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Artwork for Interviews by Brainard Carey
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Interviews by Brainard Carey

Brainard Carey

Lives of the most Excellent Artists, Architects, Curators, Critics, Theorists Poets and more, like Vasari’s book updated. (Interviews with over 1200 artists and others about practice and lifestyle from Yale University radio WYBCX)

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  • English

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  • Friday · 20 min

    Yu-Wen WU

    Yu-Wen Wu has exhibited at institutions such as the Smithsonian National Museum of American History, Washington D.C.; Acropolis Museum, Athens, Greece; Center for Border Studies, Cucuta, Colombia; the Institute of Contemporary Art Boston, Boston, MA; the Isabella Stewart Gardner Museum, Boston, MA; SITE Santa Fe, Santa Fe, NM; Perlman Museum at Carleton College, Northfield, MN; Weisman Art Museum, Minneapolis, MN; and Rose Art Museum, Waltham, MA. She was the 2024 Artist in Residence at the Isabella Stewart Gardner Museum, and her work is held in public collections including the Harvard Art Museums, Cambridge, MA; the Amon Carter Museum of American Art, Fort Worth, TX; the Haslla Museum of Art, Gangneung, Korea; the Princeton Art Museum, Princeton, NJ; and the Davis Museum of Art, Wellesley, MA; among others. Yu-Wen Wu, Artifact XIV, 2026, gilded stone on wooden base, 11.5 x 6.5 x 5.5 in; 29.2 x 16.5 x 14 cm Yu-Wen Wu, Artifact XI, 2026, ceramic, concrete, and porcelain on wooden base, 12 x 5.5 x 5 in; 30.5 x 14 x 12.7 cm Yu-Wen Wu, Accumulation of Dreams (Flight II) [detail], 2026, graphite, gold ink, and 18 carat gold leaf on Arches paper, 34 x 59 in; 86.4 x 149.9 cm, framed

  • Thursday · 20 min

    Julian MacMillan

    Julian MacMillan (b. 1992) lives and works in New York. Working across painting, printmaking and sculpture he creates works that resemble mythical landscapes, mysterious figurations, and funerary objects. Through his multidisciplinary practice, which also spans carpentry and metalworking, MacMillan is able to combine and compress these genres, and make images that are both sensitive and other-worldly. Born and raised in Washington DC, MacMillan studied art at Dartmouth College prior to receiving his MFA in painting at Boston University. Recent exhibitions include Left Tower at Atlantic Mills (Providence, RI), Do It Again at East Manning Projects (Providence, RI), The View From Mars at Gallery 263 (Cambridge, MA) and Tell The Devil I’m Coming As Fast As I Can at Outlet Manhattan, New York, NY. Surface Tension, 2025 oil on canvas 68 x 52 inches, 173 x 132 cm Regretful Decoy, 2026 wood, glue, paint, steel 4 x 14 x 12 inches, 10 x 36 x 30 cm Tomb Painting (Diver), 2025 oil, charcoal, and pastel rubbing on canvas 40 x 30 inches, 102 x 76 cm

  • Thursday · 27 min

    Maia Cruz Palileo

    Maia Cruz Palileo Portrait of the artist by Mary Inhea Kang (b. 1979, Chicago) creates paintings, works on paper, installations, and sculptures that honor familial archives and imagined contemporary realities. Beginning from a space of personal inquiry around their family’s migration from the Philippines to America, Palileo quickly uncovered the immense connective points between individual histories and broader global systems, like colonization, displacement, assimilation, and the Philippine–American War. The artist’s research into overlapping historical timelines, paired with the transmutational effects of memory, provides a framework for their color-rich compositions. This overlapping is made physical through the layering of oil paint, which—even in instances where one layer is concealed by another—permanently maintains its material presence on the canvas, creating its own recorded history. While painting has been at the center of the artist’s practice in recent years, Palileo utilizes their background as a sculptor to incorporate hands-on processes, from mixing their own paints, to making cardstock cutouts of drawings, and incorporating collage techniques to create preparatory sketches. By obscuring horizon lines and vanishing points, their paintings emphasize the densely varied landscapes—mountains, forests, bodies of water—present in the Philippines, while simultaneously foregrounding the figures represented in these archival materials and imbuing them with care, dignity, and presence of spirit that is often flattened in a photographic archive. For Palileo, these parallel modes of research open up narrative possibilities and account for some of the somatic information that gets lost to time and distance, filling in the gaps that emerge when people and families migrate outside of their ancestral land. Maia Cruz Palileo Once Again There Was No Time, 2026 oil on linen 80 x 83 inches (203.2 x 210.8 cm) Photo: Dario Lasagni. Courtesy of the artist and David Kordansky Gallery Maia Cruz Palileo Ulit Ulit (Again and Again), 2026 oil on linen 77 x 98 x 1 1/2 inches (195.6 x 248.9 x 3.8 cm) Photo: Christopher Stach. Courtesy of the artist and David Kordansky Gallery Maia Cruz Palileo Makiling The Restless Mountain, 2026 oil on linen 82 x 107 x 1 1/2 inches (208.3 x 271.8 x 3.8 cm) Photo: Christopher Stach Courtesy of the artist and David Kordansky Gallery

