Stories To Be Told (view 1) (2025)Stories To Be Told (view 2) (2025)What Lies Beneath (2025)What Lies Beneath (Detail) (2025)In The Mix (2026)Currents (2024)In the Mix (Detail) (2026)Loose Ends (Detail) (2025)Woven Water (2025)Loose Ends (2025) Mangrove Dance (2021)Vines (2021)Root Flower (2021)Sunstalks with Copper (2017)Barnacle Installation (2017)KnitPiece With Copper (2017)Sunstalks Large and Small (2017)Alpha Barnacle (2017)
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Artist’s Statement
My work is inspired by natural wonders and ecological processes that combine to give us biodiversity. I am concerned with the role that humans have in sustaining or destroying our biodiversity. My steel sculpture utilizes lines that combine together to make form relating to systems and networks in nature such as the underground mycelium fungi that connect plants and trees together. Studying and teaching biomimicry has led me to discover a myriad of remarkable functions in the natural world which continue to energize me.
Observing how rivers cut through land and seeing the types of curves the water forges is another source of inspiration. From above, rivers appear to be veins in the earth carrying life blood. Networks of lines symbolize wireframe skeletal structure at its most minimal to veins flowing through our bodies to roots carrying nutrients to trees.
The most recent work incorporates small clay forms threaded onto wire that intertwine through the steel. These works make reference to water bodies and ocean gyres that are filled with particulates, either natural or humanmade. For healthy aquatic ecosystems a combination of plant, mineral, living organisms and fragments that are shed are part of the mix. We humans have contributed plastic particles, industrial materials and agricultural runoff. All of these distinct materials travel together in a suspension of dynamic energy.
Born in Sausalito, California, Rebecca Welz is a sculptor working in Jersey City, New Jersey. She is a professor at Pratt Institute in Brooklyn, New York. Her sculptures have been featured in museums and galleries throughout the US, including June Kelly Gallery and Grace Borgenicht Gallery in NYC; the Oakland Museum in California; the Heckscher Museum in Huntington, New York; the Butters Gallery in Portland, Oregon; and Sculpturesite Gallery, San Francisco. In addition, her work is in private and corporate collections, including those of Goldman Sachs, Pfizer, Merck, Prudential Life Insurance Corporation, Sabre Corporation, Sunpower Corporation and the William Kaufman Corporation. She is the recipient of the Pollock Krasner awards, Pratt Faculty Development awards, a Fellowship at Experimental Glass Workshop (now Urban Glass) and ED Foundation grants.
Despite the realities of social and geographic mobility, society seeks to maintain definitive categories of racial, national and ethnic groups. This categorization is the defining function by which we attempt to make a simplified order of the world.
My work explores this complex relationship of race, culture, and history, where form and content merge. Addressing both the autobiographical and global, while drawing on the past, present, and future, I manipulate form, transforming the familiar, subverting its original meaning and connotation through reinterpreting and reconfiguring.
I look for ways to codify the structure of information by using abstraction in both the imagery and the ideas. Maps are used as a point of departure, working with the logic of the poet rather than that of the demographer in setting up categories, collecting data, and creating pseudo graphs and charts. I play with place as a geographical, metaphorical, and metaphysical concept, where intersecting worlds collide and give birth to intimations of mapped space, geopolitical realities of national borders; indications of population density and critical mass, and parts resembling errant engineering models or animated characters. I hope that these oblique narratives, shifting spaces and wandering images may open a way forward in allowing pictorial construction to become variables of thought and feeling. The medium of paint has the last word.
Lisa Corinne Davis
received her BFA from Pratt Institute and her MFA from Hunter College. Her paintings have been exhibited across the United States and in Europe, including one person shows at June Kelly Gallery (New York), Gerald Peters Gallery (New York), Zolla/Lieberman Gallery (Chicago), Pamela Salisbury Gallery, (Hudson, NY), and The Mayor Gallery (London), and have been reviewed in The Telegraph, Art News, Art in America, The Philadelphia Inquirer, and The New York Times. Davis is currently represented by Miles McEnery Gallery (New York) and The Mayor Gallery (London).
Davis’ work is included in many private and public collections including The Museum of Modern Art, the J. Paul Getty Museum, the Victoria and Albert Museum, and The Philadelphia Museum of Art (documented in Represent: 200 Years of African American Art in the Philadelphia Museum of Art, by Gwendolyn DuBois, Yale University Press, 2014).
