America
b. 1982, Virginia
Works in Historic Downtown Leesburg, Virginia

Veron Ennis was born and raised just outside of Washington DC, in Virginia. A devout woman of faith, she is inspired to communicate the need for uplift and peace in her chaotic, uncontrollable world through the freedom and universality that fine art allows. Her technique marries precision painting and drawing with improvised and spontaneous applications of paint. She employs sophisticated use of dramatic color and geometry in her painted compositions and further explores the message of peace through her idea of structure represented by transformative three-dimensional cube sculptures.

About her work, Ennis states, Throughout the ages, ideas have been communicated through symbols; their shape, color, size, and order. I have a love for this universality of communication and structured expression. In modern art, I love the paring down of elements in a composition in order to deliver a message in a concise, intentional, and perhaps minimal way. I create my work using a unique code comprised of symbolic elements that are combined with careful intention to communicate the beauty, the infinite love, and the wonder of this life we all share.

Ennis’ work has been published in British Vogue, Art Districts, Portfolio, House of Coco, and numerous other publications. She has exhibited her works in London, New York, and Miami and throughout Southwest Florida where she lived for 13 years. She is found in private collections around the world.

Ennis’ work is influenced by artists such as Agnes Martin, Robert Motherwell, Helen Frankenthaler, Barnett Newman, and Corita Kent. She is a graduate of Virginia Tech University, with a degree in graphic design. She has been a curator at two galleries, has been on exhibition committees, independently curated at universities, galleries, and art centers, dedicated time to host art talks at her studio, and written for several art magazines.

American
Lives and works in Saint Paul, Minnesota

Eric Evenson’s works on paper depict the human figure through the layering of various colored gestural marks. Intertwined within are collaged bits of magazine print photos. Although at rest, the resulting figural images buzz with static electricity.

American, b. 1950, Detroit, Michigan
Lives and works in Minneapolis, Minnesota
gjfarrah.com

George J Farrah is an action painter with an impressionistic color sense. His paintings are created in series and are bounded by some loose organic rules: thick and thin paint, gestural line, or implied gesture. He references landscape, technology, and the figure. His paintings' surfaces range from airy to earthy dense and act as fields of narrative possibilities that the viewer completes.

Farrah holds a Master of Fine Arts Degree from Bard College, The Milton Avery Graduate School of the Arts, Annandale-on-Hudson, New York. He maintains an active exhibition schedule and his paintings are in numerous private and corporate art collections.

Farrah is also a poet, whose book The Low Pointing Stars has been published by Ravenna Press. His poems have been included as well in The Washington Review, The Columbia Poetry Review and numerous other publications.

American
b. 1955, Boston, Massachusetts
Lives and works in Boston and Rockport, Massachusetts

Aaron Fink is a chronicler of materiality, in a sense like his precursors in the Pop Art movement. His complex paintings are more textured and emotionally resonant. 

Fink works with a variety of mediums including oils, woodblock prints, sculpture, and works on paper. The son of artist Barbara Swan, the path of an artist was clear to Fink at a young age. The artist received his BFA from the Maryland Institute College of Art and his MFA from the prestigious Yale University School of Art.

Fink loosely and sensuously captures ordinary objects, like fruit, flowers, a cup of coffee, an ice cream sundae and other subjects, in oil paint on board, often layering into and over the top with painterly, combed scrims that set up a cinematic blur. His woodcut monotypes are large-scale, and imbued with enhanced color and contrast for a super life-like effect bordering on Abstract Expressionism. “After I've worked with an object for a while, it becomes more of a vehicle for exploring the painting medium itself,” reflects the artist. In the early 1980s, Fink was associated with a new wave of Boston Expressionism, an arts movement marked by emotional directness, dark humor, social and spiritual themes, and a tendency toward figuration.

His work has been exhibited widely throughout the United States, Europe, Japan and Australia. Fink’s work is represented in the collections of the Art Institute of Chicago, the Hara Museum, Tokyo, the Metropolitan Museum of Art, New York, the Museum of Modern Art, New York and the National Gallery of Art, Washington, DC, among many others. Fink was an artist-in-residence at Anderson Ranch in 1996 and 1998, received grants from the National Endowment for the Arts in 1982 and 1987, and he was awarded an Artist in Fellowship from the Massachusetts Council on the Arts and Humanities, and in 1979 he was an Alternate in Painting for the Prix de Rome.

American, b. 1964, Blue Earth, Minnesota
Lives and works in Black River Falls, Wisconsin

Steve Firkins began to use the word Curvism in 1978 to describe his art and philosophy. Curvism grew out of the landscape. The horizon, the hills and valleys, the flow of water, the shape of rocks, plants and animals, and the human figure are composed of curves. Nature is curved with few exceptions.

Firkins believes that humans have boxed themselves into their own straight lined, angular, man-made world, and he aims to reintroduce viewers of his painted constructions to the curved, spiritual world of nature. 

Steve Firkins is represented in various art collections, including the Walker Art Center in Minneapolis, Minnesota. Firkins is also a published writer, whose book titled Curvism: Journey of an Artist; Thoughts on Art, Nature, Politics and Spirituality is available in print and e-book formats.

American
b. May 18, 1938, Boston, Massachusetts

Over the last fifty years, Janet Fish has drawn on her embrace of change and her belief in the underlying interconnectedness of things to fuel her remarkable painting practice. She philosophizes that to stop changing is to die, a conviction that drives her unending formal experimentation and her mastery of multiple genres. Change inhabits each painting as well. The objects that serve as armatures for color and light in her work are exuberant in their state of flux. The long conceptual, formal, and iconographic history of the still life genre confirms our own experience. Though the artist works against the idea of capturing a photographic instant, she preserves a mood, a quality of light, and a sense of place to which we can continually return.

In 1963 Janet Fish received her MFA from Yale, where her fellow students included Chuck Close, Rackstraw Downes, Nancy Graves, Robert Mangold, Sylvia Plimack Mangold, and Richard Serra, a tight-knit group who formed an intense, ambitious, competitive cohort that motivated one another to develop and defend their work. After graduation Fish moved to New York City. Her paintings from the late 60s and early 70s, studies of transparent objects, begin a life-long preoccupation with the nature and substance of light. From the beginning, Fish focused on commonplace objects, insisting that her subject matter, glasses, fruits covered in supermarket cellophane, or liquid filled containers, was unimportant. For Fish the subject matter or story line, is of the least importance, for her meaning is determined by tone, gesture, color, light, and scale.

