Randall Scott Gallery / Randall Scott Projects
Archived Content


In 2008 his gallery was called the Randall Scott Gallery and it was located in Brooklyn NY at 111 Front Street. By 2013 Randall Scott had renamed his gallery the Randall Scott Projects and it had relocated to the DC Atlas Arts District. 2014 found the gallery being located to Baltimore, Maryland. Now, according to Yelp Reviewers the art gallery known as Randall Scott Projects at 216 W Read St. Baltimore, MD 21201 is closed. Although the Randall Scott Projects has a facebook page, the last post was dated November 12, 2017.

Once the domain registration for randallscottgallery.com expired, the site disappeared from the web. It has since seen several different iterations and owners. As of 2017 the Randall Scott Gallery website has a new owner who has chosen to retain archive content so that knowledge of Randall Scott and his contribution to the art world via the exhibitions at his various galleries remain visible online.
Content is from the site's 2008-2010 archive pages, 2013-2014 archived pages from www.randallscottprojects.com, and other outside sources.


JULY 2010, Randall Scott Gallery closed it's Brooklyn space and will focus on Washington DC.
The gallery will re-organize as RANDALLSCOTTPROJECTS which will umbrella several different entities including Gallery (exhibition space), Editions, Site (site specific and public arts projects), art fairs and other promotional arts projects.

RANDALLSCOTTGALLERY will maintain the traditional relationship with the representation and management of its visual artists. Until a new space can be acquired, RSG will operate as a private dealer.

RANDALLSCOTTSITE will produce site specific installation projects and public art projects wherever we can find space.



By Mark Jenkins August 15, 2014 | www.washingtonpost.com

Less than two years after he moved his gallery to the Atlas District, Randall Scott is about to relocate again. Aside from high rents and the never-arriving streetcar, he doesn’t have a lot of complaints about H Street NE, which he calls “a great street to be on.” It’s just that he’s found a new love: Baltimore.

“There are a lot of artist-run spaces, the D.I.Y. things, which are just awesome,” says the upbeat gallerist, sitting on a folding chair in Randall Scott Projects’s main room. “That’s one of the reasons why I want to go out there. I really like that vibe.”

“In D.C., everything is all spread out,” he adds. “I think Baltimore is a little more navigable. And the space is so abundant, and it’s so inexpensive.”

Cheaper rent for a ground-floor property about three times the size of his current second-floor one is a factor in Scott’s decision to leave the H Street neighborhood, which has already lost G Fine Art and is about to see Connersmith depart. But Scott doesn’t expect his new location to transform his enterprise.

“The new business models for any gallery are the Internet and art fairs,” he says. “Every gallery in D.C. is the same way. My business model isn’t going to change much. Most of my clients are everywhere else.”

Yet the gallery still needs a physical presence, he notes. “Since I represent people, the artists need a place to show.

The crux of what’s drawing Scott to Baltimore, which has only two downtown fine-art galleries, is less tangible than his new location in the North Howard Street antiques district. (It’s an area not unlike Georgetown’s Book Hill, which has lately attracted four new galleries.)

“Baltimore right now is coming into its own,” he says. “A lot of artists are actually moving into the city. I’ve talked to people — friends and painters in New York — who are considering Baltimore.”

The city reminds Scott of Los Angeles in the late 1980s, which is where he began his career as an art dealer. He worked first as an assistant gallery director, and then ran his own space in Santa Monica for about a year-and-a-half. It closed around the time of the 1992 riots.

“I needed to get out,” Scott recalls. “If you were there during the riots, you really got tired of Los Angeles as a place.”

He took a job as an art director in Kiev, Ukraine, and then moved to Seattle, where he worked in photography, which he calls “my side job.” He arrived in the Washington area in 2001 and worked on various endeavors — including fatherhood — before opening Randall Scott Projects near Logan Circle in 2006.

“I wanted to own a gallery,” Scott explains. “It was something I left, but I hadn’t really finished it.”

Those who remember the 14th Street location know that the upcoming move isn’t the first time Randall Scott Projects has left town. In 2009, it departed for Brooklyn.

“I kind of jumped at the chance to work in New York,” Scott says. “I met so many people while I was up there. Artists and painters and photographers. But it was just the wrong time to be up there. That was 2009, 2010. Right after the market crashed.”

In addition to financial concerns, what drew Scott back to this area was his family, which remains in Gaithersburg. His commute from there to Baltimore will be “like five extra miles,” he estimates, over traveling to Northeast.

