Sydney Acosta (b. 1987, San Antonio, Texas) received her MFA in Painting and Drawing from UCLA in 2021 and her BA from Sacramento State University in 2015. She has exhibited her work at the CASTLE gallery (2022), Onsen Confidential with Kristina Kite gallery hosted by Aoyama Meguro, Tokyo (2022), Root Division in San Francisco (2021) and Axis gallery, Sacramento (2019). She has been supported by the MacDowell Fellowship and residency, the Helen Frankenthaler Foundation, the LA Lakers emerging artist grant and the American Austrian Foundation. She has upcoming exhibitions at Human Resources Los Angeles, Michael Benevento gallery and Kristina Kite gallery. She lives and works in Los Angeles.

Alex Anderson (b. 1990, Seattle, WA) uses the delicate medium of ceramics as his main vehicle to explore the intersections of the sublime experiences that make up both the man-made and natural worlds, as well as deeper, more complicated issues of race and cultural representation. His artworks combine a dexterity in the medium with a confluence of baroque imagery and compositions, Japanese pop art references, and current contemporary fashion and design trends in order to probe the depths of reality, illusion and identity.

At the core of Anderson’s practice is a philosophical, existential examination of identity politics relative to his respective backgrounds. By channeling methodologies surrounding artistic production in ceramic arts, Anderson creates fantastic, multifaceted sculptures; synchronously subversive and whimsical. He uses the classical aesthetics of a Western art canon—one ironically sharing space with queer and camp aesthetics—to translate the structures governing his lived experience in society, along with social perceptions of non-Western identity and form. Anderson’s work engages with Western ceramic histories, yet operates, too, at the core of Post-Blackness.

This method of production directly corresponds with current aesthetic and artistic practices and ideologies surrounding theories of Post-Black art. Working at the intersection of identity politics and aesthetic empowerment, Anderson’s ceramic creations appear charming and playful – yet their frivolity is only glaze-deep. They contain layered conceptions about blackness, masculinity, and perception, folded and fused together, reciprocating the merging of the artist’s lived experience, historical inheritance, and conscious self-awareness.

Criticality, political derision, and gender politics are all relevant schemas for Anderson’s sculptural oeuvre. Each of his identities has a history of marginalization, received violence, and fetishization. His work gives form to the realities, stereotypes, and cultural perceptions of divergent cultural identities, and, as a group, give rise to complex aporic spaces. Anderson seeks to create a metaphorical world of objects—those that distill his understanding of what it means, and how it feels, to live through intersectional identities, and his resultative place in the contemporary social world.

Anderson received his Bachelor of Arts in Studio Art and Chinese from Swarthmore College and his Master of Fine Arts in Ceramics from the University of California, Los Angeles. Anderson previously studied at the Jingdezhen Ceramic Institute in Jingdezhen, China and was awarded a Fulbright Grant in affiliation with the China Academy of Art in Hangzhou, where he continued his studies in ceramic art. His work has been exhibited internationally, and across the United States, including at the Orange County Museum of Art (Costa Mesa, CA), The Long Beach Museum of Art (Long Beach, CA), the American Museum of Ceramic Art (Pomona, CA), Human Resources (Los Angeles, CA), Deli Gallery (New York, NY), Gavlak Gallery (Los Angeles, CA; Palm Beach, FL), and Jeffery Deitch Gallery (New York, NY), amongst others. His work has been reviewed by Artsy, Artforum, Contemporary Art Review Los Angeles, Cultured, the Los Angeles Times, amongst others. He is represented by Sargent’s Daughters.

Yevgeniya Baras (b. Syzran, former Soviet Union) is an artist in New York. She has exhibited her work at galleries including White Columns (New York, NY); Nicelle Beauchene (New York, NY); Reyes Finn Gallery (Detroit, MI); Gavin Brown Enterprise (New York, NY); Inman Gallery (Houston, TX); Mother Gallery (New York, NY); Sperone Westwater Gallery (New York, NY); Thomas Erben Gallery (New York, NY) The Pit (Los Angeles, CA); as well as internationally including NBB Gallery (Berlin, Germany); Julien Cadet Gallery (Paris, France); Station Gallery (Sydney, Australia). She is represented by The Landing (Los Angeles, CA) and Sargent’s Daughters (New York, NY).

Baras' paintings take shape through a process of layering and accumulation, combining oil media with various found and unconventional materials. The resulting objects hover between painting and sculptural relief, with layers that frequently extend onto the sides and supports of the canvas, refusing any definitive boundary. Within these stratified compositions, Baras creates symbolic topographies which address ideas of language, migration, and translation. The material richness of the work serves to generate abstractions that are encoded and deeply personal.