She is the recipient of a Guggenheim Fellowship, The Louis Comfort Tiffany Foundation Grant, a National Endowment for the Arts Visual Artist Fellowship, four Artist Fellowships from The New York Foundation for the Arts, and a Pollock-Krasner Foundation Grant. In 2017, she was inducted as a National Academician at the National Academy Museum & School.
Davis has taught at the Yale University School of Art and is currently a Professor of Art at Hunter College. She has lectured at the Metropolitan Museum of Art, Carnegie Mellon, Dartmouth College, and the National Arts Education Association. Her essays on art and culture have been published in Brooklyn Rail, Art Critical, and Art Forum.
Neighborhood Damnation, Greensboro NC (2018)Nearly a Year Since the Floods, Swannanoa, NC (2025) Spook Hillsborough, Hillsborough, NC (2023) Near WT Weaver, Asheville, NC (2019)Introducing the West Market Scourge, Greensboro, NC (2018) River Arts District Gentrification, Asheville, NC (2019) Chippy Misses Everyone, Greensboro, NC (2018) Confirmed Bachelor Pad, Greensboro, NC (2018) Doom Sunset Greensboro, NC (2021) Former BROOKS Factory Window, Greensboro, NC (2018) Washington, DC (2019)Asheville Weeknight, Asheville, NC (2025) Winter Vacations Over, Valle Crucis, NC 2022 (2022) Black Mountain, NC (2022)
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Artist’s Statement
These photos, taken between 2018 and 2026 address the commonalities between fear and loneliness. During the first Trump administration and into the second I lost my home in the mountains of North Carolina, relocated to the piedmont area of the state, and traveled a lot on Greyhound, Amtrak, or with friends photographing sights that made me feel out of place and scenes where humans or animals seemed to be feeling similarly. Out of thousands of photos I tried to choose those potentially capable of sharing these emotions with viewers. To do that I tried to pick content that was garish, mysterious, and/or all too realistic for the places where the photos were taken. The loneliness and fear that can come in the face of change appears throughout. “Damnation” is an exaggerated term that seemed appropriate for the ghoulish, sad, or doomy appearance of the pieces included.
The solitary, alone figures in “Asheville Weeknight,” “Chippy Misses Everyone,” and “Washington DC” appear to be lost and beleaguered in their worlds. “Winter Vacations Over” and “Spook Hillsborough” were taken from the windows of moving vehicles on my travels, capturing places I didn’t have a chance to linger. “Former BROOKS Factory Window,” “Introducing the West Market Scourge,” and “River Arts District Gentrification” all capture sights embodying the changes in the cities of Greensboro, North Carolina and Asheville, North Carolina as these cities have changed; the former from a factory town to one dominated by students and their housing, the latter from a sleepy vacation destination to a playground for the monied. “Doom Sunset,” “Black Mountain,” “Confirmed Bachelor Pad,” and “Neighborhood Damnation” were captured because they embodied anxieties I felt about the future.
Charles Corriher fifty-two, is a nuerodivergent SSI recipient living in Greensboro, NC. He grew up and later attended college in Asheville, NC. He has been a volunteer worker at Weatherspoon Art Museum for the last eight years. His photos have been selected to appear in Wordgathering, Ponder Review, and In Short: A Journal of Flash Nonfiction. He maintains a history and photography-oriented Facebook page called Asheville Gentrification.
The Body is the Landscape (2025)Finding Space (2025)Big Vulture (2016)The Wound II (2021)Cavern (2025)Summers to Come (2024)Second Skin (5 elements) (2024)Redwood (2018)Colossus (2025)Sculptural Group (2025)Becoming Native (2022)Biophilia (2023)Sunset (2024)Growth (2024)Twilight (2025)Victorian Bird (2021)Sunrise (2024)
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Artist’s Statement
My work synthesizes two distinct cultural traditions: It integrates the violent history of my native Latin America to contemporary US-based predatory cycles of consumption and disposal of goods, interweaving a Catholic carnal imagery with the reality of waste in capitalism. Influenced by imagery of slaughtered cattle I saw during my upbringing in Argentina, where meat is a source of collective pride and identity, I create analogies between the butchered body of the animal and violence towards the female body in naturalistic sculptures of carcasses for which I “cannibalize” my own wardrobe. Inspired by early feminist artists who put their bodies in their performances, the use of my own clothing gives me a place in the work, building upon the groundwork of Feminist Art by integrating my own focus on gendered-violence and consumer culture. In recent years, instigated by the climate crisis, I’ve transposed my interest on the wounded body to the body of the earth, making sculptures of severed tree limbs which reveal man-made cuts and an interior reminiscent of human anatomy. Fabric is second skin to me. As a fine arts student in Buenos Aires, I interned at a cosmetic surgery office where I discovered the richest of the visual worlds, right underneath the skin. I was exposed to gruesome scenes which inspired me to follow a tradition of artists interested in seeing flesh as subject and object, as the locus to explore the limits, the nature, and the voracious needs of the body.
