Brainard Carey's Blog, page 2

Amy Winstanley

Amy Winstanley, Photo by Alan Dimmick.

Amy Winstanley (b. 1983, Dumfries, UK) is based in Scotland. She received a BA (Hons) in Sculpture from the Edinburgh College of Art (2005) and an MA from the Sandberg Instituut, Amsterdam (2019).

Recent solo exhibitions include: Life Hum, Margot Samel, NY (2025); Focus, Workplace Gallery, London, UK (2025); Homing, Ginsberg Galeria, Lima, Peru (2024); Soft Spot, A_Place gallery, Glasgow (2024); Lost Hap, Margot Samel, New York, NY (2023); Slim Glimpses, Cample Line, Thornhill, UK (2023); Moral Limb, Stallan-Brand, Glasgow, UK (2021); Grief Bruise, Lunchtime Gallery, Glasgow, UK (2021); Inscapes, AndCollective Gallery, Bridge of Allen, UK (2016); Interconnections, Gracefield Arts Centre, Dumfries, UK (2015); Detritus and Other Stories, iota Gallery, Glasgow, UK (2014); and Wanderings, John Muir Birthplace Trust, Dunbar, UK (2011).

Recent group exhibitions include: Tiefkeller -6, Tiefkeller, Bonn, Germany (2025); Open Return, A_Place, Glasgow, UK (2025); Myriad, Ocean’s Apart, Manchester, UK (2025); Out of Earth, The Approach, London (2024), Opening, A_Place, Glasgow (2023); Strangers, Rongwrong, Amsterdam, Netherlands (2022); tangible/intangible, The Haberdashery, Glasgow, UK (2022).

Winstanley was nominated for the Sluijter prize for painting 2019 (Netherlands), and has been the recipient of the Hope Scott Trust award (2014) and the Creative Scotland Visual Arts Award (2010 and 2014).

Along with the artist collective ALKMY she has published short stories and images in What Ties Ties, Ties (2020) and What Thoughts Think Thoughts (2021) both through Print Art Research Centre, Seoul, Korea.

Amy Winstanley, Beautiful and Delicious, 2025, Oil on canvas, 26 x 24 in | 66 x 61 cmAmy Winstanley, Gifts, Omens, 2025, Oil on canvas, 70 7/8 x 59 in | 180 x 150 cmAmy Winstanley, They Are Just in the Other Room, 2025, Oil on canvas, 59 x 70 7/8 in | 150 x 180 cm

Melanie Vote

portrait by Catherine Talese

Melanie Vote holds a BFA from Iowa State University and an MFA in painting from the New York Academy of Art. Having grown up on a functional farm before living and working in NYC for over 25 years, her practice straddles these two worlds. Her work investigates the complexities of the human-land relationship, the cyclical nature of life, and the impossibility of permanence.

Vote was a recipient of a Pollock-Krasner Foundation Grant (2007) and was awarded residencies, including the Vermont Studio Center (2002), Jentel, WY (2009), AHAD, Abu Dhabi, UAE (2013), the Grand Canyon (2016), the Weir Farm, CT (2022), and Cill Rialaig, Ireland (2023).

Her work has been exhibited nationally and internationally. Exhibitions include work at The Aldrich Contemporary Art Museum (2003) and The Hangaram Art Museum (Seoul, South Korea) (2016). Solo exhibitions include, DFN Gallery, NY (2008), Hionas Gallery, NY (2011, 2016), Galleria Farina, Miami (2017), and Equity Gallery, NY (2020, 2025). Vote presented work in a two-person show curated by Liz Garvey of Garvey|Simon Gallery at DFN Projects in October 2023, followed by her solo exhibition, Consulting with the Light Eaters, at Equity Gallery in May 2025. Her work was also included in the group drawing exhibition, “We Were Never Here,” at Kaliner Gallery in August 2025.

 

1) Photo: The photo/portrait of me by Catherine Talese,  feel free to crop it if you’d like. Would it be possible to credit Catherine Talese?2) Brief Bio attached.Exhibition Link to “We Were Never Here” at KalinerExhibition like to “Consulting with the Light Eaters” Eaters” at Equity where Bioluminous was show.3)List of artworks:Waiting (Portrait of Norman Allen Vote 1945-2025) Graphite and Watercolor on Paper, 2024, 12 x 16 inOveralls (Drawing) Graphite and Watercolor on Paper 2021, 11 x 8 in
Bioluminous, Oil on Canvas, 2025, 70 x 112 inPlease let me know if you need anything else and all my best,Waiting (Portrait of Norman Allen Vote 1945-2025) Graphite and Watercolor on Paper, 2024, 12 x 16 inOveralls (Drawing) Graphite and Watercolor on Paper 2021, 11 x 8 in Bioluminous, Oil on Canvas, 2025, 70 x 112 inBioluminous, Oil on Canvas, 2025, 70 x 112 in

