HENRI MATISSE
Femme au Chapeau, 1922
Oil on canvas
13.78 x 9. 6 inches
Femme au Chapeau, 1922
Oil on canvas
13.78 x 9. 6 inches
CECILY BROWN
ROBERT MANGOLD
1/4 W Series, 1968
Acrylic, graphite on manganite
48 x 48 inches
Robert Mangold
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ROBERT MOTHERWELL
The Scillian Window, 1972
Oil on canvas
72 x 96 inches
Robert Motherwell
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YOSHITOMO NARA
Winter Long, 1999
Acrylic, color pencil on paper
20 x 14.17 inches
Yoshitomo Nara
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SHUSAKU ARAKAWA
No, Says the Signified, 1972
Acrylic on canvas
75 x 108 inches
Shusaku Arakawa
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SUE MCNALLY
Winter Walk, 2023
Acrylic on canvas
90 x 133 inches
JBGSM#24103106
Path, 2022
Acrylic on canvas
96 x 228 inches
JBGSM#24103107
Woods, 2021
Acrylic on canvas
96 x 228 inches
JBGSM#24103108
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SUE MCNALLY
Lives and works in Newport, Rhode Island
ARTIST BIO
SUE MCNALLY (b. 1967) is a painter in Newport, RI, working in Rhode Island and southeast Utah. She grew up in New England and received a BFA from the University of Rhode Island in 1990 and an MFA from the Savannah College of Art and Design in 1995. McNally was the Edward E. Elson Artist-in-Residence at the Addison Gallery of American Art in Andover, MA. and an invited resident at Carrizozo AIR, New Mexico, McCanna House/North Dakota Museum of Art, Tamarind Institute, Carrizozo AIR, Crater Lake National Park, Ucross Foundation, Yaddo, and the Vermont Studio Center. Collections include the Addison Gallery of American Art, the North Dakota Museum of Art, the Tamarind Institute Archive, The Worcester Art Museum, The RISD Museum of Art, and The Newport Art Museum.
Sue McNally has painted landscapes for over 30 years. After decades of traveling the United States, she has developed a personal relationship with the American landscape, allowing her to loosen ties to traditional practices like plein-air painting. This transition empowered her to create a new approach to landscape painting, informed by the hierarchies of abstraction and focused on the process of depiction. McNally refers to the landscape as the substructure of her abstraction to determine which elements of the landscape get to live within the abstraction and which aspects of abstraction better depict the vitality of the landscape.
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RU MARSHALL
The Deli Flowers on Flatbush 1, 2024
Acrylic, UV Curable Ink on Mirrored Dibond
45 x 36 in.
The Deli Flowers on Flatbush 2, 2024
Acrylic, UV Curable Ink on Mirrored Dibond
40 x 30 in.
White Flowers, 2024
Acrylic, UV Curable Ink on Mirrored Dibond
20 x 15 in.
Rain Flower 4, 2024
Acrylic, UV Curable Ink on Mirrored Dibond
40 x 30 in.
The Deli Flowers on Flatbush 3, 2024
Acrylic, UV Curable Ink on Mirrored Dibond
64 x 48 in.
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Ru Marshall
Lives and works in Brooklyn, New York
ARTIST BIO
Ru Marshall (b. 1960) is a nonbinary visual artist and writer. They have painted and employed photographic processes on mirrored surfaces for over twenty-five years—vinyl, glass, fabric, and Dibond. These reflective images shift and change depending on the position of the viewer and the quality of the light, capturing the fleeting and interactive nature of perception and the natural and urban landscape seen in passing from car and train windows. In Marshall’s most recent work, they explore our compromised experience of nature in a time of environmental catastrophe. For the last seven years, they have been developing an improvisational dance practice and recently completed work on Interlope, dance/video project which took place in Prospect Park, Brooklyn, and which explored gender, the interaction between human and organic gestures, and our search for solace in a natural world we have failed to respect.
