Kavi Gupta, FRIEZE London 2022: Regents Park | Booth G9

28 September - 16 October 2022

    Kavi Gupta amplifies voices of diverse and underrepresented artists to expand the canon of art history. Our presentation for Frieze London 2022 supports our mission to increase representation in the contemporary art field by spotlighting the work of a personally, culturally, and aesthetically diverse group of artists, including: James Little, Arghavan Khosravi, Tomokazu Matsuyama, Manuel Mathieu, Suchitra Mattai, Kour Pour, Beverly Fishman, Manish Nai, Richard Hunt, Roger Brown, José Lerma, Miya Ando, Jessica Stockholder, Jeffrey Gibson, Michi Meko, Sherman Beck and Rewind Collective.  Ranging in age from their 30s to their 90s, the artists we work with identify as members of more than a dozen nations and occupy the vanguards of aesthetic and philosophical positions as varied as Decolonialism, Post-Minimalism, Interculturalism, Indigenous Rights, Fiber Art, Geometric Abstraction, Feminist Art, Conceptualism, Anti-Racism, LQBTQIA+ Justice, Transnationalism, Neo-Expressionism, Light and Space, Neo-Pop, and Expanded Painting. A truly representative, global survey of contemporary art cannot exist until artists of all identities, backgrounds, and aesthetic concerns have a seat at the table. We look forward to once again representing this mission at Frieze London.


  • 'I make paintings unadorned, that reflect the relationship I have with the medium and good design. I’m not interested in...


    "I make paintings unadorned, that reflect the relationship I have with the medium and good design. I’m not interested in illusionism, the way a lot of abstract artists are. I’m interested in flatness, the flat plane, and materials that keep illusions at bay. I’m just trying to stand up next to the great paintings of the past.”


    –James Little


  • James Little, Joyful Austerity, 2021

    James Little

    Joyful Austerity, 2021
    Oil on linen
    64 x 74 in
    162.6 x 188 cm







    James Little is a master in the field of contemporary American abstract painting. In an age that frequently trades durability and patience for ephemerality and instant gratification, Little might be seen as an outlier. A careful, precise, disciplined perfectionist who emphasizes personal improvement over outside recognition, Little offers an alternative definition of influencer to a culture obsessed with quick returns and fame for fame's sake.
    The restraint of his pictures belies the startling complexity of their making—Little makes his own binders and grinds his own pigments, and paints a majority of his works using what is the most complex and difficult-to-master method ever devised: blending handmade pigments with hot beeswax, similar to the encaustic painting technique developed by ancient Egyptian and Greek artists. Properly cared for, his wax paintings will look as vibrant and luminous a thousand years from now as they do today.


    Little holds a BFA from the Memphis Academy of Art and an MFA from Syracuse University. He is a 2009 recipient of the Joan Mitchel Foundation Award for Painting. In addition to being featured prominently in the 2022 Whitney Biennial at the Whitney Museum of American Art in New York, NY, his work has been exhibited extensively in solo and group exhibitions around the world, including at MoMA P.S.1, New York, NY; Crystal Bridges Museum of American Art, Bentonville, AR; Studio Museum in Harlem, New York, NY; St. Louis Art Museum, St. Louis, MO; and the Smithsonian Institute, Washington, DC.
    His work has been included in The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse at Virginia Museum of Fine Arts, Richmond, VA, curated by Valerie Cassel Oliver and traveling to Crystal Bridges Museum of American Art, Bentonville, AR. Solo exhibitions include Homecoming: Bittersweet, at Dixon Gallery & Gardens: Art Museum, Memphis, TN, with an accompanying catalogue, and at Kavi Gupta, Chicago, IL, in 2022. His paintings are represented in the collections of numerous public and private collections, including the Virginia Museum of Fine Art, Richmond; Studio Museum in Harlem, New York; DeMenil Collection in Houston; Library of Congress, Washington, DC; Maatschappij Arti Et Amicitiae, Amsterdam, Holland; Saint Louis Art Museum, Saint Louis; Everson Museum of Art, Syracuse; New Jersey State Museum, Trenton; Tennessee State Museum, Nashville; Arkansas Arts Center, Little Rock; and Newark Museum, Newark.




  • James Little, Untitled, 2014

    James Little

    Untitled, 2014
    Ink on paper
    22 x 30 in
    55.9 x 76.2 cm

  • “The contradiction was part of our everyday life. We separate our life: public and private. In public there are restrictions...


    “The contradiction was part of our everyday life. We separate our life: public and private. In public there are restrictions imposed. But we have our freedom in private space.” 


    –Arghavan Khosravi


    Arghavan Khosravi’s studio practice mobilizes visual art as a vehicle for cultural transformation. Her recent works investigate the aesthetics of ancient Persian miniature paintings, which were originally used to illustrate folkloric texts. The landscapes of Persian miniatures are flattened, eliminating any sense of depth or perspective. Typically, the only women they portray have a subservient or secondary role, lacking agency and social significance. Khosravi’s paintings take a conscious look at how the value system transmitted by that iconography continues to shape Iranian gender politics today.
    The most noticeable visual characteristic of Khosravi’s paintings is their multi-dimensionality. Constructed from a complex scaffolding of cut and painted wooden panels, they offer a constantly shifting perceptual experience. Visual motifs such as black plumes, rockets, and cages reference corrupted economic and political systems, while female bodies are often depicted as being shackled or with their mouths sewn shut. The introduction of contemporary figurative and symbolic iconographies that challenge misogynistic cultural architectures spotlights the ongoing international fight for gender equality. Despite referencing specific Persian miniature paintings from history, their architectural presence and content makes clear that Khosravi’s paintings are intended to subvert the visual tradition to which they belong.