He might have stayed in the District, Scott allows, if had found an affordable first-floor location in a lively neighborhood. “It’s nice to be on the ground floor, where I can see people walk by.”

Yet moving the business to Baltimore is “not just about opening an art gallery,” he says. “It’s where you’re going to be in five or 10 years. And what kind of a difference you can make. In D.C., that’s incredibly difficult to do. But in Baltimore, I can save enough money to expand. And try to grow a city with me.”



CARA OBERAUGUST 27, 2014 | www.bmoreart.com

As reported in the Washington Post last week, RandallScottProjects is coming to Baltimore this fall. The eponymous gallery will relocate from Washington, DC to Baltimore’s North Howard Street Antique District, an area on the cusp of Mt. Vernon and the Bromo District where a number of commercial art and antiques galleries have historically operated. It’s near the light rail, MICA, and lots of theaters and Scott is enthusiastic to interact with Baltimore’s art community.

“I can’t be more excited to venture into Baltimore,” says the gallerist. “There is such a wonderful vibe coming from the city, it reminds me of LA and NY in the early 90’s. Artists are experimenting with new possibilities and taking it upon themselves to create their own opportunities. That’s vibrant and is what attracts people to come here. ”
After working as an LA art dealer in the early 1990’s, Scott founded a fine art gallery in Washington, DC in 2006. The Logan Circle space exhibited artists from across the country and included bigger names in photography like Julia Fullerton-Batten, Chris Anthony and Lori Nix. Along with big names, Scott exhibited emerging artists, including (full disclosure) my own work in two solo shows, several group exhibitions, and a number of art fairs. Besides myself, Scott has exhibited works by Baltimore artists Lu Zhang, Katherine Mann, Amy Sherald, Elena Volkova, Seth Adelsberger, and René Treviño, to name a few. At this point, Scott’s interest has turned to painting and he has added a number of painters and mixed media artists to his roster in the past two years.

From my perspective as an artist, Scott has been a savvy salesperson, willing to go to great lengths to place art in collections, which can be highly valuable to an artist. In addition, he has been supportive of the creative risks artists take, even when navigating away from bodies of ‘marketable work,’ trusting the artist to know what they need.

In 2009, he let me paint his gallery wall black with grainy metallic paint. The goal was to use tiny, strong magnets to hang hundreds of small drawings on the wall that would stick to the paint. It took several coats of white paint to cover the black to make the gallery look normal again, and after we did (I’m pretty sure he did most of the painting) the drawings didn’t stick! I was beside myself because the centerpiece of my show was falling off the fall, but Randall came up with an elegant solution: we put a small piece of painter’s tape on the back of each drawing and the grid held up. Voila! Many years later, I think there would be very few gallerists who would let an artist make such a mess, and even less who would have been so cheerful about helping to clean it up.

Scott's Logan Circle Space

Scott’s Logan Circle Space

After three years in DC at the Logan Circle space, Scott jumped on the opportunity for a gallery in New York. RandallScottProjects opened on Front Street in Brooklyn, just across the bridge from Manhattan, and operated in a professional building filled with art galleries for close to two years, but high rent and the DC-NY commute (his family lives in Gaithersburg) became too much.

RS Projects in Brooklyn

RS Projects in Brooklyn

Scott came back to DC in 2011 and did a few roving projects, and eventually settled in the Atlas/H Street NE District near ConnerSmith and G Fine Art. Although says he was happy with the quality of the space and the new artists he began working with, most of his sales came from art fairs and long standing clients who live outside the district. It seemed almost irrelevant where his gallery was housed, although he felt strongly that artists need a physical space to realize their visions and to connect with their audience. As a result, Scott began to look at Baltimore.

“While traditional galleries are not on the way out, new models of business are arising,” Scott says. “My gallery has always been a little transient, the constants being the artists and the program. In every location the gallery has grown in some way and Baltimore has a lot to teach and offer. I hope that what I bring to the city, in terms of my exhibitions can in turn give something back in the process.”

He looked at almost every neighborhood in Baltimore and a number of different locations, but has settled on a West Read Street storefront that needs some renovation. The ground floor property is roughly three times the size of his current second floor space in DC, and he is looking forward to using the space for more ambitious exhibits.

Scott’s Logan Circle space

“Each new space is a challenge and a clean slate. The DC/H Street location was a beautifully intimate space, but I could not show larger pieces and some of the artists I work with are moving in larger directions. While the Baltimore space is not cavernous, it will show well and W. Read street has a wonderful pedestrian feel,” Scott says.

