Contemporary Art Matters

About

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Jonathan Hammer

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Jonathan Hammer Untitled 2, 2020 Ceramic and mixed media 16x36x18 in.

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Jonathan Hammer Untitled 1, 2020 Ceramic and mixed media 16x36x18 in.

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Dion Johnson Ultra, 2021 acrylic on canvas 48x 40 in

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Dion Johnson Puzzle , 2021 acrylic on canvas 48 x 40 in

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Laura Sanders The Grotesque, Cherry Tree Leaves, 2021 Oil on linen 9¼ x 7¾ in.

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Laura Sanders The Grotesque, Summer Sunset, 2021 Oil on canvas 10¼ x 8 in.

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Melissa Meyer Summer in the City I, 2018 Oil on canvas 80x60 in.

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Robert Harms Branches, 2020 Oil on Canvas 48x48 in.

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Robert Harms Red Tulips, 2021 Oil on Linen 40 x 30 in.

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Robert Harms Plane Tree, Spring, NYC, 2016 Oil and pencil on canvas 52 x 60 in.

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Robert Harms Night , 2017 Oil on canvas 10 x 8 in.

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Robert Harms A Day in June, 2011 Oil on canvas 16x12 in.

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Kira Nam Greene English Garden (Roya), 2020 Watercolor, gouache and colored pencil on paper mounted on panel 45x30 in.

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Kira Nam Greene Diva's Pergola (Rebecca), 2019 Oil, gouache, colored pencil and acrylic on canvas 50x40 in.

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Kurt Lightner Preserved (woolly worms), 2021 Acrylic on canvas 15x12 in.

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Kurt Lightner Preserved (Leaves), Acrylic on canvas 15x12 in.

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Kurt Lightner Preserved (inch worms), 2021 Acrylic on canvas 15x12 in.

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Kurt Lightner Preserved (Gazebo), 2021 Acrylic on canvas 72x56 in.

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Heather Jones I Know It's Time To Go, 2021 Sewn Cotton 36¼ x 36 x 2½ in.

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Heather Jones It's Yours to Take, 2021 Sewn Cotton 18 x 18 x 1 in.

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Heather Jones If The Season's Right , 2021 sewn cotton 18 x 18 x 1 in.

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Heather Jones It's Yours To Keep, 2021 Sewn Cotton 18 x 18 x 1 in.

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Almond Zigmund Untitled #1, 2022 Poplar 20 x 9 x 3.5 in. 50.8 x 22.9 x 8.9 cm

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Almond Zigmund Untitled #2, 2022 Poplar 20 x 9 x 3.5 in.

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Almond Zigmund Untitled #3, 2022 Poplar 20 x 9 x 3.5 in.

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Jonathan Hammer Small Phosphene #1, 2021 n Mixed media on paper 14 x 11 in.

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Jonathan Hammer Blue Phosphene #3, 2021 Mixed media on paper 29 x 22 in.

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Jonathan Hammer Leather Hammerhead, 2021 Leatherwork on panel in vintage frame 11¾ x 17 in.

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Jonathan Hammer Jetsam, 2021 mixed media on Japanese paper 89 x 70 in

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Billy Sullivan Oysters, Puerto Escondido

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Heather Jones This Is As Far As I Could Reach, 2021 18 x 18

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Sarah Fairchild Foxglove and Clover, 2020 Acrylic, silkscreen, metallic foils, fabric collage and flocking (velvet) on paper 45x35 in.

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Sarah Fairchild Queen Anne's Lace and Inhabitants, 2021 Acrylic, metallic foils, fabric, collage and flocking (velvet) on paper 45x35 in.

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Sarah Fairchild Milkweed, 2021 Acrylic, metallic foils, fabric collage and flocking (velvet) on paper 45x35 in.

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Sarah Fairchild Queen Anne's Lace and Fleabane, 2021 Acrylic, silkscreen, fabric collage, flocking( velvet) on paper 45x35 in.