Yevgeniya is a recipient of the Pollock-Krasner grant in 2023 and 2018. Baras was named Senior Fulbright Scholar for 2022/2023. She was a recipient of the New York Foundation for the Arts Fellowship in 2021 and the Guggenheim Fellowship in 2019. Baras was selected for the Chinati Foundation Residency in 2018 and the Yaddo Residency in 2017. She received the Artadia Prize and was selected for the Sharpe-Walentas Studio Program and the MacDowell Colony residency in 2015. In 2014, she was named a recipient of the Rema Hort Mann Foundation’s Emerging Artist Prize. Her work has been reviewed in the New York Times, LA Times, ArtForum, The New York Review of Books, and Art in America.

Baras co-founded and co-curated Regina Rex Gallery in New York’s Lower East Side (2010-2018).

Baras holds a BA in Psychology and Fine Arts and an MA in Education from the University of Pennsylvania (2003) and an MFA in Painting and Drawing from the School of the Art Institute of Chicago (2007).

Layo Bright (b. Lagos, Nigeria) is a sculptor who explores migration, legacy and identity through hybrid portraits, textiles, and mixed media works. 

Bright’s recent exhibitions include Rockhaven, Monique Meloche Gallery, IL, USA; Undercurrents, Sean Kelly Gallery, NY, USA; Woman to Woman, Bode Projects, Berlin, Germany; House of Crowns, Phillips, NY, USA; Faces of the Hero: From New York to Athens, Lincoln Center (NYC, USA) and Stavros Niarchos Foundation Cultural Center (Athens, Greece); To Heal and Protect, Welancora Gallery, Brooklyn, NY, USA; among others.

She has participated in notable art fairs such as Art Basel Miami Beach 2022, Future Fair 2021 and Prizm Art Fair 2020.

Bright received her MFA (Hons.) from the Parsons School of Design (2018) and is the recipient of honors and awards including the UrbanGlass Winter Scholarship Award (2021), the International Sculpture Center’s 2018 Outstanding Student Achievement in Contemporary Sculpture Award (2018); and the Beyoncé Formation Finalist Scholarship (2017).

She has participated in several artist residencies including the Laurie Wagman Visiting Artist & AIR at Tyler School of Art, NXTHVN Fellowship in New Haven, CT; Triangle, Brooklyn, NY; Flux Factory, Queens, NY; The Studios at Mass MoCA, North Adams, MA; Tri-tryagain Studio Residency, Brooklyn, NY; International Studio Center Sculpture Residency at Grounds for Sculpture, Hamilton Township, NJ.


Claire Chambless (b. 1989, Houston, TX) is a Los Angeles-based sculptor and interdisciplinary artist. Mostly a sculptor, Claire also works with installation, sound, video, collage and photography. Her most re- cent work uses repetition and images of literal and metaphorical hiding to explore themes of control, value, power and exploitation. Claire has been mixing fiction with autobiographical allegory to create disjointed narratives that, while nonsensical, seek to recreate the confusion around truth and culpability that are often the consequence of sexual and capitalist exploitation.

She completed her MFA in Art at the California Institute of the Arts (2020), and received her BA from Davidson College (2012). She has recently exhibited at the Center for the Arts Eagle Rock (Los Angeles), The New Arts Foundation, Spring/Break (Los Angeles), Oce Space Gallery (Los Angeles); Wonzimer (Los Angeles); Culture LabLIC/Flux Factory (New York), MAK Center for Art & Architecture Mackey Apart- ments (Los Angeles), La MaMa Gallery (New York), M. David & Co. (New York), the New Wight Bienni- al at the University of California Los Angeles, and the Museum of Contemporary Art of Georgia (Atlanta). She has been supported by the City of Atlanta, Fulton County Arts and Culture Council, the Walthall Fel- lowship, and the Lillian Disney Scholarship, among others.

John Currin (b. 1962, Boulder, CO) uses classical painterly techniques to portray highly charged social and sexual taboos. With inspirations as diverse as Old Master portraits, pinups, pornography, and B movies, he paints ideational, challengingly perverse images of women, from lusty nymphs to dour matrons. Consistent throughout his work is the search for the point at which the beautiful and the grotesque are held in perfect balance.

