White Columns Online #14:
‘El que busca, encuentra…y sigue encontrando’
curated by Danny Baez

Nadia Ayari, Fold 7, 2018. Oil on linen, 60 × 60 in. Courtesy of the artist and Taymour Grahne Projects. (Four teal leaves folded over a wooden lattice.)

Claudia Bitran, White Shoes, 2018. Acrylic and latex on MDF.Courtesy of the artist. (A room filled with seventeen life size cutout paintings of people wearing white sneakers. The cutouts are free standing and placed upside down.)

Noah Lyon, Inside The Rainbow, 2018. Oil pastel on canvas. Courtesy of the artist. (A black figure outlined in white with eyes all over its face and a beak-like mouth wears a bowler hat, a shirt and a tie. It radiates bright blue, red, yellow and orange colored outlines.)

Adam Linn, Red Carpet Ready (An Entrance), 2018. Colored pencil, china marker and acrylic on mylar, 36 × 42 in. Courtesy of the artist. (A highly stylized cartoon figure with pink skin wearing red high heels is stepping out of a car onto a red carpet.)

August Krogan-Roley, Ates, 2016. Carpet collage on vinyl, 46.5 × 36.5 in. Courtesy of the artist. (Patchwork style carpet forming a double pointed arrow shape. Patterns on the carpet are arranged to suggest multiple interior and exterior spaces.)

Shinichi Imanaka, Ring and Tiger, 2018. Oil and acrylic on canvas, 64 × 52 in.Courtesy of the artist. (An arm with a cartoonishly large hand wearing a ring on its index finger reaches out from a bush and into a window, out of which a tiny tiger leans.)

Annette Hur, Lure, 2019. Oil on canvas, 60 × 51 in. Courtesy of the artist. (Several abstract organic shapes filled with bright shades of yellow, pink and blue are surrounded by dark lines and patches of negative space filled with teal.)

Xinyi Hu, Memories Are The Only Things That Help Me Make Meaning Of Anything, 2016. Ink on Paper, 22 × 30 in. Courtesy of the artist. (A line drawing of a child with a dot on their forehead wearing a tank top and a skirt and posing at the bottom of a staircase.)

Beatrice Lettice Boyle, In Goddess We Trust, 2018. Oil and pastel on heavy woven linen, 12 × 10 in. Courtesy of the artist. (A cropped face above which a spike of wheat hangs. Behind it a line drawing of another face is visible.)

Laura Braciale Schneider, Double Take, 2013.
Acrylic on cut canvas, 20 × 16 in.
Courtesy of the artist. ( A black canvas with two horizontal strips partially cut out and left to hang downwards at a 90 degree angle.)

Kyvèli Zoi, Don’t Think Twice, Roll the Dice, 2019. Oil on Canvas, 29 × 32.6 in. Courtesy of the artist. (Two figures gambling with dice against a background decorated with card suit symbols. The figure on the right smokes a cigarette. They wear colorful clothes with gold detailing.)

Amy Vensel, Waal, 2019. Acrylic on canvas, 15.75 × 15.75 in. Courtesy of the artist. (Pink, purple and green horizontal lines on top of a green square with irregular organic edges, bisected by a vertical strip of black and white horizontal lines.)

Anibal Vallejo,Untitled, 2018. Hand embroidery and acrylic on canvas, 60 × 80 cm. Courtesy of the artist. (Embroidery in white thread of a man playing with a woman’s hair, superimposed over a blue painting of a woman alone on a couch and surrounded by plants.)

Gillian L. Theobald, “6-2-2018”, 2018. Acrylic, Found pkging, glue, 6 ¾ × 4 ⅝ in. Courtesy of the artist. (Three pieces of cardboard cut into irregular shapes and collaged. Two pieces are painted yellow.)

Carlos Rosales-Silva, Fuente Del Jardin, 2018. Acrylic paint and pumice medium on panel, 50 × 60 in. Courtesy of the artist. (Abstract green shapes inside a rounded rectangle on a background of horizontal blue lines over wavy vertical pink and brown lines.)

Dana Lan Robinson, Jesse Jackson at Age 40, 2018. Acrylic on wooden panel, 16 × 20 in. Courtesy of the artist. (An abstract portrait of Jesse Jackson in bright colors on a yellow background. Made by pressing paint between two surfaces and releasing it to create shapes.)