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About the Artist
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Jonathan Hammer marks a return to the US with an exquisite group of leather paintings, drawings and ceramic sculpture. With this body of work, Hammer explores the natural world, from the sea creatures we recognize to the abstracted notions of the microcosm of organic material. Originally from Chicago, Hammer lived in California after receiving a degree in bookbinding from the London College of Bookbinding. His work has been shown in galleries and museums in New York, California and throughout Europe and is in major private and public collections including the San Francisco Museum of Modern Art, Berkeley Museum of Art and New York Public Library. In 2002, Hammer published a new, illustrated translation of Hugo Ball’s visionary novella Tenderenda the Fantast along with his own critical writing on Dadaism in Ball and Hammer (Yale University Press). Hammer currently lives and works in Madrid, Spain.


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Jonathan Hammer marks a return to the US with an exquisite group of leather paintings, drawings and ceramic sculpture. With this body of work, Hammer explores the natural world, from the sea creatures we recognize to the abstracted notions of the microcosm of organic material. Originally from Chicago, Hammer lived in California after receiving a degree in bookbinding from the London College of Bookbinding. His work has been shown in galleries and museums in New York, California and throughout Europe and is in major private and public collections including the San Francisco Museum of Modern Art, Berkeley Museum of Art and New York Public Library. In 2002, Hammer published a new, illustrated translation of Hugo Ball’s visionary novella Tenderenda the Fantast along with his own critical writing on Dadaism in Ball and Hammer (Yale University Press). Hammer currently lives and works in Madrid, Spain.


More info
x

Jonathan Hammer marks a return to the US with an exquisite group of leather paintings, drawings and ceramic sculpture. With this body of work, Hammer explores the natural world, from the sea creatures we recognize to the abstracted notions of the microcosm of organic material. Originally from Chicago, Hammer lived in California after receiving a degree in bookbinding from the London College of Bookbinding. His work has been shown in galleries and museums in New York, California and throughout Europe and is in major private and public collections including the San Francisco Museum of Modern Art, Berkeley Museum of Art and New York Public Library. In 2002, Hammer published a new, illustrated translation of Hugo Ball’s visionary novella Tenderenda the Fantast along with his own critical writing on Dadaism in Ball and Hammer (Yale University Press). Hammer currently lives and works in Madrid, Spain.


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Dion Johnson is a Los Angeles based artist. His paintings combine and explore dynamic opposites: expansiveness and compression, surface and depth, and darkness and light. Gradient color fields are juxtaposed to and interwoven with planes of precise hardedge abstraction. These color fades are both intimate and vast – they may reflect internal moods with wandering thoughts and insightful realizations, or they may suggest vivid sunsets on Mercury or Mars with chemical skies and radiant perspectives. The hardedge shapes seem to reach up and stretch down; their elongated curves, interlocking contours, and bold colors allude to kinetic sensations and evolving environments.


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Dion Johnson is a Los Angeles based artist. His paintings combine and explore dynamic opposites: expansiveness and compression, surface and depth, and darkness and light. Gradient color fields are juxtaposed to and interwoven with planes of precise hardedge abstraction. These color fades are both intimate and vast – they may reflect internal moods with wandering thoughts and insightful realizations, or they may suggest vivid sunsets on Mercury or Mars with chemical skies and radiant perspectives. The hardedge shapes seem to reach up and stretch down; their elongated curves, interlocking contours, and bold colors allude to kinetic sensations and evolving environments.


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Laura Sanders is a figurative painter whose work explores women in landscape with an interest in the emotional, painterly and political aspects of the mise en scène. Her paintings of people in the woods or in the ocean capture the realistic sense of the figure and the environment, while maintaining a high level of painterly qualities. Sanders received her Bachelor of Fine Arts from the Columbus College of Art and Design in Ohio in 1988. She has exhibited her works at galleries and museums across the US. She has received several grants and awards including the Ohio Arts Council Individual Excellence Award and most recently artist residency at the Headlands for the Arts, Sausalito, California.