  • August 18 · 21 min

    Michael Morgan

    Studio portrait, Cornell University, 2025. Photo: Yun Hsiang Wang Michael Morgan (b. 1992, Syosset, Long Island) is an artist and curator whose work spans painting, sculpture, collage, and assemblage. Raised in a conservative suburb of Long Island, Morgan’s early experiences navigating his sexuality within a community at odds with his identity profoundly shaped his artistic voice. Exploring identity, loss, LGBTQ history, environmental issues, and societal division, his practice often draws attention to overlooked histories and underrepresented voices, including a project honoring Christine Jorgensen, the pioneering transgender figure who grew up in his hometown. Morgan earned his B.A. in Environmental Sciences from Northwestern University in 2014. Following the passing of his father, he shifted his focus from a legal career toward art and art education. He went on to graduate from Columbia University with a second bachelor’s degree in visual arts. While at Columbia, he was also a graphic designer at the Columbia Center on Sustainable Investment, a finalist for the 2020 Elie Wiesel Prize in Ethics for his writings on environmental theory and art, and inducted into the academic honor society, Phi Beta Kappa. From 2024 – 2026, Morgan pursued his Master of Fine Arts in Creative Visual Arts at Cornell University. He curated Magnum O-Pspsps at Cornell University, a large-scale exhibition featuring over 40 artists that received coverage in Hyperallergic and Art Spiel. Morgan’s research has also been supported by a grant from the Cornell Council for the Arts. Morgan has exhibited work at Sotheby’s, the Rema Hort Mann Foundation, Columbia University, Cornell University, Roberson Museum, the Long Beach Island Foundation of the Arts and Sciences, Ely Center of Contemporary Art, and Ortega y Gasset Projects. He is the curator of Deus Ex Bark-ina at the Ely Center of Contemporary Art and will be an artist-in-residence at the Wassaic Project in fall 2026. Michael Morgan, If a Tree Falls, Oil on canvas, 2024, 30 by 40 inches, Image Courtesy of Artist Kati Gegenheimer, Mars at the Door, Oil on linen, 24 by 36 inches, 2024, Image Courtesy of Artist Michael Ashkin, Dog of War, Acrylic and charcoal on paper, 1990, Image Courtesy of Artist Emilie Louise Gossiaux, True Love Will Find You in the End, Drawing, 23 by 17.4 inches, 2021, Image Courtesy of Artist

  • August 7 · 22 min

    Jimena Velarde-Alvarez

    Portrait of Jimena Velarde-Alvarez in her studio, 2026, Portrait by Silver Mikiver Jimena Velarde-Alvarez (b. 2001, Lima, Peru) is a Peruvian artist based in New York. She received her BFA in Painting from the Rhode Island School of Design and currently lives and works in Brooklyn, NY. Emerging from attention—to and over time—Velarde-Alvarez’s work develops through a process of accumulation and return. Working primarily across painting, drawing, and sculpture, she approaches image-making as a practice of sustained attention, returning to an image as it gradually emerges and evolves. Through repeated encounters, her work follows the echoes of time as they surface and recede. In her paintings, carefully considered compositions and an atmosphere of restraint allow light, shadow, and architecture to emerge in quiet relation to one another. Spacious interiors, recurring windows, doorways, and thresholds create spaces where atmosphere becomes an active presence within the image. Through translucent figures, shadows, and layered surfaces, Velarde-Alvarez traces the subtle ways time gradually reveals the contours of things. Across painting and writing, layering becomes both material and metaphor. The accumulation of paint and language mirrors the ways memory, attention, and time are sedimented within the self: how the past accumulates and is continually rewritten, and how these layers can only be accessed through stillness, yet never be fully recovered. Parallel to her painting practice, Velarde-Alvarez’s writing opens another point of entry into the work. Through poetry, diary fragments, and text-based pieces, language serves as both companion and counterpart—a space for reflection and self-examination that deepens and expands the questions posed by the paintings rather than explaining them. Deeply rooted in personal experience, Velarde-Alvarez’s practice continues to evolve alongside her, unfolding through and remaining open to the questions that emerge over time. Velarde-Alvarez’s work has been exhibited in the United States and Peru. She is currently presenting her first solo exhibition, La sombra del tiempo, at Margot Samel, New York. Jimena Velarde-Alvarez Autopsia I, 2026 Graphite and dried pedals on board 13 x 15 in | 33 x 38.1 cm (framed) | 7 1/2 x 9 1/2 in | 19.1 x 24.1 cm (unframed) Image courtesy of the artist and Margot Samel, New York. Photo by Matthew Sherman. Jimena Velarde-Alvarez El peso de las cosas al caer, 2026 Oil on canvas 92 x 68 in | 233.7 x 172.7 cm. Image courtesy of the artist and Margot Samel, New York. Photo by Matthew Sherman. Jimena Velarde-Alvarez Puente, 2026 Oil on canvas 38 x 30 in | 96.5 x 76.2 cm. Image courtesy of the artist and Margot Samel, New York. Photo by Matthew Sherman. Jimena Velarde-Alvarez Adentro, 2026 Walnut, found keyhole, graphite, paper, light 10 x 6 1/2 x 6 1/2 in | 25.4 x 16.5 x 16.5 cm. Image courtesy of the artist and Margot Samel, New York. Photo by Matthew Sherman.