As an undergraduate student at Carnegie Mellon University in the early 1980s, Currin painted abstract works in the style of Willem de Kooning, seeking to evoke the nude through visceral, expressive brushstrokes. By the time he went on to pursue his MFA at Yale University, he saw a “forced masculinity” in these early works and realized that they were an “attempt to be a tortured artist.” Reacting against this, he began to explore themes of innocence, humor, and sexuality—creating images of stylized horses, girls with feathered hair, large-headed caricatures, and realistic portraits of individuals and couples. In the early 2000s he went on to produce a series of paintings that combine hard-core pornography with traditional still-life elements, depicting explicit sex acts taking place in decorative interiors.

In 2011–12 Currin’s paintings were shown alongside masterpieces by the Dutch Golden Age painter Cornelis van Haarlem at the Frans Hals Museum in the Netherlands, revealing the historical links between the artists’ treatment of flesh, surface texture, light, and shadow. In the early 2010s Currin worked primarily on depictions of lone female nudes—rather than couples or threesomes—both in lounging, evocative poses and in classical portrait compositions. His wife, the artist Rachel Feinstein, served as Currin’s model for many of these works. Her distinctive classical features continue to make their way into his more recent paintings, in which he subtly distorts the face and body through mannerist elongations and other anatomical exaggerations.

Recently Currin has made the pornographic content of his paintings less explicit, relegating glimpses of sex scenes to the background, or implying eroticism through food or other symbols. While some paintings show blank smiling faces reminiscent of those in department store catalogues, others feature elderly couples seemingly unaware of the random objects perched on their heads. The lighthearted thinking and compositional planning behind these works was revealed in 2017 when Gagosian presented Currin’s drawings at Frieze New York. The career-spanning selection of works exposed the complex networks of historical and pop cultural references, as well as the simple jokes, that come together seamlessly in the artist’s expertly rendered paintings.

As a visual artist, Clovis-Alexandre Desvarieux creates a universe that allows him to perpetually discover and celebrate shared nuances of Space and Time. He escapes into material and immaterial spaces to commune with the ancestral matrix, from which springs all beings, all forms of consciousness.

This practice allows him to build bridges of consciousness between identity creation of the self and that of the social body. Trough the lens of Haitian Mythology and History, he explores the universal concepts stimulating the development of potential by suggesting icons, and internal abstract landscapes painted in acrylics, inks, charcoal, pastels to our shared reality.

For that, he sometimes select narrative tactics, color, form and shape from the work of the great masters of Haitian painting such as Hector Hyppolite, Philomé Obin, Jean-Claude Garoute, Louisianne Saint-Fleurant, or André Pierre, that he combines deliberately with plastic interests expressed through the history of western painting and its various movements such as modernism, abstract expressionism, and psychological cubism.

Freeing his imagination, he welcomes the revelation that celebrates the beauty of our entanglements and our common humanity.

Francesca DiMattio’s (b. 1981) practice combines a cacophony of influences, which she applies in a layered and non-hierarchical approach to her work. Her sculptures draw from the rich tradition of ceramics, merging contrasting references and styles within each fluid construction. In both her sculpture and painting, she discovers ways to weave together the history and artistry of craft, transposing it from a practice of quiet control into one that seems unpredictable, explosive and shifting. Similarly, she mixes high and low, East and West, the historical and the contemporary. In her newest works made of porcelain, she mines the rich history of the medium, alluding to an almost encyclopedic lineage: English Rococo vases, Turkish tiles, Islamic Fritware, Viennese Du Paquier, French Sèvres porcelain, Wedgwood figurines and Meissen vases are all sources. She pairs these historical antecedents with references to contemporary kitsch, like Chintzware, mass-produced glass vases, floral-patterned tissue boxes and Laura Ashley bedsheets.

DiMattio’s work is currently included in Ceramics in the Expanded Field at the Massachusetts Museum of Contemporary Art, North Adams (MA). Recent solo exhibitions include Statues at Art Omi, Ghent (NY) in 2019; Boucherouite at Salon 94 Bowery, New York (NY) in 2018; Francesca DiMattio: Housewares at the Blaffer Art Museum, Houston (TX) in 2014; and Vertical Arrangements at the Zabludowicz Collection, London (UK) in 2013.

Recent group exhibitions include Vessels at Nina Johnson, Miami (FL) in 2021; the 2019 Invitational Exhibition of Visual Arts at the American Academy of Arts and Letters, New York (NY); and Groundbreaking: Innovations in Clay at the Kimball Art Center, Park City (UT) in 2017.