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Laura Sanders is a figurative painter whose work explores women in landscape with an interest in the emotional, painterly and political aspects of the mise en scène. Her paintings of people in the woods or in the ocean capture the realistic sense of the figure and the environment, while maintaining a high level of painterly qualities. Sanders received her Bachelor of Fine Arts from the Columbus College of Art and Design in Ohio in 1988. She has exhibited her works at galleries and museums across the US. She has received several grants and awards including the Ohio Arts Council Individual Excellence Award and most recently artist residency at the Headlands for the Arts, Sausalito, California.


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Melissa Meyer is a New York artist known for her gestural abstract expressionist paintings. Her
layered, calligraphic paintings are lively and reflect the atmosphere, music and freedom of her
surroundings from Chelsea to Yaddo. Melissa Meyer received both a BS and an MA from New
York University. Her lengthy exhibition history includes solo exhibitions at Lennon, Weinberg,
Inc., New York; Elizabeth Harris Gallery, New York; Rebecca Ibel Gallery, Columbus, Ohio;
Holly Solomon Gallery, New York and Galerie Renee Ziegler, Zurich, Switzerland.
She has
completed public commissions in New York, Tokyo, Shanghai, and Bishkek US Embassy in
Kyrgyzstan. Her work is included in the collection of the Metropolitan Museum of Art, the
Museum of Modern Art, the Brooklyn Museum, the Solomon R. Guggenheim Museum, The
Jewish Museum and many other public and private collections across the United States. Meyer
was awarded a Rome Prize from the American Academy in Rome and has received grants from
the National Endowment for the Arts, the Pollock Krasner Foundation and a fellowship from the
Bogliasco Foundation. She is a frequent artist in residence at Yaddo in Saratoga Springs, New
York as well as at the Vermont Studio Center.


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Robert Harms is an abstract painter based in Southampton, whose work is inspired by the lush landscape surrounding his studio on Little Fresh Pond. His work has been described as ‘Rustic Lyricism’ by the New York Times. Originally from New York, Harms received his B.A. from
the School of Visual Arts in NYC. His work has been widely exhibited in the U.S. and is in numerous public collections including the Metropolitan Museum of Art, New York, The Parrish Museum, Southampton, and the Albright-Knox Art Gallery, Buffalo, New York. He has been the
recipient of several awards and grants including the Pollock-Krasner Foundation Grant.


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Robert Harms is an abstract painter based in Southampton, whose work is inspired by the lush landscape surrounding his studio on Little Fresh Pond. His work has been described as ‘Rustic Lyricism’ by the New York Times. Originally from New York, Harms received his B.A. from
the School of Visual Arts in NYC. His work has been widely exhibited in the U.S. and is in numerous public collections including the Metropolitan Museum of Art, New York, The Parrish Museum, Southampton, and the Albright-Knox Art Gallery, Buffalo, New York. He has been the
recipient of several awards and grants including the Pollock-Krasner Foundation Grant.


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Robert Harms is an abstract painter based in Southampton, whose work is inspired by the lush landscape surrounding his studio on Little Fresh Pond. His work has been described as ‘Rustic Lyricism’ by the New York Times. Originally from New York, Harms received his B.A. from
the School of Visual Arts in NYC. His work has been widely exhibited in the U.S. and is in numerous public collections including the Metropolitan Museum of Art, New York, The Parrish Museum, Southampton, and the Albright-Knox Art Gallery, Buffalo, New York. He has been the
recipient of several awards and grants including the Pollock-Krasner Foundation Grant.


More info
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Robert Harms is an abstract painter based in Southampton, whose work is inspired by the lush landscape surrounding his studio on Little Fresh Pond. His work has been described as ‘Rustic Lyricism’ by the New York Times. Originally from New York, Harms received his B.A. from
the School of Visual Arts in NYC. His work has been widely exhibited in the U.S. and is in numerous public collections including the Metropolitan Museum of Art, New York, The Parrish Museum, Southampton, and the Albright-Knox Art Gallery, Buffalo, New York. He has been the
recipient of several awards and grants including the Pollock-Krasner Foundation Grant.