  • July 29 · 23 min

    Meena Hasan

    Meena Hasan (born 1987, NYC) received her B.A. from Oberlin College in 2009 and her MFA from Yale School of Art in 2013, where she won the Carol Schlosberg Memorial Prize for Painting. In 2010, she was awarded the Terna Prize Affiliated Fellowship at the American Academy in Rome and in 2025 she was an artist-in-residence in the Winter TNT Residency hosted by Transmitter and Tiger Strike Asteroid Galleries in NYC. She has participated in group exhibitions at the Kristen Lorello Gallery, NYC, Klaus von Nichtssagend Gallery, NYC, Center for Book Arts, NYC, The Stedelijk Museum, Den Bosch, The Netherlands, Deitch Projects, NYC, Nathalie Karg Gallery, New York, NY, the 2022 New England Triennial at the deCordova Sculpture Park and Museum and Fruitlands Museum and at BRIC Arts and Media in Downtown Brooklyn in Spring of 2023 among others. Recent two-person and solo exhibitions have been shown at The Old Stone House of Brooklyn, NY, Main Window, Dumbo with Deanna Evans Projects, NYC, and Stowaway Gallery, Los Angeles, CA all in 2025. Meena has taught Painting at Rutgers University – Newark, Pratt Institute’s Painting MFA program, the School of Visual Arts at Boston University and Studio in a School, NYC. She is currently the Graduate Program Director and Associate Professor in Painting at RISD, Providence and lives and works in Brooklyn, NY. Meena Hasan, jaali 1 (after matisse’s seated odalisque with haiti textile, 1926) acrylic, Flashe, Okawara paper, Tyvek, image transfer, copper pipe, climbing rope, carabiners, 85 x 40 inches Meena Hasan, jaali 1 (detail, after matisse’s seated odalisque with haiti textile, 1926) acrylic, Flashe, Okawara paper, Tyvek, image transfer, copper pipe, climbing rope, carabiners, 85 x 40 inches Meena Hasan, Terrible Beauty, at Main Window Dumbo, Was On View: June 5 – August 20, 2025, 1 Main Street, Brooklyn, NY Meena Hasan, Terrible Beauty (Detail), at Main Window Dumbo, Was On View: June 5 – August 20, 2025, 1 Main Street, Brooklyn, NY

  • July 28 · 19 min

    Lola Stong-Brett

    Lola Stong-Brett (b. 1996, London, United Kingdom; lives and works in Margate) most recently graduated the Tracey Emin Artist Residency (2024) following studies at the Edinburgh College of Art (2016). Her first solo exhibition, For That, I’ll Always Smile, was presented at Carl Freedman Gallery, Margate in 2025. While her work has been included in numerous group exhibitions across the United Kingdom and in Mexico City, Sometime Somewhere Someone Is Dancing marks Stong-Brett’s debut in the United States. Working at a scale that envelops the body, Stong-Brett’s mark-making is deeply diaristic. Cartoon-like figures emerge from fields of heightened gestural abstraction, recording fluctuating inner states to form an entwined world of direct expression. Across the paintings, figures intertwine, drift apart, cling to one another, or reach beyond each other’s grasp. With great emotional immediacy, the works evoke the complex, shifting choreography of human connection—the experience of holding on and letting go, like witnessing someone you love move beyond you. Within this symbolic setting, Popeye returns from earlier works alongside Bimbo and a newly introduced female figure. Part childhood nostalgia, part reference to tattoo culture, Popeye first entered Stong-Brett’s paintings as an emblem of raw humanity. The artist recalls initially being drawn to the character’s visual language before discovering the significance of Max Fleischer’s early animations, in which Popeye emerged as one of the first distinctly working-class cartoon characters, depicted within commonplace settings in sharp contrast to the polished fantasy worlds of early Disney. Over time and through repeated use, however, Popeye’s original allegorical charge has loosened and expanded. Evolving into a more fluid emotional architecture, the figure retains its cultural and personal history while remaining open enough to be inhabited by multiple identities and relationships—at times forming a stand-in for the artist herself and the people closest to her. Lola Stong-Brett On Stage Where You Once Danced, 2026 Oil on canvas 2 panels, overall: 74 3/4 × 130 inches Lola Stong-Brett Yellow Christ And Raft, 2026 Signed and dated verso Oil on canvas 76 3/4 × 133 7/8 inches (overall) 76 3/4 × 66 15/16 inches (each) Lola Stong-Brett It’s Like I Can Still Feel Your Arms Around Me, When You’re Standing Behind Me, 2026 Signed and dated verso Oil on canvas 70 7/8 × 59 1/16 inches

  • July 22 · 21 min

    Caitlin Keogh

    Caitlin Keogh (b. 1982 in Anchorage, Alaska) lives and works in New York. Her work has recently been included in group shows at Fondation Carmignac, Porquerolles, France, and The Church, Sag Harbor, NY. Keogh has been the subject of solo exhibitions at the Institute of Contemporary Art, Boston, MA; Melas Papadopoulos, Athens, Greece; and MoMA PS1, Long Island City, NY. In 2021, Keogh completed a mural in the city of Holbaek, Denmark in conjunction with Holbaek Art, and in 2019, she participated in Art Basel Parcours, Basel, Switzerland. Her work has also been exhibited at the Berkeley Art Museum and Pacific Film Archive, CA; MoMA Warsaw, Poland; the Whitney Museum of American Art, New York, NY; Künstlerhaus Bremen, Germany; the Costume Institute at the Metropolitan Museum of Art, New York, NY; and the Queens Museum, Flushing Meadows, NY. Her work is represented in the collections of the Institute of Contemporary Art, Boston; the Whitney Museum of American Art, New York; Amorepacific Museum of Art, Seoul; the Rollins Museum of Art, Winter Park, Florida; and the Rhode Island School of Design Museum, Providence. Caitlin Keogh 07.10.25, 2025 Colored pencil on paper mounted on panel 16 3/8 x 11 5/8 x 3/4 in (41.5 x 29.5 x 2 cm) Caitlin Keogh Beige Matrix, Woman With Opera Glasses, 2026 Acrylic on canvas 72 x 96 in (183 x 244 cm) Caitlin Keogh Ultramarine Matrix, La Fornarina, 2026 Acrylic on panel, postcard 23 1/4 x 13 in (59.1 x 33 cm)