The artist’s work is in the collections of the Perez Art Museum, Miami (FL); the Frances Young Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs (NY); the Everson Museum of Art, Syracuse (NY); the Rose Art Museum at Brandeis University, Waltham (MA); the Saatchi Gallery, London (UK); and the Zabludowicz Collection, London (UK)

Victoria Dugger (b. 1991, Columbus, Georgia) is a visual artist who lives and works in Athens, Georgia. Her practice spans painting, mixed media works, and sculpture. Working across these forms, she produces objects that blur accepted categories, exploring novel modes of self-expression and embodiment. She dissects her identity as a Black, disabled woman through a blend of playful compositions and grotesque imagery.

Dugger recently received her MFA in Studio & Design at the Lamar Dodd School of Art at the University of Georgia. She is currently an Artist-in-Residence at the Lyndon House Arts Center (Athens, GA). The artist had her debut new York solo show "Out of Body" with Sargent’s Daughters in July 2021. Dugger’s work has been featured in Hyperallergic, Artnet News, ARTnews, Art Observed, Whitehot Magazine, Vogue and artdaily, and she was included in New American Paintings 159. In January 2023, Dugger will present new works in the New Worlds: Georgia Women to Watch exhibition at the Atlanta Contemporary in collaboration with the National Museum of Women in the Arts in Atlanta, GA. She is represented by Sargent’s Daughters.

Cielo Félix-Hernández (b.1998, Rio Piedras, Puerto Rico) is a Puerto-Rican transdisciplinary artist, living and working in Brooklyn, New York. Working primarily in oil paint, Félix-Hernández depicts figures who author their own narratives, constructed out of familiar Boricua and Caribbean iconographies.

Félix-Hernández received her BFA in Sculpture + Extended Media from Virginia Commonwealth Universi- ty, Richmond, VA. Recent group exhibitions include Ojos del Perro Azul, Marinaro, New York, NY (2022); Nine Lives, Fortnight Institute, New York, NY (2021); Visions and Nightmares, Simone Subal Gallery, cu- rated by Baseera Khan, New York, NY (2021); Flame Tree, REGULARNORMAL, curated by Bony Ramirez, New York, NY (2021); I’ll Make You Sorry, curated by LaNia Sproles, Green Gallery, Milwaukee, WI (2020); documento, Embajada, San Juan, Puerto Rico (2020); My Flannel Knickers, Sargent's Daughters, New York, NY (2020); and Dynasty, curated by Amy Goldrich, Christopher K. Ho, Omar Lopez-Chahoud, and Sara Reisman at PS122 Gallery, New York, NY (2019). She had her first New York solo exhibition nieta at Sargent’s Daughters in January 2022, which was reviewed by Artnet, Artsy and Platform Art. Félix-Hernández is currently exhibiting at El Museo del Barrio in New York. Sargent’s Daughters will present a solo presentation of new works by Félix-Hernández at NADA Miami 2022. She is currently an Artist-in-Residence at the Silver Arts Projects, New York, NY. She is represented by Sargent’s Daughters.

Emily Furr (b. 1978, St. Louis, MO) is a New York based visual artist who received her MFA from Hunter College, NY in 2018. Furr has had three solo exhibitions at Sargent’s Daughters. In 2019, she was an artist in residence at the Watermill Center, Watermill, NY. She has exhibited at 12.26, Dallas, TX; Rebecca Camacho Presents, San Francisco, CA; Maria Bernheim Gallery, Zurich, Switzerland; Achenbach Hagemeier, Berlin, Germany; Galerie Hussenot, Paris, France; as well as being featured on the cover of New American Paintings’ 25th Anniversary Edition. In February of 2021, Furr opened her first museum solo exhibition at the SCAD Museum, Savannah, GA, curated by Ariella Wolens, assistant curator of SCAD exhibitions. Furr’s work has recently been acquired by the Orange County Museum of Art, Orange County, CA. Her work has been reviewed in Artnet, Artforum, Hyperallergic, Burnaway, and Time Out New York. In September of 2022, she presented a solo booth of new work at The Armory Show, New York coinciding with her solo presentation, Metal Heart, at Sargent’s Daughters. She is represented by Sargent’s Daughters.

