Feb 062025
 

Detail from “Chromatic Landscapes” by Lisa Marie Patzer

Along with its exhibitions and programming, The Delaware Contemporary houses several artist studios. Several times a year the artists open their doors to the public. The images included in this post are from the December 2024 event.

The first images are from new media digital media artist Lisa Marie Patzer’s Chromatic Landscapes series.

From her website about the work-

Employing digital chroma-based processes, Patzer sorted, separated, and reconfigured images derived from more than one thousand 35mm slides. Originally captured by photographer Ben Kabakow during the mid-1950’s, the slides reflect his view of life in New York City and international travel. Lisa Marie Patzer’s treatment of this large archive emphasizes the role nostalgia and personal association play when interpreting another’s visual anthology. The result is a colorful set of vignettes and landscapes that are abstracted from the original context inviting the viewer in for playful association.

Below are selections from some of the other artists studios and from the walls surrounding them and their bios and quotes from the museum’s website.

Still life paintings by Jenna Lucente

Jenna Lucente is an artist and educator currently living in Delaware. She recently completed a public art commission that includes 28 glass windows for the above-ground Arthur Kill train station in Staten Island, New York. Commissioning agency: MTA Art and Design; glass fabrication by Franz Mayer of Munich.

Work by Ruth Ansel

Ruth Ansel creates paintings using egg tempera. “My egg tempera paintings are meditations in pigment and brushstroke.”

Sculptures by Jennifer Borders

Jennifer Borders is a visual artist whose sculpture and drawing is installation-based and often participatory. She uses history, personal family stories, and current events to prompt viewers into inquiry.

Painting by Caroline Chen

Caroline Chen paints primarily with oil on canvas. “Painting is personal. The slow act of seeing takes time and hands and grace. I’m striving to express simple truths before me, to paint the emotion as well as the subject itself.”

Work by Caroline Coolidge Brown

Woodblocks by Caroline Coolidge Brown

Caroline Coolidge Brown is a mixed-media printmaker and visual journaler who collects inspiration from her travels far and near. Her playful work combines traditional printmaking processes (etching, monotype, lino and wood block) with collage and paint. “Mixed media printmaking allows me to push expected boundaries of “what is a print?” or “what is a painting?” For me, it’s all about the layers – of color, shape and meaning.”

Paintings by John Breakey

John Breakey– “The familiar space above the horizon line provides conditions that empower my vision. The powerful brevity of Minimalism and the lasting voices of the Abstract Expressionists motivate me to treat the pure instance of looking out not as an act of passive observance but as a call to action.”

Paintings by Lauren E. Peters

Lauren E. Peters– Through self-portraits based on staged photographs, Peters explores the multifaceted nature of identity.

Work by Diane Hulse

Diane Hulse is an abstract, mixed media artist whose work includes painting, drawing, and objects. With a background in science and the fine arts, she explores internal and external landscapes, as found in the psychological terrain of self and the beauty of our embattled Earth. Intensely curious about almost everything, she studies nature, architecture, poetry, spiritualism, and psychology. Just as curiosity is a pillar of her art, so is imagination. A pink ocean or a monster perched on a beach ball are not farfetched for her. In fact, Hulse often pretends that she can miniaturize herself and walk through her paintings. She agrees with Picasso, who said that it is essential for artists to keep alive the child inside of all of us.

Tomorrow, 2/7/25, the studios will be open to the public as part of the monthly Art Loop Wilmington event. The museum will extend its hours to 8pm and there will be musical guests, food trucks, and a cash bar.

 

 

Jan 312025
 

This mural in Akron by Axel Void was organized by Curated Storefront and is based on a photograph taken with a ring camera and posted on the Neighbors app.

From Curated Storefront about the work-

This piece is a note on human inter-relational experience. The work presents a highly specific, anonymous interaction between neighbors in the digital realm.

The image is sourced from a post on the Neighbors app, a location based message board designed to connect Ring doorbell cameras into a network of private surveillance, with the intention of “always knowing what is happening in your neighborhood with real time, hyper local safety.”

The posting was created on June 18th, 2022 by an anonymous neighbor 3.4 miles away from the site of the mural. The post is titled: “Unknown visitors, Strange kids at my door 10:30 pm do you recognize them?” The Ring doorbell footage shows a young man at the door for about one minute; the footage is grainy and black and white, he is hard to make out and shuffles from side to side; a friend waits in the background on a bicycle. Twelve commenters on the post argue on whether or not the boy appears suspicious, or if he is merely looking for his lost dog; casing the house or calling for help.