“In scouting locations in Baltimore I found so many places that all had their own life. You can visualize what possibilities could happen. In the end, I want to expand the gallery’s vision in the coming years to take advantage of additional space, one thing the artists I work with need.”

After so much roving in the past decade, it will be interesting to see if Scott puts down longterm roots in Baltimore. The art community here could certainly benefit from another commercial space in town, and local collectors should be pleased to have another option to select mid-career and emerging art.




2006-2009 Randall Scott Gallery


Adriana Lopez Sanfeliu Amy and Cope
Summer exhibition Life on the Block
July 16—August 15th 2009
Future exhibitions
Etsuko Ichikawa
January 17th

Previous exhibitions  
curated by Cara Ober
December 13th
Chris Anthony October 25th
Julia Fullerton-Batten September

Eight    July 2008

I find it a privilege as a gallery owner to be able to see an amazing amount of new work from a great many emerging artists. Not just from unsolicited e-mail promos that haunt my inbox in a daily basis, but in my many internet wanderings, prowling artist websites and chasing links that start in one country and somehow cris-cross global cyberspace and end up in a completely different place. I go there often. I hear a name, or see an image and like a detective, I search them out. Many times I skim and then go to their links and take off, sometimes I get so wrapped up in the site and the work, I stay and use the contact link.

8 is a selection of eight photographers whom I have found in such a manner. I don’t pretend to have a grand “Next Big Thing” curatorial, or a “New Direction” claim, what I have put together is an exhibition of photographers who managed to make the hair on the back of my neck stand up. Their work made me stop and consider and motivated my finger to click on the contact button because I had to. This exhibition is, well, a personal aesthetic and I hope you will all enjoy.

Why  2-person, 2-week shows.
I decided on four 2-person 2-week shows to showcase the individual artists work. In a group show, due to limited space, perhaps 2 or 3 images may make it to the wall. This format allows more of the individual artists works to be shown, providing a greater forum of expression and more of a feel for their work.

The opening night will feature everyone on the wall. That night, we strike the show and install the first twosome. Thus the cycle goes, a show ends on a Friday night and a new show opens the next morning.
I first saw Kyoko Hamada’s work on a commercial representatives website. Her work captured my attention for its sense of light and almost Zen like stillness. Her subjects were frozen in her frame, but at the same time its composition created flow. It was a while later, just before meeting for the first time that I found out she was the band mate of one of my represented artists and also the sister of another of my artists. It was fate we were to meet.

Tema Stauffer’s presence has been surfacing on the web, in both exhibition and blog mentions all year. Her “American Stills” series is amazing. A clean look at a fading American landscape brought to light in the form of gas stations. As evil as they are, she almost makes them look human and I sympathize for them.

The one thing we hardly see adorning the walls of a contemporary art gallery is the work of the photojournalist. That’s a shame because some of the most intoxicating work being done today is of a Social Documentary and photojournalistic manner. Jessica Dimmock is one of the bright young stars to enter into that world. For three years she shadowed the lives of several drugged-out inhabitants of a ninth floor apartment just off the Flatiron Building in Manhattan. She documented the intimate lives of these people in all their vulnerability and addictions, their joys and their downward spirals. Her book “The Ninth Floor” is provocative, emotive a must have.

Peter Van Agtmael is a war/conflict photojournalist. He covers the front lines of Iraq and Afghanistan and the aftermath that befalls a “troops” when they return home. I have always had a love/hate relationship with war photographers. Their job is to ride shotgun in a moving target. To move closer, closer and still closer to capture the ugliness that is what is considered to be man’s most common injustice to man. They have to be outside the conflict to report it ethically. But how can you be outside a firefight where kids just out of high school are blown to bits in front of your camera, or are shooting at people not much older than themselves. Still, it is a photojournalists images that enact change, sway opinion and “tell the truth”  about what horror really is.  Peter’s images of a night raid in Iraq that turns deadly will haunt your dreams.

Alexandra Catiere’s portraits are disarming. Born in Belarus, Alexandra points her camera through the winter slush stained windows of a trolley bus in Minsk. The images, contrasty, black and white apparitions capture a people of little emotion. They are sullen and haunted, lonely and in some manner reminiscent of having just boarded a bus to an eternity of sorrow. These images are a dialogue between Ingmar Bergman and Wim Wenders both of whom wish to drive. They are beautiful and intimate and allude to a past, or is it a future?