  • July 18 · 19 min

    Peter Acheson

    Peter Acheson was born in Washington, DC, in 1954 and received his BFA from Yale University in 1976. An early member of Williamsburg’s art scene in the 1980s, he relocated to upstate New York in the 1990s, where he continues to live and work in Columbia County. His paintings range from textured abstractions to restrained gestures that draw on a wide range of influences, including nineteenth-century French painting, Blinky Palermo, Raoul De Keyser, Bill Jensen, and Forrest Bess, alongside close observation of the landscape surrounding his studio. Acheson’s concern is less with resolving these references than it is to allow them to coexist, permitting his paintings to act as habitats where various traditions and approaches can meet without hierarchy. This carries through to Acheson’s playful way of treating his compositions, leaving them caught between styles, simultaneously structured and chaotic, with direct references and happenstance similarity. His work has been exhibited at Anton Kern Gallery, New York; Steven Harvey Fine Arts, New York; Gordon Robichaux, New York; Brennan & Griffin, New York; Novella Gallery, New York; John Davis Gallery, Hudson, New York; the American Academy of Arts and Letters, New York; Elizabeth Harris Gallery, New York; and Baumgartner Gallery, New York. His work has been discussed in Hyperallergic and The Brooklyn Rail. Peter Acheson Four Levels, 1983 – 1984 Oil on wood 8 7/8 x 11 1/8 inches (22.5 x 28.1 cm) Photography Izzy Leung, Courtesy Anton Kern Gallery Peter Acheson Untitled, 2020 Oil and stick on wood block 2 x 6 1/4 x 1 3/4 inches (5.1 x 15.9 x 4.4 cm) Photography Izzy Leung, Courtesy Anton Kern Gallery Peter Acheson Untitled, 2010-2012 Oil on wood 10 1/4 x 6 3/8 inches (26 x 16.2 cm). Photography Izzy Leung, Courtesy Anton Kern Gallery Peter Acheson Untitled, 2019 Oil on canvas 16 x 20 inches (40.6 x 50.8 cm) Photography Izzy Leung, Courtesy Anton Kern Gallery

  • July 14 · 20 min

    Yuya Saito

    Yuya Saito (b. 1982, Japan) lives and works in Brooklyn, New York. He makes wall-based works and freestanding sculpture in laminated and bent wood, a language he has developed over more than a decade out of the craft of bent-wood furniture-making. Saito’s work has been presented internationally at such institutions and venues as Rockefeller Center, New York; Brooklyn Army Terminal, New York; National Art Center, Tokyo; and Setagaya Art Museum, Tokyo. Public commissions include installations for the Brooklyn Army Terminal, New York (2026) and Art Link at Yokohama Red Brick Warehouse (2022). He is the recipient of the TRiCERA Award and Jury Award at IAG Awards 2021, as well as the Special Jury Award at Independent Tokyo 2020. Yuya Saito, Ground Rules, Installation View Yuya Saito, Ground Rules, Installation View Yuya Saito, Ground Rules, Installation View

  • July 8 · 21 min

    Shaun Leonardo

    Portrait of Shaun Leonardo, 2024. Photo by Argenis Apolinario. Shaun Leonardo (b. 1979, Queens, NY) is a multidisciplinary artist whose work negotiates societal expectations of manhood, namely definitions surrounding Black and brown masculinities, along with its notions of achievement, collective identity, and experience of failure. Leonardo received his MFA from the San Francisco Art Institute and has received support from Creative Capital, Guggenheim Social Practice, Art for Justice, and A Blade of Grass. His work is currently included in the traveling group exhibition Get in the Game: Sports, Art, Culture, open now at the Perez Art Museum Miami. Leonardo’s work has also been featured at the Guggenheim Museum, the Norton Museum of Art, the San Francisco Museum of Modern Art, the Crystal Bridges Museum of American Art, the Queens Museum, the High Line, and the New Museum, and profiled in The New York Times, Artnet News, and CNN. His solo exhibition, The Breath of Empty Space, was presented at MICA, MASS MoCA, and The Bronx Museum, and his first major public art commission, Between Four Freedoms, premiered at Four Freedoms Park Conservancy in 2021. Numerous institutions hold Leonardo’s work in their collections, including the Bowdoin Museum of Art, the JP Morgan Chase Corporate Art Collection, the Los Angeles County Museum of Art, El Museo del Barrio, the Portland Museum of Art, the Shelley and Donald Rubin Foundation, and the Smithsonian National Museum of African American History and Culture. The artist lives and works in Brooklyn, NY. Shaun Leonardo, Self-Portrait Icon (Sculpture), 2007. Marble. 24 x 6 x 24 inches (61 x 15.2 x 61 cm). Courtesy of the artist and Cristin Tierney Gallery, New York. Shaun Leonardo, Self-Portrait Superhero 4 (Sleeping Giant), 2008. Sign enamel on plywood cutout. 48 x 70 x 3/4 inches (121.9 x 177.8 x 1.9 cm). Courtesy of the artist and Cristin Tierney Gallery, New York. Shaun Leonardo, Champ (Mike Tyson), 2014. Charcoal on paper. 76 1/8 x 64 inches (193.4 x 162.6 cm). Courtesy of the artist and Cristin Tierney Gallery, New York.