This piece proposes a discussion point on irrational fear, the changing nature of surveillance, and an overarching sense of paranoia in modern society.

Jan 312025
 

 

Curated Storefront is an Akron arts organization started in 2016 that is working to turn downtown Akron into an arts destination. Their projects include a collection of public murals and art in store windows. They also offer studio spaces to local artists.

One of their projects, Outside the Box, is a series of up-cycled shipping containers that house pop-up galleries and rotating murals.

Below are more selections from Outside the Box and information on the works from their website.

El Mac, “Stardust”

From the information plaque-

This mural titled Stardust depicts El Mac’s son as a baby looking up towards the sky, which creates imagery that the artist hopes “can be relatable to people and hopefully it suggests youthfulness and new beginnings. I had fun with the rendering , patterns, movement, and shapes. It was challenging for me and I think it’s beautiful, so I hope others do too.”

Palehorse, “Garuda”

About Palehorse’s mural from Curated Storefront

Painting of the deity Garuda from Hindu mythology. Garuda (King of Birds) symbolizes the harmonious union of earthly strength and celestial freedom. As the divine messenger, he traverses between realms, embodying the bridge between humanity and the sacred. His outstretched wings form a shield of protection, a testament to his role as guardian and defender against adversity. Garuda’s presence inspires us to embrace our inner courage and navigate life’s challenges with unwavering determination. Just as he faces the serpents of life, we too can rise above obstacles, guided by his example. As you gaze upon this mural, may Garuda’s symbolism ignite your spirit, reminding you of your own capacity to soar to new heights, find peace amidst chaos, and stand strong in the face of all trials. Jai Guru! OM Garuda!

With over 20 years of experience as a professional illustrator, the catalogue of work created by Palehorse now serves as a breadcrumb trail, highlighting his intense curiosity and a relentless quest for deeper meaning and self-discovery. Years of seeking and following delightful and mysterious curiosities, eventually led to a devoted spiritual practice, arising from an ever-expanding love for sacred art, mystical scriptures, ancient cultures, plant medicine ceremonies, world mythology and travel.

The artwork of Palehorse aims to become more refined and meaningful as he increasingly becomes more spiritually adventurous through the years. His aesthetic harnesses the ancient power of traditional Thai ornamental design, blended with Indian motifs and symbols derived from the Thangka paintings of Tibetan Buddhism. As a follower of Paramhansa Hogananda, these inspirations are then filtered through the lens of an American yogi/psychonaut/illustrator, who was born in the late 70’s and grew up skateboarding, surfing, getting tattooed and playing guitar in metal bands.

John Comunale “The First Energy Monster”, Recycled tires and golfballs

John Comunale, whose work is pictured above, is an Akron artist with many works located around the city.

Studio Haz – Joshua Hall and Diana Paz- “This and That”

About the Studio Haz mural from Curated Storefront-

This mural is a visual dialog, a conversation between order and fluid organic forms. It is the first collaboration between the two artists.

Diana Paz is a Venezuelan Multidisciplinary artist based in Miami, FL. She has been fully dedicated to her art since 2012, right after graduating from her graphic design studies. Navigating between artistic expressions, she explores materials, shapes, spaces, textures and colors; reinterpreting elements from her native region as well as others taken from her everyday life. The result is a balanced union of elements; coming all-together in the cleanest and simplest way.

Joshua Hall, AKA Baghead, (born January 5, 1988) is a contemporary Latin- American artist from Miami, Florida. His work is derived from 90’s skateboarding, street typography, and early animation. He is known for his wooden sculptures as well as being a muralist. In his practice, Joshua reflects on his suburban adolescents; recounting them in fluid, abstracted and sometimes sculptural forms.

Steiner, “Repetitive Nature”

About Steiner and Repetitive Nature

The bright and psychedelic colors and mutation of the third eye on the leopards represent human negative effects on nature. However, nature is ferocious (like a leopard) and fights back, reclaiming what is left behind by humans in a cycle that is repetitive. Nature finds a way.