  • Arghavan Khosravi, The Pomegranate Garden, 2022

    Arghavan Khosravi

    The Pomegranate Garden, 2022

    Arghavan Khosravi is a Joan Mitchell Foundation Grantee and Walter Feldman Fellow. Her recent solo exhibitions include Arghavan Khosravi at The Currier Museum of Art, Manchester, NH, and Arghavan Khosravi: The Witness at Kavi Gupta, Chicago, IL. Recent group exhibitions include Uncombed, Unforeseen, Unconstrained, an official collateral exhibition of the 59th Venice Biennale; as well as exhibitions at the Museum of Contemporary Art, Yinchuan, China; Orlando Museum of Art, Orlando, FL; Newport Art Museum, Newport, RI; and Provincetown Art Association and Museum, MA; among others. Her recent residencies include The Currier Museum of Art, Manchester, NH; the Fine Arts Work Center, Provincetown, MA; the Studios at MassMoCA, North Adams, MA; Monson Arts, Monson, ME; and Residency Unlimited, Brooklyn, NY. Khosravi earned an MFA in painting from the Rhode Island School of Design after completing the studio art program at Brandeis University. Khosravi previously earned a BFA in Graphic Design from Tehran Azad University and an MFA in Illustration from the University of Tehran. Khosravi’s work is in the collections of the Rose Art Museum, Waltham, MA; The Pennsylvania Academy of the Fine Arts Museum; Philadelphia, PA; Currier Museum of Art, Manchester, NH; Newport Art Museum, Newport, RI; and the Rhode Island School of Design Museum, Providence, RI, among others. Khosravi lives and works in Stamford, Connecticut.





  • “The convenience of our time has made how layered our culture is indefinite. When we see an image, we try...


    “The convenience of our time has made how layered our culture is indefinite. When we see an image, we try to find connections. I accumulate all of this visual dialect and bring it together as though it has meaning, and the viewers make up a story based on their upbringing.”


    –Tomokazu Matsuyama


    A first-generation Japanese American who lives and works in New York City, Tomokazu Matsuyama has developed a singular aesthetic grounded in an elegant expression of what he refers to as “the struggle of reckoning the familiar local with the familiar global.” As a bi-cultural visual artist, he is keenly aware of the nomadic diaspora, a community of wandering people who seek to understand their place in a world full of contrasting visual and cultural dialects.
    Though he manages a dynamic, wide ranging, and truly global practice that includes painting, sculpture, and large-scale public works, Matsuyama notably remains dedicated to furthering the most personal and intimate aspects of his aesthetic evolution. Each painting that leaves his studio is the fulfillment of hundreds of hours of work, as intensive research into source imagery converges with the application of innumerable layers of custom blended paint. The astoundingly vivid surfaces of his paintings project an almost digital brilliance, yet, upon close inspection, a painterly reality becomes clear, as hand-made brush strokes intermingle with delicately drawn figures, gestural splotches and drips, and meticulously spray-gunned backgrounds.



  • Tomokazu Matsuyama, Easy My Mind, Later, 2022

    Tomokazu Matsuyama

    Easy My Mind, Later, 2022
    Acrylic and mixed media on canvas
    100 x 60 x 2 in
    254 x 152.4 x 5.1 cm

    Matsuyama received his MFA in Communications Design from the Pratt Institute, New York. Recent exhibitions include Tomokazu Matsuyama: The Best Part About Us, Kavi Gupta | Elizabeth St, Chicago, IL; Realms of Refuge, Kavi Gupta, Chicago, IL; Tomokazu Matsuyama: Accountable Nature, Long Museum West Bund, Shanghai, China; Tomokazu Matsuyama: No Place Like Home, Zidoun-Bossuyt Gallery, Luxembourg; Tomokazu Matsuyama: Oh Magic Night, Hong Kong Contemporary Art (HOCA) Foundation, Repulse Bay, Hong Kong; Edo Pop: The Graphic Impact of Japanese Prints, Japan Society, New York, NY, USA; Tomokazu Matsuyama: Palimpsest, Harvard University, Cambridge, MA, USA; Thousand Regards, Katzen Arts Center at American University Museum, Washington, DC, USA; and Made in 17 hours, Museum of Contemporary Art Museum, Sydney, Australia, among others.

    Public displays of Matsuyama's work include a monumental, permanent sculptural installation, activating Shinjuku Station East Square, Tokyo, Japan, one of the busiest urban train stations in the world, as well as acclaimed, large-scale public commissions in Beverly Hills, CA, and in the Bowery neighborhood of Manhattan, mobilizing Matsuyama's signature examinations of bi-cultralism and pop culture.

    Matsuyama’s works are in the permanent collections of the Long Museum, Shanghai, China; Powerlong Art Museum, Shanghai, China; Los Angeles County Museum of Art (LACMA), Los Angeles, CA, USA; Asian Art Museum, San Francisco, CA, USA; the Royal Family of Dubai; Dean Collection (Swizz Beatz and Alicia Keys), USA; the institutional collections of Microsoft, Toyota Automobile, Bank of Sharjah, NIKE Japan, and Levi’sStrauss and Co. Japan; the Asian Art Museum of San Francisco, CA, USA; Pt. Leo Estate Sculpture Park, Melbourne, Australia; the Crystal Bridges Museum of American Art, Bentonville, AR; and Xiao Museum, Suzhou, China; among others.





  • “The artist is also a crucible. Even as the inner forces are changing things, the crucible itself is also being...
    Photo / Galit Rodan


    “The artist is also a crucible. Even as the inner forces are changing things, the crucible itself is also being altered. Things are merging inside of me and also changing me. What are those forces?..... I tried to get back to that sense of urgency that pushed me to become an artist and stay in the process with what is necessary.”


    –Manuel Mathieu




    Manuel Mathieu is a Haitian-Canadian artist whose aesthetic trajectory articulates his positionality from a multitude of realities and perspectives.

    Reposing on his own multiplicity, the abstractness of his work conveys the abundance in existing at the intersection of racial, geographical, and cultural identities.