Shen Wei is simply my favorite portrait photographer of the moment. He manages to meet random people on the street, or a grocery, or wherever and over the course of a few conversations gets his subjects to allow him intimate access to their lives. The portraits are beautiful in their natural ease. Not a shred of pretension in evident. They are as honest and real as his subjects. In a world of false portraiture in the face of advertising, these portraits speak of humanity and I think that is both frightening and magical and honest.

I have forgotten where I first saw Alison Brady’s work, but I am so glad it stuck in my mind. Her work is a psychological research project on photographic paper discussing madness and alienation in relation to contemporary culture.  Her subjects act out ritualistic exercises to gain some sort of normalcy or dominance over their neurosis. The exaggerated emotions and actions make alarming imagery.

I was flipping through the maze of Japanese websites, strewn with symbols I wish I could read when I stumbled on Ryoko Suzuki’s Bind Series. I have to admit, it freaked me out. Suzuki had bound her face with blood soaked pigskin, pulled so tightly it contorted her face. I loved them so much, I called her and offered her representation on the spot. “Bind” is Suzuki’s declaration of independence from the “Adult” teachings and beliefs she adopted without question as a child. Her facial and body contortions are her document, what is left when the skin is removed, off camera, is her coming of age


opening our new location in Brooklyn
Shen Wei
April 2nd-May 2nd
artists reception
April 2nd 6pm-8pm

March 5-8th
Exhibiting Julia Fullerton Batten and Penelope Umbrico

Sarah Wilmer June 2008   

     Lawrencce Gipe
arrivals and departures
January 26th-March 1

Margo Quan Knight
intervals December 2007 -January 2008

Lori Nix
the city October 2007

Nathan Baker
Rupture Part one September 2007
Subtext August 2007

Hiroyuki Hamada July 2007

Jackson Martin/Michael Sandstrom June 2007

The Living Room May 2007

All Things Said, in Motion
video work April 2007

Etsuko Ichikawa/Gary Weidner
February 2007

No Fancy Titles November 2006


NEWS from the Randall Scott Gallery


July 2011, RSProjects will participate in ArtMRKT Hamptons With the work of Michael Bevilacqua.

July 2011, Julia Fullerton-Batten is on the cover and has the leading article in the Current EYEMAZING Magazine

July 2011, Christa Parravani is finishing a memoir about her and her twin sister and the making her Kindred Series. Christa has secured literary representation at ICM.

July 2011, David DiMichele will be exhibiting Pseudodocumentation at Robert Koch Gallery in San Francisco during the summer.

July 2011, Marco Delogu is hard at work on the 2011 Fotographia Festival to take place in Rome September 23-Oct 23rd. Marco is the founder and Director of the festival.

October 2010, Anthony Suau was awarded an EMMY for his work on the TIME.com documentary on the Fall of the Berlin wall.. see it here

October 2010, Ryoko Suzuki's BIND images were acquired by both the MINT Museum in Charlotte, NC and the Museum at American University in Washington, DC.

Based in Sapporo Japan, Ryoko Suzuki attacks the stereotype the Japanese "Powers that Be" impose on females within Japanese culture. Centering on the childrens toy industry, she photographs the female toy form and then superimposes her face in post-production. Completly in character, she mimicks the doll, giving a human face to an otherwise plastic form. That form, seductive and sexualized is originally meant for Japanese girls. It sends the message, of how the men of her culture wish their females to look, dress and behave.

Common to Japanese Anime, the figures can be nude, or in costume, or in a feminine "cute" pose. Photographed against a pastel background, the figures take on a surreal, if not painterly feeling offset by the reality of the human face. The prints stand 8 feet tall, or wide, thus evoking the "male gaze". They overtake the viewer, invite them in and create tension when context is realized.

October 2010, We are happy to announce that Renato D'Agostin and Chris Anthony are included in the 2010 Aperture Fall Auction. If you don't get the chance to bid on their work...you can always find them here.

June 26, 2009
RSG announces the representation of Los Angeles based painter, Robert Kingston 

June 6, 2009
RSG announces the representation of Brooklyn/Barcelona based, Adriana Lopez Sanfeliu.
June 6, 2009
RSG announces the representation of Pulitzer Prize and World Press Photo winning photojournalist, Anthony Suau. Suau, has been at the forefront of photojournalism for 20 years having covered the fall of Communist Russia to the developing Economic crisis in the US. Suau won the World Press Photo of the Year award in 2009 with this image of armed officer of the Cuyahoga County Sheriff's Department moving through a home in Cleveland, Ohio, following eviction as a result of mortgage foreclosure.
June 7, 2009
RSG has a new logo, we thought it would brighten up the website.


