Fall 2018 Visiting Artists

Polly Apfelbaum has lived and worked in New York City since 1978. Her first one person show was in 1986. She has been exhibiting in the States and Internationally for over thirty years. 

September of 2018 she opened 2 museum shows. One at the Ikon in Birmingham, England and the other the Belvedere 21 in Vienna, Austria.

A major mid-career survey of her work debuted at the Institute for Contemporary Art in Philadelphia, Pennsylvania in the summer of 2003. The exhibition traveled to the Contemporary Arts Center in Cincinnati, Ohio, and the Kemper Museum of Contemporary Art in Kansas City, Missouri. 

Recent solo exhibitions include Alexander Gray Gallery, NYC Frith Street Gallery London, Otis College of Art, Be Part, Belgium.

Recent Group shows include David Kordansky Gallery, LA Galerie Nacht St Stephen , Vienna, Whitney Musuem of Art, LACMA, Los Angeles, Camden Arts Center, London.

Over the years she has participated  in the Lyon, Sydney, Lodz and Valencia Biennales. Upcoming is the Quebec Bienale, Canada.

Her works are in many public collections including: The Museum of Modern Art, New York; The Whitney Museum of American Art, New York; The Dallas Museum of Art; LACMA, Los Angeles and the Philadelphia Museum.  

Polly Apfelbaum  has been awarded a Guggenheim Fellowship, a Joan Mitchell Grant,  Anonymous Was A Woman Grant and the Rome Prize in 2012.

Corin Hewitt is an American sculptor and photographer. His work has been shown widely in the U.S. as well as Europe. He has had several US solo museum exhibitions including at the Whitney Museum of Art, Museum of Contemporary Art Cleveland and The Seattle Art Museum. Hewitt has been awarded a Joan Mitchell Foundation Grant, a Guggenheim Fellowship, and the Rome Prize. He is an Associate Professor of Sculpture and Extended Media at Virginia Commonwealth University. Hewitt is also a member of the Artist Pension Trust. Hewitt holds a BA from Oberlin College and attended both the Staatliche Akademie der Bildenden Kunste,Karlsruhe (Germany) and Skowhegan School of Painting and Sculpture, Maine before receiving his MFA from Milton Avery School of the Arts at Bard College.

Hewitt’s work combines the sculptural, the theatrical, the photographic and the performative. Using a variety of processes from casting, photography, stage design, to model making, the breadth of Hewitt’s work ranges from a monumental cast rainbow made of street sweepings to intimate indoor staged performances of photography.

Vanessa Jackson RA is a British painter who, on first reading, appears to take the most formal approach to painting, but her use of geometry and its three dimensional function deny the supposed flatness of modernist space. Jackson's work explores the contradiction of a fully realised space at once pertaining to logic and completeness and uncertainty and unease. The ornamental and optical play of colour acts to both confirm and confuse our sense of perception, constantly shifting between concrete presence and the ambiguity of space beyond our grasp. Jackson destabilises the very 'ground' we most desire, a sense of security and belonging.

She was elected to the Royal Academy of Arts in 2015. Jackson studied at Saint Martin's School of Art and the Royal College of Art.In 1985 and 1990, she undertook the Yaddo Residency in New York.

Jackson has an extensive career teaching fine art. She was Head of Painting at Winchester School of Art from 1988 to 1997, MA and research tutor at the Royal College of Art, and senior tutor at the Royal Academy Schools from 1998 to 2013. She is currently a member of the fine art faculty at the British School at Rome and is the Chair of the Edwin Austin Abbey Council, which provides awards for painters.

In 1998-9, Jackson was included in the South Bank Centre's exhibition The Presence of Painting. Her oil on canvas painting “So Much Depends” was a prizewinner at John Moores Liverpool Exhibition 1993-4. Jackson was elected to the Royal Academy of Arts 2September 2015.

Jill Levine is a native New Yorker. She attended Queens College, where she earned her BA and also received a fellowship to the Yale Summer School of Art at Norfolk, CT.

She earned her MFA from the Yale University School of Art, which included a semester at the Royal College of Art in London. 

She has been exhibiting regularly since the late 1970’s in both group and solo exhibitions. In 2000 she was the recipient of the John Simon Guggenheim Fellowship and in 2005 a NYFA Fellowship. 

Her sculpture is included among numerous private and corporate collections worldwide as well as in the Metropolitan Museum of Art, New York; the Dorothy and Herbert Vogel Collection at the National Gallery of Art, Washington, DC; and the Art in Embassies, Mumbai Embassy. She lives and works in New York.

For many years she has explored the territory between painting and sculpture. The sculptures hang on the wall. They are built from pre-cut Styrofoam shapes that are tooth picked together, eventually glued into place and covered with rigid wrap and modeling compound. The image is drawn, sometimes projected and painted with oil paint.

For years, the sculptures always had a human scale, kind of a half torso size, but her work has always had a playful side and the idea of symmetry pushed her towards sculptures that were more of a hybrid between the animal/human worlds. Over the years the forms have morphed from built up globular, exploding structures to a simpler format. The current work is comprised of symmetrical shapes that take on a more totemic feeling. She has been traveling to Mexico for the past twenty years and have incorporated my interest in Pre -Columbian art into the work. 

These sculptures reference images from Mexican codices, as well as ceramics and sculpture from various sites. The sources for color that warps and weaves across the forms are often found in serapes. Drawing is laid over the horizontal bands creating multiple visual layers. For example in “Frazada”, a lacey Day of the Dead image painted in black lies on top of bands of vibrant color. Other sculptures reference insects, animals or the death god, Mictlantecuhtli. Although the sculptures seem to belong to a common clan they maintain their individuality.



Using Format