    Mathieu’s abstract imagery taps into the unrepresentable and elusive—he offers emotional and spiritual nuances that post-structuralist critiques neglect. He presents historical paintings that rely on emotive and speculative thinking as a form of knowledge production. He abandons figurative or didactic western traditions for a more interactive mode of interpretation where the viewers are actively participating in formulating their under-standing of the work.






    Major recent exhibitions of Mathieu’s work include The Triennial of Small Sculpture Fellbach, Germany; Manuel Mathieu & Firelei Báez in Fragments of Epic Memory, Art Gallery of Toronto, CA; Manuel Mathieu: Negroland—A Landscape of Desires, Kavi Gupta, Chicago, IL; Manuel Mathieu: World Discovered Under Other Skies, The Power Plant, Toronto, Canada; Manuel Mathieu: Survivance, Montreal Museum of Fine Arts, Montréal, Canada; The Other Side of Now: Foresight in Contemporary Caribbean Art, Pérez Art Museum Miami, FL, USA; Over My Black Body, curated by Eunice Bélidor and Anaïs Castro, Université du Québec à Montréal, Canada; Manuel Mathieu: Nobody Is Watching, Kavi Gupta, Chicago, IL, USA; and Manuel Mathieu: Wu Ji, HdM Gallery, Beijing, China. Mathieu has been invited to the 2022 Art Explora artist residency in Monmartre, Paris, and will be installing a mural in REM's Édouard-Montpetit Station, Montréal in 2023.





  • “I’m inspired by the mystery of the objects I find. When I combine multiple objects and mediums in a work,...


    “I’m inspired by the mystery of the objects I find. When I combine multiple objects and mediums in a work, the collective aura translates into a space of new myth and new folktale. It's no longer about history. It’s about the immediate, and how the past plays into the contemporary conversation.”


    –Suchitra Mattai








    Suchitra Mattai is a multi-disciplinary artist whose work tells visual stories that touch on her Indo-Caribbean lineage. Blending painting, sculpture and installation with methods suggestive of domestic labor which she learned from her grandmother, such as sewing, embroidery and crocheting, the work addresses such topics as the legacy of colonialism, and relationships between culture and gender roles.
    Mattai has lived in Guyana, Canada, the United States, India, and Europe. Her work addresses the disorientation of not really having a single home—a feeling that informs much of how Mattai thinks about identity. Found objects, as well as craft-based processes and materials, play an essential role in her practice, in part because of the potentialities that arise from materials with forgotten or erased histories.




  • Suchitra Mattai, A Porous Heart, 2022

    Suchitra Mattai

    A Porous Heart, 2022
    Vintage saris, fabric, beads, chain, ghungroo bells, and boas
    78 x 48 in
    198.1 x 121.9 cm



    Mattai received an MFA in painting and drawing and an MA in South Asian art from the University of Pennsylvania, PA. Her work is in the collections of Crystal Bridges Museum of Art, Bentonville, AR, USA; Jorge Pérez; Olivia Walton; Denver Art Museum, Denver, CO, USA; Kiran Nader Museum of Art, Delhi, India; Tampa Museum of Art, Tampa, FL, USA; TIA Collection, Santa Fe, NM, USA; and Taylor Art Collection, Denver, CO, USA; among many others, and has been reviewed in publications such as HyperallergicThe Boston GlobeWidewalls, and Wallpaper Magazine, among others. Current and forthcoming exhibitions include Suchitra Mattai: Osmosis, Kavi Gupta | Elizabeth St. Fl. 2;  In the Adjacent Possible at John Michael Kohler Arts Center, Sheboygan, WI, USA; Form Forecast at MCA Chicago, IL, USA; The Depth of Identity: Art as Memory and Archive, curated by Rosie Gordon-Wallace and supported by the Green Foundation; Reorient at the Wing Luke Museum, Seattle, WA, USA; and Breathe into the Past: Cross Currents in the Caribbean, at the Colorado Fine Arts Center, Colorado College, Colorado Springs, CO. Recent exhibitions include Suchitra Mattai: Breathing Room, Boise Art Museum, Boise, ID, USA; State of the Art 2020, Crystal Bridges Museum/the Momentary, Bentonville, AR, USA; Sharjah Biennial 14, Sharjah, UAE; and Realms of Refuge, Kavi Gupta, Chicago, IL, USA; as well as exhibitions at the Center for Visual Arts, Metropolitan State University of Denver, CO, USA and the San Antonio Museum of Art, San Antonio, TX, USA.




  • “When someone asks me where home is, the answer is multi-layered. And this experience of holding multiple identities and truths...
    Courtesy of Avant Arte.


    “When someone asks me where home is, the answer is multi-layered. And this experience of holding multiple identities and truths becomes a part of my art. I’m working to show how intertwined histories and the movement of cultures are directly linked to all of our personal biographies."


    –Kour Pour




    Kour Pour is a British-Iranian-American artist whose visual language is informed by longstanding, global traditions of intercultural exchange. By intersecting a wide range of material and aesthetic conventions that are connected to various geographic, cultural, and national heritages, Pour allows for a remapping of the standard understanding of “Eastern/Western” cultural exchange.
    Some artists use words like appropriation or re-mix to describe the process of activating existing visual associations from art history and contemporary culture in their work. Pour prefers to use the word foster. “Foster means taking care of something that isn’t necessarily yours. It means nurturing something temporarily in your care.”