Willie Stewart

Willie Stewart (b. 1982, Gallatin, TN) lives and works in New Haven, Connecticut. He received his MFA in Sculpture from Yale University in 2018, and a BFA from The Cooper
Union in 2016.His work has been the subject of solo and two-person exhibitions at Morgan Presents, New York (2022); Morán Morán, Los Angeles, CA (2023, 2019); Nicelle Beauchene Gallery, New York (2023, 2021); and Pioneer Works, Brooklyn, NY, with Brent Stewart (2017). Stewart completed residencies at Pioneer Works (2016), and Skowhegan School of Painting and Sculpture (2014)Willie Stewart Beasts, 2025 Colored pencil, ink and gouache on cotton board, graphite, acrylic, oil and gouache on canvas over panel 80 x 64 inches 203 x 162.5 cmWillie Stewart The Last Supper, 2025 Ink on cotton board, acrylic over custom armature with hardware, acrylic, gouache, graphite and ink on canvas 67 3/4 x 80 x 12 inches 172 x 203 x 30.5 cmWillie Stewart Singers, 2025 Colored pencil, ink and gouache on cotton board, graphite, acrylic and gouache on canvas over panel 30 x 22 inches 76.2 x 55.9 cm

Matt Magee

Matt Magee is an American contemporary artist known for his minimal geometric paintings, sculptures, prints, assemblages, murals, and photographs. Over a four-decade career, Magee has experimented widely with abstract and conceptual art practices. His compositions draw inspiration from personal history, numerology, and language. In his paintings and prints, he explores language through abstraction, repetition, reiteration, and the occasional tip of the hat to art historical precedents. His visual language relates to early hard-edge abstraction and finds inspiration in contemporary scientific, ecological, and technological ideas.

His work is in the permanent collections of the Albuquerque Art Museum, NM; the Beinecke Rare Book and Manuscript Library at Yale University, CT; Black Mountain College Art Museum, NC; the Josef and Anni Albers Foundation, CT; Museum of Fine Arts, Houston, TX; Phoenix Art Museum, AZ; Scottsdale Museum of Contemporary Art, AZ; Tucson Museum of Art, AZ; and the University of New Mexico Art Museum, NM.

Matt Magee, Grapheme: 16 Squares, 2021, oil on primed paper. © Matt Magee; Courtesy of the artist and RYAN LEE Gallery, New York.Matt Magee, Black Grapheme, 2021, oil on panel. © Matt Magee; Courtesy of the artist and RYAN LEE Gallery, New York.Matt Magee, Ryan Lee Grapheme, 2025, acrylic and pencil on canvas. © Matt Magee; Courtesy of the artist and RYAN LEE Gallery, New York.

Anthony Olubunmi Akinbola

SCAD Savannah – Summer 2024 – Exhibitions – Anthony Akinbola – ”Good Hair” – Artist Portrait – SCAD Museum of Art, Gallery 109 – Photography Courtesy of SCAD

Born in Columbia,Missouri, Anthony Olubunmi Akinbola, is a first-generation American raised by Nigerian parents in the United States and Nigeria. His layered, richly colored compositions celebrate and signify the distinct cultures that shape his identity. The artist’s signature Camouflage paintings, consisting of single and multi-panel works, utilize the ubiquitous du-rag as their primary material. Universally available and possessed of significant cultural context, the du-rag represents for Akinbola a readymade object that engages the conceptual strategies of Marcel Duchamp and other significant artistic predecessors. Throughout his work Akinbola unpacks the rituals and histories connecting Africa and America, addressing the power of fetishization around cultural objects.

His previous interview on Yale University radio can be found here.

Anthony Olubunmi Akinbola recently was recently selected for the Pullman Yards Artist Residency, which will begin in early 2026. He also recently completed his residency at Black Rock Senegal in Dakar. In 2024, he was named Artist-in-Residence at Dragon Hill in France and in 2022, Akinbola was selected to be in The Artsy Vanguard, an annual feature spotlighting the most promising artists working today. That same year, Akinbola was also awarded the Silver Arts Project residency in New York. In 2019, he was awarded the Van Lier Fellowship and named the eighth Museum of Arts and Design Artist Fellow, which resulted in a solo exhibition at the museum. Akinbola was also selected for the Anderson Ranch Art Center Residency in 2017.

Akinbola has exhibited his work in group and individual shows at renowned institutions such as the SCAD Museum of Art, Savannah, GA; the Institute of Contemporary Art San Francisco, San Francisco, CA; Schirn Kunsthalle, Frankfurt, Germany; The Queens Museum, New York; the Randall Recreation Center, Washington D.C.; the August Wilson African American Cultural Center, Pittsburgh, PA; the John Michael Kohler Arts Center, Sheboygan, WI; the Saint Louis Art Museum, St. Louis, MO; Kunsthaus Graz, Graz, Austria; the Bruce Museum, Greenwich, CT; and the Museum of Art and Design, New York, NY, among others.

