Tag: artist

“Artists on Our Radar” is a monthly series focused on five artists who have our attention. Utilizing our art expertise and Artsy data, we’ve determined which artists made an impact this past month through new gallery representation, exhibitions, auctions, art fairs, or fresh works on Artsy.

Clara Gesang-Gottowt

B. 1985, Stockholm. Lives and works in Lund, Sweden.

Waters, 2024
Clara Gesang-Gottowt

Galleri Nicolai Wallner

Shore, 2023
Clara Gesang-Gottowt

Galleri Nicolai Wallner

Swedish artist Clara Gesang-Gottowt’s semi-abstract landscape paintings bridge the intimate with the expansive. Layered densely with foggy greens, muted pinks, and smoldering oranges, new works recently shown by the artist at Galleri Nicolai Wallner offer glimpses into a serene and otherworldly domain.

Titled “Waters,” the show at the Copenhagen gallery featured a series of these large landscapes in portrait orientation, suggesting doorways that the viewer could step through. Suffusive and spacious, Gesang-Gottowt’s scenes seem to harbor memory and emotion, articulated through vivid, affective colors and soft contours that suggest the blurriness of recollection.

Shore II, 2023
Clara Gesang-Gottowt

Galleri Nicolai Wallner

Thunder, 2025
Clara Gesang-Gottowt

Galleri Nicolai Wallner

Before the Storm, 2024
Clara Gesang-Gottowt

Galleri Nicolai Wallner

River I, 2023
Clara Gesang-Gottowt

Galleri Nicolai Wallner

Gesang-Gottowt earned her MFA at Stockholm’s Royal Institute of Art in 2013. Her work is in the permanent collections of Swedish institutions such as Moderna Museet, the Malmö Konstmuseum, and others. She has exhibited extensively in solo and group presentations at galleries including Galleri Magnus Karlsson, OTP Copenhagen, Galleri Cora Hillebrand, and the Royal Academy of Fine Arts, Stockholm.

—Arun Kakar

Zoe Hawk

B. 1982, St. Louis, Missouri. Lives and works in Columbia, Missouri.

The Sky Darkens, 2025
Zoe Hawk

Galerie Robertson Arès

Watchers, 2022
Zoe Hawk

Visions West Contemporary

Featuring dollhouses, unicorns, and paddling pools, Zoe Hawk’s narrative paintings explore the experience of girlhood on the cusp of womanhood. In the artist’s current solo exhibition, “She Said,” at Montreal’s Galerie Robertson Arès, her playful, oil-on-panel paintings of girls in pinafore dresses and ballet flats evoke John Tenniel’s famous Alice in Wonderland illustrations. Like Lewis Carroll’s protagonist, Hawk’s characters embody whimsy and adventure while also experiencing disruption and transformation. One such figure is the subject of The Sky Darkens (2025), an apprehensive-looking young woman navigating an unfamiliar world.

Beneath their colorful surfaces, Hawk’s paintings touch on themes of autonomy and social acceptance. Within her innocent-seeming depictions of girls swimming, scouting, and playing schoolyard games like hide-and-seek and “light as a feather, stiff as a board,” she alludes to the complex and evolving nature of friendships between girls and women.

Whispers, 2024
Zoe Hawk

Galerie Robertson Arès

Wilderness, 2023
Zoe Hawk

Visions West Contemporary

Summer, 2024
Zoe Hawk

Galerie Robertson Arès

Surprise Lily, 2024
Zoe Hawk

Galerie Robertson Arès

Hawk holds a BFA from Missouri State University and an MFA from the University of Iowa. Her work has been featured in exhibitions at Sagar Reeves Gallery, Visions West Contemporary, Harman Projects, and Rhodes.

—Adeola Gay

Junyi Lu

B. 1996, Guangzhou, China. Lives and works in London.

A Murderer’s Dream VII, 2025
Junyi Lu

The Sunday Painter

Many of Chinese artist Junyi Lu’s hazy canvases are ripped and stitched back together, a method that ruptures her otherwise soft, sensuous images. Often featuring ghostly figures enveloped in psychedelic fields of color, these mixed-media paintings are layered with materials including gauze, thread, and paper drawings. A selection of these canvases, along with sculptures made from construction materials and found objects, is on view through April 26th in “(cosset)”—the artist’s first U.K. solo exhibition, at The Sunday Painter in London.

One standout painting, A Murderer’s Dream VII (2025), features a spectral, headless body against an aqueous backdrop, opposite an abstract, tree-like form and a stark grid that lends a sense of order to the disruption. This work captures the ephemeral nature of dreams and memory, where impressions are swallowed as if by fog, fading and distorting within our subconsciouses.

(l), 2025
Junyi Lu

The Sunday Painter

Green Fence, 2025
Junyi Lu

The Sunday Painter

Youngest in the Family, 2025
Junyi Lu

The Sunday Painter

(g), 2025
Junyi Lu

The Sunday Painter

Lu received her BFA from the Maryland Institute College of Art in 2018 and her MFA from the Slade School of Fine Art in 2023. She previously presented a solo exhibition, “Watch Out, Kiddo,” with Shanghai-based gallery LINSEED in 2024.

—Maxwell Rabb

Kelly Sinnapah Mary

B. 1981, Saint-François, Guadeloupe. Lives in Saint-François.

She taught me to listen to the wind, 2023
Kelly Sinnapah Mary

Aicon

She taught me to listen to the wind, 2023
Kelly Sinnapah Mary

Aicon

Growing up in Guadeloupe, Kelly Sinnapah Mary identified as Afro-Caribbean before discovering that her lineage traces back to South Indian indentured laborers brought to the Caribbean. This revelation is foundational to her paintings, in which identities are often masked and revealed. In these surreal, storybook scenes, figures wrestle with environmental threat—a nod to the complex legacy of colonialism in the region.