  • July 1 · 22 min

    Izzy Barber

    Izzy Barber (b. 1990) is originally from Gowanus, Brooklyn, and lives and works in Queens, New York. Barber paints from life: immediacy and physical presence are at the heart of her practice. Working on-site, in public, often at sunset and into the last light of day and night, her highly impressionistic, at times three-dimensional brushwork charges her paintings with the physical and temporal proximity of their making. Barber earned her MFA from the New York Studio School in 2017 and her BA in Studio Arts & Human Rights from Bard College in 2011. Her exhibition Badlands (2026, Pièce Unique, Massimo De Carlo, Paris) follows her solo exhibitions There Is No Time (2024, James Fuentes, Los Angeles), Waiting Game (2023, Studio d’Arte Raffaelli, Trento), Crude Futures (2022), and Maspeth Moon (2021) (both at James Fuentes, New York). Her work has been shown at James Fuentes, New York; Massimo De Carlo, Milan; Galleria Franco Noero, Turin; David Zwirner Platform; the New Orleans Arts Center; and the 2012 Brucennial, among other venues. She is a three-time recipient of the Elizabeth Greenshields Foundation Grant. Publications include Waiting Game (2023) and JFP03: Izzy Barber (2021). Charles Moffett is pleased to present Clay Pigeons, New York-based artist Izzy Barber’s first exhibition with the gallery, organized in collaboration with James Fuentes. In an era defined by speed and digital reproduction, Barber remains committed to observation, material experimentation, and the visceral experience of painting from life. The new body of work includes paintings the artist made during three month-long cross-country road trips taken in 2025 and 2026. Working at the extremities of plein-air painting, Barber placed herself in unfamiliar and, at times, charged environments, allowing direct experience and the inherent limitations of her distinctive practice to shape her work. Her resulting paintings unearth the latent tensions stretching across the empty highways, border walls, and deserts of the United States. Motivated by a relentless drive for exploration, Barber paints with the heightened visual clarity and charged excitement that come from her physical presence with her subject matter. Working on-site in public spaces, she captures compositions swiftly, painting wet-on-wet and infusing her paintings with a luminous quality, often punctuated by vivid flashes of color. Loose, gestural brushwork and a sensitive rendering of light and shadow combine with moments of sharp structure. Barber’s aim is never the precise replication of the scene before her, but rather to create paintings that capture and distill the full sensory experience of a place as she feels it. As 2025 began, Barber recognized a profound sense of disconnection from the country, isolated in New York City and consuming news largely alone while staring into a private screen. Out of a need to physically confront our current national reality, Barber went west. The intimately scaled paintings that emerged embody that process of firsthand observation and, when seen together, hold a range of contradictions and complexities that characterize our era. Clear blue skies in Ajo, Arizona, are pierced by the insistent vertical stripes of the U.S.-Mexico border wall. Quiet nights in the rural towns of Cedarville, California, and Bassett, Nebraska, are placed in juxtaposition with paintings of armed National Guard troops on the streets of Washington, D.C. This exhibition does not provide a simplistic or definitive narrative but instead offers a view of one artist’s unfolding, firsthand, impressionistic record of contemporary American life. Engaging directly with the potent subject of the nation’s immigration system, the paintings in Clay Pigeons expand both backward in time and across geographic locations. Connections emerge between paintings of the historic Japanese internment camp site at Tule Lake, California, the active immigrant detention center in El Paso, Texas, and the immigration court at 26 Federal Plaza in downtown Manhattan. Barber concluded each of her trips by driving back to New York City, at times painting from the passenger seat of a moving vehicle, underscoring the literal ties that connect all of these places. Izzy Barber, Ajo, AZ (2025), photo: Max Yawney Izzy Barber, Coronado National Park, US/Mexico (2026) photo: Max Yawney Izzy Barber, Interstate (2026) photo: Max Yawney