Raised on surf/skate art and comics, and influenced by the likes of Jim Phillips and Todd McFarlane, Steiner began spray painting walls during middle school in the 90s. After traveling abroad and formal art training he returned to his street art and graffiti roots. He has lived and painted in San Francisco and New York, and now resides in Los Angeles. His work is reminiscent of the Toxic Avenger. It shows man’s effect on nature and manipulation of the environment. His work often has mutated beasts with multiple eyes, bright un-earthy colors and smoke ring cloud (pollution) backgrounds … so the 3 eyed Simpsons fish is a good reference to sum it up … an actual issue with a somewhat humorous delivery.

Axel Void (Alejandro Hugo Dorda Mevs), “Untitled”

L.E.O. (Reginald O’Neal), “Dr. John Henry Clarke And the Mundari People”

About L.E.O. (Reginald O’ Neal)

L.E.O. (Reginald O’Neal), born in 1992 in Miami, Florida, began painting in 2012 and soon met his friend and mentor, Alejandro Dorda, also known as Axel Void, who would teach him classically.

In 2014, L.E.O. took his first trip to Europe to complete murals in Austria, Norway, and Spain, as well as exhibit in a collective show alongside his teacher in Berlin, Germany. In the years since, Reggie has focused on canvas work, residencies, and murals that embody his community surroundings, experiences and beliefs.

Gabriela Ayza Aschmann, “Momentum Absence Act”

From Curated Storefront about the Gabriela Ayza Aschmann’s mural-

It has two faces. What we see and what may be behind. Is it the absence of oneself that creates emotional instability? Sometimes we are in a sea of fire and we have to warp to hold on to ourselves so we can be our own lifesaver. With the vertigo of falling, you create a dance that in the end only you can learn to enjoy. Emily Dickinson wrote, “I was falling and in each crash hit, I ran into a world.”

Born in 1991 Cologne, Germany, Gabriela Ayza Aschmann is a Spanish-German artist currently based in Miami, Florida. She lived and studied in Andalusia, graduated from the University of Fine Arts in Seville, Spain. She continued learning with workshops and follow ups from different artists. In 2020, Gabriela attended her first artist residency with Void_ Projects in Miami, FL. Later, she followed her next artist residency at Gotulist Froyar, Feror Island, Denmark. Her last two shows titled I have an idiot inside me and Mom, let me be an animal for one day opened in Miami, FL where she presented a mixture of her personal collection of paintings.

Her practice represents the search for the poetic. She begins with considering that listening to ourselves and our environment brings us closer to the core of our existence. In her paintings one can find humor, sweetness and hardness at the same time. The artist observes and empathizes how humans are, measurably, beasts and brutes. Bluntly, she questions why humanity hides its beastiality: What is so dangerous about our depths? Her work is focused on oil painting, although in her process we can find poetry, theater, analog photography and other sculptural aspects.

 

Johnny Robles, “Gloria Bow”

About Johnny Robles and the mural from Curated Storefront

Johnny Robles is a multi-disciplinary artist working at the intersection of art, technology, and nature. Studies in color theory, geometry, and science, combined with his natural and spiritual world interests are central to his work.

The artwork’s title, Gloria Bow, is derived from a glory rainbow, a halo of interlocking colors made up of tiny droplets of water reflecting sunlight scattered back towards the viewer. This phenomenon we see in nature can be experienced from tall buildings, a mountain top, or an airplane. Over the years, the artist’s experiences of observing glories have marveled and served him as reminders that nature seeks each of us. This painting intends to engage passersby in a moment of solitude, clarity, or stillness.

 

Jan 292025
 

This mural by Los Angeles based artist Mikael B was created for the 2017 SHINE Mural Festival in St. Pete, Florida.

For the most recent work by Mikael B, check out his Instagram.

Jan 282025
 

Marti a flor de labios (Marti on the lips) is a portrait of Cuban poet, writer, journalist, philosopher, and activist José Martí by Cuban artist Edel Alvarez Galban (AGalban). The painting was part of the 2023 exhibition El Arte: Echos of Cuba at the Clearwater Library in Florida. Galban emigrated to the United States in 1995, later moving to St. Petersburg, Florida in 2001 where he works in both the medical profession and the arts.

José Martí was born in Havana on January 28th, 1853 and died in 1895 during the Battle of Dos Rios, fighting for Cuba’s independence from Spain. He traveled to Tampa Bay’s Latin Quarter, Ybor City, on several occasions while in exile to give speeches and to raise funds to support his cause.