Vera Girivi (b. 1961, Salento, Italy) lives and works in Genoa, Italy. As a self-trained artist, Girivi began painting within the last decade and has already exhibited internationally in New York, Marfa and Paris. Solo exhibitions include At the garden’s edge, James Barron Art, South Kent, CT (2022); Vera Girivi: Tomorrow the birds will sing, Marfa Invitational, Marfa, TX (2021); and Vera Girivi, Sargent’s Daughters, New York (2021). Her works have been included in select group exhibitions such as Uncanny Interiors, Nicola Vassell Gallery, New York (2022); To Be Human: The Figure in Self-Taught Art, Hirschl & Adler, New York (2021); and Sexual Personae, Hôtel Drouot, Paris (2020). Girivi’s paintings are held in both private museums and foundation collections in Italy, Germany, and the United States. She has been featured in The New York Times, New York Magazine, and Le Figaro. As an homage to her family, Girivi paints under a pseudonym that combines the names of her children and husband: ‘GI’ for Giovanna, her daughter, ‘RI’ for Riccardo, her son, and ‘VI’ for Vittorio, her husband.

stephanie mei huang is a Los Angeles-based interdisciplinary artist. They use a diverse range of media and strategies including film/video, installation, social interventions, sculpture, writing, and painting. Through research and practice, they aim to erode the violent mythologies that perpetuate expansionist and exceptionalist narratives, in the hopes of excavating forgotten, erased, and partial histories. They yearn to locate sites of emergence from which we can perhaps fabulate new and adjacent histories. They completed their MFA in Art at the California Institute of the Arts (2020), and they received their BA from Scripps College (2016).  They  recently exhibited at the Hauser and Wirth Book Lab, Contemporary Calgary (Calgary), the MAK Center for Art and Architecture, 4th Ward Project Space (Chicago), Los Angeles Municipal Art Gallery, the New Wight Biennial at the University of California Los Angeles, Cerritos Gallery, and the Arizona State University Art Museum (Tempe).  They have been supported by the Foundation for Contemporary Arts, J. Paul Getty Trust, Los Angeles Contemporary Exhibitions, The Getty Foundation, the California Community Foundation, among others. They have taught at non-profits such as the Marfa Studio of Arts and Venice Arts. They are a participant at the Whitney Museum’s Independent Study Program.

Jemima Kirke (b. 1985, London, U.K.) received her B.F.A from Rhode Island School of Design in 2008 and lives and works in Brooklyn, NY. Kirke’s work has appeared in publications including PAPER Magazine, i-D, W Magazine, GARAGE, Harper’s Bazaar, les inRocKuptibles (France), and HEAPS (Japan), Artnet, Artinfo and VOGUE. She has had two solo exhibitions at Sargent’s Daughters.

Lucia Love (b. 1988, New York, NY, lives and works in NY) attended the School of Visual Arts on a grant from the Foundation for Contemporary Arts, where they studied painting and animation. They are a co-host of the Art and Labor podcast, where they chronicles the stories of social justice organizing within the arts. Art and Labor focuses on the human cost of the art world and advocates for fair labor practices for artists, museum workers, art handlers, interns, and anyone traditionally overworked and underpaid in the field.

Jane Margarette (b. 1985, San Diego, CA) is a Los Angeles based artist working in ceramics and installation. The various animals and insects in her work, adorned with chains and lures, disguise themselves as mechanical locks that tempt viewers to touch and manipulate the ‘functional’ mechanisms. By examining the lock as a symbol of strength, protection, sensuality, and captivity, Margarette’s works utilize dynamic scale to articulate a dichotomy between the delicate and strong, the logical and fantastical, the open and closed.

Margarette received her MFA in Ceramics from University of California Los Angeles (UCLA), Los Angeles, CA in 2020 and her BFA from California State University Long Beach, Long Beach, CA in 2016. She has exhibited her work in solo exhibitions at Anat Ebgi, Los Angeles, CA and 1969 Gallery, New York, NY. She has also exhibited in group exhibitions including Ruttkowski;68, Paris, France; Sargent’s Daughters, Los Angeles, CA; Galerie Wolfsen, Aalborg, Denmark; Grounds for Sculpture, Hamilton, NJ; and Moskowitz Bayse, Los Angeles, CA. The artist has taught as a Professor of Ceramics at Cal State University, Bakersfield, CA and Cal State University, Long Beach, CA. In 2023, she will have her first European solo exhibition with Ruttkowski;68 in Paris, France. Margarette lives and works in Los Angeles, CA.

Ruben Ulises Rodriguez Montoya (b. 1989, Parral. Chihuahua, Mexico) graduated from Virginia Commonwealth University with an MFA in Sculpture + Extended Media in 2020. Montoya’s works are a fantastic becoming that center around anthologies and social issues concerning border culture, abjection, and mestizaje. Aided by magical realism, nahualismo, Sci-Fi, and the labor of his family, his work hybridizes and creates parallels between land, human, and animal as a way to investigate the process in which violence eradicates, erases, and erodes communities of color. He has recently exhibited at the Palm Springs Art Museum, Palm Springs, CA; François Ghebaly, Los Angeles, CA; Murmurs, Los Angeles, CA; Tuscon Museum of Contemporary Art, Tuscon, AZ; Commonwealth and Council, Los Angeles, CA; Virginia Museum of Contemporary Art, Virginia Beach, VA; Company Gallery, New York, NY; and Sargent’s Daughters, New York, NY. His work has been reviewed in artnet news, The New York Times, Hyperallergic and Contemporary Art Review LA. He is represented by Sargent’s Daughters.

