Austin Lewis

Lewis approaches the formal constructs of sculpture through his use of found or discarded materials.  His innovative sculptures explore the interplay of space, volume and color and the boundaries between high and low art.   The resulting works offers a new vernacular and a theoretical framework through his honest treatment of his material.  Each of works on view creates an aesthetic dialogue that investigates sculpture’s historical roots while also reflecting contemporary issues of mass production and materialism.  The results are non-objective works that reveal something about the potential of his material as well as the nature of the artistic interaction with it. Lewis’s practice is therefore in direct dialogue with contemporary sculpture and current process-based art. 

Cameron Martin

Cameron Martin is a contemporary painter whose work over the years has varied from landscape paintings to more recent abstract works focusing on color, shape, and space. Much of Martin’s work in the past has played with notions of site and non-site, with the image serving as a marker for unattainable direct experience. In this new work, it is as if Martin has revealed the originary site. No longer insisting on the muted tones characteristic of his earlier work, which elicited a contemplative silence, there is a sense of optimism in the commanding presence of these new pictures, a timeless physicality that has the potential to endure.

Cameron Martin was born in Seattle, Washington in 1970 and lives and works in Brooklyn, NY. He was educated at Brown University and the Whitney Independent Study Program. He is the recipient of a 2010 John Simon Guggenheim Memorial Foundation Fellowship and a 2008 Joan Mitchell Foundation Fellowship. Solo exhibitions include ”Bracket”, Greenberg Van Doren Gallery, NY (2011), “Currents 97”, St. Louis Museum of Art, St. Louis, MO (2006), and “Focus 3”, Philbrook Museum of Art, Tulsa, OK (2006). Martin was included in the prestigious Whitney Biennial in 2004. His works are included in the collections of the Albright-Knox Art Gallery, the Saint Louis Art Museum, the Seattle Art Museum and the Whitney Museum of Art, among others. In June of 2017, the Museum at SUNY Albany hosted a full-scale exhibition of his abstract work, accompanied by a catalogue including an essay by art historian and critic Suzanne Hudson.

Richard Rezac

Richard Rezac (b. 1952, Nebraska) creates refined, and elegant objects comprised of pure reductive forms; his inspiration drawn in part from emotive encounters with architectural and design details situates his work closely to the Post-minimalist artists of the 1980s. Human in scale and mounted on the wall, suspended from the ceiling, or placed on the floor, Rezac’s sculptures open viewers to close-looking and reflection upon the forms. Surfaces of painted and natural wood, aluminum and bronze contain subtleties that reveal the pristine sculptures as actually handmade. Richard Rezac has received prestigious awards including the John Simon Guggenheim Memorial Foundation Fellowship, the Joan Mitchell Foundation Award, Louis Comfort Tiffany Foundation Award, and the Rome Prize Fellowship from the American Academy in Rome. He has exhibited at the Art Institute of Chicago, Museum of Contemporary Art- Chicago, Yale University Art Gallery, Aspen Art Museum, Portland Art Museum and others. Public collections include the Art Institute of Chicago, Dallas Museum of Art, Portland Art Museum, Detroit Institute of Art, and the Smart Museum at the University of Chicago, among others. Rezac lives and works in Chicago, IL where he is Adjunct Professor of Sculpture, Drawing, and Graduate Advising at The School of the Art Institute of Chicago (SAIC).

(copied from Rhona Hoffman)