Parque Amigos de Jose Marti (Friends of Jose Marti Park) in Ybor City features a statue of Martí and a plaque. The land was gifted to the Republic of Cuba in 1956 and was once home to the boarding house of Afro-Cuban activist Paulina Pedroso. She was friends with Martí and he stayed with her during his visits to the area.

 

Jan 242025
 

“Snow-Laden Primeval (Meditations, on Log Phase and Decline rampant with Flatulent Cows and Carbon Cars)”, 2020, oil paint on canvas

Blockade ‘The Risen’, 1960-1961/2019, Oil on canvas / RISEN from the New York 1960-1961 painting, reconstructed in Amsterdam in 2019

Artist Jo Baer passed away this Tuesday at the age of 95. Her long career was marked by her transition away from the abstract works she became known for to figuration. She destroyed several of her original minimalist paintings but would later reproduce them in 2019 from archival images.

The works above are from her 2020 concurrent exhibitions at Pace GalleryThe Risen/Originals.

More on her life and career from Pace Gallery

Born in Seattle in 1929, Baer studied biology at the University of Washington—where she also enrolled in introductory painting and drawing courses—and earned a graduate degree in psychology from the New School for Social Research in New York. She began her artistic career in Los Angeles in the early 1950s before returning to New York in 1960. There, she would become a key figure in the city’s burgeoning minimalist scene with her hard-edge paintings featuring bands of color around their edges. She also painted symbols and objects in some of her early works, often examining sexual and gender politics in these more figurative compositions.

Over the course of the 1960s, her paintings were exhibited alongside works by her mostly male peers—including Kenneth Noland, Robert Mangold, Frank Stella, Donald Judd, Dan Flavin, Robert Morris, and Sol LeWitt—and she presented her first-ever solo show at Fischbach Gallery in New York in 1966. Following her mid-career retrospective at the Whitney Museum in 1975, she relocated to Europe, first living in England and Ireland before settling in Amsterdam in 1984.

Baer’s search for renewal in the 1970s brought her to “radical figuration,” a term she coined in her now famous 1983 letter to Art in America, declaring that she was “no longer an abstract artist.” The term, which the artist later moved away from, describes a midway point between abstraction and figuration in which she could utilize partial, edited, or layered images—both found and created—to generate space for a new language within painting.

During her years in England and Ireland, Baer departed from pure abstraction in her work, developing a new aesthetic grounded in images, text, and prehistoric signs that combined the new, the old, and the mythical. Over the nine years she spent living in Smarmore Castle in County Louth in Ireland, Baer became fascinated by the region’s Neolithic history, opening her practice up to ancient histories of civilization. Seeing painting as a continually evolving tradition that could not be easily broken down into neat stylistic or periodic categories, Baer found as much inspiration in archaeology, anthropology, astronomy, and geography as in contemporary culture.

“I wanted more subject matter and more meaning,” the artist once said of her decision to move away from Minimalism. “There was an awful lot going on in the world, and I didn’t just want to sit there and draw straight lines.”

Below, in this video from the gallery, she discusses her body of work.

Jan 202025
 

Still from “Mulholland Drive”

Club Silencio scene with Rebekah Del Rio from David Lynch’s Mulholland Drive

Today would have been artist and filmmaker David Lynch’s 79th birthday.

Although it was sad to hear of his passing, it was such a joy to spend the weekend looking through his artwork, reading the tributes from those who knew him, and rewatching his films and the documentary about him, The Art Life.

He also wrote Catching the Big Fish: Meditation, Consciousness, and Creativity, a short book filled with his thoughts on transcendental meditation, his films, digital video, creativity and more- worth checking out. Below is a short clip from one of his interviews with The Atlantic.

He also acted occasionally, both in his Twin Peaks series and in other projects. Below he plays another famous director, John Ford, in a clip from Steven Spielberg’s semi-autobiographical film The Fabelmans.

And here he is on Louis C.K.’s show Louie.

David Lynch’s creative legacy will continue to influence and inspire people for many years to come. He was one of the greats.

Jan 172025
 

Flat Top Desk, 1929 and 1962, Walnut and padauk, Flat Top Desk Chair, 1929, Walnut, padauk and laced leather seat, Flat Top Desk Figure, 1929, Bronze cast of cocobolo original

“Head of Dreiser”, ca.1927, Pine- This is a portrait of writer Theodore Dreiser who Esherick met in 1924 through the Hedgerow Theatre. This was a rough, geometric sketch for a finished mahogany piece.

