Born 1954 in Glens Falls, NY. Lives and works in New York City and Bolton Landing, NY.
Rebecca Smith spent her early years in Washington, DC. She was educated at Sarah Lawrence College and The New York Studio School. First exhibiting in 1977, she has made art in various media including painting, performance, sculpture and tape drawing installation. She exhibited in the 1980’s with LedisFlam, one of the first art galleries in Brooklyn. Her work has been collected by the Brooklyn Museum, the Microsoft Collection, the Tarra-Warra Museum of Art, Australia and the Albright-Knox Collection, among other institutions.
In 2013 she co-curated with Ruth Hardinger and exhibited in Emissions: Images from the Mixing Layer at the Great Gallery, Cooper Union for the Advancement of Science and Art and mounted a solo exhibition of sculptures and drawings entitled Atmosphere at Fleisher/Ollman Gallery, Philadelphia, Pennsylvania in 2014. She exhibited a large sculpture, Noctilucent Clouds (2015), in Here and Above: A Dialogue Between Sculptures at the Museum of Fine Arts, Richmond, Virginia, which has been acquired by the museum and is installed 25 feet high on its atrium wall. Also in 2015 Smith curated and exhibited in a group show, Climate Contemporary, that presented the work of five artists using climate change as subject matter. She has had two solo sculpture exhibitions with Hionas Gallery, NYC: Interference in 2013 and Strata in 2016.
Julie Shapiro is a painter and printmaker who lives and works in Western Massachusetts. She received her BFA in art from University of California, Santa Cruz and her MFA in painting/printmaking from the Yale School of Art. She also studied at the Yale Summer School of Art, Norfolk, CT. Her most recent solo exhibition wasat the Oresman Gallery, Smith College, Northampton, MA. Other exhibitions include those at Lenore Gray Gallery, Providence, Francine Seders Gallery, Seattle, The Painting Center, NYC, Weatherspoon Museum, NC, Elizabeth Harris Gallery, NYC, The Brooklyn Museum and The Drawing Center, NYC. Shapiro received tenure from Southern Methodist in Dallas, TX and subsequently taught at Hampshire College, Amherst, MA. She has been a Visiting Artist at numerous colleges. Her awards include a Pollock Krasner Foundation Grant and residencies at Center for Contemporary Printmaking, Norwalk, CT, Redline Milwaukee, Virginia Center for Contemporary Art and Yaddo. Her work is included in numerous collections.
Jennifer Riley (b. Sharon, CT) Riley’s work has earned critical attention for her solo exhibitions in NYC, Boston and across the US. In 2004 she was recipient of the Award in Painting from the Massachusetts State Cultural Council.
Riley has been making color-rich abstract and semi-abstract paintings for years and in the last few years her work has made a marked shift from what could be considered a Pop-inflected, postmodernist tilt toward a purer form of classical abstraction, reversing the historical sequence. Riley includes large scale steel sculptural projects in her studio practice, unveiling a 60 foot long permanent public work in Manhattan and in late 2016, a 50 foot long piece in Indianapolis made from repurposed laser cut sheets of steel from the combustion/Diesel engine industry. New paintings and drawings integrate aspects of industry, anthropology, technology and nature.
Riley is a contributing editor at ArtCritical.com, Board Member and Treasurer of Triangle Arts Association, and currently serves as Gallery Curator at Indiania University Center for Art+Design. She has been active as a teacher, curator, panelist and guest critic (Harvard Graduate School of Design- (where Riley co-developed and led the Rome Seminar in Rome from 1996-2013), Indiana University, Pratt Institute, MICA, Columbia and Yale,MIT, RISD among others) a catalogue essayist and arts writer for Artcritical, the New York Sun and the Brooklyn Rail.
Riley received her BFA from Tufts and The School of the Museum of Fine Arts Boston, MA in 1991, Diplome Superieur D’Etudes Francais 1986 Universite de Rouen, Rouen, France and an MFA from The Milton Avery Graduate School of the Arts-Bard College, 2001.
Jill Nathanson became fascinated by color-based painting at Bennington College in the 1970’s. Over the last four decades, she has deepened her exploration of color dynamics, seeking to transmit affective realities of seeing.
Nathanson is represented by Berry Campbell Gallery, NYC. Earlier this year, her work was featured in “Confronting the Canvas, Women of Abstraction” at the Museum of Contemporary Art, Jacksonville, Florida. In 2015 she was the subject of a solo show at Berry Campbell. Previous solo shows include Messineo Art Projects/Wyman Contemporary, Elizabeth Harris Gallery, June Kelly Gallery, Derfner Judaica Museum, Ethan Cohen Fine Arts, Triangle Center Gallery (all NYC).
She has participated in many group exhibitions, including “Color as Structure/Structure as Color “at Lori Bookstein Fine Art, “Hans Hofmann: The Legacy” at The Painting Center, “The Annual 2012” at the National Academy Museum, “Painting Abstraction” at The New York Studio School. Nathanson is included in the collections of The Agnes Etherington Art Center, Queens University, Kingston, Ontario; Hines Industrial, Boston, MA, Maimonides Hospital, Brooklyn, New York; and Tufts University, Medford, Massachusetts.