Tamara Kostianovsky is an Argentinian-American artist based in New York whose work explores themes related to the environment, violence, and consumer society, often using discarded clothing to create visceral yet delicate installations and sculptures. Through alternating softness and aggression, her installations identify the nuances of violence that exist between a personal encounter and its normalization on a social and ecological level, hinting at human culture’s all-too-comfortable intimacy with violence toward all living species.
Kostianovsky received her BFA from the Prilidiano Pueyrredón National School of Fine Arts in Buenos Aires, Argentina, and earned a Master of Fine Arts degree from the Pennsylvania Academy of the Fine Arts in Philadelphia, USA.
2026 exhibitions for Kostianovsky include the Mauritshuis Museum, Hague, NL; the Brandywine Art Museum, PA; ARTYARD, NJ; Columbia Museum of Art, SC; MANIFESTA, Lyon Bienniale, FR; and the Musée des Confluences in Lyon, FR.
Her work has been exhibited at institutions such as the The Royal Academy, London, UK; Brooklyn Museum, NY; Musée de la Chasse et de la Nature, Paris, FR; Cheekwood Museum, TN; the Baker Museum, FL; the Denver Botanic Gardens, CO; Smack Mellon, NY; the Fuller Craft Museum, MA; Ogden Contemporary Arts, UT; UMOCA, UT; El Museo del Barrio, NY; The Jewish Museum, NY; The Nevada Museum of Art, NV; The Musée du Textile et de la Mode, FR; The Whyte Museum of the Canadian Rockies, Banff, Alberta, CA; Newport Art Museum, RI; Kunsthalle Trier, DE; Les Franciscaines Art Center, FR; the Staten Island Museum of Art, NY, the 21C Museum, KY; and the Chicago Architecture Biennial, IL among others.
Kostianovsky is the recipient of distinguished awards, including a Guggenheim Fellowship and grants from the New York Foundation for the Arts, the Pollock-Krasner Foundation, the Virginia A. Groot Foundation, the Sustainable Arts Foundation, and the Puffin Foundation. Selected residencies include Yaddo, L’AiR Arts, Wave Hill Gardens, LMCC, Socrates Sculpture Park, and Franconia Sculpture Park.
Her work has been featured in The New York Times, The Wall Street Journal, Art in America, The Boston Globe, WBUR, The Village Voice, Marie Claire, La Repubblica, El Diario New York, Colossal, Hyperallergic, Connaissance des Arts, Le Quotidien de L’Art, and numerous other international publications. Kostianovsky currently lives and works in Brooklyn, NY.
Where Roots Lie (2022)Walking Naked (2025)Trapeze (2022)In Deep (2025)Honesdale Drawing (2026)Fluid Study (2025)Fire Season (2020)Extending Your Reach (2023)Dividing Line (2024)Espiritu Santo (2020)Coursed Through (2023)Brought to Light (2023)Blown Again (2022)After the Falls (2024)
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Artist’s Statement
Line is the operative formal element in the work pictured here, but there are many other lines in play. Pieces walk a line between drawings that might be tapestries or sculptures or paintings or quilts. Lines delineate, but as often they act contrarily, blurring distinctions—is a red line a vein or a tendril, is a purple one a cell, an insect wing or a bit of lichen?
More fundamentally though, there is a fine fragile line between existence and its opposite, a line we all walk and which the small and large environments that contain us walk as well. Environmental and personal vulnerability has been a longstanding focus in my work. Waterways, in particular, with their almost human balance of fragility and strength, their perseverance through adversity—much of it inflicted by us—trace lines of stress and hope through our landscapes—as well as a strong line through the body of my work.