“Self Portrait”, 1919, Oil on canvas

The Crafted World of Wharton Esherick, on view at Brandywine Museum of Art, presents a wonderful look at the artist’s varied work from throughout his career.

From the museum-

This exhibition explores the interdisciplinary creativity of Wharton Esherick (1887-1970), the famed American artist best known as the father of the Studio Furniture Movement.

Esherick considered his hillside home and studio, now the Wharton Esherick Museum (WEM), the best representation of his iconoclastic vision, calling it “an autobiography in three dimensions.” Built between 1926 and 1966, his unconventional escape on the verdant slopes of Valley Forge Mountain houses almost 3000 iconic works of art from across Esherick’s seven decades of artistic practice.

The Crafted World brings selections from this rich and rarely loaned collection to a broader public, including many objects never before seen except in Esherick’s home and studio. Detailing the artist’s career from his early woodcut illustrations for books by members of the avant-garde literati to his revolutionary reimagining of furniture forms as organic sculpture, works will be presented in thematic vignettes that invite visitors into Esherick’s story and bring the essence of his creative world into the gallery.

Below are a few more selections.

“Drop Leaf Desk”, 1927

“Hedgerow Theatre Lobby Stair Model”, 1934, Walnut; “Spiral Staircase Model”, 1963,Pine; “Bok House Chimney Stair Model”, 1937

From the museum about the staircase models above-

Esherick made numerous objects centering on the twist or spiral to represent natural growth. He returned to this form in models for staircase commissions for the Bok House- in which the spiral is created through gradual shifts in the shape and width of each step- and for the Hedgerow Theatre– which features a staircase like the Studio’s that revolves around a center post.

“Moonlight on Alabama Pines”,1919-20, Oil on canvas, carved wood frame with metallic paint

Alabama Pine woodblock, 1929

“Oblivion” 1934, Walnut

About the sculpture above, Oblivion, from the museum-

Moved by the emotion and physicality of actors, Esherick spent many hours in the balcony of the Hedgerow Theatre, in nearby Rose Valley, sketching performers, and many more hours designing stage sets, props, posters, and other visual elements for their productions. Oblivion was inspired by the passionate embrace of two actors in The Son of Perdition, a play by Lynn Riggs. This organic, fluid sculpture offers an exaggerated rendering of emotion as two intertwined bodies, carved from a single log, seem to softly dissolve into one another. Oblivion was prominently featured in the sculpture portion of the second Whitney Biennial in 1936.

This exhibition closes Sunday, 1/19/25.

Jan 162025
 

Charles Ray “Family Romance”, 1993, and Ashley Bickerton “F.O.B.:Tied (White)”, 1993/2018

Charles Ray “Family Romance”, 1993

Maurizio Cattelan “WE”, 2010

Tishan Hsu, “mammal-screen-green-2”, 2024

Work by Josh Kline

“Untitled”, 2008-9, and “Two Breasts”, 1990, by Robert Gober

Mike Kelley, “Brown Star”, 1991 (left) and “The Judge”, 2018, by Jana Euler (painting on right)

Wanghechi Mutu, “One Cut”, 2018, (center sculpture); photographs by Cindy Sherman, 2010/2023

“Pep Talk”, 2024, by Cajsa von Zeipel and Jamian Juliano-Villani, “Women”, 2024, (painting on right)

Post Human, the current group exhibition at Jeffrey Deitch’s Los Angeles location, continues an artistic investigation of humanity that began with the 1992 exhibition of the same name. Some of the over forty artists (and even some of the works) were in the previous iteration, but now their work is placed alongside others made more recently. Seeing them together offers viewers a chance to  contemplate the shifts and continuations in culture, technology, and what it means to be human.

From the gallery-

“Post Human was virtually a manifesto trumpeting a new art for a new breed of human,” wrote the art historian and curator Robert Rosenblum discussing the impact of the exhibition in the October 2004 issue of Artforum.

In 1992, Post Human, curated by Jeffrey Deitch, brought together the work of thirty-six young artists interested in technological advancement, social and aesthetic pluralism, and new frontiers of body and identity transformation. Through their art, these artists were exploring the same questioning of traditional notions of gender, sexuality and self-identity that was—and still is—taking place in the world at large. Capturing a developing social and scientific phenomenon, Post Human theorized a new approach to the construction of the self and interpretation of what defines being human. The exhibition set the agenda for the 1990s, and its influence on artists and philosophers led to a new field of academic study.

