Katherine Bradford (b. 1942) is known for her inventive, unwieldy, and deeply personal compositions. Against the undefined spaces that Bradford so skillfully creates, the artist’s subjects assert themselves as places of imagination or introspection as well as sites to consider politics, sexuality, and, sometimes very simply, color, shape or the materiality of paint.
Mariel Capanna (b. 1988) explores relationships between time, place, image, and memory through performative, reflexive painting. Working from direct observation of films, documentaries and found filmic ephemera, Capanna indexes these moving images using gesture, symbol, and color that reference and enact the constructive processes of memory via perception and engagement. This simultaneous activity of watching and painting mimics that of the everyday challenge of both viewing and experiencing the world around us.
James Castle (1899–1977) created sensitively wrought drawings, books, and assemblages from humble materials such as discarded envelopes, matchboxes, twine and soot. Born deaf and believed to have never learned to read, write, or sign, Castle spent his lifetime making art on his family’s rural homestead in Garden Valley, Idaho. Intimate yet often mysterious, his works depict people and animals, buildings, interiors, and landscapes based on his home as well as other places he lived and visited. His complex body of work offers a fascinating glimpse into rural American life and landscape of the last century.
Emma cc Cook (b. 1989) captures the American midwest in dark, hushed monochrome, depicting a world where individual and collective memory collide, revealing secret narratives, forgotten truths, and newly forming futures. Her mottled, shape-shifting environments oscillate between terror and tranquility, inviting the viewer to consider the multifarious narratives that coexist and evolve over time.
Kinke Kooi’s (b. 1961) strange and seductive works on paper engage with themes of gender, connection, and notions of the “other”. She meticulously renders ornate and florid details—clamshells, pearls, flowers, seedpods, fleshy folds, breasts—that coalesce to form an anthropomorphic garden that is both thought provoking and visually rich.
Rob Lyon (b. 1982) is a self-taught painter who, since 2014, has been painting the unique landscape around the South Downs in England. Moved by its distinct ridges of wooded, rolling hills and valleys, dramatic skies, and sweeping vistas, the artist captures the animistic, mystical qualities of the land with a series of simplified forms, expressive colors, strong lines, and patterned brushstrokes.
Ryan McLaughlin (b. 1981) paints and stencils fragments of letters, words, and symbols onto his canvases, often referencing found text from advertisements or signs. Toggling between subjective gestures and common signifiers with more fixed meanings, McLaughlin’s disparate and decontextualized marks combine in a space that allows for multiple readings and understandings.
Conny Purtill (b. 1969) creates graphite drawings that hold their own idiosyncratic logic, structure, and meaning, often exploring foundational principles of time, gravity, love, speed, togetherness, ego, and grace.
Born into slavery, Bill Traylor (1853–1949) began to draw at the age of 85 while living on the streets of Montgomery, Alabama. Using discarded cardboard and signs, pencil, and poster paint, Traylor recorded his memories of plantation life and later observations of the city—uniquely and distinctly describing animals, human figures, and abstract forms with a commanding use of line, color, and composition. Traylor’s body of work speaks poignantly to the complexities, inequalities, and tensions that the artist experienced and witnessed during the Jim Crow Era in the American South.