    A solo exhibition of Pour’s work is forthcoming at the Tehran Museum of Contemporary Art in Tehran, Iran. Other recent major exhibitions include A Boundless Drop to a Boundless Ocean, Orlando Museum of Art, Orlando, FL, USA; Kour Pour: Familiar Spirits, Kavi Gupta, Chicago, IL, USA; Returnee, The Club, Tokyo, Japan; Manzareh/Keshiki/Landscape, Ever Gold [Projects], San Francisco, CA, USA; Polypainting, Pearl Lam Galleries, Hong Kong, and GNYP Gallery, Berlin; Gold Standard: Ten Year Anniversary Exhibition at Ever Gold [Projects]; Decoration Never Dies, Anyway, Tokyo Metropolitan Teien Museum, Tokyo, Japan; and Labyrinth(s), Pearl Lam Galleries, Hong Kong.





  • “Pharmaceuticals intersect with feminism. Women were given Valium for their nerves. Why were they nervous? Were they unsatisfied with their...


    “Pharmaceuticals intersect with feminism. Women were given Valium for their nerves. Why were they nervous? Were they unsatisfied with their lives, with their options? They were anesthetizing an entire generation. Our culture’s relationship to medicine and science is complex. I’m in the unknown. Can abstraction be political and socially relevant? These are things I’ve always thought were important in my work.”


    –Beverly Fishman




    Beverly Fishman is a leading protagonist in the field of politically activated abstract art. An Anonymous Was A Woman Award Winner, John Simon Guggenheim Memorial Foundation Fellow, and National Endowment for the Arts Grantee, Fishman dedicates her studio practice to an aesthetic examination of people’s relationship with the business, politics and chemistry of healing.
    For decades, Fishman's research has focused on the visual vocabulary that pharmaceutical designers deploy in their calculated efforts to market antidepressants, anxiolytics, amphetamines, anti-inflammatories, beta blockers, opioids, and other chemicals to the masses. Morphed and elevated by Fishman in her studio, these medicinal motifs become the building blocks for ecstatic, abstract visual cocktails that open doors to the aesthetic sublime.

  • Beverly Fishman, Untitled (Diabetes, Opioid Addiction, Pain, Osteoporosis, Depression), 2021

    Beverly Fishman

    Untitled (Diabetes, Opioid Addiction, Pain, Osteoporosis, Depression), 2021
    Urethane paint on wood
    46 x 88 3/4 x 2 in
    116.8 x 225.4 x 5.1 cm



    Recent major exhibitions of Fishman's work include FEELS LIKE LOVE, Kavi Gupta, Chicago, IL; Recovery, Eli and Edythe Broad Art Museum, East Lansing, MI, USA; I Dream of Sleep, Miles McEnery, New York, NY, USA; Future Perfect, Kavi Gupta, Chicago, IL, USA; Double Edged: Geometric Abstraction Then and Now, curated by Dr. Emily Stamey, Weatherspoon Art Museum, Greensboro, NC, USA; DOSE, curated by Nick Cave, CUE Art Foundation, New York, NY, USA; Pill Spill, Detroit Institute of Art, Detroit, MI, USA; and Beverly Fishman: In Sickness and in Health, Chrysler Museum of Art, Norfolk, VA, USA.
    Work by Fishman is included in the collections of the MacArthur Foundation, the Detroit Institute of Arts, the Columbus Museum of Art, the Chrysler Museum of Art, and many others. Fishman served as the head of painting and as artist-in-residence at the Cranbrook Academy of Art for twenty-seven years.


  • 'A friend of mine once told me he could smell my art, and when he shut his eyes returning home...


    "A friend of mine once told me he could smell my art, and when he shut his eyes returning home from my exhibition, the pins and points of colour and shapes of voids pirouette and dance in front of his eyes. Perhaps that is the way of art. He visits my exhibition and my art visits him when he is alone."


    –Manish Nai




    Manish Nai is on the vanguard of contemporary abstraction. His studio practice is rooted strongly in materiality and process, especially as those elements relate to daily life in Mumbai, India, where Nai lives and works.
    Nai prioritizes materials that are both modest and quintessentially interconnected to his surroundings, such as jute, newspaper, indigo dye, second hand books and clothing, and reclaimed metal and paper. He fashions these materials into elegant geometric forms, while allowing them to retain their natural textures and colors.
    Many of Nai’s pieces are studies in tedious complexities, such as the long term effects of water, light, or gravity on organic materials. Nai is particularly interested in the ways materials evolve over the course of months and years. His works can be interpreted as visual expressions of the compression of time.




  • Manish Nai, Untitled , 2019

    Manish Nai

    Untitled , 2019
    Dyed jute and wood

    80 x 3 x 3 in
    213.4 x 7.6 x 7.6 cm
    Variable arrangements and poles



    Nai represented India in the 9th Shanghai Biennale, Mumbai City Pavilion, Shanghai, China, and is a Pollock-Krasner Foundation Award winner. His work has been exhibited by some of the most influential institutions in the world, including Het Noordbrabants Museum, Netherlands; Fondation Fernet-Branca, Saint-Louis, France; Devi Art Foundation, Kasturbhai Lalbhai Museum, Ahmedabad, India; Bhau Daji Lad Museum, Mumbai, India; NTU Center for Contemporary Art Singapore, Gillman Barracks, Singapore; Museum of Modern Art in Warsaw, Poland; The Sculpture Park at Madhavendra Palace, Nahargrah Fort, Jaipur, India; DR. Bhau Daji Lad Museum, Mumbai, India; Art Science Museum, Singapore; Birla Academy of Art & Culture, Kolkata, India; National Gallery of Modern Art, Mumbai, India; and Beppu Museum, Beppu, Japan. Nai earned a Diploma in Drawing and Painting from the L.S. Raheja School of Art in Mumbai, India.





  • “I am interested more than anything else in being a free person. To me, that means that I can make...


    “I am interested more than anything else in being a free person. To me, that means that I can make what I want to make, regardless of what anyone else thinks I should make. My art is about art—embracing a vision of the future that is unlike past futures.”