Jo Nigoghossian (b. 1979, Los Angeles, CA) is a New York based artist. She received her MFA in Sculpture from Yale University School of Art. Nigoghossian has recently had solo shows at Broadway (New York, NY), Team Gallery (New York, NY), and Night Gallery (Los Angeles, CA). Nigoghossian received the Pollock-Krasner Foundation Grant in 2013 and 2016. Nigoghossian’s work has been reviewed by Art in America, The Brooklyn Rail, Cultured Magazine, Observer, Wallpaper, and The New Yorker, among others.

Wendy Red Star (b.1981, Billings, MT) lives and works in Portland, OR. Red Star has exhibited in the United States and abroad at venues including the Metropolitan Museum of Art (New York, NY), Brooklyn Museum (Brooklyn, NY), both of which have her works in their permanent collections; Fondation Cartier pour l’Art Contemporain (Paris, France), Domaine de Kerguéhennec (Bignan, France), Portland Art Museum (Portland, OR), Hood Art Museum (Hanover, NH), St. Louis Art Museum (St. Louis, MO), Minneapolis Institute of Art (Minneapolis, MN), the Frost Art Museum (Miami, FL), among others.

Her work is in over 60 public collections, including the Museum of Modern Art (New York, NY), the Metropolitan Museum of Art (New York, NY), the Whitney Museum of American Art (New York, NY), the Amon Carter Museum of American Art (Fort Worth, TX), the Denver Art Museum (Denver, CO), the Ruth and Elmer Wellin Museum of Art at Hamilton College (Clinton, NY), the Baltimore Museum of Art (Baltimore, MD), the Fralin Museum of Art at the University of Virginia (Charlottesville, VA), the Nasher Museum of Art at Duke University (Durham, NC), the Birmingham Museum of Art (Birmingham, AL), the Williams College Museum of Art (Williamstown, MA), the Memorial Art Gallery of the University of Rochester (Rochester, NY), San Antonio Museum of Art (San Antonio, TX), and the British Museum (London, UK), among others.

She served as visiting lecturer at institutions including Yale University (New Haven, CT), the Figge Art Museum (Davenport, IA), the Banff Centre (Banff, Canada), National Gallery of Victoria in Melbourne (Melbourne, Australia), Dartmouth College (Hanover, NH), CalArts (Valencia, CA), Flagler College (St. Augustine, FL), and I.D.E.A. Space in Colorado Springs (Colorado Springs, CO). In 2017, Red Star was awarded the Louis Comfort Tiffany Award and in 2018 she received a Smithsonian Artist Research Fellowship. Her first career survey exhibition Wendy Red Star: A Scratch on the Earth was on view at the Newark Museum in Newark, New Jersey through May 2019, concurrently with her first New York solo gallery exhibition at Sargent's Daughters. In the fall of 2022, Red Star had a solo project with the Public Art Fund titled Travels Pretty, on JCDeaux bus shelters across Boston, MA; Chicago, IL; and New York, NY. Red Star’s monograph Delegation was co-published by the Aperture Foundation and Documentary Arts in May 2022, which was named one of Vanity Fair’s best art books of 2022 as well as Time Magazine’s best photography books of 2022.

Red Star is currently exhibiting at The Contemporary Austin (Austin, TX), Madison Museum of Contemporary Art (Madison, WI); The Remai Modern (Saskatoon, Canada); The Seattle Art Museum (Seattle, WA), amongst others.

Red Star holds a BFA from Montana State University, Bozeman, and an MFA in sculpture from University of California, Los Angeles. She is represented by Sargent's Daughters.

Carlos Rosales-Silva was born on the border of the United States and Mexico in El Paso, Texas. His studio practice considers the vernacular culture in the American Southwest, the western canon of art history, and the political and cultural connections and disparities between them. Carlos has exhibited throughout Texas, and in Mexico City, New York City,  Los Angeles, Miami, Minneapolis, Chicago, and Kansas City. He  has been an artist in residence at Abrons Art Center in New York, NY, Residency Unlimited in New York, NY  (2020), Artpace in San Antonio, Texas (2018) and at Pioneer Works in Brooklyn, NY (2017). Recent exhibitions include a solo exhibition at Ruiz Healy Art in New York, NY, and group shows at the Latinx Project at NYU, Texas Tech University, Beverlys in New York, NY, and Left Field Gallery in Los Osos, CA. Carlos graduated from the School of Visual Arts with a Masters in Fine Arts. He currently lives and works in New York, NY.

