Sarah Crowner was born in 1974 in Philadelphia, she lives and works in New York. In 2017 her work was the subject of a site-specific installation at the Wright Restaurant, commissioned by the Solomon R. Guggenheim Museum. Recent solo exhibitions include: “Beetle in the Leaves,” MASS MoCA, North Adams, MA (2016); “ Plastic Memory,” Simon Lee, London (2016); “Tutsi Baskets,” Galerie Nordenhake, Stockholm (2016); “Everywhere the Line is Looser,” Casey Kaplan, New York (2015); “Interiores,” Travesia Cuatro, Guadalajara, Mexico (2014) and “Motifs,” Galerie Catherine Bastide, Brussels, Belgium (2014). Her work has been included in group exhibitions at the Museum of Contemporary Art, Detroit (2017); Jewish Museum, New York (2016); Museum of Fine Arts, Boston (2014); Walker Art Center, Minneapolis (2013); WIELS, Contemporary Art Centre, Brussels (2013); Institute of Contemporary Art, Philadelphia (2013); Zacheta National Museum of Art, Warsaw (2013); Museum of Modern Art, New York (2013); and the 2010 Whitney Biennial, Whitney Museum of American Art, New York. Crowner’s work is held in the collections of the Solomon R. Guggenheim Museum, New York; Museum of Modern Art, New York and the Walker Art Center, Minneapolis.
Tamara Gonzales was born in Madera, CA in 1959, she lives and works in Brooklyn and Bovina, NY. She received her A.A.S. degree in Fine Art from Parsons and her B.A. from Vermont College ADP.
Gonzales says, "I consider myself an abstract painter. So while I am using a figure that lends to a narrative, I choose to stay fixed with the non-representational concerns of painting and a shallow frontal space – it's about inspiring an audience to dream."
Recent solo shows include Ometeotl at Klaus Von Nichtssagend Gallery in New York and Ó Lua at the Pit II gallery in California. Gonzales has shown her work in numerous group shows every year including exhibitions in London, Berlin, NJ, Brooklyn, Amagansett and NYC since Other Rooms in NY at the Ronald Feldman Gallery in 1995. She has been awarded residencies around the world including CCA Andratx in Majorca, Spain in 2012, in 2008 iaab in Basel, Switzerland, Sanskriti Kendra in New Delhi, India in 2001 and in 1999 Yaddo in New York.
Her work is in the collections of Bowdoin College Museum of Art, The Bronx Museum of Art, Colby College Museum of Art, and The High Museum of Art.
Jill Nathanson was born in 1955 in NY, she lives and works in New York. Nathanson received her MFA from Hunter College in 1982 and her BA from Bennington College in 1976.
Nathanson has long been engaged in color-based abstract painting working with the latest materials to effect unexpected color relationships. Built of poured and often overlapping areas of translucent color, her works can be seen as a contemporary take on old master glazing as well as meditations on the potential of color, light and surface to engage us with issues of energies and materiality in our time.
Her work has been included in a number of exhibitions about contemporary abstract painting such as Confronting the Canvas: Women of Abstraction at the Museum of Contemporary Art, Jacksonville, FL and Color as Structure, Structure as Color, Lori Bookstein Fine Art, NYC. Nathanson has written reviews for artcritical.com and her work been reviewed in The Brooklyn Rail, The Partisan Review, Arts Magazine, New York Observer and artcritical.com.
Her work is in significant public collections and many private collections around the U.S. and in Europe including The Museum of Contemporary Art, Jacksonville, FL, Tufts University, Medford, MA and the Philadelphia Museum of Jewish Art, Philadelphia, PA. Nathanson's work is represented by Berry Campbell Gallery in NYC.
Shirley Kaneda was born in Japan. She received her BFA from Parsons School of Design in 1976 and lives and works in New York City.
Kaneda has had solo exhibitions both nationally and internationally at Jack Shainman Gallery, Feigen Contemporary, Danese Gallery and Gallery Richard in New York as well as Mark Moore Gallery in LA, Bernard Jacobson Gallery in London, Annendale Gallery in Sidney, Australia, Raffaella Cortese Gallery in Milan, Galerie Schuster in Germany, Centre d’Art D’Ivry in Paris and Centre d’Art Contemporain in Sete, France, among others.
As well as being a painter, she has also written essays and criticism and served as a Contributing Editor for Bomb Magazine since 1992. Her articles have appeared in Arts Magazine in 1991, Art Journal in 1999, Journal of Contemporary Painting in 2017, Women and Performance in 2017 among others. She has curated shows The Shades of Difference for Sandra Gering Gallery in 1992, Re:FAB, Painting Abstracted, Fabricated and Revised at the Contemporary Art Museum in Tampa, FL in 1999, Imaging the Abstract and Minimal Maximal for Feigen Contemporary in 2000.
She is also known for the insightful interviews she has conducted for Bomb Magazine since 1991 with Jonathan Lasker, Philip Taaffe, Valerie Jaudon, Shirley Jaffe, Robert Mangold, Mira Schor, and Charline Von Heyl among others.
Her work has been reviewed in The New York Times, Art in America, Time Out, Art News, Contemporary, Art Critical, Huffington Post, Art Issues among many others.
She is the recipient of the Guggenheim Fellowship, Pollock Krasner Foundation, Elizabeth Foundation and NEA grants.
