ Muncheon Gallery, Andong, Korea
2002 ‘Unity and Peace,’ Wonmi Gallery, Daegu, Korea
1996 ‘YANG Soon-yeal,’ Byuka Museum of Art, Daegu, Korea
Group Exhibitions
2024 ‘Beyond the Land,’ Gallery LIMAA, PARNAS HOTEL JEJU, Jeju-do
2024 ‘How Are You Feeling Today?,’ Gyeonggi Museum of Modern Art, Gyeonggi-do
2024 ‘Step on the Ground - Songhyeon,’ Seoul Art Week Songhyeon Green Park
2023 ‘How Are You Feeling Today?,’ Gyeonggi Museum of Modern Art, Gyeonggi-do
2023 ‘Step on the Ground - Songhyeon,’ Seoul Art Week Songhyeon Green Park
2023 ‘Motherhood,’ Sookmyung Women’s University Moonshin Art Museum Gallery 1 Moon Gallery, Seoul 2022 ‘All About Attitude,’ Culture Station Seoul 284, Seoul
2022 ‘Arts, Co.Evolution,’ Dalseong Daegu Contemporary Art Festival, Gangjeongbo The Arc, Daegu
2019 ‘A Few of My Favorite Things,’ Elga Wimmer PCC, New York
2019 ‘Special Exhibition to Commemorate Kim Yoon-soo,’ Gana Art, Seoul
2017 ‘Remind-Hamel was there,’ WTC Art Gallery, Rotterdam, Netherlands
2016 ‘Remind-Hamel was there,’ WTC Art Gallery, Rotterdam, Netherlands
Additionally, over 100 more exhibitions
Publications
Mother (GOLDSUN, 2015)
Standing on the Forest of Time and Space (GOLDSUN, 2014)
Yang Soon Yeal: Art is an adventure that never stays the same (GOLDSUN, 2013)
Awakening the Sea of Time (GOLDSUN, 2011)
Blooming on the Branch of Time (GOLDSUN, 2009)
Homo Sapiens (Oneul, 2007)
Awards
2020 40th Korean Council of Art Critics Best Art Award
2010 55 Contemporary Art Writers Award, Seoul Art Center, Seoul
1997 3rd Korea Daily Baeksang Art Award for Young Writers
Collections
Hoam Museum of Art
Yeouido Parc.1
Embassy of Ukraine in the Republic of Korea
Gyeongsangbuk-do Provincial Government
Hendrick Hamel Museum, Gorinchem, Netherlands
POSCO Art Museum
Gaekju Museum of Literature
Gyeongbuk Provincial Police Agency
Richard Humann
Subirdia, 2022, 244 x 40 x 40 cm, Stainless steel, speaker, MP3 files
Resident Artist at (Re)Create in the Summer of 2022
Royal List interview: “[...] my ideas are ‘What is important?’ So the concept behind the work is the important thing. I don’t use any particular type of material. There are people that work in stone, there are people that work in wood or in paint. My idea is the prevalent driving force and then the material is secondary to that. So that for me is the idea of conceptualism which is the idea of the concept of the work is the driving force behind the work. Whatever material makes its use is what I end up using. So I’ve worked in film, I’ve worked in augmented reality, I’ve worked in wood, I’ve worked in steel. So material is always secondary for me; it’s a support system to the actual concept.” - Richard Humann
Richard Humann is a Brooklyn-based neo-conceptual artist with numerous international museum and gallery exhibitions, including: the Museum of Contemporary Art, the Kemi Art Museum, the Tampere Art Museum, the Youngeun Museum of Art, the Tornio Art Museum, the San Cristóbal Art Museum, the Daelim Art Museum, the Macao Art Museum, the Kaohsiung Museum of Art, Ssamzie Space, and the Espoo Museum of Modern Art.
Richard has been included in the 2003 and 2017 Venice Biennale, Venice, Italy; the Arbitat Biennial, Kaohsiung, Taiwan; the Taehwa River Arts Festival, Ulsan City, Republic of Korea; and represented the United States in the 2017 Karachi Biennale, Karachi, Pakistan. His gallery exhibitions include: Stefan Stux Gallery, New York, NY; Elga Wimmer Gallery, New York, NY; Corridor Gallery, Reykjavik, Iceland; Voorkamer Gallery, Lier, Belgium; Planet Art Gallery, Cape Town, South Africa; and L Gallery, Moscow, Russia. He has been an artist in residence at Yaddo in Saratoga Springs, NY; Himmelblau in Tampere, Finland; The Emily Harvey Foundation in Venice, Italy; Ssamzie Space in Seoul, Republic of Korea; (Re)Create Residency in Castlenuovo Calcea, Italy; Oulu-AiR in Oulu, Finland; and the Gyeonggi Creation Center in Daebudo, Republic of Korea. Richard is a recipient of grants from the Brooklyn Arts Council, the New York State Council on the Arts, and the 2016 Pollock-Krasner Award, and has lectured at the Museum of Contemporary Art, Santa Rosa, California; Drew University, Madison, New Jersey; Brown University, Providence, Rhode Island; and Hunerkada College of Visual & Performing Arts, Islamabad, Pakistan.
Richard Humann was born and raised in the Lower Hudson Valley region of New York State. He divides his time between Greenpoint, Brooklyn and Woodstock, NY.
SELECTED COLLECTIONS
EMMA | Espoo Museum of Modern Art
The Nokia Collection
The Buhl Collection
Kemi Art Museum
Tampere Art Museum
The Karina Jakobi Collection
Sara Hildén Art Museum
Lux Art Collection
Gyeonggi Creation Center
Ssamzie Space
Emily Harvey Foundation
Museum of Contemporary Art
The Moen Collection
Collection of David Byrne
The Sackner Collection
Riccardo Mazzei
Resident Artist at (Re)Create during the Spring to Fall of 2009
Having engaged subjects as diverse as political icons, natural and animal elements and human portrait, my work reproduces emotionally charged pictorial language, arranging them into new conceptually layered pieces. These themes are combined into collages that feature a traditional Chinese sketching painted monochrome, juxtaposed on green tea treated paper with iron oxidation, and embellished with uncoated white painted stenciled multilingual text. The color white reinforces the real quality of words, suggests a sense of time, and formally connects the disparate parts in each picture. The texts from fragments of poems and cubist paintings provide clues to content and interpretation. I use a variety of different papers and processes in each project with consistent methodology. The subject matter of each body of work determines the materials and the forms of the work. Each project consists of multiple pieces, in a collage media, grouped around the following themes and meanings: Joss Paper, in representation of Mediterranean symbols; Green Paper, in honor of poetry and alchemy; Stereo Paper, in offering of pagan gods; Date Paper, in praise of the encounters and Metro Paper, in celebration of re-use. I have been collaborating with Legambiente (League for the Environment) for eco-compatible installations in the Island of Elba, since 2012.