There is also the fine fragile line between the internal and the external. Handmade paper—translucent, delicate, and yet unexpectedly tough and durable—exposes the internal and yet protects it. It is skin and structure, portal and shield. For decades, this material has played a central and natural role in work exploring dualities of vulnerability and strength.
Finally, the line between existence and its opposite has been sharpened for all of us in recent years with the climate crisis and, more recently, the Covid pandemic. At the same time, the lines between our individual fragilities and those of the collective and the planet have been blurred. Individually, we have often been isolated—themes of escape and flight, literal and imagined, figure heavily in work I’ve produced in the pandemic period—but our fragile bodies and our fragile environment are inextricably linked. More than ever, we walk the line together.
Nancy Cohen’s recent exhibitions include Legacies in Paper: Nancy Cohen, Sara Garden Armstrong and Helen Heibert at the Robert C. Williams Museum of Papermaking in Atlanta, GA, Sculpting with Paper: Hand Papermaking at Dieu Donné at the Turchin Center for the Arts in Boone, NC and New Acquisitions at the New Jersey State Museum in Trenton, NJ. Cohen is a 2025 MacDowell Fellow and a 2024 recipient of the Jersey City Artists & Culture Trust Fund. In 2022 she was a recipient of the Murray Reich Distinguished Artist Award from New York Foundation for the Arts, a Works on Paper Fellowship from the NJ State Council on the Arts, a Denbo Fellowship in papermaking from Pyramid Atlantic Art Center and a Studio Residency grant in papermaking from Women’s Studio Workshop. In Spring of 2024 Cohen had a collaborative residency with Anna Boothe at Wheaton Arts in Millville, NJ. The results of their collaboration, Confluence, will be exhibited in September/October 2026 in the Robert Lehman Gallery at UrbanGlass in Brooklyn, NY. Museum collections include Asheville Art Museum, Bergstrom Mahler Museum of Glass, Memphis Brooks Museum of Art, Montclair Art Museum, Smith College Museum of Art, Tang Teaching Museum, Weatherspoon Art Gallery, and Yale University Art Gallery.
In a culture increasingly driven by speed and scale, my work offers a deliberate counterpoint, unfolding slowly and intentionally. I am unapologetically committed to an approach to image-making that prioritizes touch, care, and attention—features that cannot be rushed. This rhythm reflects my values: tenderness, patience, and a deep engagement with process.
A system of mark-making based on the grid anchors my compositions. The order and stability that the grid provides, however, is continually challenged by the imperfections of human gesture. As I work, the grid wavers, slipping out of alignment, creating tension between control and unpredictability. Fragility, imperfection, and impermanence are constants, echoing the universal tension between our intentions and the inevitable disruptions of life. These truths shape my approach to the act of making.
My materials are simple: inks, gouache, and colored pencil, applied to surfaces including paper, canvas, panel, and architecture. The scale of my work ranges from the intimate—just a few inches—to the monumental, spanning over 400 feet. Despite the precision of the finished images, no digital tools are used in their creation. Every mark is placed by hand, with intention.
As I work, I let go of expectations, allowing the compositions to emerge through accumulation, repetition, and improvisation. The images that result from this approach feel both still and moving, orderly and chaotic, striving toward perfection while wholly imperfect.
Beauty, I believe, resides in the in-between—the space where chaos meets organization.
linn meyers is based in Los Angeles and Washington, DC. Her work has been the focus of solo exhibitions at the Hirshhorn Museum, the Hammer Museum, and the Phillips Collection, among other institutions. Her paintings and drawings have been acquired by museums including The British Museum, (London) the Amore Pacific Museum of Art, (Seoul) the Los Angeles County Museum of Art, (CA) the National Gallery of Art, (DC) the Baltimore Museum of Art, (MD) and the Philadelphia Museum of Art (PA). meyers is the recipient of a Pollock-Krasner Foundation Award, the Smithsonian Artist Research Fellowship, several DC Commission on the Arts fellowship awards, and the Anonymous Was a Woman Award. She is currently a fellow at the Sharpe Walentas Studio Program in New York. meyers earned her BFA at The Cooper Union, and an MFA at the California College of the Arts.