Randall Scott Gallery is now Randall Scott Projects.
RandallScottProjects represents and exhibits emerging and mid-career international artists working in the painting, photographics and mixed-media disciplines.
The gallery is located in the Mt. Vernon District of Baltimore which has several contemporary art galleries, the Walters Museum, Baltimore Symphony, The Lyric Opera, The Baltimore Theater Project and many localized restaurants.

Randall Scott Projects


Meg Hitchcoc

In Meg Hitchcock's text drawings she examines and dissects the word of God and other books held sacred. Hitchcock deconstructs a sacred text by removing its individual letters and reassembling them to form a passage from another holy book, often in a design that illustrates that passage or idea. The Koran is transformed into a proverb from the Bible, the Bible into a verse from the Bhagavad Gita, and so on. She discourages a literal reading of the text by eliminating punctuation and spacing; a sentence from one text sometimes merges with a passage from another. By bringing together the sacred writings of diverse religions, she undermines their authority and speaks to the common thread that weaves through all scripture.

The labor-intensive aspect of her work is a spiritual practice, as well as an exploration of the various forms of devotion. Each individual letter is carefully chosen and removed one at a time, and then placed within the artwork. A long history in Evangelical Christianity formed her core beliefs about God and transcendence, but she later relinquished the Christian path. Hitchcock now gravitates toward Eastern Mysticism, and is deeply moved by Islam. Her work is a celebration of the diverse experiences of spirituality and the universal need for connection with something greater than oneself. In the end, the holy word of God may be nothing more than the sublime expression of our shared humanity.

Meg Hitchcock lives and works in Brooklyn, New York. She received her BFA in painting from the San Francisco Art Institute, and studied classical painting in Florence, Italy. Her work with sacred texts is a culmination of her lifelong interest in religion, literature, and psychology. She has shown her work in New York, San Francisco, Chicago, London, Berlin, and Australia. Hitchcock's work has been reviewed in Art in America, ArtCritical, The New Criterion, Huffington Post and The Daily Beast. Her work will be featured in Bibliothecaphilia, a group exhibition opening in January at Mass MOCA in Boston.

Robert Kingston

Robert Kingston’s paintings are part of his own lineage of abstraction that has evolved over some twenty years. These paintings are about painting. Kingston’s work has always arisen from an earnest search for resolution in a range of gestures, movements and erasures. The appearance and meaning of the resolution has developed over years in the meandering progression of the creative process.

Kingston's current chapter of work continues his investigation into the possibilities of paint. The labors are personal, but also come from a place of acutely studied history of art, design and music. Notions of Cy Twombly and Paul Klee, among others, slightly register, but while Kingston embraces this history, his paintings remain clearly contemporary, considered and decidedly personal.

Similar to a musical composition, Kingston slowly creates his paintings by building on and modifying motifs applied in previous layers. He embraces improvisational gestures and incidents of dripping and streaking paint. At times the paint is controlled and then allowed again to find gravity and is then contained again. Among this rich layering and smudging are fits and starts of lines, doodles and sketches. This action occurs in so many layers, that some images are barely perceivable, giving us insight into Kingston’s thought process and leaves you searching for more clues. On the thin top surface that floats over the deep, hazy spaces of the paintings are hard-lined, organic shapes of color and distinct line drawings that conjure a quirky aggregate of ancient / scientific / industrial hieroglyphs.

All this activity occurs on textured fields of color that vary from off white to brick red, black or blue. The colors and compositions shift from placid to energetic, structured to improvised, sober to playful. The paintings are a steady, engrossing read that gradually reveal their history and resolve.

Robert Kingston currently lives and works in Los Angeles, California.

