Austin Martin White

(b. 1984, Detroit, Michigan)

Austin Martin White holds a BFA from The Cooper Union and an MFA from the Milton Avery Graduate School of the Arts at Bard College. 

Working with a variety of mediums including rubber, acrylic, spray-paint, vinyl, 3m reflective fabric and screen mesh mediums, White creates paintings and works on paper that investigate representations of historical memory, drawing on archival research that addresses issues of identity, race and postcolonialism. 

White’s work has appeared in numerous publications including The New York Times, Impulse, Artforum, Texte zur Kunst, Flash Art, 032c, and The Observer, among others. 

White has been included in group exhibitions at the Southampton Arts Center, New York (2025); Oakland University Art Gallery, Rochester (2025); Jewish Museum, New York (2024). White has had solo exhibitions at Petzel, New York (2025 & 2023); Derek Eller Gallery, New York (2023); and Capitain Petzel, Berlin, Germany (2022). 

Austin Martin White lives and works in Philadelphia, Pennsylvania.

Rachel Eulena Williams

Rachel Eulena Williams is an artist whose work exudes confidence and pleasure. Her painted constructions employ the language of abstract painting, which she transforms through her own approach to material. Finding a balance between painting and sculpture, Williams applies larger swaths of color made from painted canvases that she subsequently cuts up and reconfigures. The collage-like works are tied together with sewing which acts both pictorially and creates marks inside her compositions. Williams also adds ropes of differing sizes and thickness that function like gestural marks. The overall feeling is of solidity and lightness, structure and chance jostling to create waves of energy.

Rachel Williams (b. 1991, Miami) received her BFA from The Cooper Union. Her work has been exhibited at venues such as Xavier Hufkens, Brussels; Ceysson & Benetiere, New York, Saint Etienne & Luxembourg; The Brooklyn Academy of Music, The Journal Gallery, and Turn Gallery, all in New York; Night Gallery, Los Angeles; and Loyal Gallery, Sweden. In 2023 her exhibition “Hair and Body” took place at Dundee Contemporary Arts, her first major solo exhibition in a UK institution. Her work is included in collections such as the Pérez Art Museum, Miami and The Studio Museum in Harlem, New York.

Kristine Woods

Kristine Woods (born in Chicago) works from the premise that affect and intellect are inextricably bound. Current work focuses on large abstract sculptures made with hand-felted wool. Each piece is evidence and explanation. They must be built in order to be considered. Woods starts with the behavior of materials; unregulated and unruly objects installed in structured systems raise questions: How are things held up? What bears the weight? Whose position sees? 

Recent solo exhibitions include Sparkling or Still at Geary, NY, Such Is, curated by Janice Guy at Mbnb, NY. and Regarding & Regardless at Virginia Commonwealth University, Richmond. Woods has exhibited at Canada Gallery, NY; Geary, NY; BRIC, NY; NADA Chicago Invitational, and MUMOK, Vienna, Austria, among other venues. 

Woods is a recipient of a Creative Capital Artists Grant and earned an MFA from the School of the Art Institute of Chicago. She teaches at The Maryland Institute College of Art and lives and works in Brooklyn.

Josephine Halvorson

Josephine Halvorson (she/her) makes art from direct observation, foregrounding the firsthand experience of noticing, describing, and learning from the physical world. She works primarily in painting, but also in sculpture and printmaking. Halvorson received her MFA from Columbia University in 2007, her BFA from The Cooper Union in 2003, and attended Yale Norfolk in 2002. She is the recipient of several international residencies and fellowships, including a US Fulbright to Vienna, Austria; the Harriet Hale Woolley Award at the Fondation des Etats-Unis in Paris, France; the first American pensionnaire at the French Academy in Rome at the Villa Medici; and the John Simon Guggenheim Fellowship. Halvorson's work is represented by Sikkema Malloy Jenkins, NY, and Peter Freeman, Paris. In 2021 she presented a solo exhibition of site responsive work at the Georgia O'Keeffe Museum in Santa Fe, NM, where she was the Museum's first artist in residence. Her work and practice have been written about widely in online and print periodicals such as The Brooklyn Rail, Frieze, ArtForum, and Hyperallergic, and have appeared in compilation books such as Painting Now by Suzanne Hudson, Vitamin P2 edited by Barry Schwabsky, and Prints and Their Makers by Phil Sanders. Halvorson is a subject of Art21's documentary series New York Close Up. Since 2016, Halvorson is Professor of Art and Chair of Graduate Studies in Painting at Boston University. She has also taught at The Skowhegan School of Painting & Sculpture, The Cooper Union, Princeton University, the University of Tennessee Knoxville, Columbia University, and Yale University.

Seth Cameron

Seth Cameron (b. 1982, South Carolina) is a painter, writer, and filmmaker.

Treating painting as a site of provisional meaning, Cameron anchors his practice in the discipline’s resistance to language—its refusal to resolve into the narratives that seek to contain it. Across genres and traditions, he places this resistance in counterpoint with fable, autofiction, and video essay, positioning painting and narrative as mutually resistant forms. In the encounter between these modes, the personal and the political emerge not as separate domains but as a single current: intertwined, contingent, and continually revised.