In creating feminist and queer sculptures that reference the figure, I combine personal symbols with surrealism. My work has long been influenced by the decorative arts and art nouveau ceramics in particular, which can be seen in the glazes I use. Here the glitter and iridescence of the femme fatale has been transformed into a gender-fluid warrior. The interior mirroring in the work creates a baroque visual onslaught merging body, machine, and architecture. These otherworldly totems address sexuality while incorporating nostalgic space-age imagery. Roberta Smith in her review of “Wild Chambers” at Mother Gallery, writes: “Both artists show an unresolvable tension between the abstract and representational as a main power source in their work. Kunin’s compartmentalized surfaces give glimpses of extruded eyes, mouths and breasts while outbursts of incised drawing add a second level of consciousness. Their effect is both hilarious and primeval.”
The free-standing sculptures combine the abstraction of the body with architecture. “Ultra Green Pavilion” pays homage to Bruno Taut’s Glass Pavilion, designed in 1914, combined with a feminist twist on the op- art imagery of Victor Vasarely. The back of the form reveals its inner armature, a stage set that is constantly shape-shifting due to its luminous glaze. “Laughing Castle II” and “Laughter” play with Vasarely’s optical illusions, bringing them into three dimensions, while adding a humorous feminist critique.
Julia Kunin lives in Brooklyn, NY, and works frequently in Hungary. She earned a B.A. from Wellesley College and an M.F.A. from The Mason Gross School of the Arts, Rutgers University. Her work explores themes of queerness, feminism and the body. Solo exhibitions include Laughing Castles at Klaus Von Nichtssagend Gallery, New York, NY 2025, Dream Machines at Mindy Solomon Gallery, Miami, FL, 2023, Rainbow Dream Machine at McClain Gallery, Houston, TX 2020 -2021 and Mechanical Ballet at Kate Werble Gallery, NY, NY 2021. Les Guerilleres Sandra Gering Gallery, NY, NY, 2015, Golden Grove, Barry Whistler Gallery, Dallas, TX, 2013, Nightwood, Greenberg Van Doren Gallery, NY, NY, 2012, Crimson Blossom Deutches Leder Museum, Offenbach, Germany 2002. Two person Exhibitions: Kaleidoscope Eyes, with Mara Held, at McClain Gallery in Houston, TX 2023, Wild Chambers, with Yevgeniya Baras, at Mother Gallery, NY, NY 2022, Against Nature, Greenberg Van Doren Gallery, 2007. Recent group Exhibitions include: Painting Deconstructed, Ortega Y Gasset projects, Brooklyn, NY 2024, I’ll Be Your Mirror, Queer Biennial, Detroit, MI 2024, Getting to Ick, Hesse Flatow Gallery, NY, NY, Behind this Mask, Another Mask, curated by Sam Adams at Abigail Ogilvey Gallery, Los Angeles, Queer Clay at AMOCA, LA, 2023, Conversing in Clay, at LACMA, Los Angeles, CA.
Kunin was a Fulbright Scholar to Hungary in 2013. In 2010 She received a Trust for Mutual Understanding grant to Hungary. In 2008 she received a Pollock-Krasner Foundation Grant and a residency at Art Omi. In 2007 she received the John Michael Kohler Arts/Industry Artist Residency. Fellowships include: The MacDowell Colony, The Marie Walsh Sharpe Art Foundation, CEC Artslink grant to The Republic of Georgia, Artist Residency in Wiesbaden, Germany, Yaddo, The Millay Colony, Vermont Studio Center, The Core Program in Houston, TX, and Skowhegan. Julia Kunin currently has a series of ceramic lamps at Ralph Pucci International. She is has written artist interviews for Two Coats of Paint. She is also a member of the board of FIAR, The LGBTQ Fire Island artist residency. Her work was recently acquired by the Los Angeles County Museum of Art, LACMA, and by The Museum of Art and Design, in New York, NY. Her work was reviewed by Roberta Smith in the New York Times, October 2022, “Yevgeniya Baras and Julia Kunin at Mother Gallery.”