Marthe Keller’s paintings, installations and assemblages push painting on and off the stretcher. Keller’s work grows out of the specific material conditions of its making. She often incorporates found materials and pigments, making her own paint for maximum control over viscosity, transparency and color intensity.
Keller is currently participating in group shows in New York, Perugia, and TelAviv. In February 2017, she will be featured in a two-person exhibition at the Casa Italiana Zirilli Marimo` of NYU.
Keller has been exhibited in 24 one-person shows internationally since 1976. ArtNews, Art in America, Flash Art, Art Critical on-line, ZAPP art, and others have published reviews and her writing is included in collections such as “La Couleur Importee: ready-made color”, and forthcoming in “Abstract, Abstraction and So Forth” by CPInPrint books.
Marthe grew up in Italy and maintains a studio in New York. Her work is in museums including the Whitney, the MET, MOMA. Her awards include National Endowment for the Arts, The New York Foundation for the Arts, The MacDowell Colony and others. She is co-founder of BAU Institute, an international arts residency, and she teaches drawing and painting at Hunter College.
Kappner (1980 Berlin, DE) crafts multi-sensory experiences in the extended field of painting reverting principles of virtual and digital realities into the analogue realm to create glitches in perception. Prompted by her experience as investment banker, her work ultimately is interested in the evolution of consciousness in relation to mental patterns and the underlying forces that shape their systemic counterparts in nature, visual arts, technology and science. Within our visually saturated environments, the erosion of the divide between the analogue and the digital has caused shifts in how (self) image is created and perceived. Kappner explores the boundaries of image making through a multi-disciplinary and multi-sensory approach, investigating role, perception of, and experiential relations that develop between image and observer. She is a co-founder of the cross-modal artist collective Elephants & Volcanoes.
Cecily Kahn was born and raised in New York City. Both of her parents are artists, as was her Grandmother, Alice Trumbull Mason, a founding member of the American Abstract Artists group. Cecily graduated from the Rhode Island School of Design with a BFA, and then went on to study printmaking in Rome, Italy. She lives in Friendship, Maine in the summer months and in lower Manhattan in the winter. Her work has been exhibited in the U.S. and in Europe. She is currently the Chair of the Advisory Board of The Painting Center, a non-profit artist-run gallery in Soho, and a member of the American Abstract Artists group. She has published essays in the American Abstract Artists journal, and The Brooklyn Rail. Reviews of her work have appeared in Art in America, The New York Times, Abart online, Review magazine, NY Arts and the Brooklyn Rail. Her work is represented by the Lohin Geduld Gallery in New York, and Thomas Deans Gallery in Atlanta.
Elizabeth Hazan is an artist and curator in New York City. She attended Bryn Mawr College, and the New York Studio School, where she was awarded a fellowship to the Skowhegan School of Painting and Sculpture. She has exhibited her work in galleries and museums throughout the U.S, most recently with Janet Kurnatowski Gallery, Brooklyn. In 2012, she was a resident of Yaddo . An exhibition she curated, Rough Cut, was held at Morgan Lehman Gallery in New York last year.
Linda Geary’s recent exhibitions include 2014-2015 Elizabeth Leach Gallery projects, San Francisco, New Paintings at Shasta College, Living Room of the Realities at Sonce Alexander Gallery, Los Angeles, and Color Shift and The Possible, both at Berkeley Art Museum. She is the recipient of the Elizabeth Foundation Grant, and the Pollock Krasner Grant, and has attended Art Omi and the Millay Colony. Her book Studio Visit, with essay by poet Norma Cole, is a collection of collages and word-list impressions from 100 in-studio conversations over the course of a year, and was featured at the Berkeley Art Museum, Steven Wolf Fine Arts, and the Kadist Foundation in San Francisco. Her work has been reviewed in ArtForum, Art in America, San Jose Mercury News, LA Times, SF Chronicle, and ArtPractical.com, and others. She is Professor and the current Chair of Painting at California College of the Arts in San Francisco. She lives and works in Oakland.
Pat Badt is a painter. She has been the recipient of many awards and prizes including an NEA for painting. She has exhibited in Portugal, Brussels, New York, Philadelphia, Los Angeles and places between. Her work is included in collections at the American Embassy in Riga, Latvia, the Ruth Hughes Collection of Artist Books at Oberlin College and Bryn Mawr College.
Pat Badt’s work is inspired by location, filtered through experience and sensibility. She lives in an old farmhouse along the Jordan creek, surrounded by apple orchards, low mountains and the convergence of two creeks. Her work is about process, the putting down of paint through the appropriate handwriting, right color, texture and scale.
Pat Badt is Professor Emeritus at Cedar Crest College. She received her MFA from the University of Pennsylvania and her BA from the University of California at Santa Cruz.