At the center of many works is Sanbras, a character inspired by 1899 Scottish children’s book The Story of Little Black Sambo. Sinnapah Mary reimagines that story’s protagonist, a cunning young boy, as a tattooed animal-schoolgirl hybrid. The artist’s depictions of Sanbras seem pulled from disconcerting fairytales, as in her 2023 series “She taught me to listen to the wind.” In one work, a bestial hand reaches into the leaf-filled frame. Its furry claws grasp at a young girl’s face as she rests serenely on a pillow, her skin covered with stencil-like vines and Peter Pan motifs. Altogether, the striking scene suggests an impending loss of innocence.

Sinnapah Mary’s work has been shown internationally, including at the Pérez Art Museum Miami, Kunstinstituut Melly in Rotterdam, Netherlands, and the 34th São Paulo Bienal. She was the subject of a recent solo exhibition, “The Book of Violette,” at James Cohan Gallery in New York.

—Josie Thaddeus-Johns

Rachel Youn

B. 1994, Abington, Pennsylvania. Lives and works in New York.

Sexy but not joyous, 2022
Rachel Youn

Alice Amati

There is something strangely human about Rachel Youn’s kinetic sculptures and their rhythmic, ritualized movements; watching them is a bit like watching awkward teenagers at a school dance. These “dancers” are formed from fake flora and salvaged motors that propel repetitive patterns of spinning and swinging. Youn’s materials are made poignant by their associations with artifice and intimacy: The motors are sourced from discarded electronic massagers, cheap substitutes for human touch.

The moving flowers and leaves gyrate and often bump into one another, bringing a clumsy sort of eroticism to Youn’s work. This overtone is humorously acknowledged by the title of their 2022 sculpture Sexy but not joyous. In the work—on view through April 12th in a duo show with Sophie Birch at London’s Alice Amati—a pair of artificial orchids are attached to a wall-mounted rig. One of them seems to nuzzle the wall, while the other pokes in and out of a metal aperture, a suggestive gesture made mundane through stilted repetition. Writing about a different work on Instagram, Youn succinctly described a theme that runs through their practice: “Desire is so embarrassing.”

Sit pretty, 2024
Rachel Youn

Alice Amati

Frills, 2022
Rachel Youn

VSOP Projects

Neither Fruit Nor Flower, 2021
Rachel Youn

Soy Capitán

Prostrate, 2023
Rachel Youn

Alice Amati

A 2024 graduate of Yale’s MFA program, Youn has exhibited widely in the U.S. and Europe. They have been the subject of solo shows at Soy Capitán in Berlin, Night Gallery in Los Angeles, and Sargent’s Daughters in New York.

—Olivia Horn

From its beginning in Wright’s Detroit basement, the museum has cultivated increased visibility for all African Americans by showing other institutions how to build their own storytelling apparatuses.

The post Linda Vallejo: Reclaiming Identity, Earth, and Spirit Through Art appeared first on AATONAU.

As a phonetic syllabary, each of the linguistic system’s characters represents a sound.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Tomoko Kubo’s Hiragana Embroideries Double as Japanese Language Learning Devices appeared first on Colossal.

Marcia Marcus, a dedicated painter known for her distinct self-portraits, died at 97 on March 27th in New York due to age-related causes. Her daughters, Kate Prendergast and Jane Barrell Yadav, confirmed her death, according to the New York Times.

For much of her life, Marcus was not recognized by the art world. Her early works were presented by several tastemaking galleries in the 1950s and ’60s, but it wasn’t until more recent retrospectives in the final decade of her life that she gained recognition. Notably, her paintings were included in a 2017 exhibition at New York University’s Grey Art Gallery entitled “Inventing Downtown: Artist-Run Galleries in New York City, 1952-1965.” This preceded Eric Firestone Gallery’s solo exhibition for the artist, “Role Play,” which opened in October of that same year.

Born in New York in 1928, Marcus enrolled at New York University’s College of Arts and Science at 15 years old. She graduated with a bachelor’s degree in 1947 and continued her studies at Cooper Union and the Art Students League throughout the 1950s. Around this time, she immersed herself in the downtown art scene and showed at several 10th Street galleries. In 1960, Marcus presented her work at Delancey Street Museum, an alternative venue run by her friend and fellow artist, Red Grooms, out of his loft studio.

In the 1960s, Marcus turned towards portraying her own image, producing representations of herself as various characters such as Athena or Medusa. These works are characterized by their flat colors: figures were often depicted with deadpan expressions and situated in minimalist settings. The Whitney Museum of American Art featured her in two exhibitions in 1960 and 1962: “Young America 1960: Thirty American Painters Under Thirty-Six” and “Forty Artists Under Forty,” respectively.

Later, she presented solo exhibitions at New York venues such as Graham Gallery, ACA Gallery, Zabriskie Gallery, Benton Gallery, and Terry Dintenfass Gallery from the ’60s to the late ’80s. For employment, the artist took up visiting professor jobs at colleges such as Vassar and Rhode Island School of Design before taking a position as a substitute teacher in the New York public school system. Despite little recognition beyond these early achievements, Marcus continued painting throughout the rest of her life.

The appreciation for Marcus’s work has been steadily growing over the last decade. Her paintings will be featured in Lévy Gorvy Dayan’s upcoming exhibition, “The Human Situation,” featuring Marcus alongside Alice Neel and Sylvia Sleigh. The exhibition opens in New York on April 10th.