Fish’s work is in the collections of numerous institutions including, Albright-Knox Gallery, Buffalo; American Academy and Institute of Arts and Letters, New York; Art Institute of Chicago; Cleveland Museum of Art; Dallas Museum of Fine Arts; Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston’ Whitney Museum of American Art, New York; Yale University Art Gallery, New Haven.

American
b. 1966, Clara City, Minnesota
Lives and works in Minneapolis, Minnesota

Kyle Fokken is a mixed media sculptor who combines juxtaposed imagery into new hybrid sculptures to surreally explore cultural contexts between generations of people.Describing his work Fokken says I use vintage toy and ‘folk art’ aesthetics combined with rough construction as a way to talk about the passing down of cultural values from one generation to the next. At first, my sculpture may look foreign and strange but my craftsmanship and attention to detail capture and hold the interest of the viewer. I use this technique to entice the viewer to look deeper at the work allowing for reflection on greater issues in our society and question what we believe about ourselves.

Fokken gravitated towards using found objects at an early age out of necessity. As a fairly poor kid he would rescue other kids’ discarded plastic model airplanes, cars and ships from the trash to rework them. This realizing of the potential of a found object separate from its original has naturally led him to creating sculptures with what he calls my make do aesthetic. Making do is something people all over the world employ using what they have and re-purposing material to fit their needs.

Kyle Fokken has exhibited widely with public sculptures located around the United States and in London, Great Britain.

Irish
b. 1956, Donegal, Ireland

Andrew Folan is an Irish Postwar & Contemporary artist. Folan studied Fine Art at the National College of Art and Design, Dublin, and Printmaking at the Slade School of Fine Art, London and Fine Art at the University of Minnesota. He works as a printmaker and sculptor, exploring the crossover between the two disciplines and drawing inspiration from photographic imagery. Folan has received numerous awards. He currently lectures in Fine Art at the National College of Art and Design and is a director of the Black Church Print Studio.

Andrew Folan belongs to an important generation of artists, born in the mid-fifties, who began to eschew the nationalist self-absorption that was the preoccuption of many of their predecessors.

Folan’s practice is conceptual overall, but he works though print-making, sculpture and photography as well as digital imaging. Folan participated in the Digital Surface at Tate Britain in 2003, has received numerous awards and commisions and is a member of the RHA.

His solo exhibitions include ‘Stray Light’ at the Ashford Gallery, RHA, Dublin (2002) and Project Arts Centre, Dublin (1992). His solo exhibition of printed sculptures ‘Arterial Ink’ toured to a number of venues in Ireland as well as London, Paris and Stockholm (1991 – 2001). He participated in group exhibitions ‘Dead Bodies’ at the Centre Culturel Irlandais, Paris (2003) and the ‘Digital Surface’ presented at Tate Britain (2003), as well as exhibiting at RHA, Oireachtas and Irish Exhibition of Living Art on numerous occasions. Folan was commissioned by The Arts Council / An Chomhairle Ealaíon to produce work for the touring school show ‘Altered States’ (1995).

His work is the collections of The Arts Council / An Chomhairle Ealaíon; The Irish Museum of Modern Art (IMMA); The Central Bank of Ireland and Trinity College, Dublin; Graphic Studio Gallery.

andrewfolan.com

German
b. December 5, 1952, Füssen, Germany ⏤
d. 2013, Areuse, Switzerland
Lived and worked in Munich, Germany and Areuse, Switzerland

Günther Förg was a renowned painter, sculptor and photographer. whose artistic oeuvre encompasses paintings, graphic and sculptural works as well as a great body of architectural photographs. His geometric, abstract, and heavily-dyed pictures have a strong decorative character. Förg combined materials and media in painting, sculpture and photography. The themes of his large-scale architectural photographs are Bauhaus and fascist aesthetics, while his monochrome wall paintings and lead paintings are reflections on art.

Günther Förg's oeuvre is marked by a pictorial language that encompasses several materials and media, focussing mainly on the relation to space. Since the late 1970s, he developed this language in the fields of photography, painting, sculpture and installations. With his material-accentuating, abstract style of painting that often manifested itself in black and grey monochrome works, Förg also unlocked the potential of lead and aluminium as new painting substrates. In the 1990s, he created large-format, coloured window and grid pictures as well as works in the tradition of Colour Field Painting, but always in the context of exploring and reinterpreting spaces. In his photographic series, he dealt with buildings that shaped the 20th century history of architecture. Yet here, too, the relation to space remained important and inspired Förg to further explore architectural structures and construction elements, outside of their context, from an artistic viewpoint. Förg's works were exhibited at documenta IX in 1992. He became a professor at the Munich Academy of Fine Arts in 1999.

Förg's works have been widely exhibited internationally. In 1992, he was represented at the Documenta art fair, and in 1996, he won the Wolfgang Hahn Prize. His work can be seen in museum art collections internationally.

American
b. June 25, 1923, San Mateo, California ⏤
d. November 4, 1994, Santa Monica, California

Sam Francis was an Abstract Expressionist painter and lithographer, known for his exuberant use of color. He created thousands of paintings as well as works on paper, prints and monotypes. Regarded as one of the leading interpreters of color and light, his work holds references to New York abstract expressionism, color field painting, Chinese and Japanese art, French impressionism and his own Bay Area roots.

Francis traveled and studied extensively, maintaining studios in Bern, Paris, Tokyo, Mexico City, New York and Northern and Southern California. Through his travels he was exposed to many styles, techniques and cultural influences, which informed the development of his own dialogue and style of painting. He possessed a lyrical and gestural hand, enabling him to capture and record the brilliance, energy and intensity of color at different moments of time and periods of his life. His paintings embody his love of literature, music and science, while reflecting his deep range of emotions and personal turmoil.

Sam Francis artworks are represented in most museums internationally. Solo exhibitions of his work continue to circulate through major art museums in the United States and abroad.

American
b. December 12, 1928, Manhattan, New York ⏤
d. December 27, 2011, Darien, Connecticut
Lived and worked in Darien, Connecticut and New York, New York

Helen Frankenthaler is regarded as one of the major painters of postwar American Abstract Expressionism. Inspired by American Abstract Expressionism, especially by the work of Jackson Pollock, Frankenthaler began to experiment with pouring paint directly onto canvas. However, unlike Pollock, she used thinned paint on untreated canvases, creating the effect of a large watercolor. This revolutionary technique launched the second generation of the Color Field school of painting.