Bea Scaccia (b. 1978, Frosinone, Italy) creates paintings—and sometimes animations—that are her personal, feminine version of a Vanitas. Working with acrylic on canvas, and airbrushing some highlights, she depicts sensual, tight rolls of hair that are forced—not always successfully—into submission. These realistically painted wigs are interwoven with precious jewels, tiaras, pearls, furs, flashes of tulle—all different signifiers of femininity—but are left without any skin, facial features, or other body parts. With her sinister but often calming palette, Scaccia is partly inspired by Venetian wigs, commedia dell’arte costumes, contemporary painter Domenico Gnoli, some Surrealist artists, like Leonor Fini, and especially by the ceremonial Sunday culture of her Italian childhood. Women in her community would spend plenty of time and labor, before Mass, to present themselves well-dressed, deferent, and observant. That fleeting and exaggerated enactment made her interested in the vulnerability and fragility of beauty and in the absurdity of the artifice.

Scaccia, who spent her upbringing in Veroli, Italy, to parents of Sicilian heritage, earned her BA and MFA at The Accademia Di Belle Arti in Rome. In 2011, she moved to New York, studying Animation at The School Of Visual Arts. She currently lives and works in NYC. She has had solo exhibitions at venues including the Katonah Museum Of Art, New York (2021; Ricco/Maresca Gallery, New York (2018); Cuchifritos Gallery, New York (2014); and Ugo Ferranti Gallery, Rome (2010). Her work has been included in group exhibitions at Magazzino Italian Art, New York (2020); The Center For The Less Good Idea, Johannesburg (2020); American University’s Katzen Arts Center, Washington, D.C. (2016); and AIR Gallery, New York (2011), among others. Her work is present in many important public and private collections, including the William Louis-Dreyfus Foundation and The Portland Museum of Art. Her work has been featured in The New York Times, Artnet News, Flash Art, The Art Newspaper, Nero Magazine, Domus, Marie Claire, Arte Mondadori, Drome Magazine, Art Fuse, Elle Décor, Sole24Ore, and Whitehot Magazine.

Sarah Slappey (b. 1984, Columbia, South Carolina) is a painter based in Brooklyn, NY. Slappey received her MFA from Hunter College in 2016. She has had solo exhibitions at Maria Bernheim Gallery (Zurich, Switzerland) and Sargent’s Daughters (New York, NY). Her work has been included in group exhibitions at the Schlossmuseum (Linz, Austria); Carl Kostyal Gallery (London, UK); Deanna Evans Projects (New York, NY); König Galerie (Berlin, Germany); White Cube (Paris, France); The Pit (Los Angeles, CA); and Andrew Edlin Gallery (New York, NY). Her work is included in the permanent collections of the Museum of Modern and Contemporary Art (MAMCO) Geneva, Switzerland; the Institute of Contemporary Art, Miami, FL; The Columbus Museum of Art, Columbus, OH; and the Hirshhorn Museum, Washington, DC. Slappey’s work has been reviewed by Artforum, The New Yorker, The Art Newspaper, Artnet, Artsy, ArtSpace, Harper’s Bazaar Japan, Vogue Italia, and Flash Art, among others. She is represented by Sargent’s Daughters.

Brandi Twilley (b. 1982, Oklahoma City, OK) lives and works in Oklahoma City, OK. She received her MFA from Yale University in 2011. She has recently exhibited at Charles Moffett (New York, NY), Josh Lilley (London, UK), 1969 Gallery (New York, NY), Zero Gallery (Milan, Italy), The Museum of Sex (New York, NY), and Kate Werble Gallery (New York, NY). She has had three solo presentations at Sargent’s Daughters (New York, NY). Her work has been reviewed in The New York Times, ARTFORUM, ARTnews, The Art Newspaper, The New Yorker, Artnet News, Time Out, The Observer, and Hyperallergic, among other publications. She is represented by Sargent’s Daughters.