Solo Exhibitions
2019. Plebem. Installation/Performance, San Lorenzo, Marciana, Elba Island, Italy
2018. Alta. Installation/Performance, Marciana, Elba Island, Italy
2018. Mondlandshaft. Installation, Sant’Andrea, Elba Island, Italy
2017. Kaoling. Installation, Sant’Andrea, Elba Island, Italy
2016. Date Paper. Founders Workspace, Brooklyn, New York
2016. Metropapers. T. Signorini Gallery, Portoferraio, Elba Island. Italy
2016. Orto turistico. Performance, La Torre, Marciana Marina, Elba Island, Italy
2016. Riddle Sea. Installation, Prospect Park, Brooklyn, New York
2015. Cavalloni. Installation. Marciana Marina, Elba Island, Italy
2015. Cavalloni. Exhibition at Festambiente. Rispescia, Grosseto, Italy
2015. High Fidelity Collage. Performance, Epistrophy, New York
2014. Holy crab!. Installation, Marciana Marina, Elba Island, Italy
2013. Abbasso il fascio. Installation, Ripa Barata, Elba Island, Italy
2012. Ad Pontem. Art into the Park, Maciarello, Elba Island, Italy
2009. Mare Nostrum. Permanent installation, Castelnuovo Calcea, Alba, Italy
2008. Green Tea Paper. Bread, New York
2007. Stereo Paper. Hight Fidelity, Epistrophy, New York
2005. Mode in China. Bread, New York
2002. Fish at Bread. Joss Paper, Bread, New York
1987. Domestic Gallery, Florence, Italy
1986. Riccardo Mazzei. ARCI Gallery, Pisa, Italy
Group Exhibitions
2017. Street Smart. Terra Firma, Brooklyn, New York
2016. Some Pops. ECA+Gallery, Easthampton, MA
2015. Off Chelsea. Scene Space, New York
2013. L’Arte non trema. Modena, Italy
2011. CURE-ATED. Art Kill NYC, New York
2011. Migration Art. LaMama Gallery, New York
2009. Talent PReVIEW. White Box Gallery, New York
1993. Indicazioni di rotta. Marciana Marina, Elba Island, Italy
1991. Polittico di S. Giovanni Trotzem. Arno River, Florence, Italy
1990. Casa Masaccio. Center for Contemporary Art, Arezzo, Italy
1989. Al Muro. Stazione Leopolda, Florence, Italy
1989. Far libro. Casermetta del Forte Belvedere, Florence, Italy
1989. Arno’. Arno River, Florence, Italy
1988. Vikingsbergart. Vikingsberg Museum, Helsingborg, Sverige
1987. Mezzogiorno. Permanent exhibition, Soho, New York
1987. Il colore e il suo contrario. Abbazia S. Scolastica, Bari, Italy
1985. FIREnze. Piazza Santo Spirito, Florence, Italy
1984. Mezzaluna. Permanent exhibition, New York
1977. Oltre la matita. Video Architecture Contest, Padova, Italy
Ray Kelly
Arriving in New York City from his family farm in Texas in 1964 to study painting at the Art Students League, Cowboy Ray Kelly lived an art-filled and adventurous life ever since, including ending the tumultuous decade of the 1960's as Mark Rothko's painting assistant for three years while the Rothko Chapel in Houston was being built. He apprenticed with Herbert Ferber, taught fresco, briefly, at Skowhegan School and founded the Rivington School on New York's Lower East Side in the 80's. He's shown work worldwide including P.S.1, Socrates Sculpture park, and the Cooper Hewitt Museum. He was Robert Motherwell's hired bartender of choice for the extravagant parties he and wife Helen Frankenthaler hosted at their upper East Side townhouse. Over the years he threw back drinks with everyone from Elaine de Kooning to Ad Reinhardt, married and divorced pioneering performance/video/film artist Arleen Schloss and still hits the town hard with Anja Kostler, his much younger and gorgeous German born photographer girlfriend. In 1970 he purchased an abandoned building on Broome street, across from WhiteBox gallery, for the price of one year's rent on a two bedroom apartment in today's market. As the curator of his exhibition, I got a chance to have a discussion with Cowboy Ray Kelly in his basement workshop/studio before his May 1st 2012 opening at Orchard Windows Gallery.
SOLO EXHIBITIONS
2012 Black Box Exchanges, White Box, New York City
2012 Orchard Windows Gallery, New York City
2009 White Box, New York City
1988 Hanku Five, Osaka, Japan
1988 Nagoya University of the Arts, Nagoya, Japan
1986 ARS Electronica, Linz, Austria
1979 Gateway National Recreation Area, Jacob Riis Park, New York City
1978 and 1977 Robert Freidus Gallery, New York City
1976 Janie C. Lee Gallery, Houston, Texas
1975 Castle Clinton, Battery Park, New York City
1974 Dord Fitz Gallery, Amarillo, Texas
1974 Guild Hall, East Hampton, New York
1968 Clyde Mack Gallery, New York City
SELECTED COLLECTIONS
Cooper Hewitt Museum, Newark Museum, Tyler Museum, National Park Service, Lille Ford Company (Perryton, Texas), Stanley Marsh 3rd (Amarillo, Texas), Janie C. Lee (Houston Texas), Dennis Oppenheimer
Peter Kolk
Peter Kolk is an Estonian photographer that was educated in Cambridge and RISD.
Olga Kisseleva
Resident Artist at (Re)Create in the Summer, 2022
As early as the beginning of the 1990s Olga Kisseleva became, thanks to an invitation by the Fulbright Foundation, part of a team of creators working on the development of numerical technologies in the United States. She primarily stays at Columbia University and University of California, where she participates in the adventure of the first start-ups of the Silicon Valley.
Olga Kisseleva teaches New media art and Art & Science in the Université Paris 1 Panthéon-Sorbonne. From 2007 to 2009 she was a member of the High Scientific Committee of Sorbonne.
The work of Olga Kisseleva constantly interweaves actions that reveal themselves in the urban environments or in network with interventions in galleries and museums. For the 5th Dakar Contemporary Art Biennial, she presented “Une Voyante m’a dit…”, an alarming method, where the artist publicly exchanges her look with different participants to symbolically endorse their identity and see the world through their eyes. “Where are you?” places the phenomenon of the tele objectivity to the centre of the project while proposing an immersion within reality, in environments that truly raise the imagination. Leaving one collects photographs accumulated during their peregrinations through the world; the artiste makes obvious the impressive gaps to which one attends in all contemporary megalopolis. Rewarded by the International Prize ProArte (Russia), Olga Kisseleva works in collaboration with The Academy of Sciences “Hybrid Space”, a body of twelve interactive installations, a perilous game, that explores the capacity of the spectator to reveal the presence of a border, that separates reality and the imagination.
The artist's exhibitions include: Modern Art Museum (Paris, France), State Russian Museum, (Saint-Petersburg, Russia), Kiasma (Helsinki, Finland), Museo Nacional Centro de Arte Reina Sofia (Madrid, Spain), Moscow Biennale (2007), Dakar Biennale (2002), Fondation Cartier pour l'Art Contemporain(Paris, France), Centre Georges Pompidou (Paris, France), Art Institute of Chicago (Chicago, USA), National Centre for Contemporary Arts (Moscow, Russia).
EXHIBITIONS
Modern Art Museum (Paris, France),
State Russian Museum, (Saint-Petersburg, Russia),
Kiasma (Helsinki, Finland),
Museo Nacional Centro de Arte Reina Sofia (Madrid, Spain),
Moscow Biennale (2007),
Dakar Biennale (2002),
Fondation Cartier pour l'Art Contemporain(Paris, France),
Centre Georges Pompidou (Paris, France),
Art Institute of Chicago (Chicago, USA),
National Centre for Contemporary Arts (Moscow, Russia).