  • June 6 · 21 min

    Nick Fusaro

    Nick Fusaro (b. 1989) is based in Brooklyn, NY. He received his MFA in Sculpture from Hunter College in 2022 and his BFA in Sculpture from Pratt Institute in 2012. His sculptural practice combines humble materials, collections, and iteration to emphasize the effects of memory on lived experience. Fusaro also studied at the Gerrit Rietveld Academie in 2011 and is the founder of Three Four Three Four, an artist-run gallery in New York. He has shown at Gordon Robichaux (Manhattan, NY ), Parent Company Gallery (Brooklyn, NY), Marwan (Amsterdam, Netherlands), Jupiter Woods (London, UK), Fisher Parrish (Brooklyn, NY), Strobe Gallery (New York, NY) and Long Story Short (New York, NY). Fusaro has made a habit of drafting new artworks behind a character or archetype when ideating. In this instance, as the exhibition’s title suggests, he has poised himself as The Foreman. The Foreman is an overseer. He doesn’t design or create plans, he simply executes them. He is the figure at the helm of process, navigating projects from renderings to realities. Imagined in the shape of a clown, the character of The Foreman is featured prominently in a panel at the gallery’s back wall, overseeing the exhibition like a construction site. His authority is subtly undercut by his choice of dress, and the delicate safety pin that holds him to the wooden panel. His intention, ability, and capacity are in question, but nevertheless, for better or for worse, it’s The Foreman who is in charge. Foreman, 2026, 48″ x 48″ (122cm x 122cm) Aluminum Roofing Paint, Felt, Nickel Tacks, Graphite on paper, safety pin, on panel A Dozen Plus Three, 2026, 23.5″ x 16″ x 4″ ( 60cm x 40cm x 10cm ) Silk-velvet, poplar, aluminum foil The One Through the Clumsy Hole, 2026, 32″ x 22″ x 18.5″ ( 81cm x 56cm x 47cm ) Poplar, Pine, Plywood, Roofing Nails, Aluminum Roofing Paint, Chestnuts, Railroad Ties, Wire, Custom Plywood Pedestal Nodules (N_5), 2026, 19″ x 8″ x 8″ ( 48cm x 20cm x 20cm ) Polyester Resin, Epoxy Resin, Insulation Foam

  • June 3 · 23 min

    Adelisa Selimbašić

    photo by Karla Del Orbe. Adelisa Selimbašić (b. 1996) is an Italian-Bosnian artist living and working in New York. In 2021, she graduated from the Venice Academy of Fine Arts with a Master’s in Painting. Her pictorial research aims to imagine a world in which the sense of inadequacy does not exist, opening to a nonconventional perception of the body. Through scenes drawn from everyday life and an essential figurative approach, the artist reinterprets the idea of femininity, focusing on the complexities of human experience, desire, tension, and the need for physical contact. Her practice is based on a dense and almost tactile painterly presence, achieved through careful manipulation of color: working with a contained palette, Selimbašić mixes pigments directly on the canvas, allowing the tones to meet and transform, pushing toward a plasticity that challenges traditional representations of the female body. In recent years, she has presented numerous solo exhibitions in institutional and international gallery contexts. Among her most recent solo exhibitions: When we become each other, curated by Rebis Rebis (Delfina Pattacini and Gaddo Amunni), Lubov Gallery, New York (2026); The Dancefloor, curated by Michele Spinelli, z2o Sara Zanin, Rome (2026); For My Eyes Only, Manifesto Gallery of Contemporary Art, Sarajevo (2025); The Space in Between, curated by Delfina Pattacini, Tommaso Calabro Gallery, Milan (2025); Dust Bunny, curated by Michele Spinelli, z2o Project, Rome (2024); Why Is It So Hard to Declare Yourself?, Galleria Ipercubo, Milan (2023); In parallel, Selimbašić has participated in numerous group exhibitions in Italy and abroad. installation view Where we become each other, Lubov gallery, curated by Rebis Rebis (Delfina Pattacini and Gaddo Amunni), New York Tanisha, 2026, oil in canvas, 14x 16 inches Bay,2026, oil in canvas, 14×16 inches

  • May 22 · 19 min

    Giulio Noccesi

    Giulio Noccesi by Ethan James Green Giulio Noccesi (b. 1996, Florence, Italy) is a painter based in Turin, Italy. He has participated in group exhibitions at Minor Gallery, Copenhagen, DK (2025); Monti8, Rome, IT (2024); Candysnake Gallery, Milan, IT (2024); and D Contemporary Gallery, London, UK (2023). He received a degree in Printmaking from Fine Arts Academy, Florence in 2018. “In Maurilia, the traveler is invited to visit the city and, at the same time, to examine some old postcards that show it as it used to be: the same identical square with a hen in the place of the bus station, a bandstand in place of the overpass, two young ladies with white parasols in the place of the munitions factory. If the traveler does not wish to disappoint the inhabitants, he must praise the postcard city and prefer it to the present one…” – Italo Calvino In Italo Calvino’s novel Invisible Cities, Marco Polo recounts his explorations along the Silk Road to the emperor Kublai Khan, each chapter detailing its own city. Calvino’s non-linear, combinatory prose asks us to think beyond the borders that separate cities, presenting metaphysical themes that are specific to each place described, yet which permeate the text as a whole. We are implored to consider the relationship between history and memory; above all, we must consider how ideas take shape across chapters to form a composite aesthetic experience. The paintings on view in Fermo per sempre make a similar demand of the viewer. Like Calvino’s postmodern cartography, Giulio Noccesi’s paintings construct a subjective map of his native Italy, an intricate network of isolated yet interrelated scenes. Each painting is simultaneously autonomous and contingent, an intimate, self-contained reflection of his life and a reference to the Italian art historical canon that animates his compositions. Giulio Noccesi, La tua ex con un altro (Your ex with someone else), 2024. Oil on canvas, 19.75 x 19.75 in (50 x 50 cm). © Giulio Noccesi; Courtesy of New York Life Gallery, NY. Giulio Noccesi, Paesaggio di campagna (Countryside landscape), 2025. Oil on canvas, 15.75 x 11.75 in (40 x 30 cm). © Giulio Noccesi; Courtesy of New York Life Gallery, NY. Giulio Noccesi, Renault Scenic, 2024. Oil on canvas, 23.5 x 23.5 in (60 x 60 cm). © Giulio Noccesi; Courtesy of New York Life Gallery, NY.