Frank Moore, No Angels, 2019. Oil on board, 48 × 36 in. Courtesy of the artist. (Abstract red and black masses surrounded by outstretched, grasping hands and bodies.)

Mario Moore, A Student’s Dream, 2017. Oil on canvas, 80 × 68 in. Courtesy of the artist and Private Collection. ( A Black man lies on a wooden medical table underneath a spotlight, surrounded by three other men in coats and blazers, looking at the viewer. A skull sits on a stool in the foreground. A white dog sleeps underneath the table.)

Morgan MandalayForgive Us Our Trespasses, 2019. Oil paint on canvas, 72 × 48 in.Courtesy of the artist. (Lemon and pear trees on fire by a river at night. A ghostly hand in the lower right corner reaches for a branch.)

India Nielsen, Revenge, Revenge, 2018. Oil on canvas with module, 210 × 150 cm (82.7 × 59.1 in).Courtesy of the artist. (HIM from the Powerpuff Girls’ disembodied head above a large cleaver and flames. A physical blackletter text module is placed on top of the top left corner of the canvas.)

Orit Ben-Shitrit,Onomono, 2017.
16mm film, Projection, variable dimensions
Courtesy of the artist. (16mm film projection split into four quadrants. Each quadrant displays political propaganda superimposed over open water.)

Alexandre Camarao,
Failure – Success (After Ben Duvall), 2018.
Wool,
122 × 75 cm.
Courtesy of the artist. (Thick purple fabric surface with boxy stitched patterns. The word “FAILURE” stitched in a boxy font at the top and the word “SUCCESS” at the bottom.)

Destyn Michael Fuller-Hope,
KIDS, 2019.
Courtesy of the artist. (Four black children of varying ages in a purple walled bedroom, seated or reclining on a bed, preoccupied with various media.)

Onyedika Chuke, FMA: The Untitled/ May 30th_Liberty. Cast resin, steel and found coral, 6 × 4 ft.Courtesy of the artist. (A sculpture resembling the Statue of Liberty lays face down on top of a block of coral, underneath vertically balanced disassembled hand truck components.)

Maria Britton, Hold Held, 2018.
Acrylic, bed sheets, thread, and wood, 60 × 57 × 7 in.Courtesy of the artist. (A composition made from pieces of patterned fabric that have been cut and attached to one another to create bright, abstract, organic and flowing shapes.)

Yin Ming Wong, The rally of care and neglect, 2020. Gouache, watercolor, color pencil, 8 × 8 in.Courtesy of the artist. (Two nude figures squat on a hill. The face of the figure in the foreground is covered by their long black hair, and they look into what appears to be a handheld mirror.)

Suchitra S. Mattai, Mala, 2018. Fiber, video, frame, Dimensions variable. Courtesy of the artist. (Draped fabric materials and ropes are arranged around an oval in a rectangular frame. A video plays inside the oval.)

Robin Cameron, Faint Collapse (sunbathing in Turin), 2014. Ceramic, 6 × 48 × 84 in. Courtesy of the artist. (Large ceramic mosaic-like fragments arranged to form a human figure with hands and exposed ribs, lying supine on a dusty pink background.)

Fadi al-Hamwi, Over My Bed, 2018.Photograph, Variable. Courtesy of the artist. (A miniature figurine placed on a pillow looks over an army of toy soldier figurines arranged in a grid pattern on a bedsheet.)

Aileen Bassis, Do You Need/ Do You Want, 2019. Hand Sewn Risograph prints, 26.5 × 33.5 in.Courtesy of the artist. ( A 3 × 5 grid of paper, sewn in columns with printed images and text. Several prints feature photographs of children and the words “do you want” and “do you need” in large text.)

Simone Meltesen, Lavender Square, 2019. Oil on linen, 36 × 36 in.Courtesy of the artist. (A diagonally oriented lavender square with cropped corners on top of a white checkered pattern with red, yellow and navy blue linear elements.)

Yoonmi Nam, Cairn II, 2018. Korean Celadon Glazed Porcelain, 9 x5.5 x5.5 in.Courtesy of the artist. (A sculpture in the shape of three small styrofoam take out containers stacked on top of one another. Grayish-olive in color.)

Victoria Elizabeth Crayhon, Untitled Auburn NY, 2010. Archival Pigment Print, 36 × 24 in. Courtesy of the artist. (A photograph of a vintage drive-in movie theater marquee board at the side of a road that reads “Fingerlakes Drive-In: I Forgot 2 Breed.”)