A Call  We Heard and Answered, 2013
Acrylic on Canvas


Before Our Histories Began, 2013
Acrylic on Canvas


Before the Wind Came, 2013
Acrylic on Canvas


Ruby Osorio

Ruby Osorio’s wistful paintings evoke the sense of fragmented memories, experienced through the mind and senses of a female protagonist, while exploring the notions of the poetic in their representation of femininity and myth.
Influenced by the work of writers such as Julio Cortazar, Jorge Borges, and most recently the poet, Wislawa Szymborska, Los Angeles based Osorio’s visual narratives hinge on memory, fantasy and literary references. Her characters are engaged in uncanny, or enigmatic scenarios imbued with a sense of longing and search for that transcendent moment or experience.
Osorio’s work has been exhibited internationally in cities such as London, Tokyo, Mexico City, Athens, Los Angeles, and Washington DC. Her exhibition, Story of A Girl (Who Awakes Far and Away) traveled to the Contemporary Art Museum St. Louis and Laguna Art Museum. Her work has been reviewed by Los Angeles Times among other publications, and resides in notable collections such as Eileen Norton Foundation and Hammer Museum.

Michael Bevilacqua
When Michael Bevilacqua arrived in New York in the early 1990’s he immersed himself in the music scene and began to translate what he saw and felt onto canvas. There was rawness to his paintings, an immediacy that could only be fueled by the music. His canvases were chaotic and dense with references to the street, the music and the lifestyle of living in New York during the turn of the century.
For close to 20 years Bevilacqua had transcribed thoughts through music into his painting. He painted pop and counter cultural references with bold color and brushstrokes that cared less for being clean, but more sputtered and shouted loudly to be heard above a screaming crowd. His paintings were grand, sometimes reaching 20 feet in width.
Then one day something changed...as he explained,
“About three years ago a friend left a can of chrome spray paint in my studio and things have never been quite the same. Back then I was listening to an overdose of Joy Division. The paintings went from my usual explosion of color and graphics to a much more somber chrome, black and cream. I mean let’s remember where Joy Division was birthed, the grey industrial city of Manchester, England. The music usually sets the soundtrack to what you see on the canvas.”
Gone would be the catchy logos and punchy colors of his earlier works, replaced by scratches and long drags of sharp objects sketching a black and chrome surface in synchronicity. As time moved on the paintings became dense with text that seemed to dissolve into the space created within the canvas. The words Disorder and Society spray-painted in gothic font, etched and reworked. The terms brought forth Bevilacqua’s thoughts on our world system, how caste works, or moreover, has failed with society.
New York based painter Michael Bevilacqua attended Long Beach State University and Santa Barbara City College, later continuing his studies at the Cambridge College of Art and Technology in Great Britain.
Bevilacqua has exhibited internationally including solo shows in Beijing, Copenhagen, Milan, Tokyo, Madrid, Barcelona, and New York. He has also exhibited in group shows at Palais de Tokyo, Paris, France; Deste Foundation, Athens, Greece; The Phoenix Art Museum, Phoenix, AZ; and The Aldrich Museum of Contemporary Art, Ridgefield, CT.
His work is in numerous public collections including The Mitsuni Collection, Tokyo, Japan; San Francisco Museum of Modern Art, San Francisco, CA; Deste Foundation, Athens, Greece; Astrup Fearnley Museum, Oslo, Norway; The Whitney Museum of American Art, New York; and The Dallas Museum of Art, Dallas, TX






Chanting the Square Deific
by Walt Whitman
Letters cut from an old German Bible
9¼ x 9 in.

The Pledge of Allegiance Seven Times
Letters cut from The Koran
14 x 11 in.

Christ Has No Body But Yours,
A Poem by St. Teresa of Avila
Letters cut from The Koran
11 x 14 in.

The Land of Bliss: The Larger Sukhavativyuha Sutra
Letters cut from The Bible
30 x 22 in.

Letters cut from Koran
14 x 11 in.




James Busby
Eyelid Movies
Nov-Dec 2014

Untitled no. 4
July 19th-Aug 23rd
Avi Gupta
Rania Hassan
Abby Martin
Craig Roper
Jessica Van Brakle
Hillary Werth

Ruby Osorio
June 2014

Amy Myers
Natal Curve
May 2014

Bobby Coleman
The Things I think I can Make
April 2014

Mason Saltarrelli
Notes From The Neon Bible
March 2014

Chris Anthony
February 2014



Chris Anthony, James Busby, Si Jae Byun, Natalie Dunham and Amy Myers
Looking Forward
November-December 2013

Julia Fullerton-Batten
September 2013

Chris Bors
The Youth are Getting Restless
August 2013

Carlo Van de Roer
Portrait Machine Project
July 2013

Robert Kingston
New Paintings
June 2013

James Busby
Smoke and Mirrors
April-May 2013

Michael Bevilacqua
Deciphering Scars
March 2013

Mason Saltarrelli
Golden Cacti
February 2013