COLLECTIONS
ArtNorac, Rennes, France
BESart Collection, Lisbon, Portugal
Centre National d’Art Contemporain, Yekaterinburg, Russia
Centre National d’Art Contemporain, Kaliningrad, Russia
CNEAI, Chatou, France
Communauté Urbaine de Brest, France
Fine Art Fondation, New York, USA
Fondation Bernard Arnault, Boulogne-Billancourt, France
Fondation De 11 Lijnnen, Ostend, Belgium
Fonds Municipal d’Art Contemporain, Marseille, France
Fonds Municipal d’Art Contemporain, Paris, France
FRAC Aquitaine, Bordeaux, France
FRAC Languedoc-Roussillon, Montpellier, France
Lhoist collection, Wavre, Belgium
LVMH, Paris, France
MMOMA, Moscow, Russia
MOMA, New York, USA
Musée d’Art Contemporain, Moscow, Russia
Musée des Arts Graphiques de Machida, Tokyo, Japan
Musée Russe - Département Art Contemporain, St Petersburg, Russia
NCCA Centre National d’Art Contemporain, Moscow, Russia
Pecci Musée d’Art Contemporain, Prato, Italy
Marion Gray
Resident Artist at (Re)Create during the summer of 2007
Marion Gray (September 14, 1934, Oakland, California – September 2, 2016, Mission District, San Francisco) was an American artist, photographer, and teacher. A vital member of the Bay Area art scene since the 1970s, Gray's "work blurs the lines between documentation and art, and exposes shared approaches between artists working in dance, performance and visual arts." During her long career, Gray documented the performances and works of artists such as John Cage, Christo and Jeanne Claude, Merce Cunningham, Joan Jonas, Marina Abramovic, Meredith Monk, Paul Dresher, Guerrilla Girls, and many others. As curator Christina Linden explains: "her photographs, themselves powerful works of art, constitute an immensely valuable archive of the ephemeral artistic activity the Bay Area has historically fostered.”
In 1975 Gray completed her studies at the University of California, Berkeley in Art History and Art Practice. She studied with Peter Selz, Jim Melchert, Peter Voulkos, and Joan Brown.
It was during her final year that Gray attended a lecture by the artists Christo and Jeanne Claude who were discussing their upcoming project for Marin and Sonoma counties, the "Running Fence." She was hired to work with the Christos on the project in 1976. The project proved to be the beginning of her career, as she documented the "Running Fence," using still and moving cameras.
During her 40 year career, Gray developed a unique archive of work which captured historic and often one-time performances by some of the most important artists of the Bay Area and beyond.
As Photograph Magazine states, "Gray’s position in these pictures is active; she treats each shot as if she were an art-world photojournalist. The best works seem almost collaborative, in that the photographer harnesses the energy of the artists and works she depicts."
Gray's work has appeared in various magazines and books including Art in America, Art Forum, Leonardo Music Journal, High Performance, Art in the San Francisco Bay Area 1945 to 1980, and Woman in Technology 2003, as well as both group and solo shows.
Exhibits include the San Francisco Art Institute "Marion Gray/Photographs of Actual Art," the Performing Arts Library and Museum, "In Performance – Tapestry," and "Resounding Works" at the Jazzova Sekce Gallery in Prague, Czech Republic.
In 2015 the Oakland Museum of California had a retrospective on Gray's work called Within The Light. The exhibition focused "on California artists (Terry Fox, Darryl Sapien, Robert Arneson, Survival Research Laboratories, William Wiley, Guillermo Gómez-Peña, Jim Melchert, Bonnie Ora Sherk, Keith Hennessy) and nationally acclaimed artists that have performed in the Bay Area (Ann Hamilton, Meredith Monk, Marina Abramovic and Ulay, Merce Cunningham, Eiko and Koma, Karen Finley)."
SELECTED EXHIBITIONS
2015 Marion Gray: Within the Light; Oakland Museum of California, Oakland, California
2010 Unexpected Reflections: The Portrait Reconsidered; (meridian gallery), San Francisco, California
2005 re-sound-ing works Marion Gray; Pallfyho Palace Jazzova Secke Galerie, Prague, Czech Republic
2003 Photographs; Off The Preserve, Napa, California
2001 Tom Golden’s Odyssey; Sonoma County Museum, Santa Rosa, California
1997 Lou Harrison and Henry Cowell Birthday Celebration; Mills College, Oakland, California
1996 Sound Works: Multimedia Performance with Pamela Z; The Lab, San Francisco, California
1995 Curtain You Can See Through; IXL Gallery, San Francisco, California
1993 Sunset At Versailles; Contract Design Center, San Francisco, California
1992 Breakfast At Woolworth’s; Theresa Mullen Gallery, San Francisco, California
1991 Exit The Freeway; Security Pacific Gallery, San Francisco, California
1990 Tapestry: In Performance Marion Gray; Performing Arts Library And Museum, San Francisco, California
1986 The Art Of Love; San Francisco Art Institute, San Francisco, California
1985 Chain Reaction; San Francisco Art Commission Gallery, San Francisco, California
1984 PROOF: Photographers On Performance; New Langton Arts, San Francisco, California
1979 Photograph; I.D.E.A., Santa Monica, California
1978 Global Space Invasion “Documents”; Museum of Modern Art, San Francisco, California
1974 California Glass and Ceramic Show; Oakland Museum, Oakland, California
Lindsey Nobel
Resident Artist at (Re)Create during the summer of 2019
Lindsey Nobel was born in Baltimore, MD, and raised in San Diego, CA. Currently based in Los Angeles, her art practice also draws upon her time in Monterrey, San Francisco, Rome and New York City. Building her draw- ing language on the invisible connections that unite humans with the organic and inorganic phenomena that make up everyday life, her work manifests the immense grid of energy that now exists between human, machine, and spiritual consciousness.
Through drawn, painted, photographed, and sculpted mark-making, she expresses this otherwise invisible language. Her painting practice is rooted in principles of both abstract expressionism and minimalism she employs acrylic, charcoal, coffee, and pen on canvas. Though abstract, her various series simultaneously engage the nervous system, marine biology, the Internet, the global economy, and continually evolving data mapping networks. Nobel’s work has been exhibited throughout the United States, Asia and Europe and has been selected for the Lucid Art Foundation’s 2021 Artist Residency program.
In the early 1990s, Nobel foresaw the rapid expansion of the “infosphere,” a term she coined early in her career to describe this ubiquitous grid of information and connectivity. Through sculpture, drawing, painting, and photograph mark-making, she expresses this otherwise invisible language of connection.
Her painting practice is rooted in principles of both abstract expressionism and minimalism and it employs oil, acrylic, ink, resin, pencil, charcoal, coffee, and pen on canvas, paper, and wood panels.