Even though Frankenthaler’s poured works appear nonrepresentational, they are often based on real or imaginary landscapes. In addition to her two-dimensional work, Frankenthaler produced welded steel sculptures and explored ceramics, prints, and illustrated books.

Representing the United States’ Abstract Expressionism movement, Helen Frankenthaler’s paintings were exhibited in the Documenta II, 1959, in Kassel, Germany. She has been featured in numerous international exhibitions, including important retrospectives at the Whitney Museum of American Art and the Museum of Modern Art in New York.

American, b. December 20, 1944, Chicago, Illinois
Lives and works in Minneapolis, Minnesota
frankgaard.com

Drawing inspiration from a mix of subjects, including pop culture, politics, personal relationships and underpants, Frank Gaard's jarring and deceptively simplistic artworks yell color. He wants them to be sweet and taste good. He says, there's beauty and a little hot sauce in everything he does.

Growing up in the "City of Broad Shoulders" and attending the Art Institute of Chicago in the 1960's, Gaard was exposed to the strongly figurative painting style and bizarre, even vulgar imagery of the Hairy Who and the Chicago Imagists. His huge confrontational paintings and various painted assemblages may contain penises, sexy ladies, underwear, religious imagery, and rock 'n' roll details, but their day-glo candy color forces grins from viewers. Since the mid-1980s, he mainly has been creating portraits of family members, artist friends and fictional characters.

Gaard created and published the legendary underground ’zine Artpolice (1974–1994), in which he and other contributors blended cutting social criticism with a brutish drawing style often compared to that of comic artist R. Crumb. 

Frank Gaard is represented in the collections of The Walker Art Center, Minneapolis, Minnesota, and The Art Institute of Chicago. His work is in many private art collections as well.

American
Lives and works in Hutchinson, Minnesota and Texas
curtisgander.com

Curtis Gander is recognized for his en plein air oil paintings of outdoor scenes. Paintings by Gander are usually normal in size and constructed of loose, economical brushstrokes that are intended to stimulate the viewer’s emotional impressions of a scene. 

A unique series of miniature oil paintings depict people viewing works of art at the Minneapolis Institute of Arts. The subject matter is engaging for two reasons. It is natural to imagine what Gander’s painted viewer is thinking, but there is also a symbiotic relationship of Gander’s live viewer looking at a painting of a person looking at a painting. In many of these works there is a reciprocal theme whereby the figure viewing a painting relates to that painting in a particular way, perhaps in clothing, or mood or character.

As an artist, Curtis Gander continually experiments with various techniques, styles and subject matter. He states, Painting miniatures was a new endeavor – I felt the small scale lent itself to the intimate nature of this series. Dimensions of each painting in the series are less than twelve inches.

I enjoy creating oil paintings that capture the inherent authenticity and quiet character in the non-idealized, familiar scenes that we encounter every day. My method often employs loose brushwork that results in fresh and lively representations. I have had several solo and guest exhibits in the Upper Midwest where I resided until my recent move to Texas. I was recently asked by the city of Denison Texas to display a body of my work at the City Hall. My paintings are owned by individuals and dealers across the country. My "Viewing the Viewer" miniatures are represented at Douglas Flanders & Associates gallery in Edina Minnesota and my works are also represented at the new Denison Art Gallery in Texas. I hold a Bachelor of Arts degree in art from Gustavus Adolphus College and did Masters study at the University of Wisconsin.

American

‘The Color Prophecies’ is a new series begun in September, 2016 and in it I am exploring where color predicts and dictates certain interactions. For the creation and design of these images I am painting solid color mixtures on woodblock papers to use for backgrounds and various planar elements with isolated figural elements from my photographs. These mixed media collages function as the studies for my paintings.

I have been working with the premise of creating paintings with specific color palettes for many years. For me, it is a working process that is endlessly fascinating. I was never interested in attacking the blank canvas or putting down one mark and seeing where that led me. Of course this is a subject that has been written about with many variations. The practice of orchestrating the colors in a painting to register in a particular key is my approach.

The move upstate in 2005, after living in New York City for 30 years gave me a sense of new beginnings. I began to incorporate elements of my upstate surroundings and the architectural details of our historic property with images in my collage studies for paintings. This led to an ongoing exploration of figure and ground and the architecture of figuration.

In all of my paintings, I have sought color mastery and color is the subject of my work. Both Josef Albers and Charles W. Hawthorne were obsessed with creating the illusion of transparency in the opaque medium of oil paint. Both their teachings and their daily practice continue to inspire me today.

Ginnie Gardiner is a New York artist who has shown in numerous solo and group exhibits for 35 years. Gardiner graduated from Cornell University with a Bachelor of Fine Arts in 1974. In 2005, she and her husband, artist and writer Jon Phillips, moved upstate from New York City to Catskill, New York, where they renovated and restored the former Lyceum, a Federal-era building located in this historic village.

ginniegardiner.com

Gee’s Bend Quiltmakers

The Quilts of Gee's Bend were created by a group of women who live in the isolated African-American hamlet of Gee's Bend, Alabama. Their brilliant, improvisational range of approaches to composition are more often associated with the inventiveness and power of the leading 20th-century American abstract painters than traditional Euro-American quilt-making.

The quilting tradition in Gee's Bend goes back to the 19th century, when the community was the site of a cotton plantation owned by a Joseph Gee. Perhaps influenced in part by patterned African textiles, female slaves pieced together strips of cloth to make bedcovers. Throughout the post-bellum years and into the 20th century, Gee's Bend women made quilts to keep themselves and their children warm in unheated shacks that lacked running water, telephones and electricity. Along the way they developed a distinctive style, noted for its lively improvisations and geometric simplicity.

More than 50 quilt-makers currently make up the Gee's Bend Collective., which is owned and operated by the women of Gee’s Bend. Every quilt sold by the Gee’s Bend Quilt Collective is unique and individually produced.

The quilts have been exhibited museums across the United States including The Fine Arts, Houston; The Milwaukee Art Center; The Philadelphia Museum of Art; and The Whitney Museum of American Art; among others. The Whitney venue, in particular, brought a great deal of art-world attention to the work.

American
b. 1956, Chillicothe, Missouri
Lives and Works in Minneapolis

American
Lives and works in Minneapolis, Minnesota

Louise Gillis is an American Realist and virtuoso artist of all mediums. Born in Caifornia and raised in Northern Minnesota she makes her home in the Twin Cities. Her knowledge of impressionistic color theory sets the stage for figurative works, landscapes and still lifes and murals. This versatility allows Louise to focus on the needs of her subject matter and create the vibrancy and depth of each individual painting.