She was until recently, Prof. of Painting at Pratt Institute. She has also taught at Virginia Commonwealth University, Claremont Graduate University, and has been invited as a visiting artist to Yale University, Rhode Island School of Design, School of the Art Institute of Chicago, Cleveland Art Institute, Art Center College of Design, SVA, American University and others.
Cristina de Miguel
Cristina de Miguel was born in 1987 in Sevilla, Spain; she lives and works in Brooklyn. Her paintings are built upon a network of neo-expressionistic affinities, intuition, emotion, and absurd narratives.
Cristina received at BFA from the University of Sevilla in 2010 and a MFA from Pratt Institute in 2012. She was awarded an Erasmus Grant in Athens, Greece in 2009, and a Skowhegan School of Painting and Sculpture residence in 2013.
Recent solo exhibitions include New Paintings, Fredericks & Freiser Gallery, New York, NY (2018); Bad Habits, Freight + Volume Gallery, New York, NY (2016); Extraños en la Noche Intercambiando Miradas, Arts + Leisure Gallery, New York, NY (2015). Recent select group exhibitions include Fin de la Tercera Parte, Galeria Herrero de Tejada, Madrid, Spain (2018); Zing Zam Blunder! Harbinger Projects, Reykjavik, Iceland (2017); Viento Variable, Ortega Bru Museum, Cadiz, Spain (2017); De la Pintura, el Sur, MAD Antequera Museum, Malaga, Spain (2016).
Cristina is represented by Fredericks & Freiser Gallery in New York City. She teaches Drawing and Painting at Hofstra University.
Barry Schwabsky and Stephen Ellis: on Corot
Each of our two Visiting Critics has had a sustained engagement with the works of Jean-Baptiste-Camille Corot. After initial presentations inspired by the recent exhibition of paintings at the National Gallery, Corot's Women, they will discuss several aspects of the artist work that remain vital.
Painter, critic, and educator, Stephen Ellis has written extensively on contemporary art for European and American publications including Parkett and Art in America, where he was also an Associate and Contributing Editor. In Ellis's paintings there is a dialogue between ordered geometric austerity and the flowing irregularity of the painter's hand. Ellis has schooled several generations of young artists.
Barry Schwabsky is art critic for The Nation. He also writes regularly for such publications as New Left Review and Artforum (where is co-editor of international reviews). The Perpetual Guest: Art in the Unfinished Present, a selection of Schwabsky’s art criticism from The Nation, was published in 2016 by Verso.
John Beech was born in 1964 in Winchester, England, he lives and works in Brooklyn. He received his BA from the University of California in Berkeley in 1986.
Beech grew up in a small town in England, but came to the United States during his teen years. His early work is best known for using found objects. Beech often takes black and white photographs of the items he finds and attempts to reflect their natural beauty. His later paintings and sculptures focus on more traditional materials in unconventional ways. He was awarded Maybelle Toombs Award for Practice of Art in 1985, SECA Award from the San Francisco Museum of Modern Art, San Francisco in 1992, a Chinati Foundation Residency in Marfa in 1998, The Pollock-Krasner Foundation Award in 1999.
Recent shows Under Way at Anglim Gilbert Gallery, San Francsico in 2018, in 2017 Silent Articles at Daniel Marzona in Berlin and New Work at Galerie Giséle Linder Gallery in Basel, CH in 2016 are the latest in an extensive list beginning in 1994 in San Francisco.
His work is in the collections of Albright-Knox Art Gallery, SFMOMA, Oakland Museum, San Jose Museum of Art, the University Art Museum in Berkeley, de Saisset Museum at the Santa Clara University, Laguna Art Museum in Laguna Beach and the Museum of Art in Fort Lauderdale as well as numerous corporate and private collections.
His work has been reviewed in Artforum, Sculpture Magazine and Art in America among others.
Ann McCoy is a New York-based sculptor and painter whose career began in 1972. She is a working artist as well as a curator and art critic who writes for the Brooklyn Rail. McCoy taught in the Art History Department at Barnard College from 1980 through 2000. She lectures on art history, the history of projection, and mythology in the graduate design section of the Yale School of Drama. She has written about artists working with projection including William Kentridge, Tony Oursler, Nalini Malini, and Krzysztof Wodiczko. Ann McCoy and Kentridge did a conversation at the American Academy in Rome In May of 2016 for his Tiber project, which was published in the Brooklyn Rail.
Ann McCoy’s work is included in the following collections: the Metropolitan Museum of Art, the Los Angeles County Museum of Art, the Hirshhorn Museum and Sculpture Garden, the Museum of Modern Art, the National Gallery of Australia, the Roy L. Neuberger Museum, the New Orleans Museum of Art, the San Francisco Museum of Modern Art, and the Whitney Museum of American Art, among others.
Ann McCoy has received the following awards: the Asian Cultural Council, the Pollock Krasner Foundation, the Adolph and Esther Gottlieb Foundation Award, the Award in the Visual Arts, the Prix de Rome, the National Endowment for the Art, the Berliner Kunstler Program D.A.A.D., and the New Talent Award of Los Angeles County Museum of Art. She has shown work in the Venice Biennale and the Whitney Annual, and has had one-person exhibitions in New York, Los Angeles, New Delhi, Poland, and Berlin. She is known primarily known for her large format drawings, work with projection, installation, and sculpture. She designs for the stage in projection.
Ann McCoy worked with Prof. C.A. Meier, Jung’s heir apparent for twenty-five years in Zurich. She has a background in Jungian psychology and philosophy. She has studied alchemy since the early seventies in Zurich, and Rome at the Vatican Library.