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Molly Warnock is an art critic and art historian based in Baltimore. A specialist in modern and contemporary art, she has written extensively about Michel Parmentier’s work and, in 2015, edited and annotated a selection of letters from his previously unpublished correspondence with Simon Hantaï for the Cahiers du Musée National d’Art Moderne. The author of Simon Hantaï and the Reserves of Painting (Pennsylvania State University Press, 2020) and Penser la Peinture: Simon Hantaï (Gallimard, 2012), she has also published articles on diverse topics in, among other journals, Artforum, Art in America, Tate Papers, nonsite, and Journal of Contemporary Painting, as well as in numerous European and US exhibition catalogues. She is the Director of the Clyfford Still Catalogue Raisonné Project at the Clyfford Still Museum in Denver, Colorado, and a member of the Board of Directors of the Tephra Institute for Contemporary Art in Reston, Virginia.


Rey Akdogan (b.1974, Heilbronn, Germany) lives and works in New York. She completed the Whitney Independent Study Program after receiving her MA from Central Saint Martins College of Art and Design, London. Her work engages the materiality of atmospheres and how they can be taken apart. Recent solo exhibitions include Lost Record, Commercial Street, Los Angeles, 2022; Subtractions, Galerie Anke Schmidt, Köln, 2021;Hannah Hoffman, Los Angeles, 2017; and Faction, Miguel Abreu Gallery, 2017. She is represented by Miguel Abreu Gallery, New York; Hannah Hoffman, Los Angeles; and Galerie Anke Schmidt, Köln.

Daniel Lefcourt (b. 1975, New York, NY) lives and works in New York City. He is a tenured professor at Rhode Island School of Design. Lefcourt’s artistic practice engages the discipline of painting through the lens of scientific, industrial, and military imaging technologies. His current areas of research focus on generative systems, chance, and procedural design. His work forms part of the collection of the Whitney Museum of American Art, New York; Museum of Contemporary Art, Los Angeles; Dia Art Foundation, New York; Institute of Contemporary Art, Miami; MIT List Visual Arts Center, Cambridge; and Yale University Art Gallery, New Haven. Recent solo exhibitions include Strata, Campoli Presti, Paris, 2019; and Terraform, Mitchell-Innes & Nash, New York, 2018.

Scott Lyall (b. in Toronto, Canada, 1964) lives and works in Toronto and New York. His work combines techniques of painting with digital processes nand new materials, pursuing what he calls “a clientless design,” and “an art that is worthy of a painting analogue.” Recent solo exhibitions include: Superstar, Miguel Abreu Gallery, New York; Callings and Cave Painting Now, Susan Hobbs Gallery, Toronto; and Dragons, Campoli Presti, Paris and London. His work was included in Collected by Thea Westreich Wagner and Ethan Wagner, Whitney Museum of American Art, New York, 2015; Ballistic Poetry, Hermès Foundation - La Verrière, Brussels, 2016; and The Painter’s New Tools, Nahmad Contemporary, New York, 2022.

Linn Meyers (b. 1968, Washington, DC) divides her time between Washington, DC, and Los Angeles, CA. Her practice—comprising paintings and drawings and large-scale installations—stands as a record of the artist’s physical movements and the imperfections and inconsistencies of hand and body as they move across a surface. Meyers’s works have been shown in public and private venues including the Hirshhorn Museum and Sculpture Garden, the Smithsonian American Art Museum, and the Phillips Collection, Washington, DC; the Hammer Museum, Los Angeles; the Drawing Center and Sandra Gering Inc., New York; the Tokyo Metropolitan Art Museum; Jason Haam, Seoul; ParisCONCRET, Paris; and the Bowdoin College Museum of Art, Brunswick, ME.

Olivier Mosset (b. 1944, Bern, Switzerland) lives and works in Tucson, Arizona. From 1965 to 1977, he worked in Paris, where he participated in the creation of the BMPT group, before relocating to New York. Mosset describes himself as a painter rather than an artist. His work is based on principles of neutrality, radicality, and self-effacement that constantly challenge the limits of painting. Recent solo exhibitions include: galerie lange + pult, Auvernier, Switerzland, 2022; The Last Cowboy Songs, Baronian Xippas, Brussels, 2022; Tucson Museum of Art, Tucson, 2022; MAMCO, Geneva, 2020; Galerie Gagosian, Geneva, 2020; TUTU, Museum Haus Konstruktiv, Zurich, 2019; and Olivier Mosset – 2, 11, 47, Fondazione Antonio Dalle Nogare, Bolzano, Italie, 2019.

Sally Ross (b. 1965 in Morristown, NJ) lives and works in New York. By playing with materials and constructing and deconstructing their substance, Ross moved from the figurative genre to a more physically involved and abstract way of making a painting, one that takes chance and fortuity as meaningful elements in the creation of the work. In 2022 and 2018, her work figured in two exhibitions curated by Bob Nickas, Strange Attractors, An Anthology of Interplanetary Folk Art, Vol. 3: Lost In Space, at Apalazzo Gallery, Brescia; and at Kerry Schuss Gallery, New York. Other recent presentations include Painting Piece-By-Piece, Collezione Maramotti, Reggio Emilio, 2018; Material Matters, Rodolphe Janssen, Brussels, 2019; Materials and Procedures, Fergus McCaffrey,New York, 2018.

Alan Ruiz (b. 1984 in Mexico City, Mexico) is a New York-based artist whose work examines the protocols that shape and condition space through economic, aesthetic, and social systems. He received an MFA from Yale University in New Haven, CT, and participated in the Whitney Independent Study Program in New York. His work has been shown at the Hessel Museum of Art, the Kitchen, Queens Museum, and Storefront for Art and Architecture, among other New York institutions. His writing has been featured in BOMB Magazine, Millennium Film Journal, and Women & Performance: a journal of feminist theory. Ruiz teaches at Hunter College and the
New School in New York.

Michael Scott (b. in 1958 in Paoli, PA) lives and works in New York. His work is at the intersection of radical abstraction and forms inherited from pop art and conceptual art. Since 1986, he has been making paintings that push the visual experience to its limits. Among his significant institutional exhibitions are presentations at FRAC Normandie, Caen, 2022; MAMCO, Geneva, 2016- 2017; Schneider Museum of Art, Ashland; MACBA, Buenos Aires, 2015; Circuit, Lausanne, 2014; Le Consortium, Dijon; Kunsthalle Bern, 2012; CAPC, Bordeaux, 2011; Le Magasin, Grenoble, 2009; Fondation Vasarely, Aix-en-Provence, 2008; MoMA PS1, New York, and Musée Cantonal des Beaux-Arts de Lausanne, both 2005; and Naples Museum of Art, Naples, 2001.

Kate Shepherd (b. 1961, New York, NY) lives and works in New York. Shepherd’s decades-long exploration of perspectival space investigates the relationship of paintings to their environs, the various reflective surfaces establishing a spatial discourse among the panel, the viewer, and the gallery space. Her work is featured in numerous museum collections including the Albright-Knox Art Gallery, Buffalo; Baltimore Museum of Art; Eli and Edythe Broad Art Museum, Los Angeles; Des Moines Art Center; Indianapolis Museum of Art; Los Angeles County Museum of Art; Museum of Fine Arts Boston; Phillips Collection, Washington, DC; Scottsdale Museum of Contemporary Art; and Seattle Art Museum. She is represented by Galerie Lelong & Co., New York.

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