SOLO EXHIBITIONS
2024 “She Awakend to Her Truth” MU KA Collective, Luxembourg
2024 “ Into the Invisible” Curated by Julliet Pan, Visual Arts Center, Singapore
2022 “Reality of Illusions” Aruhi Gallery Los Angeles, CA
2022 “The Female Collective” Loews Santa Monica Beach Hotel Santa Monica, CA 2015 “Infosphere,” Zoya Tommy Gallery, Houston TX
2015 “Mini retrospective,” Vendrome Gallery, NY 2012 White Box Contemporary, La Jolla, CA 2009 Melissa Morgan Fine Art, Palm Desert, CA 2007 Jacob Fine Art, Paris, France
2006 EO IPSO, Match Artspace, Brooklyn, NY
2006 “Looking Within,” Project 3 am, New York, NY 2005 Cartelle Gallery, Los Angeles, CA
2004 “Connect,” Schroeder Romero, Brooklyn, NY 2004 Ground Floor Gallery, Chelsea Hotel, New York, NY
2004 Cartelle Gallery, Los Angeles, CA
2002 “Vortex,” Schroeder Romero, Brooklyn, NY 2002 “Into the Light,” Nikolai Fine Art, New York, NY 2002 “String Theory,” Bingo Hall, Brooklyn, NY
2001 “System, Cells & Neurons,” Pollock Fine Art Brooklyn, NY
2000 “Photography & Drawing,” Rome Arts, Brooklyn
GROUP EXHIBITIONS
2024 “5 in One” Curated by John Pierce Southold, NY 2024 “Tranference” AB NY Gallery
2024 “You don’t need a weatherman to know which way the wind blows” Empty Circle Gallery, NY
2023 “You Don’t Need A Weatherman To Know Which Way The Wind Blows” Curated by Raul Zamudio Brooklyn NY, Empty Circle Gallery
2023 “Dissolvement” Curated by Mattias Tönnheim, Brooklyn NY, A Wadström Trönnheim Gallery
2023 “Artix” Curated by Payal Kapoor, New Dehli, India
2023 “Summer Abstraction” Curated by Catherine McCormick, MM Gallery, South Hampton, NY
2023 “California Cool” Laguna Art Museum, Laguna Beach, CA
2023 “Boundless Boundaries” Arushi Arts, New Delhi 2023 “Pipeline” Bendix Building Downtown LA, Nellie King Solomon & Lindsey Knight Nobel
2022 “Hologram” The Whole Story, Curated by Rachel Vancelette, Miami, FL, The Wall Art Gallery
2022 “Rivers and Mountains” Oolong Gallery, Solana Beach, CA A
2022 “Tertium Organum” Curriated by Laura Whit- coomb, Eagle Rock Center for Contempory Arts, Los Angeles, CA
2022 “Artist Collection Studio” DFB, Rome, Italy
2021 “Site-Brooklyn Gallery” curiated by Peter Frank 2021 “Art Adventures Around LA” Ernie Wolfe Gallery, West Los Angeles, CA
2021 “The Hourglass Overturned” Arushi Gallery, Los Angeles, CA
2021 “Boundless Space Community Day” Sotheby’s, New York, New York
2021 “Painting 2011-2021 Online Exhibition” Brook- lyn Gallery, Online
2020 “Alumni Artists-in-Residence Exhibition” Lucid Art Foundation, Inverness, CA
2017 “Pole Positions- Midsummer Mania”, Curated by Bo Thomas Hendriksson, Die Wiesenburg Berlin, Germany
2016 “The Night Opens / La Nuit s’ouvre”, Blam Proj- ects, Los Angeles, CA
Laura Splan
Resident Artist at (Re)Create during the Summer 2014
As an interdisciplinary collaborator, Splan’s research-based studio practice includes working with scientists, technicians, and engineers in both industry and academia. She was a member of the New Museum’s NEW INC “Creative Science” incubator imagining creative applications for science and technology. As a Bioartist-in-Residence at the uCity Science Center, she collaborated with scientists at Integral Molecular to interrogate interspecies entanglements and invisible labor in biotechnology. In “Sticky Settings”, a collaboration supported by the Simons Foundation, Splan explored computational translations of molecular systems with theoretical biophysicist Adam Lamson at the Flatiron Institute. As an Artist-in-Residence at NEW INC+EY Metaverse Lab, Splan collaborated with creative technologists to develop extended reality (XR/VR) artworks that reveal “virtual residues” persisting in the physical world while exploring possibilities for new materially liminal experiences. As a Black Box Projects Artist-in-Residence at Beall Center for Art + Technology, Splan is collaborating with the Park Lab at UC Irvine to explore environmental influences on gene expression for a project exploring epigenetics and ecologies.
As an educator, Splan has held academic appointments at Stanford University, teaching interdepartmental Art courses to Engineering, Computer Science, Biology, Math, as well as Art majors. As an artist-in-residence, she has taught academic seminars at the University of Maine and Illinois State University. Her public workshops have been hosted by the Fredrickson Family Innovation Lab, Tang Teaching Museum, and Coalesce Center for Biological Arts. Splan was a Digital Arts Fellow supported by the National Endowment for the Arts at AS220 Industries, where she taught creative coding and physical computing workshops. She has volunteered as a computer literacy instructor for underserved communities at Imani House in Brooklyn and as a facilitator and educator for the ACRE Residency Technology Studio. She has been a studio practice advisor for both independent artists and students at San Francisco Art Institute, California College of Art, Arts Council England, and NEW INC at the New Museum. Splan also provides studio practice advising to independent artists through sliding scale Online Office Hours on Plexus Projects.
As a curator, Splan has produced new media art projects, including “Stimulus Transmit”, a moving image series that premiered on San Francisco public access television in 1997. During that time, she provided volunteer production support for COYOTE Street Wise, a public access television show on body politics hosted by sex worker activists Carol Queen and Margo St. James. She has been a visiting critic at numerous institutions, including The Crit Lab, University of Cincinnatti, and UNC Chapel Hill. She has served on selection committees and juries for the Biodesign Challenge and ACRE Residency. Her recent curatorial projects have included interdisciplinary programming and exhibitions for Creative Tech Week, as well as her experimental project space Plexus Projects where she curates “GUI/GOOEY”, an ongoing series of group exhibitions exploring digital representations of the natural world.
Laura Splan lives and works in Greenpoint, Brooklyn, the home of several superfund sites, in a building that has been a pharmaceutical factory and a knitting factory and is now an elaborate interactive installation for her cat.
SELECTED SOLO EXHIBITIONS
2025 RL Window, RYAN LEE Gallery, New York, NY, Curator: Derek Piech, Hypertelic
2024 UTS Data Arena, Sydney, AU, Bloom (collaboration with The Cardiovascular Regeneration Lab & Linda Dement)
2024 Onassis ONX, Presented by NEW INC+EY Metaverse Lab, New York, NY, Metafrictions Preview
2023 Vanderbilt Museum Planetarium, Curator: Paul Rubery, Centerport, NY, A Guided Sublimation
2021 Tang Teaching Museum, Elevator Music Series, Saratoga Springs, NY, Curator: Rebecca McNamara, Rhapsody for an Expanded Biotechnological Apparatus
2020 BioBAT Art Space, Brooklyn Army Terminal, Brooklyn, NY, Curators: Jeannine Bardo/Elena Soterakis, Unraveling
2019 Esther Klein Gallery, Philadelphia, PA, Curator: Angela McQuillan, Conformations
2018 Occurrence Gallery, Montréal, QC, Curator: Lili Michaud, Embodied Objects
2017 NYU Langone Medical Center Art Gallery, New York, NY, Curator: Katherine Meehan, Manifest
2016 Grizzly Grizzly, Philadelphia, PA, Curators: Talia Greene/Amy Hicks, Raw Material (w/Gail Wight)
2015 Whitebox Art Center, New York, NY, Curator: Gale Elston, (Re)Create Artist Residency Award Exhibition (w/Ève K. Tremblay)
SELECTED COLLECTIONS
Thoma Art Foundation
Anne & Michael Spalter Digital Art Collection
Chan Zuckerberg Initiative
Berkeley Art Museum
Ken Hiratsuka
Sculptor Ken Hiratsuka was born in 1959 in Shimodate City, Ibaraki Prefecture, Japan.
He graduated in 1982 from Musashino University of Art in Tokyo. In the same year, Hiratsuka came to New York City, received a fellowship from the Art Students League, and embarked on his life work of carving one continuous line in stone around the world. Committed to art for everybody, Hiratsuka began sculpting the slate and granite sidewalks of New York City, becoming a figure in the Street Art Movement of the 80’s.
Driven by his vision of art’s capacity to transcend the differences of nations and languages, Hiratsuka’s work can now be seen in permanent public sites in both urban and natural environments in 21 countries, to date. His work is included in museum collections in Finland and Japan. Commissioned works include sculpted city sidewalks, building facades and entranceways, water sculptures and gardens. Public monuments include his 12 boulder “Peace Monument” for the Japanese Gardens of Cowra, Australia; “One Line Tower” – 40 tons x 30 ft. high -- in Yuzi Paradise Sculpture Park in Guilin, China; “One Line Boulder”, a 2004 commission for the city of Chikusei, Japan; “River,” a 100-ft long carved granite sidewalk at 25 Bond, NYC.
From the inner city, to the desert, to the coastline, Hiratsuka’s stone works are characterized by maze-like designs of infinite variation, always formed by one continuous line that never crosses itself. Hiratsuka often refers to his works as “fossils of the moment.” They are both modern and ancient, a symbol of human communication through universal language on the surface of the earth as one huge rock.