Louise has taught workshops in Maui, the Apostle Islands and been artist in residence in Paris and the Black Hills. She has traveled, painted and done extensive research in museums in the United States and Europe.

Having a deep affection for nature most of her paintings are done from life.

American
b. 1962, Baltimore, Maryland
Lives and works in Tucson, Arizona

Lawrence Gipe is an American painter, independent curator, and Associate Professor of 2D studies at The University of Arizona, Tucson. He received a BFA from Virginia Commonwealth University (1984) and an MFA from the Otis/Parsons Institute of Art and Design, Los Angeles (1986). He maintains a studio practice in Los Angeles, splitting his time between California and Arizona.

Gipe's work utilizes “irredeemable” imagery sourced from an archive of business magazines (specifically, Fortune), propaganda tracts, social realism photography and other officially "sanctioned" artworks approved by politically-orientated bodies (such as the former Soviet Union, countries in the former Eastern Bloc, and China). His paintings translate small black and white images into large-scale works, saturated with color, in an ongoing series called The Century of Progress Museum. Severed from their original contexts, these reinterpretations encourage the viewer to reconstruct the original image's ideological landscape.

Artist and writer David Humphrey describes Gipe's practice thus, "The great mass of pictures left behind by history has become a kind of second nature for many contemporary artists. Lawrence Gipe has been an intrepid painter from this archive, selecting, representing, and recontextualizing second and third hand sources. With a keen eye for authoritarian rhetorics, Gipe refigures period photographs as paintings, while slyly balancing connoisseurship and interrogation.” In his review of Gipe's The Last Picture Show (1999) exhibition at Joseph Helman (New York), critic Donald Kuspit writes in Artforum, "By showing us the tricks of the painting and photography trades, by heightening his effects until they become vulgarly evident, Gipe suggests that art as such is a species of rhetoric, adding no substance to what it renders but only “orating” it in a convincing way." As an organizer of, and participant in, the group exhibition One Year: The Art of Politics in Los Angeles (2018) at Glendale’s Brand Library and Art Center, Los Angeles Times art critic Christopher Knight felt that the show had taken "the defensible position that on some level all art is political."

Gipe has received two NEA Individual Fellowship Grants (Painting, 1989 and Works on Paper, 1996). A mid-career survey, 3 Five-Year Plans: Lawrence Gipe, 1990-2005, was organized in 2006 by Marilyn Zeitlin at the ASU Art Museum, Tempe at Arizona State University. In 2001, Gipe was commissioned to create a mural for the lobby of the Federal Reserve Bank Headquarters in Atlanta, Georgia. In 2014, Gipe won a University of Arizona Confluencenter Faculty Collaboration and Innovation Grant for Documenting Operation Streamline: an ongoing drawing project, and published Operation Streamline: A Reader with funds from the grant (2015), combining his sketches from Federal Court with press clippings and original research from University of Arizona journalism students. These drawings have been used to illustrate articles and news features on Univision, Univision Nacional, PBS NewsHour, AZ Daily Star, Tucson Weekly, CBS News, Center for Latin American Studies, and Arizona Public Media. In 2019, Gipe participated in a residency at Tsinghua University in Beijing, China. As part of the residency, Gipe taught a two-week course, had an exhibition, and held a lecture. He gave students his perspectives about contemporary art, and emphasized the importance of conceptual development and social interaction between artists and the community.

Selected solo museum exhibitions include the Laguna Art Museum (Laguna Beach, CA), Amerika-Haus (Berlin), Worcester Art Museum, (Worcester, Massachusetts), Kunstverein für die Rheinlande und Westfalen (Düsseldorf), and The Chrysler Museum (Norfolk, VA). Permanent collections include The Brooklyn Museum, Los Angeles County Museum of Art (LACMA), San Jose Museum of Art, Santa Barbara Museum of Art, Yale University Library, Zimmerli Archive (Rutgers University, New Jersey), Boise Art Museum, Cincinnati Art Museum, The Ringling Museum, the Federal Reserve Board Fine Arts Program, and the Norton Museum of Art.

Recent Work
Gipe’s latest series, Russian Drone Paintings, employs the visual style of “Manifest Destiny” canvasses of the 19th Century. This directly references the Industrial Revolution: the historical origin, in his view, of our total ecological peril. Source images are derived from screenshots of drone footage posted on the now-censored RT news service run by the Russian government. These works address issues of hostile surveillance, climate change, and the Anthropocene. Seen through the lens of our global “adversary”, images of cities abandoned due to radioactivity, bombardment, and other traumatic events become representative of humanity’s relentless intrusion into nature. Selected works from this series feature prominently in Gipe's 2022 solo exhibition, Recent Pictures, at William Turner Gallery, Los Angeles.

Selected Solo Exhibitions
1986 Karl Bornstein Gallery, Santa Monica, CA
1988 Laguna Art Museum, Laguna Beach, CA
1989 Galerie Six Friedrich, Munich, Germany
1989 America Haus, Berlin, Germany
1989 Hartje Galerie, Frankfurt, Germany
1990 Shea & Beker Gallery, New York, NY
1992 BlumHelman Gallery, New York, NY
1992 Galerie Six Friedrich, Munich, Germany
1992 Worcester Art Museum, Worcester, MA
1993 BlumHelman Warehouse, New York, NY
1993 Food House, Santa Monica, CA
1993 Modernism Gallery, San Francisco, CA
1993 Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany
1994 Ruth Bloom Gallery, Santa Monica, CA
1994 The Chrysler Museum, Norfolk, VA
1996 Joseph Helman Gallery, New York, NY
1996 Kohn-Turner Gallery, Los Angeles, CA
1996 Quartet Editions, New York, NY
1996 Hunsaker Schlesinger Fine Art, Santa Monica, CA
1998 Joseph Helman Gallery, New York, NY
1998 Fay Gold Gallery, Atlanta, GA
1999 Joseph Helman Gallery, New York, NY
2001 Alan Koppel Gallery, Chicago, IL
2001 Joseph Helman Gallery, New York, NY
2006 Bentley Projects, Phoenix, AZ
2006 University Art Museum at Arizona State, Tempe, AZ (Mid-Career Survey)
2007 Alexander Gray Associates, New York, NY
2007 Byron Cohen Gallery, Kansas City, MO
2008 Randall Scott Gallery, Washington, DC
2010 Lora Schlesinger Gallery, Santa Monica, CA
2011 Tucson Museum of Art, Tucson, AZ
2012 Primary Projects, Miami, FL
2014 Galerie Michael Heufelder, Munich, Germany
2015 Lora Schlesinger Gallery, Santa Monica, CA
2018 Lora Schlesinger Gallery, Santa Monica, CA
2019 Tsinghua University Academy of Art and Design, Beijing, People's Republic of China (PRC)
2021 Paul Mahder Gallery, Healdsburg, CA
2022 William Turner Gallery, Santa Monica, CA