Elegy (2024)As Tears Go By (2025)Apocalypse IV (2022)Divine Justice (2025)Fire Next Time (2025)Days of Awe (2023)Countryside Trimurti (2024)Elephant of the Clouds (2024)Dreamer (2025)Pastorale (2024)In the Dark (2025)Kali Unleashed (2024)Daydream (2025)Storm Surge (2023)Treehouse (2022)Voyage Out (2025)
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Artist’s Statement
My newest paintings focus on apocalypses, fables, fantastic landscapes, and reveries. My paintings echo their sources while also addressing contemporary issues such as climate change, displacement, floods, and fire. These paintings translate mythological imagery from a diverse array of sources, examining how visual culture unfolds across centuries and contexts including deities from India. These mythical figures are placed in composite imaginary landscapes and mixed with playful abstracted imagery. A comparative mythology emerges as visual motifs repeat across canvases, prompting unexpected connections. In other paintings, I have created fantastical landscapes with transformative symbolic trees and wonderlands. In these paintings, the visionary and dreamlike imagery is explored with intense and vivid color and with a riot of linear and eccentrically shaped gestures: there are many textured layers of oil paint. My canvases are always meant to be materially present with vivid strokes, colors,and graphics. I keep my painting surfaces alive with active brush marks, color, collage, textures, and patterns; the surfaces are not polished to the point of illusion. Blending familiar gestures with the unexpected, my paintings pay homage to our individual and collective pasts while also confronting our present.
Susan Bee is an artist, book artist and editor. She has had eleven solo shows at A.I.R. Gallery in NYC. She has had solo shows at many other venues and her work has been included in many group shows. In 2024, Bee’s “Susan Bee: Eye of the Storm, Selected Works, 1981-2023” was at the Provincetown Art Association and Museum, MA. The show was accompanied by a 68-page full-color catalog with essays by curator Johanna Drucker, John Yau, and Raphael Rubinstein. Bee’s artwork and artist’s books are in many public and private collections and have been reviewed in numerous publications. She has published eighteen artist’s books included collaborations with Susan Howe, Johanna Drucker, Charles Bernstein, and Jerome Rothenberg. Her bookwork, including her unique and editioned leporellos, is represented by Central Booking and Granary Books. Bee was the coeditor of M/E/A/N/I/N/G: A Journal of Contemporary Art Issues with Mira Schor from 1986-2016 and M/E/A/N/I/N/G:An Anthology of Artist’s Writings, Theory, and Criticism (Duke University Press, 2000). Her artist’s book archive and the M/E/A/N/I/N/G archive are at the Beinecke Library, Yale University. She has a BA from Barnard College and a MA in Art from Hunter College. She received a Guggenheim Fellowship in Fine Arts in 2014.
Chasing the Deer (2022)Mirage in the Hills (2025)Couple (2022)Ram Bearer (2023)Bull Riding at Sea (2022)Gazelle with Frieze of Gazelles (2022)Golden Deer with Bird (2022)Winged Animal with Headdress (2023)Woman and Bull (2022)Woman Riding Bull with Waves (2023)Walking Ibex with Vessel (2025)Madonna (2023)White Horse (2025)Double Ibex (2025)
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Artist’s Statement
For the past 17 years I have been making sculptures that reference ancient art and are constructed mainly from recycled plastic bottles.
My influences include ancient Mediterranean and Middle Eastern votive figures, tomb models, animal sculptures, vessels, and hybrid animal/vessel sculptures. I love these works for their visual beauty and mystery, for their visceral connection to the past, and for their timeless themes that depict a common humanity across cultures. Through these pieces, I learn about the history, customs, and religious practices of the past while marveling at the beautiful forms and exquisite skills of these artist ancestors.
In my studio, with equal parts reverence and play, I reinterpret these ancient works using recycled plastic bottles. I collect, cut into pieces, and glue the found convex and concave parts into new sculpture. Some of my pieces are a close facsimile of the ancient works, while others evolve through the process of making and take on a form of their own.
Building my sculptures is slow—I construct, cut away, and remake my pieces until the forms feel right and seem to embody an inner life. I then coat the pieces with glaze-like layers of resins, polymers, paint, mica, and glass powders to alter the color of the plastic, vary the levels of transparency and opacity, and emphasize or obscure the original material. At first glance, my work might look like glass or ceramic, yet upon closer inspection, a logo, a familiar embossed pattern, or an expiration date reveals the actual plastic material.
Conceptually, I’m interested in our understanding of ancient works and cultures, our shifting notions of value, and the environmental impact of our contemporary throwaway culture. Formally, my interest is in transforming unlikely materials into compelling sculptures through the exploration of structure, form, scale, texture, and color.
