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
Edge, IN, 2025
Acrylic, oil pastel, charcoal on canvas
103 x 73 inches
My New England Home, 2025
Oil, acrylic on canvas
84 x 120 inches
Stella and Finn, 2025
Acrylic on canvas
90 x 133 inches
Little Round Top, PA, 2024
Acrylic on canvas
74 x 103 inches
Mountain Mess, 2022
Acrylic on canvas
94 x 104 inches
Eno River, NC, 2015
Oil on canvas
114 x 90 inches
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SUE MCNALLY
Lives and works in Newport, Rhode Island
ARTIST BIO
Sue McNally (b. 1967) is a painter based in Newport, Rhode Island, with a creative practice spanning locations in Rhode Island and southeastern Utah. Raised in New England, she earned a Bachelor of Fine Arts from the University of Rhode Island in 1990 and a Master of Fine Arts from the Savannah College of Art and Design in 1995. McNally has held prestigious residencies including the Edward E. Elson Artist-in-Residence position at the Addison Gallery of American Art in Andover, Massachusetts. Her work has also been supported by residencies at Carrizozo AIR (New Mexico), McCanna House/North Dakota Museum of Art, Tamarind Institute, Crater Lake National Park, Ucross Foundation, Yaddo, and the Vermont Studio Center. Her artwork is in prominent public and private collections, such as the Addison Gallery of American Art, North Dakota Museum of Art, Tamarind Institute Archive, Worcester Art Museum, RISD Museum, and Newport Art Museum.
Sue McNally has painted landscapes for over 30 years. Through decades of travel and expeditions across the United States, she has developed a deep personal connection to the American landscape. Her work reflects a passionate intensity, vibrant expression, and luminous quality, all skillfully balanced with realism. Depicting mountains, wind, and water, with a delicate ferocity and a sense of playful disorder, she investigates the inherent shapes and proportions of the natural world.Â
In 2010, Sue McNally embarked on an artistic endeavor, “This Land is My Land,” later named the States paintings. Reflecting her experiences and observations of the American landscape, this journey has produced over forty large-scale paintings and murals. It is ongoing, with each piece representing one of the fifty states. The works, incorporating specific and locatable on-site photographs, exemplify her meticulous attention to detail. They convey a sense of grandeur and the enduring beauty of the terrain, replicating impressions as if viewers are standing in her place. Aiming to further explore abstraction, around 2016 and 2017, these works rely on memory as their reference point. Distorted forms, measured shapes, and pictorial harmony express the internal structure of the landscape, showcasing an abstract and elusive quality. The State paintings encapsulate McNally’s aspiration to transform viewed vistas into landscape paintings through the interplay of forms and colors while appropriately scaling nature.
Since 2020, the work has displayed a richer undergrowth of imagery and a delicate transparency that authentically reflects interpretations of experiences rather than merely physical reality. It draws inspiration from Charles E. Burchfield’s romantic and fantastical delineations of nature and Philip Guston’s efforts to harmonize surrealism, abstraction, and figuration. This evolution has been challenging and invigorating. Rich in regal, seasonal, and phantasmagorical elements, the rebellious features unite different structures in the painted images.
Sue McNally is a painter of the scenic and a poet of visual prose. Her landscapes are hallucinatory, cryptic, and mesmerizing. Ghostly turquoise, magenta curtains, and phantasmal yellows in magnified natural forms evoke a striking sense of monumentality. Each mystical and transcendental palette is carefully chosen to meet the specific demands of the structures in the picture planes. They are the invented landscapes and the enduring myths of the terrain — embodiments of the American sublime immortalized in paint. They emphasize that the fleeting beauty of the American land, as it lives on in our minds, is worthy of our reverence. The most essential form of cultural literacy is to read our environment.
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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. 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.”Â
Melchionne has been painting for over forty years, depicting couples and families in rooms with their pets and art. The couple, though not always in sync, share a palpable bond. They turn towards each other in a bid for acknowledgment or are suspended in uncertain tension. These scenes unfold against lush backgrounds of intricately rendered wallpaper, evocative of 17th-century Dutch painting. Modern but not modernist, these interiors also function as a polemic to the long exile of the great decorating traditions from contemporary art discourse. Melchionne paints a novel emotional space that his characters inhabit, familiar and enigmatic.
Melchionne’s distinctive intellectual itinerary holds implications for his artistic sensibility. He eschews what gets called “theory” in the art world. He paints characters in situations with literary, art, historical, and political allusions. Although his paintings may reach for the elusive or ambiguous, they do so without the portentous trappings of contemporary artistic discourse. They are simple in expression yet complex in what is offered. Melchionne suspects that something affirmative is slowly nurtured in us when we allow this approach. A warmth and gratefulness for other traditions and artists, past and present, grows in us. Modest acts of reculturation —small recoveries of these artists and traditions—help us to see them as friendly, not oppressive. This practice, Kevin Melchionne hopes, points us toward a broader cultural reconstruction.
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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.