“I hope that those who see my work will discover new aspects of life, deeper levels of experience of which they may be only dimly aware. I want to inspire people to become more conscious of nature and our common humanity. No matter how lifestyles change, the basic self remains the same. I want to help bring human beings together. In my art there are no social, economic, cultural or political distinctions. We are all one.” - Ken Hiratsuka
GROUP EXHIBITIONS
2024 10 My 10th Anniversary Group Show, Ilon Art Gallery
Urban Art: Boyz from the Museum, Ilon Art Gallery
Fab Bohemians, Van Der Plas Gallery
2021 As If It Were All A Bad Dream, Ilon Art Gallery
Kaatsbaan Outdoor Sculpture Park, Cross Contemporary Art Projects
2018 Symbols, Totems & Ciphers, The Painting Center
ISDAY Saugerties, Cross Contemporary Art Projects
2017 humanKIND, GGA GALLERY
Kazimir Malevich
Kazimir Severinovich Malevich was a Russian avant-garde artist and art theorist, whose pioneering work and writing influenced the development of abstract art in the 20th century.He was born in Kiev, modern-day Ukraine, to an ethnic Polish family. His concept of Suprematism sought to develop a form of expression that moved as far as possible from the world of natural forms (objectivity) and subject matter in order to access "the supremacy of pure feeling" and spirituality. Active primarily in Russia, Malevich was a founder of the UNOVIS artist collective. His work has been variously associated with the Russian avant-garde and the Ukrainian avant-garde, and he is a central figure in the history of modern art in Central and Eastern Europe more broadly.
Early on, Malevich worked in a variety of styles, quickly assimilating the movements of Impressionism, Symbolism and Fauvism and, after visiting Paris in 1912, Cubism. Gradually simplifying his style, he developed an approach with key works consisting of pure geometric forms and their relationships to one another, set against minimal grounds. His Black Square (1915), a black square on white, represented the most radically abstract painting yet exhibited, and drew "an uncrossable line (…) between old art and new art"; Suprematist Composition: White on White (1918), a barely differentiated off-white square superimposed on an off-white ground, would take his ideal of pure abstraction to its logical conclusion.[11] In addition to his paintings, Malevich laid down his theories in writing, such as "From Cubism and Futurism to Suprematism" (1915) and The Non-Objective World: The Manifesto of Suprematism (1926).
Malevich's trajectory in many ways mirrored the tumult of the decades surrounding the October Revolution in 1917. In its immediate aftermath, vanguard movements such as Suprematism and Vladimir Tatlin's Constructivism were encouraged by Trotskyite factions in the government. Malevich held several prominent teaching positions and received a solo show at the Sixteenth State Exhibition in Moscow in 1919. His recognition spread to the West with solo exhibitions in Warsaw and Berlin in 1927. From 1928 to 1930, he taught at the Kiev Art Institute, with Alexander Bogomazov, Victor Palmov, Vladimir Tatlin and published his articles in a Kharkiv magazine Nova Generatsiia (New generation). But the start of repression in Ukraine against the intelligentsia forced Malevich to return to Leningrad (Saint Petersburg). From the beginning of the 1930s, modern art was falling out of favor with the new government of Joseph Stalin. Malevich soon lost his teaching position, his artworks and manuscripts were confiscated, and he was banned from making art. In 1930, he was imprisoned for two months due to suspicions raised by his trip to Poland and Germany. Forced to abandon abstraction, he painted in a representational style in the years before his death from cancer in 1935 at age 56.
His art and his writings influenced contemporaries such as El Lissitzky, Lyubov Popova and Alexander Rodchenko, as well as generations of later abstract artists, such as Ad Reinhardt and the Minimalists. He was celebrated posthumously in major exhibits at the Museum of Modern Art (1936), the Guggenheim Museum (1973), and the Stedelijk Museum in Amsterdam (1989), which has a large collection of his work. In the 1990s, the ownership claims of museums to many Malevich works began to be disputed by his heirs.
COLLECTIONS
The State Tretyakov Gallery, Moscow, Russia
The Russian Museum, St. Petersburg, Russia
The Museum of Modern Art (MoMA), New York City, USA
The State Hermitage Museum, St. Petersburg, Russia
The Tate Modern, London, United Kingdom
The Solomon R. Guggenheim Museum, New York City, USA
The Stedelijk Museum, Amsterdam, Netherlands
Centre Pompidou, Paris, France
The National Gallery of Art, Washington, D.C., USA
The Kunstmuseum Basel, Basel, Switzerland
The Museum of Contemporary Art (MOCA), Los Angeles, USA
The Art Institute of Chicago, Chicago, USA
The Van Abbemuseum, Eindhoven, Netherlands
The Pompidou Centre, Paris, France
The Guggenheim Museum Bilbao, Bilbao, Spain
The New Tretyakov Gallery, Moscow, Russia
The National Gallery of Victoria (NGV), Melbourne, Australia
The Pushkin State Museum of Fine Arts, Moscow, Russia
The Kunsthalle Bremen, Bremen, Germany
The Musée d'Art Moderne de la Ville de Paris, Paris, France
The National Museum of Modern Art (Tokyo), Tokyo, Japan
The Royal Academy of Arts, London, UK
The Neue Nationalgalerie, Berlin, Germany
John De Fazio
John de Fazio (b. 1959, Reading PA) lives and works in San Francisco, CA. de Fazio’s works combine delicate ceramic techniques with kitschy Americana and psychedelic pop-cultural references. The works in Beasties are some of his largest slip cast sculptures, composed of pieces from multiple molds that are deftly seamed together and painstakingly glazed – queering and critiquing high-end ceramic production while also speaking to the pitfalls and hubris of human scientific experimentation.
John de Fazio received his BFA from the Philadelphia College of Art and his MFA from the San Francisco Art Institute. Recent exhibitions include pt. 2 Gallery, Oakland CA (2023); Eric Firestone Gallery, New York NY (2022); Wexner Center for the Arts, Columbus OH (2022); The Pit, Los Angeles CA (2020); Venus Over Los Angeles, Los Angeles CA (2016).
Alongside his fine art practice, de Fazio has produced iconic work within the commercial realm creating sets and mutant toys for the first season of Pee-wee’s Playhouse, art furniture, murals and props while working for MTV in the 1990’s.
De Fazio’s work is in the collections of the Whitney Museum of Art, New York NY; The Museum of Fine Arts Houston, Houston TX; Kohler Art Center, Sheboygan WI; Wexner Art Center, Columbus OH; and the Shigaraki Museum, Shigeraki, Japan; amongst others.
Voyage LA Interview: “[...] These days I mostly work in mixed-media using materials like photographs, paraffin wax, plaster, glass, steel and found metal objects mixed with non-traditional materials such as medical imagery, grunge remnants like rust, hair, dust, and decayed organic substances. I am very interested in deterioration and glitch; recently I’ve been experimenting with photographic enlargements layered with various materials such as oil-soaked tissue, water-based paint, and fiberglass resin. As far as my film work goes, I use a lot of spoken word and stream of consciousness storytelling. You can see some examples of that on my website.
It’s always been difficult for me to put into words the message of my work and why I do it. Consistent threads have been the inter-connectivity of love, loss, lust, and other tragedies of the human condition, such as the cycle of decay and rebirth of consciousness. My artwork has become more of a record of my life, kind of like scars, as a catalog of the times that I’ve been through and what I was going through at the time In my life.
I also make furniture in my spare time that’s been described as a mix of post-apocalyptic, cyber-punk, and dystopian. My furniture explores themes of distress, decay, disintegration, and collapse through the use of junkyard objects, utilitarian materials such as chemically-aged copper and steel, using rudimentary, makeshift construction methods.
As far as influences go, my pool of inspirations is massive and constantly in flux in terms of discipline. Lately, I’ve been influenced by the Brutalist architecture movement of the ’70s, the cityscapes of painter Jeremy Mann, and the concrete sculptures of sculptor David Umemoto, just to name a few.”