Marshall has had exhibitions of their visual work at Participant Inc., Triple Candie, The New Orlean Contemporary Arts Center, Thread Waxing Space, The Brooklyn Museum, Centro Cultural Rector Ricardo Rojas, The Drawing Center, Maryland Art Place, White Columns, and numerous other venues in the United States, Europe, and Latin America. They have received fellowships and residencies from Yaddo, MacDowell, The Virginia Center for the Creative Arts, Ragdale, The Banff Centre, and the New York Foundation for the Arts.
Marshall’s novel, A Separate Reality, a queer coming-of-age tale set in Phoenix, Arizona, was released by Carroll & Graf (2006) and nominated for a Lambda Book Award. American Trickster, their forthcoming biography of the faux anthropologist and cult leader Carlos Castaneda, will be released by Red Hen Press in 2026 and has been optioned for film/TV by Hybrid Cienma. They have twice been nominated for a Pushcart Prize for their short fiction, appearing in N + 1 online, The Evergreen Review, The Barcelona Review, The Kenyon Review, Your Impossible Voice, Another Chicago Magazine, and numerous other publications. They attended the Rhode Island School of Design and graduated from Wesleyan University.
SPOTLIGHT
Play Video
CREDIT: A. Farm, Tra My Nguyen, Luke Schneider, Alec Phuoc Thuong
Performance, Presentation, & Discussion
by Ru Marshall and Lyon Nguyen
January 11, 2025, A. Farm in Ho Chi Minh City, Vietnam
A. Farm presented “Performance, Presentation & Discussion,” featuring resident artist, gallery artist and writer Ru Marshall, and choreographer Lyon Nguyen, at Amanaki Saigon Boutique Hotel, Ho Chi Minh City in Vietnam, on January 11, 2025. This event was part of Ru’s ongoing project-in-progress, Interlope. Inspired in part by Argentine philosopher and dancer Marie Bardet’s “The Cultivation of Gestures,” Interlope investigates the meaning of gesture in visual arts and dance. It also explored how movement-quotidian and artistic-is informed by our relationship to nature — in particular, trees. There was a brief performance by Lyon Nguyen and a presentation of Ru Marshall’s drawings (based partly on their collaboration with Nguyen), followed by a discussion between the two artists
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KEVIN MELCHIONNE
Love Pieced Together Out Of Nothing, 2023
Oil on panel
22 x 22 in.
This Sweep Life Has, 2024
Oil on panel
26 x 20 in.
The Mind Strays But The Story Holds, 2025
Oil on panel
28 x 24 in.
The Intricate Details Of Individual Lives, 2023
Oil on panel
16 x 20 in.
The Fantasies Of Home One Builds, 2024
Oil on panel
34 x 34 in
All Those Years Were Real, 2024
Oil on panel
38 x 34 in
Grandmillennial Polemic, 2022
Oil on panel
24 x 24 in
An Individual Life Blooms Within Its Own Mysterious Enclosure, 2024
Oil on panel
20 x 20 in.
A Love So Generalized That It Seemed An Estrangement, 2024
Oil on panel
24 x 20 in.
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Kevin Melchionne
Lives and works in New Rochelle, New York
ARTIST BIO
Kevin Melchionne (b.1964) grew up in Stamford, Connecticut. As a teenager, he took art classes at the Silvermine Guild in New Canaan. He studied painting at the Philadelphia College of Art. He earned a B.A. from Hunter College of the City University of New York, focusing on Hunter’s philosophy department, which boasted a group of scholars in continental philosophy. Melchionne’s studies were broad and rich, studied Heidegger, Kant, Wittgenstein, Freud, and the French post-structuralists. He traveled to Italy and spent years in Paris, attending the lectures of Jacques Derrida, Jean-François Lyotard, and Gilles Deleuze and reading many modern French literature, including Maurice Blanchot and Edmond Jabès.
