2018
Notable collectors include Blake Byrne, Swizz Beats, Alicia Keys, Peggy Cooper Cafritz, Carmelo Anthony, Peter Berg, and Reginald Lewis. Lagarrigue is represented by Galerie Olivier Waltman (Paris, Miami) and Dolby Chadwick (San Francisco).
Jerome Lagarrigue
Portrait of a Young Man
2020
Oil on linen
40" h x 30" w
"Music is my gravity. I started out as a visual artist, but my dad collected records. Music was a natural presence in my life. It was the soundtrack to whatever I was drawing or painting."
Blitz Bazwule in an interview with Sheila Orfano for TEDFellows, February 2017.
Blitz Bazawule
A MOMENT IN TIME / Café
2020
Acrylic on canvas
30"h x 40"w
"For me, everything is art. Literature is art, music is art, even culinary skills are art. I’m one of those artists who doesn’t see the need for clear barriers between art forms... Culture is a continuous strand."
Blitz Bazwule in an interview with Sheila Orfano for TEDFellows, February 2017.
Blitz Bazawule
A MOMENT IN TIME / Laundromat
2020
Acrylic on canvas
30"h x 40"w
Throughout his career, Montoya painted murals, still lifes, portraits and street scenes of Mexico and its inhabitants. His work has been shown throughout Mexico and the southern United States, and an anthology of his work was organized by the Diego Rivera Mural Museum in 1997.
Gustavo Montoya
Niño y Niña de blanco
c. 1950s
Oil on canvas
20"h x 18"w
After completing her Bachelors in Painting from the National College of Arts, in 2014, Bokhari taught there for two years. She continued her studio practice alongside, and has exhibited her work in galleries in Islamabad, Karachi and Lahore.
Sanié Bokhari
Alt-East
2020
Graphite & oil stick on canvas
72" h x 48" w
Pursuing a master’s degree at RISD allowed Bokhari's paintings to open up and express themselves as more direct representations of feminist agency. She began questioning the traditions she had left behind, but also appreciating, and understanding them from afar.
Sanié Bokhari
Nominal Nabob
2019
Watercolor & tea wash on Vasli paper
14" h x 11" w
Bokhari recognizes two defining aspects of her life: an appreciation of artistic expression and of the nature of power structures such as patriarchy. Memories and interactions from her native Pakistan result in ambiguous visuals, reflecting a fear of censorship.
Sanié Bokhari
Tool Box
2019
Watercolor & tea wash on Vasli paper
14"h x 11"w
"If I could contribute with not only my own personal work but through creating forums that can work towards gaining independence from forces of orthodoxy, I would look to achieve that by contextualising my work within the larger discourse of contemporary art to continue my personal and professional growth as a person and an artist."
Sanié Bokhari in an interview with Santunu Borah for The Indian Curator, November 2019.
Sanié Bokhari
Clairvoyant
2019
Watercolor & tea wash on Vasli paper
14" h x 11" w
Debra Cartwright received a Bachelor of Arts in Art History from the University of Virginia in 2010, and is currently pursuing her MFA in painting at Rutgers University. Collections include Planned Parenthood of Metropolitan Washington, DC.
Debra Cartwright
Lindsay's Been in Bed-Stuy
2019
Oil on canvas
48" h x 60" w
Born in Mumbai and raised in Singapore, Ramakrishnan traveled to the United States to complete her BFA in painting at the Rhode Island School of Design. Her artworks have been exhibited at the Rubin Museum, Field Projects, Gateway Project Spaces, the Elizabeth Foundation of the Arts, and more.
Sahana Ramakrishnan
Bearskin
2020
Ferric chloride, sumi ink, gold leaf, rhinestones, and oil pastel on paper
30" h x 22" w
"I seek out narratives, symbols and archetypes from Asian, African and European myth and contemporary ritual, but when they appear in my work they are chopped and skewed. Mythical references are a framework for me to address questions about human-animal relationships, and the versatility of the female figure."
Sahana Ramakrishnan
Groping in the Dark
2020
Tempera, sumi ink, color pencils, and rhinestones on paper
22" h x 30" w
"My pieces sit somewhere between collage, scroll drawing and tapestry, and I develop them with the intention that they exist in flux between different cultures, geographies and histories.. Mutation, fusion and hybridity are important to me, both in the formal aspects of how the surface and object of the drawings function, and in the narratives they depict."