More info
x

Robert Harms is an abstract painter based in Southampton, whose work is inspired by the lush landscape surrounding his studio on Little Fresh Pond. His work has been described as ‘Rustic Lyricism’ by the New York Times. Originally from New York, Harms received his B.A. from
the School of Visual Arts in NYC. His work has been widely exhibited in the U.S. and is in numerous public collections including the Metropolitan Museum of Art, New York, The Parrish Museum, Southampton, and the Albright-Knox Art Gallery, Buffalo, New York. He has been the
recipient of several awards and grants including the Pollock-Krasner Foundation Grant.


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Born in Seoul, Korea, Kira Nam Greene lives and works in Brooklyn, NY. She received her BFA from San Francisco Art Institute, her MFA from School of Visual Arts and her BA in International Relations from Seoul National University. Prior to becoming an artist, Greene earned her Ph. D in Political Science from Stanford University, specializing in Political Economy in East Asia, and taught wide variety of subject matters in Political Economy both in academic and business settings.
Greene has shown her work widely at venues such as Sheldon Museum of Art, Muskegon Museum of Art, Brown University, Salisbury University, Wave Hill, Bronx Museum of Art, Noyes Museum, Accola Griefen Gallery, Lodge Gallery, Kiechel Fine Art, A.I.R. Gallery, Lyons Wier Gallery and Jane Lombard Gallery. Her work has been covered in publications such as Artnet News, Art F City, Wallpaper, W Magazine, Lincoln Star Journal, Art21 Blog, Hyphen Magazine, The Korea Daily and New York Art Beat. In 2019, Greene was a finalist for the inaugural Bennett Prize. Greene was a Stewart MacMillan Chair in Painting at Maryland Institute College of Art, Baltimore, MD in 2017-18 and is currently a part-time faculty at the Fine Arts MFA Program at Parsons School of Design.


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Born in Seoul, Korea, Kira Nam Greene lives and works in Brooklyn, NY. She received her BFA from San Francisco Art Institute, her MFA from School of Visual Arts and her BA in International Relations from Seoul National University. Prior to becoming an artist, Greene earned her Ph. D in Political Science from Stanford University, specializing in Political Economy in East Asia, and taught wide variety of subject matters in Political Economy both in academic and business settings.
Greene has shown her work widely at venues such as Sheldon Museum of Art, Muskegon Museum of Art, Brown University, Salisbury University, Wave Hill, Bronx Museum of Art, Noyes Museum, Accola Griefen Gallery, Lodge Gallery, Kiechel Fine Art, A.I.R. Gallery, Lyons Wier Gallery and Jane Lombard Gallery. Her work has been covered in publications such as Artnet News, Art F City, Wallpaper, W Magazine, Lincoln Star Journal, Art21 Blog, Hyphen Magazine, The Korea Daily and New York Art Beat. In 2019, Greene was a finalist for the inaugural Bennett Prize. Greene was a Stewart MacMillan Chair in Painting at Maryland Institute College of Art, Baltimore, MD in 2017-18 and is currently a part-time faculty at the Fine Arts MFA Program at Parsons School of Design.


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Kurt Lightner brings his focus into the garden with his recent body of work, conjuring warm summer days and capturing nature in jars to savor all year long. Originally from Ohio, Kurt Lightner currently lives and works in New York. He received his BA from Columbus College of
Art and Design, and his MFA from the School of Visual Arts, NY. Lightner’s paintings and sculptures have been included in exhibitions at PS1 MOMA, Kemper Museum of Contemporary Art, Queens Museum, and the Museum of Contemporary Art Jacksonville, and are in numerous
private and public collections. He has been a recipient of the Pollock-Krasner Foundation Grant, and The Headlands Center for the Arts Project Studio Residency in San Francisco.