Permanent Collections
The Brooklyn Museum
Los Angeles County Museum of Art
San Jose Museum of Art
Santa Barbara Museum of Art
Yale University Library
Boise Art Museum
Cincinnati Art Museum
Norton Museum of Art
The Ringling Museum of Art

lawrencegipe.com

greggossel.com
American, b. 1982, Baldwin, Wisconsin
Lives and works in Minneapolis, MN & Trimbelle, WI

With a background in design, Greg Gossel’s work is an expressive interplay of many diverse words, images, and gestures. His multi-layered work illustrates a visual history of change and process that simultaneously features and condemns popular culture.

Gossel’s work has been exhibited throughout the U.S. and abroad, including San Francisco, New York, Los Angeles, Copenhagen, London and Japan. His commercial clients include Levi’s, Burton Snowboards, Chivas Regal, KFC, Levi’s, American Express, Hyundai, Stussy, VICE Magazine, and Interscope Records, and his work has been published in The San Francisco Chronicle, Juxtapoz Art & Culture Magazine, Artslant and ROJO Magazine.

American
b. October 6, 1925, Minneapolis, Minnesota —
d. September 15, 2003, Mankato, Minnesota

Paul T. Granlund’s creative career spanned more than 50 years and more than 650 different works. Best-known for his striking bronze sculptures, which merge the human and geometric forms, Paul Granlund began his studies as an artist at Gustavus College in St. Peter, Minnesota where he received his BA in 1952. He continued his studies at the University of Minnesota, then at Cranbrook Academy in Michigan, where he received his MFA in 1954. That year, he was also awarded a Fulbright Award to study in Florence, Italy. A Guggenheim award for 1957 and 1958 allowed him to study in Rome.

For much of his career, Granlund was based at Gustavus Adolphus College in St. Peter, MN. He built his studio and foundry there, and worked with generations of students as the sculptor-in-residence from 1971 – 1996. Granlund was widely read and interested math, science, religion, linguistics, music, and sports, and his work reflected the connections he made between these diverse fields. Considering his interests, his studio was well-situated at Gustavus, a liberal-arts college with Swedish and Lutheran roots and a tradition of hosting an annual Nobel Conference.

Granlund exhibited widely in museums and galleries, with solo exhibitions at the Minneapolis Institute of Art (1959), the Walker Art Center (1956), the American Swedish Institute (1978 and 2003) and in college and university galleries through out the upper Midwest.

Today, Granlund’s sculptures are installed throughout the Midwest and beyond; on college campuses, outside churches and hospitals, in arboretums, and at airports. International travelers can view his sculptures in Paris, Nagasaki, Hong Kong, Sweden and India.

Please inquire for pricing

American
b. 1939, Pittsfield, Massachusetts —
d. 1995, New York, New York

Nancy Graves was a New York-based sculptor, painter, printmaker, and sometime-filmmaker known for her focus on natural phenomena, from camels to maps of the moon. Her personal aesthetic emerged in the later 1960s in the form of realistic life-size sculptures of camels. These works are rooted in childhood memories of the animals preserved in the Natural History section of the Berkshire Museum in Pittsfield, Massachusetts.

Graves’ exploration of the interplay between the replication of nature and the formal values of abstract art was to inform her work throughout her life. Transposing concepts from one medium to another, she continuously infused her work with new and innovative ideas.

Visual representations of natural phenomena like weather maps and NASA-produced moon maps inspired her paintings, drawings and prints of the early 70s. The outlines of her maps were reduced to linear abstractions in flat works of the later 70s. They were translated into three-dimensional drawings in space in Graves's sculpture of the 1980s. These abstract structures were painted with colorful patinas that reflected the brilliant tones of her paintings, watercolors and prints.

Nancy Graves’ works are included in many public collections, including those of the National Gallery of Art, Washington, DC; the Brooklyn Museum of Art, New York; the Smithsonian American Art Museum, Washington, DC; the National Gallery of Australia, Canberra; the Walker Art Center, Minneapolis, Minnesota; and many others. When Graves was just 29, she was given a solo exhibition at the Whitney Museum of American Art. At the time she was the youngest artist, and fifth woman to achieve this honor.

American
b Oct 22, 1953 Edina, Minnesota – d. Dec 14, 1990 Port St. Lucie Florida

A graduate of Edina East High School (class of 1971) Thomas Greenough began painting in Junior High and continued throughout his life. Thomas studied Art at Goddard College in Plainfield, Vermont where he began creating Tapestries. After graduation he traveled to Japan where he studied tapestry making in-depth and taught English. Thomas was fluent in Japanese, including writing the language.

Most of the Tapestries shown at Flanders Gallery were done while he was in Brazil in the 1980s. Greenough’s designs are described as “Original Navajo technique in Contemporary design”. Navajo technique is highlighted by not cutting the yarn, rather the artist twists and turns the fiber until it breaks- no scissors or knives!. His Tapestries feature his initials, TG, woven into each one. Thomas also continued to paint and designed jewelry while in Brazil. While in Brazil, he painted an entire “Orchid” series which is displayed at the home of his sister Lauren in Naples, Fl. Lauren operates HW Galleries, also in Naples, which features many works also shown at Flanders Gallery.

Thomas was also fluent in Portuguese, and taught English in Brazil. His TG Ranch grew from a 150 Acre gift from one of his English language students to be nearly 1000 acres. The Ranch is still working today, featuring thousands of Guava and Citrus trees, which Thomas planted. The ranch also has nearly 400 acres of bananas, which are sold locally. He also raised and bred parrots, including several endangered varieties.

Thomas Greenough is described as “Mellow… nothing shook him up”, and his designs show that. He loved body-surfing in Brazil. A life-long vegetarian, something that was rare in the 80s, Tom loved to cook for his friends and family. On the occasion of his death, his family hosted one of the first “Celebrations of Life” in Minnesota. The only other exhibitions of Thomas Scott Greenough’s work were in New York City in 1989 and at Captiva Island following his death.