Sally Gil, Two Stellar Women, 2015-2017. Collage and paint on canvas, 58 × 60 in. Courtesy of the artist. Photo: Orcutt/ Vanderputten. (Several collaged representational and abstract scenes in different colors, most prominently green, pink and blue.)

Jonathan Ehrenberg, Ersatz 1, 2016. Dye sublimation print and clay sculptural frame, 19 × 27 in. Courtesy of the artist. (A still life depicting light, neutral toned geometric clay objects; a pyramid, a hollow cylinder and a bottle, mounted in a frame made of similar materials.)

Judy Giera, Gemini/Femini, 2019. Acrylic Paint whose pigments are derived from make-up (liquid foundation, eyeshadow, and blush), 24 × 30 in. Courtesy of the artist. (Two figures in black brassieres depicted from the torso up, standing close to one another with their faces whited out.)

Anthea Behm, Rage for Order, 2016. Black and white silver gelatin photogram, 46 × 42 in. Courtesy the artist and 14a. (Line drawing of a plastic bag on a white background, superimposed on a hand drawn grid of mailing labels.)

Becca Albee, AIDS: the women, IR + PR + GR, 2017. Archival pigment print, artist’s frame from prismataria, installation view in magenta light, 12 × 16 in. Courtesy of the artist. (A photographic print with a strong red cast depicting two figures embracing. Three fabric swatches in shades of red cover their faces.)

Luis Romero, I Want To Be Your Holy Man / Ghost Painting, 2016. Acrylic on paper and canvas, 23 × 16 in. Courtesy of the artist. (A large cluster of small repeating ovals with black and white striped edges on a white background. Each oval contains an abstract ghostly figure against a pink backdrop.)

Sheila Noorollah, The Beginners, 2012. Watercolor, Ink, and Coll, 9 × 12 in. Courtesy of the artist. (Two antique Louis XV chairs placed near one another in front of a black backdrop.)

Victor Dildy, Untitled, 2016. Courtesy of the artist. (Black and white photograph depicting a young Black boy with a somber expression in front of a white wall.)

Emily J. Kiacz,Specter, 2019. Acrylic on shaped wooden panel, 24 × 24 in. Courtesy of the artist. (Abstract, overlapping forms in shades of red, yellow, orange, pink and purple on a wood panel loosely resembling a four leaf clover.)

Rosaire Appel, Sounds / Plans, 2018. Ink and acrylic on found architectural plan, 24 × 33 in. Courtesy of the artist. (Black markings, mostly curves and straight lines in various permutations, superimposed over a black and white architectural plan.)

Elizabeth Allen-Cannon, Native Tongues (detail image), 2015.Courtesy of the artist. (A pair of hands flipping through a book. The open pages contain a drawing of loosely rendered cloud-like figures holding long, lit candles.)

Eve Ackroyd, Unity, 2018. Oil on canvas, 12 × 14 in. Courtesy of the artist. (Two pairs of legs walking side by side, loosely rendered over a gestural background.)

Charles Yuen, Cloud Sitting, 2018. Oil on canvas, 48 × 40 in. Courtesy of the artist. (A many-armed figure sitting on a cloud reaches upwards against a backdrop of yellow with blue concentric lines.)

Frank Zadlo, Cash Only, 2018. Laundry bag aged in a window for 15 years, 36 × 24 in. Courtesy of the artist. (A laundry bag hung upside down on a wall. The fabric is faded due to exposure, but the bottom section retains its original orange color.)

Jiawei Zhao, What is a Chinatown, 2018. Inkjet print on self-adhesive fabric paper, 42 × 56 in. Courtesy of the artist. (Framed black and white portraits and photographs of buildings on a wall covered in pages of the New York Times. There are also three red banners with Chinese characters in gold.)

Virginia Inés Vergara,Repesa III, 2019. Archival Pigment Print, 10 × 14 in. Courtesy of the artist. (Collage of various black and white photographs of nature.)

Jeanne Verdoux, La mere, 2018. Monoprint. Courtesy of the artist. (A transparent organic, vaguely humanoid orange shape with visible bones on a white table.)

Katayoun Vaziri, Sunday Drawings #55, 2019. Gouache, 6 × 8 in. Courtesy of the artist. (Three figures, two childlike, hugging on an easy chair, their faces hidden.)