    –Richard Hunt




    Richard Hunt is one of the most accomplished sculptors in the history of the United States. His work has been exhibited 12 times at the Museum of Modern Art in New York, including a solo retrospective in 1971 when Hunt was only 35 years old. Titled The Sculpture of Richard Hunt,this was only the third solo exhibition for a black artist in the history of MoMA. The director of that show referred to it as a “mid-career” exhibition, however Hunt is still active in his studio today, more than 50 years later.
    In addition to holding a BFA in sculpture from The School of the Art Institute of Chicago, Hunt has been awarded honorary degrees from 15 universities, and has served as either an instructor or artist in residence at 21 others. His sculptures are included in the collections of many of the most significant cultural institutions in the world, including the Museum of Modern Art, NY; the Smithsonian American Art Museum; the Whitney Museum of American Art; the Metropolitan Museum of Art, New York, NY; Albright-Knox Gallery, Buffalo, NY; Art Institute of Chicago; Denver Art Museum, Denver, CO; Detroit Institute of Arts, Detroit, MI; Tate Modern, London, UK; Milwaukee Art Museum, Milwaukee, WI; Museum of Contemporary Art, Chicago, IL; National Gallery, Washington, DC; and dozens of others.





    Hunt has been celebrated in more than 100 solo exhibitions, including retrospectives at MOMA; The Art Institute of Chicago; The Studio Museum in Harlem, NY; Georgia Museum of Art, Athens, GA; and the Milwaukee Art Center, Milwaukee, WI. More than a dozen major monographs have been published of Hunt’s work. His career has also been the subject of two documentary films, and critical reviews in scores of the most influential art publications of the past century. Other major recent exhibitions of Hunt's work include Solo Presentation, Frieze Masters 2019, London, England; The Sculpture of Richard HuntRichard Hunt: Framed and Extended, The Studio Museum in Harlem, NY, USA; Smithsonian National Museum of African American History and Culture in Washington, DC; Richard Hunt, Georgia Museum of Art, Athens, GA, USA; Cleveland Museum of Art, Ohio, USA; Art Institute of Chicago, USA; Indianapolis Museum of Art, IN, USA and the Museum of African American History Detroit, MI, USA.




  • Richard Hunt, Acrobats, 1955

    Richard Hunt

    Acrobats, 1955
    Wire and lead
    8 x 4 x 4 in
    20.3 x 10.2 x 10.2 cm

  • 'I try to paint the things that everybody sees, things that are just a part of everybody's experience of life.'...


    "I try to paint the things that everybody sees, things that are just a part of everybody's experience of life."


    –Roger Brown



    Roger Brown is renowned for using a pop aesthetic to investigate a range of sociopolitical issues. Late-capitalist critic, 20th century Shakespeare, Pictorial Prophet of the Prairie: Brown summarized, glamorized, and satirized the nightly preoccupations and daily desires that define what it means to be an American.
    Brown’s work is of startling contemporary relevance, cleverly approaching many topics: the natural and built environment, disaster, religion, popular culture, the art world, art history, eroticism, and sociopolitical concerns, from modern warfare to mortality during the HIV/AIDS crisis. In a world ever more dominated and challenged by the American myths that Brown so dutifully and brilliantly addressed in his work, we are called now more than ever to look to the humor, beauty, and intelligence of this artist who worked beyond the boundaries of his own time.
    More succinctly than any other artist of his generation, Brown captured both the tenderness and the hubris of his home nation, even as that same nation seemed unwilling to create a safe space for him to be truly free.




  • Roger Brown, They Call This an Expressway?, 1986

    Roger Brown

    They Call This an Expressway?, 1986
    Oil on canvas
    72 x 48 x 1 1/2 in
    182.9 x 121.9 x 3.8 cm



    The Roger Brown Study Collection, maintained by the School of the Art Institute of Chicago, makes Brown’s prolific art collection and archive available to the public. Brown’s paintings have recently been featured in group exhibitions at the Fondazione Prada, Milan, Italy, and MoMA PS1, New York, USA, and his Virtual Still Life works were highlighted in a solo exhibition at the Museum of Arts & Design, New York. The artist’s work is included in notable private and public collections including the Metropolitan Museum of Art, Museum of Modern Art, and Whitney Museum of American Art in New York; Art Institute of Chicago; Museum of Contemporary Art, Chicago; Los Angeles County Museum of Art (LACMA); Museum of Fine Arts, Boston, National Gallery of Art, and The National Portrait Gallery.





  • The idea is to enlarge the gesture as much as possible so that the work is not just big, but...


    The idea is to enlarge the gesture as much as possible so that the work is not just big, but a small work made big, so that you feel smaller by extension and it puts you in a childlike state of mind.”


    –José Lerma




    José Lerma’s practice is formally rooted in an investigation of painting in the expanded field. His exhibitions often include elaborate installations that incorporate such everyday items as office materials, musical instruments, and home furnishings. Conceptually, Lerma attempts to collapse the historical with the autobiographical, making works that are part art history and part personal mythology. Several of Lerma’s recurring themes deal with the tension between the heroic and the pathetic, as well as the rise and fall of great figures. His research examines the vast network of sociological, political, and economic forces that have shaped, and continue to shape, contemporary culture. His subjects have included international figures, such as American politician John Kerry, economist Milton Friedman, and King Charles II of Spain; pop culture icons, such as Julio Iglesias; everyday bureaucrats, bankers, and administrators; personal relations, such as his mother and father; and iconic religious scenes, such as the Last Supper.






    Lerma was born in Spain and grew up in Puerto Rico. He earned an MFA from the University of Wisconsin Madison and BA from Tulane University, and attended the CORE Residency Program, Museum of Fine Arts, Houston, TX, and Skowhegan School of Painting & Sculpture, ME. He lives and works in Chicago, IL, and San Juan, Puerto Rico. His work has been in solo exhibitions at the Kemper Museum of Art, Kansas City, MO; Museum of Contemporary Art, Chicago, IL; and Museo de Arte Contemporáneo de San Juan, Puerto Rico, among others; as well as in group exhibitions at the Milwaukee Art Museum, WI; Institute Valecia d’art Modern, Spain; Museo de Arte de Ponce, Puerto Rico; Centro Atlantico de Arte Moderno, Las Palmas de Gran Canaria, Spain; DESTE Foundation for Contemporary Art, Athens, Greece; Museo del Barrio, New York, NY; and Museum of Fine Arts Houston, TX, and others. His work has been written about extensively in the press, including in The New YorkerThe New York Times, and Artforum.