Sydney Vernon (b. 1995, Prince George’s County, MD) superimposes personal family photographs and folklore with both real and imagined histories, quietly critiquing the global depiction of Black life and bodies. Combining elements of painting, drawing, and collage, Vernon’s multilayered works blend memory and history into new forms, at once imagining a poetic contextualization and a demand for recontextualization, coalescing symbols and ornaments with the spirit of her figures.

Sam Lindenfeld (b. 1996, Washington D.C.) is a multidisciplinary designer, illustrator, and fine artist born and raised in Washington DC and based in Brooklyn, New York. His work tells a story of surrealism in the quotidian by creating pictures inspired by his upbringing in DC as well as his experience growing up in close proximity to government corruption. Drawing inspiration from interpretations of the Torah, neurological disorders, the subconscious effects of faith, and pop culture, Sam strives to create pictures that depict grief and hope simultaneously. He received his Bachelor’s degree in Illustration from Pratt Institute in 2019.

Kemar Keanu Wynter (b. Brooklyn, NY) holds a BFA from the SUNY Purchase School of Art and Design. His work was the focus of recent solo exhibitions at Klaus von Nichtssagend Gallery, New York (2021) and Tiger Strikes Asteroid, Queens (2021). He has exhibited in several recent group shows including Notes on Ecstatic Unity, OTP Gallery, Copenhagen, Denmark; Faraway Nearby, North Loop Gallery, Williamstown, MA; Friends and Family, Magenta Plains, NY; Shining in the Low Tide, Unclebrother, Hancock, NY; and I Saw it Hang Down There, Bode Projects, Berlin. Wynter has been an artist-in-residence at the Macedonia Institute, Anderson Ranch, Ox-Bow School of Art, the ARoS Kunstmuseum in Aarhus, Denmark and AQB in Budapest, Hungary (both facilitated by Flux Factory, New York). His work is held in the collection of the Art Galleries at Black Studies at the University of Texas, Austin. Wynter has forthcoming solo shows with Encounter Lisbon and Klaus von Nichtssagend Gallery in the spring of 2023.

Rachel Youn (b. 1994, Abington, PA) is an artist living and working in New Haven, CT. Working across sculpture and installation, Youn sources materials with a history of aspiration and failure through online secondhand shopping. Youn rescues electric massagers from suburban limbo, fastening artificial plants to the machines to create kinetic sculptures that are clumsy, erotic, and absurd. Haunted by their immigrant father’s pursuit of the American Dream, their work identifies with the replica that earnestly desires to be real, and the failed object that simulates care and intimacy.

Youn has recently exhibited at Galleria Nazionale d’Arte Moderna e Contemporanea (Rome, Italy), Laumeier Sculpture Park (St. Louis, MO), Soy Capitán (Berlin, Germany), Truman State University Art Gallery (Kirksville, MO), Night Gallery (Los Angeles, CA), HAIR + NAILS (Minneapolis, MN) and Contemporary Art Museum (St. Louis, MO). Youn had their debut New York solo show No Pain No Gain at Sargent’s Daughters in July 2022.

Youn is a recipient of the Vermont Studio Center Fellowship and the 2020 Great Rivers Biennial Award. They received their BFA from the Sam Fox School of Design & Visual Arts at Washington University in St. Louis. Youn is currently an MFA candidate at Yale School of Art in New Haven, CT.

Cristof Yvoré (b. 1967– 2013, Marseilles, France) starts out from remembered images in which a recognizable commonplace is reduced to its simplest form of expression. A patch of light on the wall of a room, the folds at the bottom of a drawn curtain, a table with a vase on it, empty or filled with flowers of all shapes and colours. Yvoré painted these tranquil still-lifes consistently for years, refusing to provide any theoretical background, appearing isolated from any form of contemporary influence. The wear and tear these subjects have endured over the centuries gives these images a superficial feel that was precisely Yvoré’s starting point for his explorations as a painter. By building up lots of grainy layers and using paint he mixed himself, Yvoré often found his paintings had the effect of being ‘overpainted’. The substance of the paint formed a pastose crust. It is precisely in the working of the material that the boundary between an exaggerated, heavy painting and a stimulating new image was explored.

Cristof Yvoré had solo exhibitions at FRAC Auvergne (Clermont-Ferrand), M WOODS (Beijing), FRAC Provence-Alpes-Côte d’Azur (Marseilles) and Museo d'Arte Contemporanea Villa Croce (Genoa).

His work is included in the collections of Bronx Museum of the Arts (New York), FRAC Auvergne (Clermont-Ferrand), M WOODS (Beijing), FRAC Provence-Alpes-Côte d’Azur (Marseilles), Hudson Valley for Contemporary Art (New York) and Het Domein (Sittard).