From 2004 to 2017, Cameron led The Bruce High Quality Foundation, a collective that reimagined institutional critique, collaborative practice, and experimental arts education in the post-9/11 era. The Foundation has been included in Greater New York at MOMA PS1, The Whitney Biennial, and The Sundance Film Festival, and was the subject of a 2013 retrospective at The Brooklyn Museum of Art.

Recent solo exhibitions include The Stranger and A Great Man (both 2026), Entrance Gallery, New York; Storyteller (2024), Seven Sisters Gallery, Houston; and The Tourist (2024), Nina Johnson Gallery, Miami. His work has appeared in major institutional exhibitions through The Bruce High Quality Foundation, including Greater New York at MoMA PS1 (2010), the Whitney Biennial (2010), Dublin Contemporary (2011), the Lyon Biennale (2013), and the Sundance Film Festival (2011). The Foundation was the subject of a retrospective at the Brooklyn Museum in 2013.

Beyond his studio practice, Cameron has played a sustained role in experimental arts education, teaching at The Cooper Union, serving as Critic-in-Residence at MICA’s LeRoy E. Hoffberger School of Painting, directing the Children’s Museum of the Arts (2020–2023), and leading The Bruce High Quality Foundation (2009–2017). He received his BFA from The Cooper Union in 2004.

Nathlie Provosty

Nathlie Provosty (b. 1981) is a visual artist based in New York, primarily working in painting, drawing, and artist books.  The artist uses subtle, highly tactile qualities of oil paint that oscillate visually and conceptually due to the paintings’ multi-referential imagery, physical interaction with light & the environment, erotic inferences, and continuous spatial shifts. In Artforum, Yuki Higashino likened Provosty’s work to the ungaikyō, a demonic folkloric Japanese mirror that bewitches with its reflection and/or revealing deeper truths. Higashino continues, “there is something both exhilarating and unnerving about how viewers’ movements can transform these paintings so drastically . . . as if to underscore this art’s affinity with the enigmatic and its distance from any pure formalism.” Roberta Smith in the New York Times stated, “[Provosty] effectively complicates the perceptual mysteries of Ad Reinhardt’s Black Paintings with her own sense of scale, atmosphere and material punch. This is no mean feat.”

Provosty’s first one-person exhibition in New York opened in 2012 at an experimental artist-run gallery called 1:1, and she has since exhibited nationally and internationally, including a recent presentation with the historical artist Carol Rama at Collezione Ramo in Milan (2024); as well as solo institutional shows at the ICA Milano, Italy (2023) and the Risorgimento Museum in Turin, Italy (2018). Gallery exhibitions include Bortolami in New York (2025), A Palazzo Gallery in Italy (2023), and Gagosian London (2023) in a group exhibition. Works have been exhibited at the San Francisco Museum of Modern Art, CA; the Santa Barbara Museum of Art, CA; Kunsthall Stavanger, Norway; Colby Museum of Art, Maine; and the Washington University Museum, DC, and is currently on view at the Norton Museum in Palm Beach, FL. Works are in the collection of MoMA, SFMoMA, and many other public and private institutions.

Oletha Devane

After receiving her MA, Oletha DeVane taught for over a decade and worked as an administrator for the Maryland Council on the Arts for 13 years, before taking a position in 1993 at the McDonogh School in Owings Mills, where she was Director of the Tuttle Gallery and head of visual arts in the Upper Level. In 2007 she was the recipient of the Rollins/Luetkemeyer Chair for Distinguish Teaching. DeVane started a mosaic in Camp Coq, Haiti with the help of local artisans and students in 2017. 

DeVane has received grants, awards, and fellowships from the Ruby Foundation, Art Matters, the Trawick Prize, and other honors. In addition to her 2016 residency in Abu Dhabi, DeVane has also been an Artist in Residence in Banff, Canada, and in Leece, Italy. DeVane counts among the artistic cohort she has formed over the years: art historian/artist Leslie King Hammond, former graduate dean at MICA, bead and glass artist Joyce J. Scott, poet Charles Fox, as well as a women’s artistic collaborative known as the Girls of Baltimore, which includes King Hammond, Scott, Patti Tronolone, Ellen Burchenal, and Linda DePalma. 

Paul Gladston

Paul Gladston is the inaugural Judith Neilson Chair Professor of Contemporary Art, University of New South Wales, Sydney and a distinguished affiliate fellow of the UK-China Humanities Alliance, Tsinghua University. He is co-editor of the book series Contemporary East Asian Visual Cultures, Societies and Politics and was founding principal editor of the Journal of Contemporary Chinese Art. His recent book-length publications include the co-edited volumes China and Translation Studies (2023) and Visual Culture Wars at the Borders of Contemporary China (2021) and the monograph Contemporary Chinese Art, Aesthetic Modernity and Zhang Peili: Towards a Critical Contemporaneity (2019). Gladston's monograph Contemporary Chinese Art: A Critical History (2014) was winner of 'Best Publication' at the 9th Art Awards China (2015). He was an academic adviser to Art of Change: New Directions from China (Hayward Gallery, Southbank Centre, London 2012). A collected edition, co-edited with Lynne Howarth-Gladston, Johnson Tsong-zung Chang and Jason Kuo, titled Rethinking Displays of Chinese Contemporary Art: Cultural Diversity and Tradition is forthcoming in 2024.