In her book Posthuman Feminism (2022), the philosopher and feminist theoretician Rosi Braidotti credits Deitch for capturing “the avant-garde spirit of the age by foregrounding the role of technology in blurring binary boundaries between subjects and objects, humans and non-humans.” She adds, “Post Human showed also that art assumed a much more central role as it merged with science, computerization and biotechnology in further re-shaping the human form and perfecting a flair for the artificial.”

The catalogue of the 1992 exhibition, with its visual essay and innovative design by the late Dan Friedman, also proved lasting relevance. Deitch’s influential essay predicted many of the scientific and sociological shifts that have since shaped our cultural and social environment, even the pandemic.

More than thirty years later, Post Human at Jeffrey Deitch, Los Angeles, revisits the theme of the exhibition, bringing the discourse into the present. The show includes several of the key figures who participated in the 1992 exhibition in dialogue with some of the most interesting artists continuing the exploration of these themes today. In keeping with the social and technological trends that inspired it, the interest in figuration of the original artists and the younger generations presented in the show is conceptual rather than formal.

Much of the then-new figurative work was descriptive of the “real” world but cannot, in fact, be called “realistic” in the conventional sense. That is because so much of the “real” world the artists were reacting to had become artificial. With the concept of the real disintegrating through an acceptance of the multiplicity of reality models and the embrace of artificiality, Realism as it was once known was no longer possible. This new figurative art may have actually marked the end of Realism rather than its revival.

Fully integrated into our pop psychology, the term “posthuman” is now used in everyday conversations and has come to primarily identify with the trope of the cyborg. This exhibition, like the 1992 show, however, examines multiple declinations and aspects of the postmodern construction of personality and the engineering and transcendence of the human body. The artists in the exhibition embrace notions of plurality, metamorphosis and multi-beingness. Cyber-futuristic, surgically improved, commodified, stereotyped, and politicized, the “cultured body” lends itself to reflect on a variety of concerns that define our age.

Several works in the exhibition will embrace the biometrical aestheticization of the human body to address the decay paranoia, the social conflict over genetic engineering and the use of biotechnologies, and the conversation around the limits of “natural” life.” Artists have long engaged with the threats of biometric surveillance, the possibility of virtual reality overtaking our physical one, the accelerating real-time consumption of experience, and the automation of the workforce. As AI’s ability to fulfill our creative and specialized needs has reached mass fruition, artists are confronting the impact of what was once considered speculative science fiction, an everyday reality.

Post Human was first presented at FAE, Musée D’art Contemporain, Pully/Lausanne (June 14–September 13, 1992) and traveled to Castello di Rivoli—Museo d’Arte Contemporanea, Rivoli/Turin (October 1–November 22, 1992), Deste Foundation, House of Cyprus, Athens (December 3, 1992–February 14, 1993), Deichtorhallen Hamburg (March 12–May 9, 1993), Israel Museum, Jerusalem (June 23–October 10, 1993). A number of the works shown in 1992-1993 are now in international museum collections. Matthew Barney’s REPRESSIA (decline) (1991) is now in the collection of LACMA, where it was on view in 2023. Posthumanism has since been the subject of countless books, movies and high-profile exhibitions.

Artists in the exhibition: Isabelle Albuquerque, 
Matthew Barney
, Ivana Bašić
, Frank Benson, 
Ashley Bickerton, 
Maurizio Cattelan
, Chris Cunningham
, John Currin, 
Alex Da Corte, 
Olivia Erlanger
, Jana Euler
, Rachel Feinstein, 
Urs Fischer, 
Pippa Garner
, Robert Gober
, Hugh Hayden, 
Damien Hirst
, Tishan Hsu, 
Pierre Huyghe, 
Anne Imhof
, Alex Israel, 
Arthur Jafa, 
Jamian Juliano-Villani
, Mike Kelley, 
Josh Kline, 
Jeff Koons
, Paul McCarthy
, Sam McKinniss, 
Mariko Mori
, Takashi Murakami
, Wangechi Mutu
, Cady Noland, 
Charles Ray
, Cindy Sherman, 
Kiki Smith
, Hajime Sorayama, 
Anna Uddenberg, 
Cajsa von Zeipel
, Jeff Wall
, Jordan Wolfson, and 
Anicka Yi

This show closes Saturday, 1/18/25.