The performances, installations, and videos of artist Liss LaFleur confront the biological, historical, and political ideologies of femininity inherited from her Southern roots.
The installations and sculptures of Cristin Millett mine historical and contemporary perceptions of female sexuality through the dissecting lens of medicine.
The multimedia installations of artist Adrienne Elise Tarver consider the dynamics of viewership within the context of privacy, memory, and the numenous quality of the objects and spaces of our past.
A pioneering digital artist and Iranian political refugee, Marjan Moghaddam harnesses the power of technology to create monumental paintings and interactive images revealing her personal narrative.
Gina Herrera, a career Army and Iraq War veteran, draws on her experiences of the global environmental devastation of war and her Tesuque heritage to create anthropomorphic sculptures from the repurposed fragments of consumer culture.
The contorted figures and mounds of flesh in the abstract oil paintings of Virginia Broersma represent the societal pressures and anxieties women face as objects of the gaze.
Artist Kate Petley's abstract paintings operate at the intersection of digital and analog image making techniques.
Jenny Fine's photographs and performances harness the pathos of post-mortem photography to facilitate the autobiographical narrative of her grandmother's death.
Photographer Shannon Crider deconstructs televisual representations of women, analyzing the psychogenic spaces between female characters.
Ancient and Renaissance Italian Grotesque painting and Surrealism provide the inspiration for artist Ellen Wetmore's investigation of the politics of visual representation, expressed in drawings and video.
Light and sound artist Katherine Bennett encodes darkened exhibition spaces with networked systems which respond to the presence of the inhabitant.
The interdisciplinary multimedia art of Melissa Vogley Woods reframes masculine traditions of abstraction within the explicit and intimate contexts of fetishism and desire.
Fiber artist Juliet Martin recasts the iconography of the "evil eye" as the subject of the male gaze, creating sensual woven forms in the SAORI tradition directing the viewer's eye toward erogenous zones.
The meticulously rendered graphite abstractions of Christine Weir assume a distanced, bird's-eye view of the landscape, offering images for meditation on humanity's place on Earth and in the universe.
Painter Ema Sintamarian formulates vibrant abstractions synthesizing modernist avant-garde aesthetics with personal narratives of dislocation and place making.
The One Breath, One Line paintings by artist Theresa Antonellis illustrate the artist's personal experience of loss, and are inspired by meditation and immersion in the process of mark making.
The art of Vita Eruhimovitz imagines a future in which the digital, human, and machine worlds converge, creating an ambivalent portrait of a society faced with environmental and ecological devastation.
The participatory sound sculptures of Margaret Noble immerse viewers in layered experiences of communication, memory, tactility, and confrontation with one's own boundaries and identity.
Textile and media artist Lesli Robertson collects and archives the traces and fragments of her creative labors, allowing the objective properties of her materials to expound upon personal and collective experiences.
Painter Ann Resnick confronts her own mortality by constructing layered, cut-paper abstractions of natural forms as meditations on loss and the passage of time.
The tactile, patterned, and intimately scaled reliefs of artist Kim Matthews lead the viewer toward meditative introspection.
The abstract paintings of Michelle Mackey integrate textured surfaces and thin skeins of paint to suggest repressed or forgotten histories of times and places.
The vibrant abstract oil paintings of Linda Price-Sneddon deploy a modernist visual vocabulary to explore our deeply subjective psychic relationship to the natural world.
The diverse multimedia practice of artist and activist Patrick Hebert advocates the reconsideration of persistent myths underpinning Western cultural conceptions of the natural world.
Los Angeles painter Kelly Brumfield-Woods explores the optical and semantic potential of glitter and faux fur to make a distinctly feminine contribution to the history of California hard-edge abstraction.
Michael Blair's abstract paintings assert the ontology of the canvas as an independent object and image with a life of its own.
The photorealist oil paintings of Christopher Burk express the ever present tension in modern life between place and elsewhere, the new and the obsolete, isolation and connectedness.
The spare and delicate abstract paintings of David Willburn combine traditional methods with craft techniques to challenge persistent modernist assumptions about authorship and the status of the art object.
Nancy Baker Cahill's abstract drawings respond to the psychological and somatic effects of trauma, charting dislocated, dismembered forms across gridded visual spaces.
The whimsical, meticulously composed oil paintings of Kelsey Anne Heimerman present the intimate and quotidian facets of urban experience on a monumental scale.