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Kurt Lightner brings his focus into the garden with his recent body of work, conjuring warm summer days and capturing nature in jars to savor all year long. Originally from Ohio, Kurt Lightner currently lives and works in New York. He received his BA from Columbus College of
Art and Design, and his MFA from the School of Visual Arts, NY. Lightner’s paintings and sculptures have been included in exhibitions at PS1 MOMA, Kemper Museum of Contemporary Art, Queens Museum, and the Museum of Contemporary Art Jacksonville, and are in numerous
private and public collections. He has been a recipient of the Pollock-Krasner Foundation Grant, and The Headlands Center for the Arts Project Studio Residency in San Francisco.


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Kurt Lightner brings his focus into the garden with his recent body of work, conjuring warm summer days and capturing nature in jars to savor all year long. Originally from Ohio, Kurt Lightner currently lives and works in New York. He received his BA from Columbus College of
Art and Design, and his MFA from the School of Visual Arts, NY. Lightner’s paintings and sculptures have been included in exhibitions at PS1 MOMA, Kemper Museum of Contemporary Art, Queens Museum, and the Museum of Contemporary Art Jacksonville, and are in numerous
private and public collections. He has been a recipient of the Pollock-Krasner Foundation Grant, and The Headlands Center for the Arts Project Studio Residency in San Francisco.


More info
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Kurt Lightner brings his focus into the garden with his recent body of work, conjuring warm summer days and capturing nature in jars to savor all year long. Originally from Ohio, Kurt Lightner currently lives and works in New York. He received his BA from Columbus College of
Art and Design, and his MFA from the School of Visual Arts, NY. Lightner’s paintings and sculptures have been included in exhibitions at PS1 MOMA, Kemper Museum of Contemporary Art, Queens Museum, and the Museum of Contemporary Art Jacksonville, and are in numerous
private and public collections. He has been a recipient of the Pollock-Krasner Foundation Grant, and The Headlands Center for the Arts Project Studio Residency in San Francisco.


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Heather Jones is an artist who uses abstraction and color to comment on the historical and socio-political relationship between women and textiles, and explores the relationship between gender, place, time, and culture in her work. Her practice continues the story of geometric abstraction inherent to women’s patchwork found in the Southern and Appalachian regions of the US, and her work is steeped in the history of quilt making and a vast group of unknown female makers. The subject of her work is unequivocally feminist: she chooses to work with fabric rather than paint, in reference and reverence to the fact that the fiber arts were often the only type of art that a woman was encouraged to practice for many years throughout history. Conceptually, Jones’ work carries on the tradition of woman as maker, pushes the boundary between fine art and craft, and questions the definition of painting. She documents the story of our current world, particularly the female narratives that are often neglected from history. By working with geometric compositions, Jones creates a universal visual language to tell these stories, using textiles as a reference to issues of domesticity.


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Heather Jones is an artist who uses abstraction and color to comment on the historical and socio-political relationship between women and textiles, and explores the relationship between gender, place, time, and culture in her work. Her practice continues the story of geometric abstraction inherent to women’s patchwork found in the Southern and Appalachian regions of the US, and her work is steeped in the history of quilt making and a vast group of unknown female makers. The subject of her work is unequivocally feminist: she chooses to work with fabric rather than paint, in reference and reverence to the fact that the fiber arts were often the only type of art that a woman was encouraged to practice for many years throughout history. Conceptually, Jones’ work carries on the tradition of woman as maker, pushes the boundary between fine art and craft, and questions the definition of painting. She documents the story of our current world, particularly the female narratives that are often neglected from history. By working with geometric compositions, Jones creates a universal visual language to tell these stories, using textiles as a reference to issues of domesticity.


More info
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Heather Jones is an artist who uses abstraction and color to comment on the historical and socio-political relationship between women and textiles, and explores the relationship between gender, place, time, and culture in her work. Her practice continues the story of geometric abstraction inherent to women’s patchwork found in the Southern and Appalachian regions of the US, and her work is steeped in the history of quilt making and a vast group of unknown female makers. The subject of her work is unequivocally feminist: she chooses to work with fabric rather than paint, in reference and reverence to the fact that the fiber arts were often the only type of art that a woman was encouraged to practice for many years throughout history. Conceptually, Jones’ work carries on the tradition of woman as maker, pushes the boundary between fine art and craft, and questions the definition of painting. She documents the story of our current world, particularly the female narratives that are often neglected from history. By working with geometric compositions, Jones creates a universal visual language to tell these stories, using textiles as a reference to issues of domesticity.