Sahana Ramakrishnan
Austintipede
2019
Ferric chloride, acrylic, sumi ink, asphaltum, rope, rhinestones, glass beads, gold leaf, and color pencil on paper
57" h x 57" w
"Cantilevered is an architectural term where a building is anchored at one end and balancing a structure that extends out horizontally. The structure then becomes a metaphor for our lives. With some of the works in this series the shapes appear to be teetering and falling off the structural plinth. Mimicking the idea of letting go or prioritizing in hopes of gaining some normalcy or balance during these anxiety driven times."
Nanette Carter
Cantilevered #13
2014
Oils on Mylar
60" h x 83" w
"On one picture plane different textural surfaces, forms and colors might reside in harmony or in discord. I employ painting, printing, drawing and collage. My substrate has been frosted Mylar for over 25 years, hoping to achieve the maximum luminosity, density and transparency. The catalysts, for over four decades, have been the drama of nature in tandem with the drama of human nature."
Nanette Carter
Cantilevered #47 (Teetering)
2019
Oils on Mylar
15" h x 19" w
Nanette Carter received an MFA from the Pratt Institute of Art in 1978, where she currently serves as an Adjunct Associate Professor. Public collections include The Studio Museum in Harlem, the Perez Museum in Miami, the Museo Nacional de Bellas Artes in Havana, among many others.
Nanette Carter
The Weight #20
2018
Oils on Mylar
12.25" h x 21.5" w
Deceus studied printmaking at the venerated Bob Blackburn Printmaking Workshop, and in June of 2007, he completed a month-long printmaking residency in Gentilly, France. He received the Samella Lewis Award for Painting in the Hampton University Museum’s juried exhibition, “New Power Generation 2008.”
Francks Deceus
BKNY Mumbo Jumbo #5
2020
Acrylic on canvas
20" h x 16" w
Stylistically, Deceus incorporates many of the influences and aesthetic forms of artists like Norman Lewis and Howard dena Pindell, and reverberates some of the artistic strains of his native Haiti. His modernist style combines figurative, abstract, and layered elements and relies heavily on a simplification of form and function. His work is characterized by a semiotic economy, minimalist use of imagery, and a deliberately limited palette range within series of work.
Francks Deceus
Mumbo #8
2020
Acrylic and collage on paper
22" h x 19" w
Born and raised in Suriname, Jungerman is a descendant of the Surinamese Maroons who escaped enslavement on Dutch plantations to establish self-governed communities in the Surinamese rain forest. Within their rich culture, many West-African influences are preserved including the prominent use of abstract geometrical patterns.
Remy Jungerman
Pimba AGIDA III
2020
Cotton textile, kaolin (pimba) on wood panel (plywood)
36" h x 36" w
Placing fragments of Maroon textiles, as well other materials found in the African diaspora such as the kaolin clay used in many African religious traditions or the nails featured in West African Nkisi Nkondi power sculpture, in direct contact with materials and imagery drawn from more “established” art traditions, Jungerman presents a peripheral vision that can enrich and inform our perspective on art history.
Remy Jungerman
Pimba AGIDA II
2020
Cotton textile, daolin (pimba) on wood panel (MDF)
24" h x 24" w
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Young's pieces can be found at the Rubell Family Collection in Miami, Florida; Bass Museum in Miami, Florida; the Corcoran Art Gallery in Washington D.C.; the High Museum in Atlanta, Georgia; the Smithsoniana American Art Museum in Washington D.C., and the Philadelphia Museum of Art in Philadelphia, Pennsylvania.
Purvis Young
Untitled
c. 1990s
Oil on fabric
44"h x 22"w
"To paraphrase Saidiya Hartman, we are living in a future created by colonial violence and slavery. She writes, “myth is the threshold of history.” My work is not about colonialism, violence or slavery in content or image, but I am keenly aware of the physiological effects of these histories and their mythologies in our present lives."
Ambrose
the violet center
2020
Oil, acrylic, paper and various textiles
48"h x 36"w
"My process is an exploration of our bodies and land as sites of historical memory, mystical and imaginative potential. The act of making through collage becomes a process to re-member myself, my body, and my connection to land, re-membering that which has been dismembered across generations.
Ambrose
violeta
2020
Oil, acrylic, wool and various textiles
87"h x 36"w