The figurative paintings of Zach Eichelberger restore humanism to contemporary art by validating the significance of isolation and connection to inner experience.
The abstract paintings of Danielle Kimzey merge found gestures and patterns to create a narrative where color and line expound upon personal and cultural experience.
Self-taught artist Julia Schwartz regards her painting as a rigorous daily praxis, working in the moment to explore personal symbols and collective traumas, painting on canvas or found objects.
Israeli-born artist and School of Visual Arts alumna Bat-Ami Rivlin confronts embodiment through sculptures, videos, and drawings in which the organic, industrial, and technological merge to create uncanny hybrid forms.
Integrating diverse media including video, sound, film and text, the video art of Toby Kaufmann-Buhler broadly considers the relationships between image, sound, and space, ranging from the everyday and mundane to the specific and personal.
The surreal assemblage sculptures of Dwora Fried express the artist's feelings of dislocation and isolation growing up in postwar Vienna as a child of Holocaust survivors.
The sculptural installations of artist Bernardo Vallarino reaffirm the value of human life through insightful critiques of the slippage between political rhetoric and military action in times of armed conflict.
The improvisational abstract paintings of Luke Ahern confront issues of race and inequality in America through a layering of historical documents and familiar contemporary iconography.
Artist Rachael Edwards investigates the potential of contemporary painting to convey harsh social realities, creating large canvases blending pop, realist, street art, and old master influences.
The video, sculpture, and installation art of Esmeralda Kosmatopoulos examine the multifaceted ways in which technology mediates human communication and intimacy.
The wax and readymade sculptures of Thomas Flynn II confront ontology through humanity's relationship to objects both decorative and functional, furthering art historical discourses of the avant-garde.
The abstract paintings of Emma Balder combine traditional painted canvas with found textiles and craft techniques, echoing the organic forms of the natural world, as well as private and collective histories of place.
Artist Jacob Mitchell creates digitally manipulated enantiomorphic landscape photographs, evoking surreal dream worlds and questioning the constructed nature of human consciousness.
Painter and clinical psychologist Anannya Chowdhury challenges modern Western image-making practices in her vibrant abstractions incorporating ancient Indian iconography, cooking spices, and a meditative process.
The abstract paintings of artist James Behan bear witness to the continued relevance of the modernist formal exploration of materials and processes.
Shona Macdonald documents the traces of human presence within the New England landscape through pathos-laden silverpoint drawings expressing a mood of loss and dislocation.
The layered abstract prints of Jessie Barnes illuminate the shadowy unacknowledged histories of child exploitation in her native Florida.
Artist Devra Freelander creates sculptures that exist at the intersection of geology and technology, merging the sublimity of threatened polar landscapes with the palette of digital environments.
Casting a critical eye toward the legacy of modernist painting and its contemporary iterations, artist Liz Trosper questions the liberatory potential of the discipline, punning its visual tropes and deconstructing its discriminatory attitudes toward women.
Artist Dan Fenstermacher creates narrative portrait photography through intimate collaborations with his sitters, raising awareness about the stigma and struggles of mental illness, and advocating a model of art that embraces empathy and understanding.
Multidisciplinary artist Alison Jardine explores the urban landscape, harvesting the cast-off remnants of consumer culture to create concrete relief sculptures blending the organic and the geometric.
Video and performance artist Andy Davis deploys "Green Screen" technology as a metaphor for the rupture between real, lived experiences of the landscape and their filmic representations in the Anthropocene epoch.
The sculptures, videos, and performances of artist Laura Garcia-Penn transgress the boundaries of identity imposed by hegemonic culture, delineating new territories for hybridity and belonging.
New genres artist Julie Libersat invites participants in her immersive installations to reconsider the manner in which technology shapes our phenomenology of space and urban environments.
Materials and forms merge with the iconography of artist Kahlil Irving's multi-cultural heritage to create ceramic sculptures imbued with hybrid identities.
The paintings and public projects of artist Scott Gleeson advocate a renewed link between the visual arts and social progress characteristic of Utopian avant-garde movements of the 20th century.
Las Manos Negras is a public art project by Scott Gleeson and Dane Larsen empowering migrant day laborers in East Dallas to speak out about wage theft and workplace injustice.
The Paper Doll Transmissions interrogate the continued social significance of fashion print media on gender identity formation in the digital age.