More info
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Heather Jones is an artist who uses abstraction and color to comment on the historical and socio-political relationship between women and textiles, and explores the relationship between gender, place, time, and culture in her work. Her practice continues the story of geometric abstraction inherent to women’s patchwork found in the Southern and Appalachian regions of the US, and her work is steeped in the history of quilt making and a vast group of unknown female makers. The subject of her work is unequivocally feminist: she chooses to work with fabric rather than paint, in reference and reverence to the fact that the fiber arts were often the only type of art that a woman was encouraged to practice for many years throughout history. Conceptually, Jones’ work carries on the tradition of woman as maker, pushes the boundary between fine art and craft, and questions the definition of painting. She documents the story of our current world, particularly the female narratives that are often neglected from history. By working with geometric compositions, Jones creates a universal visual language to tell these stories, using textiles as a reference to issues of domesticity.


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The sculpture of Almond Zigmund is bold, geometric and modernist. Zigmund strives to blend the intellect with a bright palette and bold designs, as her philosophy is that art should energize, not just work on a conceptual level.

Originally from Brooklyn, Zigmund received her Bachelors of Fine Arts from Parsons School of Design, and studied both in New York and Paris, France. She earned her Masters of Fine Arts from the University of Nevada, Las Vegas, where she studied art theory and criticism with Dave Hickey. This formative time, outside the New York art world, with the maverick, Macarthur award winning critic Hickey, encouraged her to push her boundaries, follow her own path and make smart, cool stuff.

Zigmund’s work has been exhibited internationally with shows in New York, Los Angeles, Zurich, Las Vegas and Columbus. Her work has been selected for shows by leading and emerging curators including: Dave Hickey, Robert Storr, David Pagel, Heather Harmon, Jessica Frost, Aaron Baker, Steven Criqui, among others.


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The sculpture of Almond Zigmund is bold, geometric and modernist. Zigmund strives to blend the intellect with a bright palette and bold designs, as her philosophy is that art should energize, not just work on a conceptual level.

Originally from Brooklyn, Zigmund received her Bachelors of Fine Arts from Parsons School of Design, and studied both in New York and Paris, France. She earned her Masters of Fine Arts from the University of Nevada, Las Vegas, where she studied art theory and criticism with Dave Hickey. This formative time, outside the New York art world, with the maverick, Macarthur award winning critic Hickey, encouraged her to push her boundaries, follow her own path and make smart, cool stuff.

Zigmund’s work has been exhibited internationally with shows in New York, Los Angeles, Zurich, Las Vegas and Columbus. Her work has been selected for shows by leading and emerging curators including: Dave Hickey, Robert Storr, David Pagel, Heather Harmon, Jessica Frost, Aaron Baker, Steven Criqui, among others.


More info
x

The sculpture of Almond Zigmund is bold, geometric and modernist. Zigmund strives to blend the intellect with a bright palette and bold designs, as her philosophy is that art should energize, not just work on a conceptual level.

Originally from Brooklyn, Zigmund received her Bachelors of Fine Arts from Parsons School of Design, and studied both in New York and Paris, France. She earned her Masters of Fine Arts from the University of Nevada, Las Vegas, where she studied art theory and criticism with Dave Hickey. This formative time, outside the New York art world, with the maverick, Macarthur award winning critic Hickey, encouraged her to push her boundaries, follow her own path and make smart, cool stuff.

Zigmund’s work has been exhibited internationally with shows in New York, Los Angeles, Zurich, Las Vegas and Columbus. Her work has been selected for shows by leading and emerging curators including: Dave Hickey, Robert Storr, David Pagel, Heather Harmon, Jessica Frost, Aaron Baker, Steven Criqui, among others.