COLLECTIONS
Public
Whitney Museum, New York, NY
The Museum of Fine Arts, Houston, TX
Banff Art Center, Banff, Alberta Canada
The DeYoung Museum, San Francisco, CA
MTV Networks, New York, NY
The Ceramic Research Center at ASU Art Museum, Tempe, AZ The Clay Studio, Philadelphia PA
The Newark Museum, Newark, NJ
Honolulu Art Museum, Honolulu, HI
Shigeraki Museum, Shigeraki, Japan
Kohler Art Center, Sheboygan, WI
Wexner Art Center, Columbus, OH
University Art Museum, Berkeley, CA
American Craft Museum, New York, NY
Private
Anne MacDonald, Sebastopol, CA Sandy Besser, Santa Fe, NM
Billy Shire, Los Angeles, CA Richard Shaw, Berkeley, CA
Art Spiegelman, New York, NY Gary Panter, New York, NY Jim Hobberman, New York, NY Judith Schwartz, New York, NY
Anne Walsh, Berkeley, CA
Arthur Williams, New York, NY
Garth Clark, Santa Fe, NM
Peter Norton, New York, NY
Gail Elston, New York, NY
Mayer Russ, New York, NY
Tom Levine, New York, NY
Charles Le Dray, New York, NY
Carlos Gutierrez-Solano, New York, NY Andre de Shields, New York, NY
Cindy Sherman, New York, NY Henry Urbach, San Francisco, CA
John Sanders
Collaboration with Susanne Wilroe
At 14, John was introduced to working with physical materials in an art class and with the encouragement of his father, became a fairly serious sculptor by the age of 16. Joop’s support of and engagement with his son’s creative endeavors was a constant during his very long life. When he was 18 and attending Nassau Community College, John was introduced to working steel with an oxygen-acetylene torch and welding by the sculptor, Abram Schlemowitz. Among John’s many apprenticeships to sculptors and painters included a particularly long one (about 20 years) to family friend Milton Resnick. Postgraduate studies were carried out in Berkeley, CA, where he became close friends with British sculptor Brian Wall and the ceramic artist Peter Voulkos.
John began showing his work in group shows: Union Carbide Gallery in 1976; Bronx Museum of Arts in 1977. His early one-man shows were at Worth Rider Art Gallery in Berkeley in 1979 and Max Hutchinson Gallery, New York in 1982.
In 1980 John bought a building marked for demolition in the lower east side and built an enormous studio where he worked for several years and focused on the creation of large works. Later, inspired by David Smith’s sculpture practice at Bolton Landing, John converted a dairy farm in Abrahamsville, PA into a large-scale studio and sculpture park, a project he would repeat, beginning in 1994, in Roxbury, NY where he currently lives and works and where hundreds of his sculptures can be seen. John credits the dramatic Catskill mountain views from his property with asserting a strong influence on his practice.
“Wherever an artist lives, they're influenced by the nature around them. These mountains are rare because they’re geometric. Have you noticed when you look out there, there’s circles, triangles and everything like that?”
In John’s long career, he has created significant bodies of work in stone, wood, copper, bronze, steel and stainless steel, as well as paintings in oil and works in pastel. Drawing on his experiences carving wood and stone, he pioneered a technique he calls “flame-carved steel” which involves making gestural modifications to solid steel forms with high-powered cutting torches.
“At first, I just used the flat plates of steel which I just cut with a torch—just the edge cutting. And a few years after that, I started adding blacksmithing. I have big forges here. Not only was I bending the steel—which is impossible to do when it's four or five inches thick unless you get it white hot—but I was also carving it directly.”
John recognizes a subconscious struggle with mortality at the heart of his creativity and addresses anxieties pertaining to impermanence by, “breathing life and a sense of motion, like a permanent dance” into a material as rigid and inert as heavy sheets of steel. His process is determinedly intuitive and improvisational, eschewing models and sketching altogether in favor of discovering each piece as it develops.
“The piece starts to speak to you. The work you do, you think it's a certain way until you look at it the next day and if it's really a good piece, it's different every time you look at it. Ultimately you don't even know who did it.”
His body of work also contains a decades-long process of accepting what he now sees as a mysterious and inescapable presence of the human figure.
“I struggled against it because I love abstract art. I mean, to work figuratively—you don't want to compete with Michelangelo. I'm really a sculptor’s version of the early abstract expressionist painters, because that's where my influence is. But no matter how hard I try to not be figurative, the human form always comes into the work. And now I don't really care.”
SOLO EXHIBITIONS
Robert Steele Gallery, New York, NY 2004
Elizabeth Harris Gallery, New York, NY 1992, 1994
Osuna Gallery, Washington, DC 1983
Max Hutchison Gallery, New York, NY 1982
Worth Rider Art Gallery, Berkeley, CA 1979
Jeremy Dennis
Jeremy Dennis is a contemporary fine art photographer, an enrolled Tribal Member of the Shinnecock Indian Nation in Southampton, NY, and the founder and lead artist of Ma’s House & BIPOC Art Studio, Inc., a nonprofit art space and residency program on the Shinnecock Reservation dedicated to uplifting Indigenous and BIPOC artists.
His work centers Indigenous identity, culture, and the legacies of colonial assimilation, using photography to stage cinematic, otherworldly narratives rooted in Native oral stories, history, and contemporary experience.
Dennis is a Stony Brook University alumnus (BA ’13) and Forty Under 40 honoree (2017), and earned his MFA from Pennsylvania State University (2016). His photographs have been exhibited nationally and internationally, with solo and group exhibitions at The Armory Show, Expo Chicago, ZONAMACO FOTO in Mexico City, and the Minneapolis Institute of Art. Notable exhibitions include Speaking With Light at the Denver Art Museum, and In Our Hands: Native Photography, 1890 to Now at the Minneapolis Institute of Art.
Among his numerous honors are a 2025 NYSCA Grant, Pollock-Krasner Foundation Residency Fellowship, Andy Warhol Visual Arts Residency (2023), Getty Creative Bursary Award, and Running Strong for American Indian Youth Dreamstarter Grants (2016, 2020). Most recently, he was awarded the Artist to Artist Fellowship from the Art Matters Foundation.
Dennis’ creative work often draws on personal and communal histories, tackling themes of identity, resilience, and visibility within Native communities. His major projects include:
● On This Site — Native Long Island (2016–ongoing): A photography series and interactive online map that documents culturally significant Native American sites across Long Island. The project also produced a companion book and exhibition, preserving and sharing important Indigenous histories connected to the land.
● Rise (2018–ongoing) and Nothing Happened Here: These series use staged photography to confront ideas of belonging, erasure, and colonial violence from an Indigenous perspective. Through haunting, cinematic scenes, Dennis reclaims historical narratives and explores the ongoing impact of colonization.
● Stories — Indigenous Oral Stories, Dreams, and Myths (2013–ongoing): Inspired by Native oral traditions, Dennis transforms ancient legends and dreams into contemporary photographs. These works imagine supernatural, otherworldly moments, merging storytelling with visual art to honor and reinterpret Indigenous cosmologies.
His curatorial projects include Shinnecock Speaks at Ma’s House & BIPOC Art Studio, Inc., and Eternal Testament at The Church of Sag Harbor.
Dennis has participated in prestigious residencies such as the Andy Warhol Visual Arts Program (2023), Santa Fe Art Institute (2021), Yaddo (2019), Watermill Center (2017), and the Vermont Studio Center/Harpo Foundation Residency (2016).
He currently serves on the advisory boards of The Boys & Girls Club of the Shinnecock Nation, The Bridgehampton Museum, The Church of Sag Harbor, WNET Group’s THIRTEEN/WLIW Community Advisory Board, and Ma’s House & BIPOC Art Studio, Inc.