American
b. 1980
Lives and works in Minneapolis, Minnesota

John Grider is a self-taught artist from Minneapolis, Minnesota, widely known for his awesome stencil-based art of various creatures. They dot the landscape of the Twin Cities and beyond in the form of amazing large-scale murals. His work has been shown in galleries worldwide. He has painted murals in Paris, London, Jerusalem, Brooklyn, Baltimore, Nashville, Reno, Dallas, Duluth as well as his hometown Minneapolis. His work is informed by street art. Wild animals introduced to the urban habitat carry their own mythology. Grider was the founding member of Broken Crow, a mural painting company based in Minneapolis.

American
b. 1952
Lives and works in Wayzata, Minnesota

George Halvorson’s art reveals an everyday life in which the viewer is invited to pause and reflect.

Offering moments of tranquility, he employs the disciplines of his design background and its classic elements in creating his carefully considered compositions.

While the world may feel consumed by uncertainty and doubt, George Halvorson’s art rejects cynicism. His paintings offer a counter-narrative of optimism and hope, recognizing a shared humanity within ordinary moments. 4He embraces the occasions when life is good and celebrates what is to be human with a voice of kinship and empathy. His finely wrought paintings strive to portray strength in the commonplace, and gratitude in the small moments.

Graphic clarity provides reassuring balance within Halvorson’s work. Intentionally controlling the path of the eye’s focus, the artist takes his viewers on a journey within his paintings. The subtle use of color, pattern, and the precise placement of objects direct the gaze within a hierarchy of importance. He works to infuse his work with a sense of stability, security, and comfort through his mastery of graphic balance and visual control.

Using a palette of vibrant and evocative hues, Halvorson works to capture a particular mood and the essence of each moment through a synthesis of color, light, and texture. His discerning use of single-source light creates dimension and contrast, while hearkening back to the Old Masters. The texture he employs is both visual and tactile. His selective use of pattern and a softly finished surface add a playful personality to the story.

With a wink, Halvorson reminds us that the small moments in life aren’t so minor after all. Much of life is lived in small moments. Miss them and one risks missing the lessons, wisdom, and happiness they offer.

georgehalvorsonart.com

English
b. February 24, 1922, Pimlico, London, England —
d. September 13, 2011, Northend, England

Richard Hamilton was an English painter and collage artist known as one of the earliest proponents of Pop Art. In 1956, he completed his first major collage work: Just what is it that makes today’s homes so different, so appealing?, a seminal image in Pop history, depicting a variety of domestic and cultural ephemera in an inventive, collaged visual space. Hamilton continued a lifelong relationship with, and examination of, popular media. In his celebrated collages, Hamilton explored the relationship between fine art, product design, and popular culture.

Richard Hamilton was given major retrospective exhibitions have been at the Tate Gallery, London, 1970 and 1992, Solomon R. Guggenheim Museum, New York, 1973, MACBA, Barcelona and Museum Ludwig, Cologne, 2003. In May 2014 a major retrospective was held at the Tate Modern in London in his honor. His works have also been shown at the Metropolitan Museum of Art and the Museum of Modern Art in New York. Throughout his career Hamilton has exhibited internationally.

Richard Hamilton’s print Las Meniñas came about as a result of a commission: Hamilton was invited by the Propylaen Press, Berlin to contribute to their portfolio Hommage à Pablo Picasso, celebrating Picasso’s ninetieth birthday in 1971. Basing his print on Picasso’s Meniñas, an etching that plays an art-historical game by combining the composition of the celebrated painting by Diego Velázquez, Las Meniñas, 1656 (Museo del Prado, Madrid), Hamilton drew the Infanta (the Spanish princess) in the style of Picasso’s Analytical Cubism of 1912. The lady-in-waiting standing on her left is depicted in the flat graphic language Picasso developed in the 1930s. Behind her, another female attendant is depicted in Picasso’s neo-classical style of the early 1920s and a male figure is drawn using spare lines and the vocabulary of African forms that Picasso was using around 1907. The female dwarf of the seventeenth century original has become a version of Picasso’s Seated Woman, 1927.

American
b. 1958, Reading, Pennsylvania —
d. 1990, New York, New York
Lived and worked in New York City and around the World

Keith Haring was one of a lineage of twentieth century artists who brought elements of popular culture, low art and non-art elements into the formerly exclusive high art spaces of museums and galleries. He drew on the techniques and locales of street-based art such as graffiti and murals, employed bright and artificial colors, and kept imagery accessible in order to grab the eyes and minds of viewers and get them both to enjoy themselves and to engage with important concerns.

Haring's deceptively simple imagery and text provided poignant and cutting cultural commentary on issues including AIDS, drug addiction, illicit love, and apartheid. As both an artist and an activist he established that depicting serious issues could be fun or at least lively when communicated through highly cartoony images and fresh and vivid choices of colors.

The work of Keith Haring can be seen today in the exhibitions and collections of major museums around the world.

American
b. 1947
Lives and works in Lonsdale, Minnesota

Stephen Hartman employs a variety of media in his paintings. All involve color and pattern, simple to complex, to set playful spatial relationships.

American
b. 1947, Waterbury, Connecticut
Lives and works in New York, New York

Nancy Haynes' paintings, somewhat in the color-field tradition, demonstrate an ongoing concern with the potential of light. A contemplative emptiness exquisitely materializes in her paintings. She meticulously applies thin layers of oil paint and other mediums with broad bristle or foam brushes on very fine portrait-grade linen. The thinly loaded brushstrokes feather out to achieve subtle gradation of hues.

A most eloquent 2009 review by fellow abstract painter and art critic Justin Terry states, Over the last three decades, Nancy Haynes has developed a body of abstract work that utilizes a painting’s inherent materiality to cause a surface to shift from being a plane that is looked at, to becoming an area that is peered into. As one grasps the combination of flatness, space, and light in Haynes’ paintings, the subtleties of her sophisticated palette and tonal gradations reveal a seductive luminosity. Through this examination one’s mind empties out, leaving oneself in a contemplative state. Or perhaps better put, one becomes fully engaged in the moment – peering simply into the painting’s surface while marveling at the unique and nuanced light held by each work.