More info
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Jonathan Hammer marks a return to the US with an exquisite group of leather paintings, drawings and ceramic sculpture. With this body of work, Hammer explores the natural world, from the sea creatures we recognize to the abstracted notions of the microcosm of organic material. Originally from Chicago, Hammer lived in California after receiving a degree in bookbinding from the London College of Bookbinding. His work has been shown in galleries and museums in New York, California and throughout Europe and is in major private and public collections including the San Francisco Museum of Modern Art, Berkeley Museum of Art and New York Public Library. In 2002, Hammer published a new, illustrated translation of Hugo Ball’s visionary novella Tenderenda the Fantast along with his own critical writing on Dadaism in Ball and Hammer (Yale University Press). Hammer currently lives and works in Madrid, Spain.


More info
x

Jonathan Hammer marks a return to the US with an exquisite group of leather paintings, drawings and ceramic sculpture. With this body of work, Hammer explores the natural world, from the sea creatures we recognize to the abstracted notions of the microcosm of organic material. Originally from Chicago, Hammer lived in California after receiving a degree in bookbinding from the London College of Bookbinding. His work has been shown in galleries and museums in New York, California and throughout Europe and is in major private and public collections including the San Francisco Museum of Modern Art, Berkeley Museum of Art and New York Public Library. In 2002, Hammer published a new, illustrated translation of Hugo Ball’s visionary novella Tenderenda the Fantast along with his own critical writing on Dadaism in Ball and Hammer (Yale University Press). Hammer currently lives and works in Madrid, Spain.


More info
x

Jonathan Hammer marks a return to the US with an exquisite group of leather paintings, drawings and ceramic sculpture. With this body of work, Hammer explores the natural world, from the sea creatures we recognize to the abstracted notions of the microcosm of organic material. Originally from Chicago, Hammer lived in California after receiving a degree in bookbinding from the London College of Bookbinding. His work has been shown in galleries and museums in New York, California and throughout Europe and is in major private and public collections including the San Francisco Museum of Modern Art, Berkeley Museum of Art and New York Public Library. In 2002, Hammer published a new, illustrated translation of Hugo Ball’s visionary novella Tenderenda the Fantast along with his own critical writing on Dadaism in Ball and Hammer (Yale University Press). Hammer currently lives and works in Madrid, Spain.


More info
x

Jonathan Hammer marks a return to the US with an exquisite group of leather paintings, drawings and ceramic sculpture. With this body of work, Hammer explores the natural world, from the sea creatures we recognize to the abstracted notions of the microcosm of organic material. Originally from Chicago, Hammer lived in California after receiving a degree in bookbinding from the London College of Bookbinding. His work has been shown in galleries and museums in New York, California and throughout Europe and is in major private and public collections including the San Francisco Museum of Modern Art, Berkeley Museum of Art and New York Public Library. In 2002, Hammer published a new, illustrated translation of Hugo Ball’s visionary novella Tenderenda the Fantast along with his own critical writing on Dadaism in Ball and Hammer (Yale University Press). Hammer currently lives and works in Madrid, Spain.


2021, oil on linen, 24x30 in

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Billy Sullivan has been making paintings and drawings of his friends and his surroundings since the 1970’s. The bohemian glamour of his still lifes and the casual intimacy of his portraits distinguishes him as a New York artist. In all of the work, we are comfortable in the company of the artist. Born in New York, NY, Billy Sullivan attended the High School of Art and Design and received a BFA at the School of Visual Arts. He divides his time between studios in New York and East Hampton. He has exhibited internationally and is included in the prestigious collections of institutions and museums including the Detroit Institute of Art, New Orleans Museum of Art, The General Electric Company, Dow Jones Company and The Museum of Modern Art.