  • 'Making art is a function of thinking. I endeavor to stay on a focused train of thought from one piece...


    "Making art is a function of thinking. I endeavor to stay on a focused train of thought from one piece to the next, each completed work begets the next work. It’s a continuum of thought and the works are a residue of that thinking process."


    –Miya Ando




    miya ando'S current SOLO EXHIBITION,

    kumoji ( Cloud path / a road traversed by birds and the moon)

    AT KAVI GUPTA | washington blvd. FL. 1

    ov view through NOVEMBER 5, 2022.

    Miya Ando is a multidisciplinary abstract artist whose works reference the ephemerality of nature and the transitory nature of existence.

    Ando's images and forms reference such fleeting stuff as clouds, moonlight, tides, and the seasons. Her materials—such as steel, glass, and aluminum—convey a sense of durability and strength. Transformed by Ando, materials related to permanence become embodiments of impermanence.
    Ando presents the titles of her works in Japanese and English. During her time living in Japan, she researched literary and historical texts, compiling poetic Japanese descriptions of natural phenomena. Present in the Japanese descriptions are nuanced layers of thought often lacking in the English translation. These bi-lingual titles convey the sense of duality Ando experiences living between two cultures.




    Ando’s work has been the subject of recent solo exhibitions at The Asia Society Museum, Houston; The Noguchi Museum, New York; Savannah College Of Art and Design Museum, Savannah; The Nassau County Museum, Roslyn Harbor; and The American University Museum, Washington DC. Her work has also been included in recent group exhibitions at The Crystal Bridges Museum of American Art, Bentonville; The Los Angeles County Museum of Art; The Haus Der Kunst, Munich; The Bronx Museum; and The Queens Museum of Art, NY. Ando’s work is included in the public collections of  LACMA; The Nassau County Museum; The Corning Museum of Glass; The Detroit Institute of Arts; The Luft Museum; Scottsdale Museum of Contemporary Art; The Santa Barbara Museum of Art; The Museum of Art and History;  among other public institutions as well as in numerous private collections. Ando has been the recipient of several grants and awards including the Pollock-Krasner Foundation Grant Award, and has produced numerous public commissions, most notably a thirty-foot-tall sculpture built from World Trade Center steel installed in Olympic Park in London to mark the ten-year anniversary of 9/11, for which she was nominated for a DARC Award in Best Light Art Installation. Ando was also commissioned to create artwork for the historic Philip Johnson Glass House, New Canaan, CT. The artist holds a bachelor’s degree in East Asian Studies from the University of California, Berkeley, studied East Asian Studies at Yale University and Stanford University, and apprenticed with a Master Metalsmith in Japan.





  • 'I am obsessed with how the self alone, and the self understood as part of a group bump up against...


    "I am obsessed with how the self alone, and the self understood as part of a group bump up against each other; and how both experiences of self can be empowering."


    –Jessica Stockholder




    Jessica Stockholder is an internationally acclaimed visual artist whose practice defines the vanguard of the Expanded Field of Painting. She is an inductee to the American Academy of Arts and Letters, and has been awarded grants and fellowships from the Guggenheim Foundation, the Smithsonian American Art Museum, Anonymous Was A Woman, and the National Endowment for the Arts, among others.
    Stockholder formulates three-dimensional pictures in space, which interact in unpredictable ways with the environments they occupy and explore how perception relates to feelings of chaos and control. The work employs the visual strategies of painting, sculpture, and installation—though it also resists the limitations such terms imply. Stockholder mobilizes consumer products and industrial materials as a way to confront the threat they pose to human existence, and to critique the superficial relationship people have with technology and consumption. By incorporating such concepts and objects into her practice, Stockholder imbues the work with myriad levels of meaning and political resonance.




  • Jessica Stockholder, Superior Strength Stack, 2015

    Jessica Stockholder

    Superior Strength Stack, 2015
    Rope, label, acrylic paint, metal tray, hairdryer part, furniture legs, mylar, wooden furniture base, and MDF pedestal
    60 x 14 x 11 in
    152.4 x 35.6 x 27.9 cm



    Stockholder’s work has been exhibited in many of the world’s most influential art venues, including Centre Pompidou in Paris, the Dia Center for the Arts, the Whitney Museum of American Art, and the Venice Biennale. It is included in such internationally renowned museum collections as the Museum of Modern Art (MoMA) New York, USA; Centre Pompidou (Musée National d'Art Moderne), Paris, France; the Whitney Museum of American Art, New York, NY, USA; the British Museum, London, UK; the Albright-Knox Art Gallery, Buffalo, NY, USA; The Art Institute of Chicago, IL, USA; the National Gallery of Art, Washington, DC, USA; Stedelijk Museum Amsterdam, Netherlands; Los Angeles County Museum of Art (LACMA), Los Angeles, CA, USA; San Francisco Museum of Modern Art, San Francisco, CA, USA; The Museum of Contemporary Art Los Angeles, CA, USA; the Museum of Fine Arts, Boston, MA, USA; Carré d’Art, Nîmes, France; Centraal Museum, Utrecht, Netherlands; GAM - Galleria Civica d'Arte Moderna e Contemporanea, Turin, Italy; Le Consortium, Dijon, France; Lehmbruck Museum, Duisburg, Germany; mumok - Museum moderner Kunst Stiftung Ludwig Wien, Vienna, Austria; National Gallery of Australia, Parkes, Australia; Städel Museum, Frankfurt, Germany; and Vancouver Art Gallery, British Columbia, Canada, among many others. Her public artworks have been commissioned by museums, municipalities, and corporations around the world.
    In addition to earning her BFA from the University of Victoria in Canada and her MFA from Yale University, she has been awarded two honorary Doctor of Fine Arts degrees: one from the Emily Carr University of Art and Design in 2010, and one from Columbia College in 2013. Stockholder is currently the Raymond W. & Martha Hilpert Gruner Distinguished Service Professor in the Department of Visual Arts at the University of Chicago, a position she accepted in 2011, after 12 years as Director of the Sculpture Department at the Yale School of Art.





