Jan 22, 2016
" I create psychedelic photomontages that represent a dream- like dimension of our universe. I hand- pick photos from a variety of sources and carefully craft them into a single image. I frequently search the internet, magazines, books, and blogs among other methods, for materials and inspiration. In addition, I use my own photographs in some of my more personally significant pieces. My work is most greatly influenced by members of the surrealist art movement such as Man Ray and Hannah Hock. In addition, I follow contemporaries such as Ryan McGinley and Stanley Kubrick. Each piece features different moods and energies that reflect my innermost desires, fantasies and dreams around the globe. My traditional East Coast upbringing clashes with the time I’ve spent on the West Coast in the past decade, which creates juxtaposition in my art. I occasionally include myself in my artwork as the darker shapes, while my musical influences are brighter. Each piece I create serves as a temporary escape from my reality. I always give viewers clues in order to get their bearings, yet leave room for creativity in the details. I find the digital art world to be misunderstood, and hope that viewers can use my work as temporary vessels to embrace their desires fully." - Lindsey Price
Jan 21, 2016
is the production designer/producer of BoJack Horseman, an original animated series for Netflix. Her first book with Drawn & Quarterly, My Dirty Dumb Eyes, was published in 2013. She grew up in Palo Alto, California, and graduated from UCLA in 2006. She writes and illustrates a regular column for Lucky Peach magazine. She co-hosts a podcast called Baby Geniuses with comedian Emily Heller, on the Maximum Fun network. She lives in Los Angeles. Lisa has worked on illustrations, book covers, animations, comics, murals, patterns, apparel, and exhibits her artwork in galleries. She is represented by UTA and Defiore & Company.
Jan 19, 2016
has created her own art form of portraiture juxtaposing ordinary, routine tasks against a backdrop of current news articles that feature a variety of social, political, environmental issues and events. She is from South Korea and obtained her B.F.A in Korea. She has also studied at the Art Students League of NY and “Cercle Artistic de Sant Lluc” in Barcelona, Spain after receiving her M.F.A in painting from The Graduate School of Figurative Art of the New York Academy of Art in 2001. Ms. An has had solo exhibitions at the Bergen Performing Arts Center in 2014, at the Azarian McCullough Art Gallery of St. Thomas Aquinas College in 2013, at the M. Christina Geis Gallery of Georgian Court University in 2010, the Monmouth Museum in 2009, a Greenwich Village gallery in 2007 and “La Bolsa” Gallery in Barcelona, Spain 2004, and about 80 invitational and juried group exhibitions throughout the USA, Italy, Spain, Japan and South Korea since arriving in the US in 1995 including the Noyes Museum, the New Jersey State Museum, the Kupferberg Holocaust Museum, the Monmouth Museum, the Huston Museum of Natural Science, the Trenton City Museum and the Cork Gallery in Lincoln Center.
Jan 13, 2016
was born in California in 1975 and raised in Colorado. Now living in Brooklyn, New York, Yellin’s works include paintings, drawings, installation, performance, and sculpture, comprised of clippings from magazines and books, paint and paper. Taken together, his work forms an archive of both gestures and images completely accumulative, yet never totalizing. Yellin archives material/images/gestures by including them in his malleable, shifting subjects, redefining what is “important” (what is thought to somehow define the subject) by including images of all kinds: sports stars, works of art, domestic objects, plants, animals. There is no privilege conferred on one image over another. Rather, they are set into place by an internal logic to each piece that dictates that all images are somehow related within his fragmentary, distended figures. His large glass blocks recall, in their extreme hermeneutical diversity (forms within forms within forms, images within images within images) both a past in which the representation of the human form was art’s most recognizable enterprise and a future in which that enterprise is deeply complicated by the fact that the human form has been shredded, reformatted, revised, redesigned, and made precarious and permeable by technological and ecological shifts. Yellin’s work refers to particular art historical periods, Modernist collage and the redefinition of spatial relations via Cubism. They also evoke science fictional futures in which we cryogenically freeze ourselves to be shipped to some other, lusher world. (via Richard Heller Gallery