Jeremy Dennis lives and works in Southampton, NY, on the Shinnecock Indian Reservation.
COLLECTIONS
Dennis' work is held in the permanent collections of the Montclair Art Museum, the Amon Carter Museum of Art,the Parrish Art Museum,CHROMA, New York State Museum, Graeme Sullivan, Aaron Ziolkowski
AWARDS
2016 Harpo Native American Residency Fellowship
SPEMA Student Travel Grant, 2016 SPE National Conference, Las Vegas NV 2013 Dean of the College of Arts and Sciences’ Purchase Award
2008 Native American People Scholarship, Stony Brook University
Jaye Rhee
Notes, 2007-2008, Photograph of 8-channel Video Installation with Sound (2 min 12 sec)
Jaye Rhee revels in the space between the ironic and the poignant with work that simultaneously incorporates video, photography, and performance. Born in Seoul, South Korea, Rhee graduated from the School of the Art Institute of Chicago (BFA, MFA).
Her work has since been exhibited at various international venues, including Albright Knox Art Gallery, Norton Museum of Art, Queens Museum, The Bronx Museum of the Arts, Mori Art Museum (Tokyo), Kobe Biennale 2007, The Seoul Museum of Modern Art, DOOSAN Art Center (Seoul), Gyeonggi Museum of Art (South Korea), Leeum Samsung Museum (Seoul), the Centro para os Assuntos da Arte e Arquitectura (Portugal) and La Triennale di Milano (Milan).
Rhee also participated in the Artists’ residencies of Skowhegan School of Painting and Sculpture in Main 2009, Palais de Tokyo Workshop Program in Paris 2009, Changdong International Studio Program in Seoul 2008, Aljira Emerge Program at Aljira Center for Contemporary Art in New Jersey 2008, Artist in Market Place Program in Bronx Museum in 2005 and Lower Manhattan Cultural Council’s Swing Space Program 2012.
Among her awards are the Yonkang (DOOSAN) Art Award 2011, Franklin Furnace Fund 2010, SeMA Young Artist Grant from Seoul Museum of Art 2010, Arts Council Korea Grant for Cultural Exchange 2010 and 2009, and KoreaAmerica Foundation for the Arts Award 2008.
In 2010, Spector Press released her monograph Imageless. This retrospective of her oeuvre charts the evolution of her work over a decade and is accompanied by essays that deal with Rhee’s approach to her art by Carol Becker, Raul Zamudio, Sara Reisman and Edwin Ramoran. Prior to its publication, her work had already been featured in Carol Becker’s essay “Intimate, Immediate, Spontaneous, Obvious: Educating the Unknowing Mind” in Buddha Mind in Contemporary Art (University of California Press). It has also been the subject of reviews in numerous periodicals, including ARTnews, The New York Times, Palm Beach daily, Artslant, Artlyst, Art in Culture and Art Asia Pacific Magazine.
She lives and works in New York.
Solo Exhibitions
2016 Shaping the Presence, Forming the Absence, Texas State University Galleries, San Marcos, TX
2015 Jaye Rhee, The Picker Art Gallery at Colgate University, Hamilton, NY
2014 Overlapping and Unfolding, CAAA, Guimaraes, Portugal
2013 Gravity and Lightness, Doosan Gallery, Seoul
The Flesh and the Book, Doosan Gallery, New York
2010 And the Ship Sails on, Cais Gallery, Seoul
A Time Too Late, A Time Too Early, Stephan Stoyanov Gallery, NY
Hardboard Sky, Corridor Gallery, NY
2009 Now You See It, Now You Don’t, KCCLA, Los Angeles
2007 Le Vierge, le vivace et le bel aujourd’hui, Galerie Gana Beaubourg, Paris, France
When All the Lovers in the World Are on the Phone at Once, Gallery Factory, Seoul
2004 Video Landscape: Real Fake, Chicago Cultural Center, Chicago
Public Collections
Los Angeles County Museum of Art, Los Angeles, CA
Leeum (SAMSUNG Museum), Seoul, S.Korea
Asian Art Museum San Francisco, San Francisco, CA
High Museum of Art, Atlanta,GA
Buffalo AKG Art Museum (formerly Albright Knox Art Gallery), Buffalo, New York
Norton Museum of Art, West Palm Beach, FL
Colorado University, Colorado
New York Public Library, New York
Artist Book Collection at Museum of Modern Art, New York
Thomas J.Watson Library at The Metropolitan Museum of Art
Flaxman Library at The School of the Art Institute of Chicago
Gyeonggi Museum of Modern Art, Korea
Seoul Museum of Art, Seoul SongEun Foundation, Seoul
KOO HOUSE Museum of Art and Design Collection, Korea
I’Park Suwon City Museum, Korea
Ssamzie Collection, Korea
Doosan Art Center Collection
Various Private Collections
Iván Navarro
Homeless Lamp, the Juice Sucker, 2004-2005, Fluorescen lamps, wheels, and color video, with sound, 4 min., 31 sec.
Born in 1972 in Santiago, Iván Navarro grew up under the Pinochet dictatorship. He has lived and worked in New York since 1997. Iván Navarro uses light as his raw material, turning objects into electric sculptures and transforming the exhibition space by means of visual interplay. His work is certainly playful, but is also haunted by questions of power, control and imprisonment. The act of usurping the minimalist aesthetic is an ever-present undercurrent, becoming the pretext for understated political and social criticism.
Ivan Navarro loves building lamps. When he began using electric lights in Chile during the ’90s, there were few places for young artists to show their work.
Galleries weren’t keen to welcome a new generation of artists, so he searched for non-artistic exhibition venues such as a building lobby or a friend’s living room to introduce his art as a part of architectural spaces.
Then he realised that art could be considered furniture as the only way to exhibit his works was to create functional objects. They looked like lamps but were sculptures in disguise.
A decade on, his lamps seem to come somewhere between the realms of design and art. And Homeless Lamp, The Juice Sucker, his video about a lamp with two protagonists wheeling a shopping trolley with white fluorescent bulbs through Chelsea’s gallery district in Manhattan and plugging into lampposts to power up their cart, has become a symbol of poverty, alienation and survival.
“What is important is that every one of my works is almost a criticism of the one before it,” Ivan insists. “That’s how I keep creating. I don’t look for political issues to spark a new piece. I’m very focused on the process.”
He adds: “Previously, I played with the idea that furniture could also be a sculpture and then I said, what if these pieces moved? The trolley revealed other meanings, too. I think that once you do something well with a certain material, the meanings come through.”
“This logic also gives a lot of freedom. For instance, you could say ‘I’m making a chair and what’s the opposite of a chair?’ Then you look for another object that makes sense in that logic, and you make it.”
SOLO EXHIBITIONS (SELECTION)
2025 TEMPLON, Paris, France 2024
Reloj Solar, Galeria Madre, Santiago, Chile
2023 Silent Homeless Lamp, installation temporaire, Sunset Boulevard, Los Angeles, USA
Iván Navarro, Peninsula Hotel, New York, USA
Eccidio, MicroMuseo di Arte Contemporanea della Tuscia, Viterbo, Italy
2022 Celestialand, TEMPLON, New York, USA
Thunder, Martin Asbaek Gallery in collaboration with TEMPLON, Copenhagen, Denmark
COLLECTIONS (SELECTION)
Musée Thyssen, Madrid, Spain
21C Museum, Louisville, USA
The Bangkok EDITION, Bangkok, Thailand
Borusan Contemporary, Istanbul, Turkey
Caldic Collection, Rotterdam, The Netherlands
Centro Galego de Arte Contemporanea, Santiago de Compostela, Spain
CENTRO University, Mexico City, Mexico
Inge Hardison
In the 1960s, artist, photographer, and former actress, Ruth Inge Hardison made her mark with several series of remarkable sculptures. One series called “Ingenious Americans” featured Black inventors, such as Charles Drew, Benjamin Banneker, Dr. Daniel Hale Williams, Lewis Latimer, Garrett Morgan, and Granville Woods. Another popular series entitled “Negro Giants in History,” included Harriet Tubman, George Washington Carver, W. E. B. Du Bois, and Paul Robeson.