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Heather Jones is an artist who uses abstraction and color to comment on the historical and socio-political relationship between women and textiles, and explores the relationship between gender, place, time, and culture in her work. Her practice continues the story of geometric abstraction inherent to women’s patchwork found in the Southern and Appalachian regions of the US, and her work is steeped in the history of quilt making and a vast group of unknown female makers. The subject of her work is unequivocally feminist: she chooses to work with fabric rather than paint, in reference and reverence to the fact that the fiber arts were often the only type of art that a woman was encouraged to practice for many years throughout history. Conceptually, Jones’ work carries on the tradition of woman as maker, pushes the boundary between fine art and craft, and questions the definition of painting. She documents the story of our current world, particularly the female narratives that are often neglected from history. By working with geometric compositions, Jones creates a universal visual language to tell these stories, using textiles as a reference to issues of domesticity.


More info
x

Sarah Fairchild
Originally from Ohio, Sarah Fairchild lives and works in the New York area. She attended the Columbus College of Art and Design and her work is included in several public and private collections including the Columbus Museum of Art.

Sarah Fairchild’s recent commissions include Floribunda, a two-part temporary installation adapted from an original painting on the exterior and three original mixed media artworks inside the lobby at One Pierrepont Plaza in Brooklyn in 2019, original artworks for the Columbus-based restaurants Brassica in 2019, Tennessee State Wildflower, an original painting adapted into an interior wall installation by Joseph Editions, Cruciferous, a temporary installation adapted from two of her original paintings, adorned the lobby of the Grace Building in New York City in 2018, and the set and prop design for Opera Columbus’ production of Lully’s Armide in 2014. Recent publications include New American Paintings, International Painting Annual, Studio Visit Magazine and Creative Quarterly.


More info
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Sarah Fairchild
Originally from Ohio, Sarah Fairchild lives and works in the New York area. She attended the Columbus College of Art and Design and her work is included in several public and private collections including the Columbus Museum of Art.

Sarah Fairchild’s recent commissions include Floribunda, a two-part temporary installation adapted from an original painting on the exterior and three original mixed media artworks inside the lobby at One Pierrepont Plaza in Brooklyn in 2019, original artworks for the Columbus-based restaurants Brassica in 2019, Tennessee State Wildflower, an original painting adapted into an interior wall installation by Joseph Editions, Cruciferous, a temporary installation adapted from two of her original paintings, adorned the lobby of the Grace Building in New York City in 2018, and the set and prop design for Opera Columbus’ production of Lully’s Armide in 2014. Recent publications include New American Paintings, International Painting Annual, Studio Visit Magazine and Creative Quarterly.


More info
x

Sarah Fairchild
Originally from Ohio, Sarah Fairchild lives and works in the New York area. She attended the Columbus College of Art and Design and her work is included in several public and private collections including the Columbus Museum of Art.

Sarah Fairchild’s recent commissions include Floribunda, a two-part temporary installation adapted from an original painting on the exterior and three original mixed media artworks inside the lobby at One Pierrepont Plaza in Brooklyn in 2019, original artworks for the Columbus-based restaurants Brassica in 2019, Tennessee State Wildflower, an original painting adapted into an interior wall installation by Joseph Editions, Cruciferous, a temporary installation adapted from two of her original paintings, adorned the lobby of the Grace Building in New York City in 2018, and the set and prop design for Opera Columbus’ production of Lully’s Armide in 2014. Recent publications include New American Paintings, International Painting Annual, Studio Visit Magazine and Creative Quarterly.


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Sarah Fairchild
Originally from Ohio, Sarah Fairchild lives and works in the New York area. She attended the Columbus College of Art and Design and her work is included in several public and private collections including the Columbus Museum of Art.

Sarah Fairchild’s recent commissions include Floribunda, a two-part temporary installation adapted from an original painting on the exterior and three original mixed media artworks inside the lobby at One Pierrepont Plaza in Brooklyn in 2019, original artworks for the Columbus-based restaurants Brassica in 2019, Tennessee State Wildflower, an original painting adapted into an interior wall installation by Joseph Editions, Cruciferous, a temporary installation adapted from two of her original paintings, adorned the lobby of the Grace Building in New York City in 2018, and the set and prop design for Opera Columbus’ production of Lully’s Armide in 2014. Recent publications include New American Paintings, International Painting Annual, Studio Visit Magazine and Creative Quarterly.