  • May 20 · 25 min

    Johanna Calle

    Johanna Calle was born in 1965 in Bogotá, where she lives and works. Following her studies in the visual arts at the Talleres Artísticos of the Universidad de los Andes in Bogotá from 1984 to 1989, Calle received a British Council scholarship in 1992 to earn a master’s degree at the Chelsea College of Art and Design in London. Her work draws on a range of archival and deciphering techniques, often associated with everyday life, to address the violence of recent Colombian history and evoke the victims of forced disappearances. Johanna Calle has been honored with numerous prestigious awards, including major prizes and honorary recognitions in Colombian art salons (1996–2003), a fellowship at the Cité Internationale des Arts in Paris (2001), and international grants and residencies in Europe and the United States (2008–2013). She has been included in international biennials such as the Sydney Biennale (2016), the São Paulo Biennial (2014), SITE Santa Fe (2014), and the Istanbul Biennial (2014). Selected exhibitions include Arquitecturas, Bienvenu Steinberg & C, New York (2026); Museum of Contemporary Art Denver (2024); Hayward Gallery (2020); Josée Bienvenu Gallery, New York (2019); La Maison de l’Amérique latine, Paris (2017); Museum of Modern Art (2017); Silentes 1985–2015, Museo de Arte del Banco de la República, Bogotá, traveled to Museum Amparo, Puebla, Mexico (2015); Fondation Cartier pour l’art contemporain (2013); the Drawing Room, London (2013); Wattis Institute for Contemporary Arts in San Francisco (2012); Museum of Latin American Art in Long Beach, California (2012); Sàn Art in Ho Chi Minh City, Vietnam (2012); and San Francisco Museum of Modern Art (2011). Her work is included in institutional collections such as the Museum of Modern Art; Tate Modern; San Francisco Museum of Modern Art; Museum of Modern Art, Buenos Aires; Fondation Cartier pour l’art contemporain; Museum of Fine Arts, Houston; Museum of Latin American Art, Long Beach; Museum of Bogotá; National Museum of Colombia, Bogotá; National Bank of the Republic of Colombia, Bogotá; Cisneros Fontanals Art Foundation, Miami; Sur Collection, San Francisco; Comfenalco Antioquia, Medellín; Enersis Collection, Santiago; and Teorética Museum, San José. Johanna Calle Arquitecturas, 2026 Signed and dated on the back Nail polish on chromogenic print (anonymous photograph) Framed in Optium Museum Acrylic 3.5 x 3.5 in (image) Johanna Calle Arquitecturas, 2026 Signed and dated on the back Nail polish on chromogenic print (anonymous photograph) Framed in Optium Museum Acrylic 3.5 x 3.5 in (image) Johanna Calle Abstractas, 2026 Signed and dated on the back Erased found chromogenic print (anonymous photograph) Framed in Optium Museum Acrylic 3.5 x 6 in (image)

  • May 20 · 23 min

    Anna Johnson

    Anna Johnson studied English, Australian literature and Fine Arts at the University of Sydney graduating with a bachelor of arts in 1987. The following year she was appointed Art Editor of Interior Design magazine. Since then, Johnson has been a professional art writer and author contributing to Vogue (UK and Aus), Vanity Fair, Conde Nast Traveller, The Sydney Morning Herald and as a senior arts writer for Artist Profile Magazine. She is the author of several monographs and has been a critic for both television and radio. Holding many detailed artist interviews, provided an immersion in contemporary art three decades deeper than a conventional art school education. Raised in New York in the early 70s, time in her father’s loft studio on the Bowery, as well as the artist enclaves at Max’s Kansas City and Fanelli’s Bar in Soho had a formative impact. Making the gallery rounds each Saturday as a small family, laid the foundations of a lexicon steeped in both Colour Field and Lyrical abstraction. Establishing her own full time studio practice in 2017, three solo shows in Sydney followed, including a museum show at the NERA Museum in Australia. Johnson’s distinct griffe strikes a different chord to the dominant animism of Australian painting. Seven visits to Japan over the last decade, inspired her austere and symbolic use of space. The subtle rituals and expansive space within Heian screens, and calligraphy have been fused to a hyper-sensual use of colour. Her consuming project ongoing are the ‘Nymphaea Nymphaea’ paintings, works that speak directly to the expansive and progressively minimal paintings of the late and post-Impressionists. As her works grow larger and more complex the scope of creating an entire environment without spatial periphery is approached. Anna Johnson, Beau Rivage, 2026, Oil stick and acrylic on linen, 78 3/4 x 72 7/8 in | 200 x 185 cm © Anna Johnson. Photo: Morgan Waltz / Off Photography Anna Johnson, Nuage et Vide, 2026, Acrylic on linen, 78 3/4 x 70 7/8 in | 200 x 180 cm © Anna Johnson Photo: Morgan Waltz / Off Photography Anna Johnson, Tohji, 2025, Oil stick and acrylic on linen, 60 1/4 x 54 in | 153 x 137 cm © Anna Johnson. Photo: Morgan Waltz / Off Photography