Nancy Haynes has had both commercial gallery and museum solo exhibitions across the United States and Europe since 1980. Her paintings have been acquired for the best public art collections, including The Metropolitan Museum of Art, The Museum of Modern Art and the Whitney Museum of American Art in New York, The National Gallery of Art in Washington DC, The Denver Art Museum in Colorado, and the UCLA Hammer Museum, Los Angeles, California.

American
b. 1982, Minneapolis, Minnesota
Lives and works in Saint Paul, Minnesota
lukehillestad.com

Luke Hillestad started his painting life in the classical figurative tradition in 2006 with Rembrandt and Odd Nerdrum books open next to an empty canvas. He immersed himself in apprenticeship and traveled to museums and studios around the world to learn from the paintings of the old Masters whose tradition he seeks to follow. He then apprenticed with the world-renowned painter Odd Nerdrum in Norway and Paris between 2008 and 2013. His palette of earth colors comes from the Ancient Greek Apelles – a painter known for his grace. Working in this style Hillestad aims towards the primal beauty of humans at their most noble, with narratives that center on themes of death, kinship, ritual, and wilderness.

Hillestad states Studying music composition gave me a sense for proportion and harmony - also, in a way, narrative - or let’s say “poetics”. The deliberate process of painting a face with dignity gives us practice in compassion. Time spent in front of an earnest portrait can leave the viewer a little more open, a bit more trusting. I would say that my favorite paintings look as though they could have been made in any time, and definitely they would also be chalk full of narrative. By timeless narratives I mean the stories that repeat regardless of geopolitics. These are archetypes: family, ritual, journey… the topics we each have versions of - the ones we recognize.

Luke Hillestad’s work has been exhibited in Norway, Spain, Germany and throughout the United States.

English
b. 1937, Bradford, England
Lives and works in London and Yorkshire, England, as well as Los Angeles, California

David Hockney is a painter, printmaker, photographer and stage designer, whom is perhaps the most popular and versatile British artist of the 20th century. A pioneer of the British Pop Art movement in the early 1960s alongside Richard Hamilton, David Hockney gained recognition for his semi-abstract paintings on the theme of homosexual love before it was decriminalized in England in 1967. In We Two Boys Clinging Together (1961), red-painted couples embrace one other while floating amidst fragments from a Walt Whitman poem.

After moving to California at the end of 1963, Hockney began painting scenes of the sensual and uninhibited life of athletic young men, depicting swimming pools, palm trees, and perpetual sunshine. Experimenting with photography in the mid-1970s, Hockney went on to create his famous photo-collages with Polaroids and snapshot prints arranged in a grid formation, pushing the two-dimensionality of photography to the limit, fragmenting the monocular vision of the camera and activating the viewer in the process.

A versatile artist, Hockney has produced work in almost every medium — including full-scale opera set designs, prints, and drawings using cutting-edge technology such as fax machines, laser photocopiers, computers, and even iPhones and iPads.

David Hockney continues to be featured in major retrospective exhibitions at museums around the world. His work is collected internationally as well.

English
b. 1932, London, England
Lives and works in London, England

Howard Hodgkin is known for paintings and prints created from assertive compressed gestures, sweeping complex textures, a lush palette, and the dynamic interchange of light and dark. With their maximalist gestures and saturated colors, his more intimately scaled paintings appear jewel-like, while larger works are opulent and theatrical. With incorporated frames and painted wooden supports, they operate as both objects and images.

Embracing spontaneity and directness in equal measure to the processes of reflection and capitulation, it may take a year for Hodgkin to prepare to execute a single brushstroke. The seemingly casual, urgent quality of his paintings belies the fact that most of them have been worked on for two or three years. More than ever they convey the relationship between hand, eye, and memory that drives their process, visual structure, and emotional temperature.

Howard Hodgkin’s artworks are collected and exhibited internationally.

American
b. March 15, 1948, Long Beach, California —
d. August 11, 2020, Healdsburg, California
Lived and worked in Healdsburg, California

Wade Hoefer’s infinitely tranquil landscapes maintain their familiar air, representative of the California landscapes surrounding his Northern California home. At the same time, his paintings extend beyond the boundaries of his environment and into the realm of his imagination. Scenes of lakes, valleys and expansive skies could easily be mistaken for Italy, France, or another rural countryside – shrouded in a misty haze of warm golds, soft greens and defining ochre browns.

Straying from the tradition of landscape painting, Hoefer has truly simplified his landscapes, omitting humans, or any apparent man made objects, and presenting nature in its most complementary serene state.

Wade Hoefer has come to be known through the years as an influential figure in the vast realm of Western landscape painting. He is represented throughout the U.S. in major museums and prominent collections.

German
b. 1880, Weissenburg, Bayern, Germany —
d. 1966, New York, New York

Hans Hofmann was a renowned painter and famous teacher of many prominent American artists. He believed fervently that a modern artist must remain faithful to the flatness of the canvas support. To suggest depth and movement in the picture — to create what he called push and pull in the image — artists should create contrasts of color, form, and texture.

Nature was the origin of art, Hofmann believed, and no matter how abstract his pictures seemed to become, he always sought to maintain in them a link to the world of objects. Even when his canvases seemed to be only collections of forms and colors, Hofmann argued that they still contained the suggestion of movement — and movement was the pulse of nature.

Emigrating to the United States during the increasingly oppressive regime in Germany, Hofmann later opened his own school to teach many of the renown painters of the 1950s and 1960s. He was as well known for his painting as for his teaching, and gained recognition as a leading member of the Abstract Expressionist movement.

Hans Hofmann paintings are held in the collections of most of the world’s most prestigious art museums.

American
b. 1968, Denver, Colorado
Lives and works in Saint Paul, Minnesota

Matthew Holm’s acrylic paintings are expressive color fields whose base structures are built in reverse with multiple-colored acrylic paint layers that are applied to a polyethylene plastic surface, then peeled away as skins. Once they are bonded to stretched canvases, additional layers and brushwork are then added to the polyethylene-molded side of the skin to form the final painting.

Holm says My experience as a printmaker caused me to realize that the resulting color fields were actually reversed images that I could manipulate with added thick or thin acrylic layers and additional brushwork. Tears or holes resulting from the pulling away of the paint skin could be filled with new color.

Matthew Holm maintains an active exhibition schedule. His paintings are represented in numerous private and corporate art collections.

American
b. 1969, Bethesda, Maryland
Lives and works in Bethesda, Maryland

Leslie Holt is well known for paintings that encourage discourse with topics of psychology and mental illness, commercialism and socio-economic divides. She employs unconventional juxtapositions, alluring use of color and contrast, and elements of irony to provoke commentary and emotional response.