In 1981, Hardison created a bronze bust of Jackie Robinson that was installed at the Jackie Robinson Recreation Center in Harlem. In 1983, she crafted a bust of famed abolitionist, Frederick Douglass, for display in the reference room of Princeton University’s Firestone Library. Then, in 1990, her sculpture of 19th century freedom-fighter and women’s rights advocate, Sojourner Truth, was presented by Governor Mario Cuomo of New York to Nelson Mandela.
“By memorializing such great, selfless people, I have been able to put within the experience of many schoolchildren, college students and adults those much-needed models of inspiration,” Hardison once offered. “Many of those who read the biographies of these sculptured heroes are encouraged to try to make their own lives more meaningful.”
Through art, Hardison made her own life more meaningful. Born to a chicken farmer and a teacher in Portsmouth, Virginia in 1914, her family migrated to Brooklyn, NY when Hardison was young to escape Jim Crow segregation in the South. Upon graduating from Girls High School, the multitalented talented youth began photography, modeling, and acting, landing a number of roles, including one as Topsy in “Sweet River,” a 1936 Broadway adaptation of Uncle Tom’s Cabin. While on Broadway, Hardison began sculpting as a hobby, even producing a model of the cast from “What a Life,” the popular play she performed in.
Hardison went on to study music and creative writing at Vassar College, publishing several poems in The New York Times. She continued art studies at the Art Students League of New York and at what is now Tennessee State University. In the 1940s and ‘50s, Hardison worked as a photographer, taking images of such iconic figures as First Lady Eleanor Roosevelt, Paul Robeson, and Ethiopian monarch, Haile Selassie.
With the advent of the civil rights movement, Hardison would play her part and, in the 1960s, produce her famous series of sculptures celebrating the contributions of Black historical figures. She would also cofound and participate as the only female member of the Black Academy of Arts and Letters in 1969, an organization promoting awareness of Black artistic achievement.
Despite her popularity as a sculptor of famous figures like Robinson and Douglass, Hardison also produced “Our Folks,” a collection featuring sculpted portraits of everyday people.
The multitalented Ruth Inge Hardison died in 2016 at the age of 102.
COLLECTIONS
Smithsonian American Art Museum (SAAM), Washington, D.C.
National Museum of African American History and Culture (NMAAHC), Washington, D.C.
The Studio Museum in Harlem, New York City, New York
The Schomburg Center for Research in Black Culture, New York City, New York
Smithsonian Institution’s Archives of American Art, Washington, D.C.
The Bronx Museum of the Arts, Bronx, New York
Hampton University Museum, Hampton, Virginia
The Baltimore Museum of Art, Baltimore, Maryland
The Art Institute of Chicago, Chicago, Illinois
The Walker Art Center, Minneapolis, Minnesota
The Philadelphia Museum of Art, Philadelphia, Pennsylvania
California African American Museum (CAAM), Los Angeles, California
Los Angeles County Museum of Art (LACMA), Los Angeles, California
Detroit Institute of Arts (DIA), Detroit, Michigan
The National Gallery of Art, Washington, D.C.
The Museum of Modern Art (MoMA), New York City, New York
The Museum of Fine Arts, Houston, Houston, Texas
The Arkansas Arts Center (Now the Arkansas Museum of Fine Arts), Little Rock, Arkansas
Hans Van De Bovenkamp
Van de Bovenkamp moved to New York City and became a part of the 10th street gallery co-op movement following his graduation from the University of Michigan in 1961. In 1962, his first solo exhibit took place at the Little Gallery in Taos, New Mexico.The following year, Van de Bovenkamp developed sculptural ideas for the windows of Tiffany's on Fifth Avenue.Van de Bovenkamp began manufacturing limited edition fountains in a studio on Christopher Street in New York in 1967.
He had fifteen assistants, including George Rhoads and Sybil and David Yurman. Together they produced more than five thousand fountains worldwide. Over the next ten years, Van de Bovenkamp exhibited his sculptures throughout the United States, including in New York City at New York University, Tiffany & Co., 10 Downtown, and Bryant Park; at Houston, Texas Contemporary Arts Museum; and at both the Stamford Museum and University of Connecticut.He is the founder of the New York's 10 Downtown project. His work has also been displayed in Italy, Lebanon, Venezuela, Switzerland, and Canada. Van de Bovenkamp's works have been featured in ten museums, embassies, and sculpture center shows, as well as numerous universities, public gardens and institutes.
COLLECTIONS
Selected Corporate Collections
2014 WR Grace Building, New York, New York
2011 Louis Meisel, Watermill, New York
2009 Manhattan House, New York, New York
2006 Le Jardin, Atlanta, Georgia
2005 Stamford, Connecticut (9 Fiddleheads)
2001 Corporate Business Park, Columbia, Maryland
2001 Neiman Marcus, San Diego, California; Honolulu, Hawaii
2000 Neiman Marcus, Denver, Colorado; Houston, Texas
1997-99 Neiman Marcus, Beverly Hills, California
1997 The Klein Group, Philadelphia, Pennsylvania
1996 Neiman Marcus, Paramus, New York
1995 Litwin Building, Wall Street, New York, New York
1995 Goldman Properties, 110 Greene Street, New York, New York
1995 Neiman Marcus, Miami, Florida
1994 Neiman Marcus, Dallas, Texas; Fort Lauderdale, Florida
1993 Mayer Collection, Denver, Colorado
1992 Hyatt Regency, Paris, France
1990 Marina Village, Alameda, California
1989 The Fox Companies, Wayne, Pennsylvania
1988 Amli Realty Corporation, Chicago, Illinois
1988 Robert Martin Company, White Plains, New York
1986 Haverstraw Marina, Haverstraw, New York
1984 Christiania, Tarrytown, New York
1980 Litwin Building, 72nd & 2nd Ave., New York, New York
1977 Cargill, Minneapolis, Minnesota
1967 Gaslight Tower, Atlanta, Georgia
1966 Georgetown Plaza Building, New York, New York
1966 Levitt Headquarters, Lake Success, New York
Selected Private Collections
2012 Tisch family, Greenwich, Connecticut
2007 Diane and Tom Tuft, Bridgehampton, New York
2006 Karen & Harvey Silverman, Wainscott, New York
2005 RJ Kirk, Roanoke, Virginia,
Museum Collections
Minature Museum, Amsterdam, Neatherlands
Guild Hall East Hampton, New York
Grounds for Sculpture, Hamilton, New Jersey
Danubiana Meulensteen Museum, Bratislava, Slovakia
Miami University Art Museum, Oxford, Ohio
Boca Raton Museum of Art, Boca Raton, Florida
Estate of Nelson Rockefeller, Kykuit, New York
Lowe Art Museum, Coral Gables, Florida
Butler Institute of American Art, Youngstown, Ohio
Municipal Collections
2011 Jing’an Park, Shanghai, China
2001 City of Toledo, Ohio
1999 Mt. Sinai Hospital, Miami, Florida
1992 Myriad Gardens, Oklahoma City, Oklahoma
1988 City of Ormond Beach, Florida
1988 City Hall, Voorhees, New Jersey
1983 State Capitol Plaza, Lansing, Michigan
1976 I-80 Nebraska Bicentennial, Sidney, Nebraska
1972 Jewish Institute for Geriatrics Care, Lake Success, New York