  • May 13 · 19 min

    Bat-Ami Rivlin

    Bat-Ami Rivlin is a New York-based sculptor working primarily in found and surplus objects. Notable exhibitions include Boat, Plastic, Tire, L21, Spain (2023-24); Simple Sabotage, Kunsthal NORD, Denmark (2023-24); The Socrates Annual, Socrates Sculpture Park, NY (2023-24); COLAPSO, Tenerife Espacio de las Artes, Spain (2022); EN-SITIO, Museo de la Ciudad de Querétaro, Mexico (2022); whereabouts, Hessel Museum of Art, CCS Bard, NY (2022); No Can Do, M23, NY (2021); and more. Rivlin’s work was featured in publications such as Artforum, BOMB, Brooklyn Rail, Flash-Art, Emergent magazine, Artnet, PIN-UP, Office Magazine, The Paris Review, Public Parking, and more. Rivlin holds an MFA from Columbia University. She is the recipient of the Monira Foundation Residency, Sculpture Space Residency, Socrates Sculpture Park Fellowship, A.I.R. Gallery Fellowship, among others. Bat-Ami Rivlin, Untitled (radiators, zip ties), installation view at Management, New York, 2026. Courtesy of the artist and Management. Photo by Inna Svyatsky. Bat-Ami Rivlin, Untitled (radiators, zip ties), installation view at Management, New York, 2026. Courtesy of the artist and Management. Photo by Inna Svyatsky. Bat-Ami Rivlin, Untitled (radiators, zip ties), installation view at Management, New York, 2026. Courtesy of the artist and Management. Photo by Inna Svyatsky.

  • May 13 · 23 min

    Jessee Egner

    Jesse Egner is a queer artist and educator based in Brooklyn, New York. Often taking the form of playful and absurd photographic portraiture of himself and other individuals, his work explores themes such as queerness, body image, relationships, collaboration, and humor. He received his BA from Millersville University of Pennsylvania in 2016 and his MFA from Parsons School of Design in 2020. His work is included in the permanent collection at the Kiyosato Museum of Photographic Arts, and has been exhibited and published globally. He is a NYSCA/NYFA Artist Fellowship recipient and has participated in residencies at the Santa Fe Art Institute in Santa Fe, New Mexico; Bunnell Street Arts Center in Homer, Alaska; Studio Vortex in Arles, France; Yaddo in Saratoga Springs, New York; the Vermont Studio Center in Johnson, Vermont; TILT Institute in Philadelphia, Pennsylvania; and the Saltonstall Foundation in Ithaca, New York. His solo exhibition, “I Want to See How Things Play Out,” which was previously exhibited at Blue Sky Gallery in Portland, Oregon in June 2025, will be opening at Flow Space Gallery in New York City on June 11th. Mirrored Hold, 2020, 24 x 30 inches, archival pigment print Lite Brite, 2021, 37.5 x 30 inches, archival pigment print OK Hooker (Hooker, Oklahoma), 2022, 30 x 24 inches, archival pigment print

  • May 5 · 19 min

    Nicola Tyson

    Nicola Tyson was born in 1960 in London, England. She attended Chelsea School of Art, St. Martins School of Art and Central/St. Martins School of Art in London, and currently lives and works in New York. Primarily known as a painter, Tyson has also worked with photography, film, performance and the written word, in addition to running Trial BALLOON, an NYC project space in the early 90s. In 2023, Nicola Tyson: Selected Paintings 1993-2022, the most comprehensive overview of the artist’s work to date, was published. In 2011, Tyson released the limited-edition book Dead Letter Men, which is a collection of satirical letters addressing famous male artists. Her unique archive of color photos documenting the London club scene of the late 1970’s — Bowie Nights at Billy’s Club — was the subject of shows, both in New York and London, in 2012 and 2013. In 2025, Tyson was commissioned for Hayward Gallery’s public project banner. Tyson has mounted solo exhibitions at Petzel Gallery, New York (2026, 2025, 2024, 2020, 2016); Nino Mier Gallery, Los Angeles (2024); Nino Mier Gallery, Brussels (2022); Sadie Coles HQ, London (2021, 2017, 2013); The Contemporary Art Museum St. Louis, St. Louis (2017); The Drawing Room, London (2017); Nathalia Obadia, Paris (2015); Susanne Vielmetter Gallery, Los Angeles (2014); White Columns, New York (2012), among others. She has participated in group exhibitions at the Design Museum, London (2025); The Modern Art Museum of Forth Worth, Fort Worth (2022); Art Institute of Chicago, Chicago (2021); Drawing Room, London (2021, 2018); Drawing Center, New York (2020); Whitechapel Gallery, London (2018); Cleveland Institute of Art, Cleveland (2016); Wexner Center for the Arts (2013); and Museum of Modern Art, New York (2012); among others. Tyson’s work is included in major collections such as Museum of Modern Art, New York; Whitney Museum of Art, New York; Solomon R. Guggenheim Museum, New York; Philadelphia Museum of Art, Philadelphia; Museum of Contemporary Art, Chicago; UCLA Hammer Museum, Los Angeles; San Francisco Museum of Modern Art, San Francisco; Walker Art Center, Minneapolis; Corcoran Gallery of Art, Washington, D.C.; and Tate Modern, London. Nicola Tyson, Random Attachments, 2026 Charcoal, conte, pastel on sanded paper 50 x 38 in 127 x 96.5 cm. Photo: Meg Symanow Courtesy of the artist and Petzel, New York. Nicola Tyson Nature Nurture, 2026 Charcoal, conte, pastel on sanded paper 50 x 38 in 127 x 96.5 cm. Photo: Meg Symanow Courtesy of the artist and Petzel, New York. Nicola Tyson Motherload, 2026 Charcoal, conte, pastel on sanded paper 50 x 38 in 127 x 96.5 cm. Photo: Meg Symanow Courtesy of the artist and Petzel, New York.

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