About her Hello Masterpiece series, Holt states, I juxtapose the character, Hello Kitty, with famous images from art history. The paintings are postcard size, similar to those found in a museum gift shop. (The works available at Flanders are larger in scale.) The famous paintings become pop culture icons akin to Hello Kitty, reinforcing their role as commodities in a market. In this series Hello Kitty is taking a tour through art history and dressing up to “match” elements of the famous painting. In other images from this series, Hello Kitty is pointing toward social or political issues, such as war, genocide, or gender identity. I rely on her to charm the viewer into looking, but her innocent, playful appeal contrasts with the serious adult subject matter.

Leslie Holt has an extensive exhibition record with shows across the United States. Her years-long project, Hello Masterpiece, has been collected by hundreds of Hello Kitty loving art collectors world-wide.

American
b. 1955
Lives and works in Minneapolis, Minnesota

Don Holzschuh is a plein air painter whose loose paint and high-keyed colors have captured the essence of local cafes, parks and residential neighborhoods and downtown streetscapes since the 1980’s. He has also painted the lush river valleys of southeastern Minnesota and rural France as well as scenes from travels in the Netherlands.

Don Holzschuh has exhibited his paintings internationally. His works are in art collections in United States, France, Germany, Norway and the Netherlands.

“Unlike the studio, reality and life can be completely different than in your mind. With open air painting, you don’t have painting as a form, but reality and life and you as an individual participating in the natural world. You tend to look at things in a more objective and pure way. When you’re painting outside you’re actually putting yourself on the line. Everyday you’re a different person, and if you go back to the same spot the next day, it’s a completely different scene… “I just think open air painting is more honest. It has a purity, because it’s really about how a person perceives a situation and who they are at that moment. It’s not contrived, it’s not pre-planned in execution. It’s there. It’s total emotion. You have hits and misses like anything, but when you’re really going at it outdoors you can feel everything around you: the birds, the traffic, the rhythms, the people, the air. You can see how the rhythm of the earth goes, you get that tune. It all just contributes to the frenzy of creativity, something you don’t get in the studio.”

donholzschuh.org

American
Lives and works in Minneapolis, Minnesota
suzannehowe.net

Suzanne Howe paints small to miniature images of foods and domestic objects that seemingly follow in the tradition of historical hyper-realist artists. What sets her work apart is her almost unnoticeable pointillist brushwork that builds a sensual textured surface. Howe’s tour de force painting Still Life with Skis and Skates is a large (5 x 4 feet) canvas portraying the warmth-giving garments and winter sporting gear stored at-the-ready, one imagines just inside the door. This oil painting is constructed entirely of micro brushstrokes.

Suzanne Howe has exhibited widely and has paintings in many private art collections.

American
b. 1946, Minneapolis, Minnesota
Lives and works in Minneapolis, Minnesota

John Hruska’s involvement with contemporary art began at a young age. Inspired by the early work of Robert Rauschenberg, Hruska began making sculptures with found objects while still in his early teens. In high school Hruska began studying photography, and upon graduation took a position as photographer for an advertising agency. this was the start of a career that spanned decades and took him around the world shooting photographs for several high profile corporations, as well as doing fashion photography.

Throughout his time in the commercial photography world, Hruska never stopped pursuing his art photography. Besides conducting photography classes in Mexico for the University of Minnesota, Hruska and a fellow photographer founded a major photography gallery, which was in operation from 1986 to 1998, and was among the most important such galleries in the five state area. His photographs are also in many private collections.

Hruska has retained his commitment to the idea that photographs are documentations of an event and therefore should not be altered through any post-production manipulations. This commitment, in conjunction with his early love of sculpture, led him to the body of work that has been his focus for the last five years. His process entails submerging objects in layers of water and colored dyes which are then frozen. The resulting sculptures are then lit and photographed – freezing them as a photographic image before they dissolve.

American
b. 1960, New Orleans, Louisiana
Lives and works in New York, New York

A contemporary painter best known for her abstract canvases, Jacqueline Humphries has created a body of work that stands as a quiet parenthetical to formalist American abstraction. Often creating muted paintings in shades of grey, silver, or black, Humphries’s paintings rely on the simple gesture of a line or the soft imprint of her paintbrush to convey her intention. Creating paintings and non-paintings, as she calls them, Humphries explores the possibility of creating complexity through simple forms.

Jacqueline Humphries has been the subject of solo exhibitions at the Carnegie Museum of Art (CMOA) in Pittsburg, Pennsylvania; Kunsthalle Wilhelmshaven in Germany: and the Williams College Museum of Art, Williamstown, Massachusetts. Humphries’ artworks are represented in important public art collections such as the Museum of Modern Art and the Whitney Museum of American Art in New York, the Museum of Fine Arts Boston, and other museums throughout the United States and Europe.

KB (Kyu-Baik) Hwang
Korean, b. 1932, Busan, South Korea

Kyu-Baik Hwang was by 1968 a well-established painter in Korea when he decided to seek new challenges in Europe. In Paris, he studied art history at the Ecole du Louvre and printmaking at the celebrated Atelier 17. Working with founder Stanley Hayter, among the most innovative and influential printmakers of the 20th century, Hwang mastered various intaglio techniques. By the time he moved to New York City in 1970, where he was to reside for thirty years, Hwang was primarily working in color mezzotint, a print medium to which he now devotes himself exclusively. With soft lighting and colors at once vivid and subdued, Hwang depicts familiar objects in surreal settings: chairs on the lawn cast shadows on what appear to be grey skies behind; reflections of a crescent moon peek from soup bowls on the grass; a wedge of watermelon floats among rolling hills of green. His "superb prints" present "a serene world of unexpected classical calm" while offering the viewer "new meanings, new recognitions, of the realities found in (them)" (Gordon Gilkey, Curator of Prints and Drawings, Portland Art Museum). Twice prize winner at the Ljublijana Print Biennale in the former Yugoslavia, and prize winner at the Bradford Print Biennale, England, Hwang has had numerous solo exhibitions in Japan, Korea, Yugoslavia, Germany, France, Norway, England and the United States.

Hwang’s work is found in the collections of The Art Institute of Chicago; the Museum of Modern Art, New York; the Museum of Fine Arts, Boston; The British Museum, London; The National Gallery, Oslo; the Uffizi Museum, Italy; and the Musée d'Art Moderne de Paris, inter al.