Shari Mendelson is a sculptor living and working in Brooklyn and Schoharie County, New York. She has been the recipient of four New York Foundation for the Arts Fellowships (2017, 2011, 1997, and 1987), a Pollock Krasner Foundation Grant (1989), a John Simon Guggenheim Memorial Foundation Grant (2017) and a Murray Reich Distinguished Artist Award (2024). She has been a resident at Yaddo, MacDowell, and the Bau Institute/Camargo Foundation, as well as a visiting artist at UrbanGlass, The Corning Museum of Glass, The Toledo Museum of Art, and Pilchuck School of Glass.
Solo exhibitions include Fahrenheit Madrid, Madrid Spain, (2023-24) Tibor de Nagy, NYC (2023, 2020), Pamela Salisbury Gallery, Hudson, NY (2025, 2022), The Hunterdon Museum of Art, Clinton, NJ (2019), The Agnes Varis Art Center, Brooklyn, NY (2018), Todd Merrill Studio, NYC (2067/17), John Davis Gallery, Hudson, NY (2013) and Pierogi, Brooklyn, NY (1997) among others. She has been included in numerous 2 person and group exhibitions including a 2-person show at the Eckert Art Gallery at Millersville University, Millersville, PA, and a 4-person show at Make Hauser & Wirth, LA, CA both in 2024.
Mendelson’s work is in the permanent collection of the following museum collections: The Renwick Gallery of the Smithsonian American Art Museum, Washington, DC, The Carnegie Museum of Art, Pittsburgh, PA, The Toledo Museum of Art, Toledo, OH, The Museum of Fine Arts, Houston, TX, The RISD Museum, Providence, RI, The Museum of Fine Arts, Boston, MA, and The Museum of Old and New Art, Tasmania, AU. Her work is also in many other public and private collections.
Her work has been featured in publications including in The New York Times, The Brooklyn Rail, Sculpture Magazine, Hyperallergic, The Forward, the Los Angeles Times, Glass Quarterly, and others.
Mendelson received an MFA from the State University at New Paltz and a BFA from Arizona State University. She has taught at many schools including Parsons School of Design, Pratt Institute, The Maryland Institute College of Art, New York University, and The Ethical Culture Fieldston School.
Horse Head Nebula (2014-23)Pink Tara (2012-25)Strangelove 2001 (2018)Some Breathe Iron (2016) The 1965 (2022)Blue Medicine (2022) (In memoriam Jack Whitten)Path Language (2024)Remembrance 3 (2022)Channels and Drops I (2022)Channels and Drops II (2022)Channels and Drops (Egyptian) (2022)He Fell Into a Wild Fox Body for Five Hundred Lifetimes (2016-21) Horse of Orange (2014-24)
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Artist’s Statement
I like it when my paintings make me feel like I am not alone in the room, when a painting shows me a new code to play with. I begin with a pair of colors which might derive from a painting of a Tantric deity or a cereal box from the 1960’s. I paint lines as if I am following tributaries I’ve never seen before but seem familiar. Within the lines are sometimes stars. Or, I place tiny obstacles in the path to shift the scale and throw the lines off the trail on purpose. At those junctures, the lines become inflamed and secrete larger shapes. I try to see a syntax forming within the composition and make the whole thing rhyme with itself. Rhyming is the key.
In the composition of the painting, circulation is everything. Like water bubbling with air, blood effervesces into thoughts in the brain, flesh eventually transfigures; ashes and dust disperse and magnetize the mists exhaled by trees. Clouds fill and fall as rain into rivers flowing on and on, their journey destined for your teacup. I’d like my painting to be like offering you that cup of tea.
Sharon Horvath grew up in Cleveland, Ohio and moved to New York City to attend The Cooper Union. She lived abroad in Rome (MFA, Tyler School of Art) and Amsterdam, and currently works in the Brooklyn Navy Yard and Andes, NY. Horvath is Professor of Art in Painting and Drawing at Purchase College, SUNY, and was inducted into the National Academy Museum in 2016. She received a Fulbright Research Fellowship to India in 2013-14. Other distinctions include a John Simon Guggenheim fellowship, the Rome Prize from the American Academy in Rome, the Anonymous was a Woman award, and a Painting Award from the American Academy of Arts and Letters. Horvath has had numerous solo exhibitions with Tibor de Nagy Gallery, Lori Bookstein Projects, Victoria Munroe Fine Art, and Pierogi Gallery in New York City, as well as the Drawing Room Gallery in East Hampton, New York.