  • 'Craft and the kind of long process of making something is for me very healing, and now that process includes...

    Photo / John Francis Peters


    "Craft and the kind of long process of making something is for me very healing, and now that process includes other people, it includes communication, it includes experimentation. My moment of realization, at this point, really happens when I see the work installed and I see how people engage with it, that’s when I get the rush."


    –Jeffrey Gibson




    Jeffrey Gibson’s aesthetic position is rooted in the spaces where narratives collide. Gibson is a member of the Chocktaw and Cherokee nations. Combining Native American traditions with the visual languages of Modernism, his work re-contextualizes relationships between popular culture, identity politics, personal experience, memory, and canonized versions of history, inviting viewers to question the myths and assumptions that empower contemporary social structures.
    The source content Gibson so insightfully remixes into new forms incites questions about whose representations of people and cultures should be validated; which memories and artifacts should be exalted; what creative products should be deemed to have constructive social value; and who decides. The works feel starkly original and idiosyncratic, but unified—a phenomenological manifestation of the complex, interwoven cultural fabrics that compete within our contemporary social space, and yet keep us stubbornly, inextricably bound.





    Jeffrey Gibson

    Porcelain, Pottery Glaze, Steel Rod, Acrylic Chiffon, Glass Beads, Porcelain Base
    14 x 12 x 6 in
    35.6 x 30.5 x 15.2 cm
    Edition of 30



    Gibson is a MacArthur Foundation “Genius” Grantee; Joan Mitchell Foundation Painters & Sculptors Grantee; TED Foundation Fellow; Smithsonian Institution Contemporary Arts Grantee; HARPO Foundation Grantee; Eiteljorg Contemporary Art Fellow; Creative Capital Foundation Grantee; Mississippi Band of Choctaw Indians Tribal Scholarship awardee. His work is in the permanent collections of many of the most influential museums in the world, including the Whitney Museum of American Art, New York City, NY; Crystal Bridges Museum of American Art, Bentonville, AR; National Museum of the American Indian, Smithsonian Institution, Washington, D.C.; San Francisco Museum of Modern Art, San Francisco, CA; Seattle Art Museum, Seattle, WA; Speed Art Museum, Louisville, KY; Rose Museum of Art, Waltham, MA; San Antonio Museum of Art, San Antonia, TX; Denver Art Museum, Denver, CO; Eiteljorg Museum, Indianapolis, IN; Museum of Fine Arts, Boston, MA; National Gallery of Canada, Ottawa, Ontario, Canada; Nerman Museum of Contemporary Art, Overland Park, KS; Philbrook Museum of Art, Tulsa, OK; Nasher Museum of Art at Duke University, Durham, NC; Newark Museum of Art, Newark, NJ; Blanton Museum of Art, Austin, TX; Art Bridges Collection, Bentonville, AR; High Museum of Art, Atlanta, GA; Hood Museum, Dartmouth College, Hanover, NH; Minneapolis Museum of Art, Minneapolis, MN; Portland Museum of Art, Portland, ME; Tweed Museum of Art, Duluth, MN; and the Thoma Foundation, Santa Fe, NM and Chicago, IL.

    Gibson holds an MA at the Royal College of Art, London, and a BFA from the School of the Art Institute of Chicago, and was awarded an Honorary Doctorate from Claremont Graduate University, Claremont, CA. Recent major exhibitions of Gibson's work include Jeffrey Gibson: THE BODY ELECTRIC, Site Santa Fe, Santa Fe, NM, USA; Jeffrey Gibson: Beyond the Horizon, Kavi Gupta | Elizabeth St, Chicago, IL, USA; Jeffrey Gibson: When Fire is Applied to a Stone It Cracks, Brooklyn Art Museum, New York, NY, USA; Jeffrey Gibson: CAN YOU FEEL IT, Kavi Gupta, Chicago, IL, USA; She Never Dances Alone, Times Square Arts, New York, NY, USA; Jeffrey Gibson, Infinite Indigenous Queer Love, deCordova Sculpture Park and Museum, Lincoln, MA; Jeffrey Gibson: This Is the Day, Blanton Museum of Art, Austin, TX, USA; Wellin Museum of Art, Clinton, NY, USA; Jeffrey Gibson: The Anthropophagic Effect, The New Museum, New York, NY, USA; Jeffrey Gibson: Like a Hammer, Denver Art Museum, Denver, CO, USA; Garmenting: Costume as Contemporary Art, curated by Dr. Alexandra Schwartz, Ph.D., Museum of Arts and Design, New York, NY, USA; and Love Song, ICA, Boston, MA, USA.





  • 'I decided to make my portraits of what Black life looks like and take that into the abstract, and paint...
    Photo / Alex Martinez


    "I decided to make my portraits of what Black life looks like and take that into the abstract, and paint what that energy of a Black soul looks like. This is a way to get me where a lot of artists aren’t thinking, and to further isolate myself, to push my aesthetics, my philosophy, or pedagogy further beyond the norm.”