Returning from Paris, he entered the graduate program in philosophy at the State University of New York at Stony Brook, where the heat of continental philosophy slowly gave way to the light of the Anglo-American tradition and ultimately earned a Ph.D. He wrote a dissertation on aesthetics entitled “Cultivation: Art and Aesthetics in Everyday Life.” This dissertation, one of the first books, is a lengthy study of everyday aesthetics. It examines everyday activities with an aesthetic or artistic dimension that were overlooked at the time, such as interior decoration, walking, and collecting. In subsequent work, he explored the implications of everyday aesthetics for fundamental concepts in aesthetics. Melding phenomenological concerns for everydayness with the limpidity of Anglo-American tradition, his articles have been published in the Journal of Aesthetics and Art Criticism, the British Journal of Aesthetics, Philosophy and Literature, and Estetika, among others.
Melchionne was a Renwick Fellow of the Smithsonian American Art Museum in Washington and a recipient of the Pennsylvania Humanities Council Award for Arts Writing. He has been painting for over forty years and lives and works in New York.
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BELL and GANASSI
The Corpses - Discipline, 2023
12 x 11 in.
Leather tassel, matchbox, and plastic netting on paint-stained paper towel on paper on cardboard
— The Venus Victrix on a souvenir matchbox from Rome's Borghese Gallery takes on a different tone when joined with a cut-up leather tassel and tightly wrapped and knotted netting meant to protect a wine bottle —
The Corpses - Dark Matter, 2023
10.5 x 8.5 in.
Mixed media and found objects on paper on cardboard
— A dismembered calculator and a found red plastic donkey kicking up its heels in a puddle of paint converge with text to create a merrily ominous mood —
The Corpses - What Remains?, 2023
11 x 8.5 in.
Mixed media, broken china, fabric, and stamped napkin on paper on cardboard
— A cocktail napkin stamped "For Deposit Only" gets a metaphorical boost from shards of a broken vintage pitcher, a piece of cut patterned fabric, and golden brushstrokes on the verso of a painting on paper —
The Corpses - Games of Chance, 2018
12 x 9 in.
Found objects, marbles, fabric, and mixed media on framed blackboard
— Measuring cups and a paper cup become tools of a losing game (two of the vessels are bottomless), as a handkerchief waves farewell —
The Corpses - Horse Latitudes, 2018
Plastic horse, mixed media, tape, and poem on paper
— Accidental dog pawprints and a broken but still forward-looking horse tread a found ink wash painting on paper, overseen by Emily Dickinson's "I heard a Fly buzz - when I died - “ —
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Bell and Ganassi
ARTIST BIO
LAURA BELL
At Douglass College, Rutgers University, Laura Bell studied with Fluxus artist Robert Watts, who gave her a deep appreciation for the spontaneous and serendipitous, and with clay sculptor Ka Kwong Hui, whose sense of the relationships of forms went far beyond the ceramic studio. She received a 2020 “Bronx Recognizes Its Own” (BRIO) painting grant from the Bronx Council for the Arts, has been an artist-in-residence at the Millay Colony, and has participated multiple times in the Governors Island and Aqua Art Miami art fairs. Her paintings and mixed-media work have been shown in New York, Provincetown, New Haven, Philadelphia, Berlin, and elsewhere. She lives and has her studio in the Bronx.
IAN GANASSI
Ian Ganassi has worked as a writer, teacher, and percussionist. His poems have appeared in numerous literary magazines, including Survision, Home Planet News, Meniscus, Offcourse, BlazeVOX, Clockwise Cat, Otoliths, The Yale Review, and New American Writing. His poem “Blunt Trauma” was nominated for a Pushcart Prize and his translations from Virgil’s Aeneid have appeared in New England Review. His first poetry collection, Mean Numbers, was published by China Grove in 2016; his second poetry collection, True for the Moment, was published by David Robert Books in 2023. A third collection, By This Time, is forthcoming from Finishing Line Press in June 2024. He is a long-time resident of New Haven, Connecticut.