    –Michi Meko




    Michi Meko is a multidisciplinary artist whose rigorous studio practice is grounded in a material, metaphorical, and philosophical examination of what he calls “the African American experience of navigating public spaces, particularly in the American South, while remaining buoyant within them.”
    Incorporating romanticized found objects as well as the visual language of mapping, flags, and wayfinding into his work, Meko constructs transcendent aesthetic spaces into which the viewer’s psyche is free to wander.
    “These references signal the warning of a threat or the possibility of safe passage,” Meko says. “Working beyond the physical image of the body, objects of buoyancy and navigation become metaphors for selfhood, resilience, and the sanity required in the turbulent oceans of contemporary America.”




  • Michi Meko, Oak Catskins: Damn Annoying Squigs. Swollen Eyes By Moonlight, An unseen Painting, 2022

    Michi Meko

    Oak Catskins: Damn Annoying Squigs. Swollen Eyes By Moonlight, An unseen Painting, 2022
    Tassel, Acrylic, Aerosol, Oil Pastel, Gold Leaf, Aerosol Hologram Glitter, White Colored Pencil. India ink, Yellow GA Corn Grits, Gouache on Wood Panel
    44 x 41 in
    111.8 x 104.1 cm



    Meko is the recipient of the Joan Mitchell Foundation Grant and the Atlanta Artadia Award, and was a finalist for the 2019 Hudgens Prize. Recent exhibitions of Meko's work include Dark was the Night, Cold was the Ground, Kavi Gupta. Chicago, IL; The Dirty South, Virginia Museum of Fine Art, Richmond, VA; Realms of Refuge, Kavi Gupta, Chicago, IL; Michi Meko: Black and Blur, Clark Atlanta University Art Museum, Atlanta GA; Michi Meko: It Doesn’t Prepare You for Arrival, Museum of Contemporary Art of Georgia (MOCA GA), Atlanta, GA; Michi Meko: Before We Blast off: The Journey of Divine Forces, Atlanta Contemporary Art Center, Atlanta, GA and Abstraction Today, MOCA GA, Atlanta, GA. His work is held in the collections of the High Museum of Art, Atlanta, GA; King & Spalding, Atlanta, GA; Scion (Toyota Motor Corporation), Los Angeles, CA; MetroPark USA Inc., Atlanta, GA; and CW Network, Atlanta, GA, among others.





  • 'I try to suggest more than a moment in time. Symbolically, the work is a statement about life—a metaphor. Let...


    "I try to suggest more than a moment in time. Symbolically, the work is a statement about life—a metaphor. Let anyone seeing it make something of it.”


    –Sherman Beck




    Sherman Beck is a Chicago-based painter who was among the original ten members of AFRICOBRA, a foundational Black arts collective formed on the South Side of Chicago in 1967.
    Beck’s aesthetic vision is rooted in positive portrayals of Black family, a central tenet of AFRICOBRA’s philosophy. Reveling in the mystery and mysticism of everyday life, Beck extends the definition of family through space and time to include humanity’s kinship with nature and the metaphysical world.
    Consistent throughout Beck’s oeuvre is a sense of technical mastery and aesthetic clarity, projected by an artist defined by both humility and erudition. Exalting the enduring power of the medium of painting to spark moments of intrigue for viewers, Beck perceives his paintings less as definitive statements about subject matter, and more as pliable visual examinations of the space where ideas and intuition meet.

    Beck (b. 1942, USA) is a graduate of the University of Illinois at Chicago and completed further studies at the School of the Art Institute in Chicago. His work was included in the authoritative early exhibitions AFRICOBRA I & II at the Studio Museum in Harlem, and has been included in multiple other influential exhibitions of AFRICOBRA’s work, including AFRICOBRA 50, Kavi Gupta, Chicago, IL, USA; Africobra and Beyond, DuSable Museum of African American History, Chicago, IL, USA; AFRICOBRA: Messages to the People, MOCA North Miami, Miami, FL, USA; I Am Somebody, at the Peninsula Hotel, Chicago, IL, USAImages of the Past: Collection of Artwork from the 40’s, 50’s, and 60’s, South Side Community Art Center, Chicago, IL, USA; Maleness to Manhood: Reclamation of the Young Black Male, South Side Community Art Center, Chicago, IL, USA; and Contemporary Black Art, atRoosevelt University, Chicago, IL, USA; as well as in the solo exhibition Sherman Beck: Realms & Abstractions, African American Cultural Center, University of Illinois, Chicago, IL, USA. Beck is the former owner and operator of the Art Directions art supply store in Chicago, and taught commercial art for twenty-two years at his alma mater, Dunbar High School, in the Bronzeville neighborhood of south Chicago.


  • 'Did you know that the twenty most expensive artworks in the world are by white men? It is time to...


    "Did you know that the twenty most expensive artworks in the world are by white men? It is time to rewind back the patriarchy, misogyny and segregation and shine a light on those who deserve to be seen and heard."


    —Rewind Collective


    Rewind Collective is an activist art collective of photographers, fine artists and digital creatives, working to address imbalances in representation in the contemporary art field. Through the creation of new digital artworks that respond to existing works from art history, the collective uplifts women and other marginalized groups within the field.
    The mobilizing theory of the collective is that technology can be used effectively as a tool to bring inequities in the art field into focus for viewers, collectors, curators and institutional power brokers. For example, the group’s Remember Us series deploys images of historical artworks and artists in their studios, digitally altering and blending them together to center minority artists who have been overlooked by the traditional Western art historical canon.
    A statement from the anonymous collective asserts, “Our mission is to rewind back the patriarchy, misogyny, and segregation, and shine a light on those who deserve to be seen and heard.”




  • Rewind Collective, Harriet Tubman #1, 2021

    Rewind Collective

    Harriet Tubman #1, 2021
    Giclée print on Hahnemühle photo rag metallic paper
    11 3/4 x 8 1/4 in
    30 x 21 cm
    (Unframed, please inquire for frame and framed dimensions)
    Edition of 15 plus 5 artist's proofs