Anthony Akinbola Brick “Sandstone”, 2025, durags on wood panel 48 x 48 x 3 1/4 inches.Anthony Akinbola Celestial “Space Jam”, 2025, durags on wood panel 36 x 36 x 3 1/4 inches.Anthony Akinbola Icarus, 2025, durags on wood panel panel: 72 x 72 x 3 1/4 inches.

Deborah Zlotsky

Deborah Zlotsky received a 2019 Guggenheim Fellowship and NYFA Artist Fellowships in Painting in 2012 and 2018. Her work is in a variety of public, private, and corporate collections in the US and abroad and she has been awarded recent residencies at MacDowell, Yaddo, the Bogliasco Foundation, and the Bemis Center.

Zlotsky is represented by McKenzie Fine Art and Markel Fine Art, both in New York City, Robischon Gallery in Denver, Sandler-Hudson Gallery in Atlanta, and Bernay Fine Art in Great Barrington, MA.

She has a BA in art history from Yale University and an MFA in painting and drawing from the University of Connecticut. She teaches at the Rhode Island School of Design and lives in the Hudson Valley.

Deborah Zlotsky, Ghost lines 3, acrylic gouache on panel, 2025, 14” x 11”Deborah Zlotsky, Not a line but a constellation, oil on canvas, 2025, 14” x 11”Deborah Zlotsky, Tragedy plus time, oil on canvas, 2025, 60” x 60”

Simone Kearney

Simone Kearney is a Dublin-born, Brooklyn-based multidisciplinary artist and writer. She is interested in tracking the daily embodied experience of emotional and intellectual life, which she traces through repetition and variation, metaphor and materiality. Her practice is an inquiry — as much visual as it is psychological — into how experience is a cobbled, fragile thing, shapeshifting, subject to time, configured and reconfigured through our bodies. In recent projects, she has been working with hand-carved stone sculpture, watercolor, and text, to reflect states of self and collective consciousness, where the work starts to gather like archaeological fragments of the psyche.
Kearney currently has a solo show of sculptures and works on paper entitled DIGS at Guest
Gallery in Brooklyn, NY, on view from September 20th – November 8th. She also will have
sculptures in a group exhibition at Koki Arts in Tokyo, Japan, this October.

Some previous solo exhibitions include Putty’s Coronation, Brooklyn, NY; Undercurrent Gallery, Brooklyn New York; Artshack Gallery, Brooklyn, NY; and Annex Gallery, Lighthouse Works, Fisher’s Island, NY.

She is a NYFA grant recipient and is the author of Dim, Dahlia, Violet, Stone, (ITI Press, 2024), DAYS, (Belladonna Press, 2021), and My Ida (Ugly Duckling Presse, 2017). She teaches at Parsons School for Design and Rutgers University.

Hand (Riddle is everywhere:Because a grain … tion), 2025, soapstone, 11” X 11.5” X 36”Waterstone (xviii), 2024, watercolor on paper, 22” x 30”“Hole:Through (One by one, to see),” 2025, rhy … pine pedestal, 11” X 11.5” X 35

Brendan Fernandes

Brendan Fernandes, born in Nairobi, Kenya 1979. Currently based in Chicago, his practice addresses issues of race, queer culture, migration, protest, andother forms of collective movement. Constantly seeking to create new spaces and forms of agency, Fernandes’work often takes on hybrid forms: part ballet, part queer dance party, part political protest always rooted in collaboration and fostering solidarity.

Fernandes is a graduate of the Whitney Independent Study Program (2007) and has been the recipient of numerous awards, including a Robert Rauschenberg Residency Fellowship (2014), a Smithsonian Artist Research Fellowship (2020), an Artadia Award(2019), a Louis Comfort Tiffany Foundation Grant (2019), and most recently, the PlatformAward (2024). In 2024, he was also honored with the Creative Voice Award by Arts Alliance Illinois. His work has been presented at prestigious venues such as the 2019 Whitney Biennial at the Whitney Museum of American Art, New York; the Museum ofContemporary Art Chicago, Chicago; the Solomon R. Guggenheim Museum, New York, the Museum of Modern Art, New York; the J. Paul Getty Museum, Los Angeles; theNational Gallery of Canada,Ottawa; and the Musée d’art contemporain de Montréal, MAC;among many others. Fernandes is an Associate Professor in the Department of Art,Theory, and Practice at Northwestern University. He is represented by Monique MelocheGallery in Chicago and Susan Inglett Gallery in New York. Recent and upcoming projectsinclude performances and solo presentations at the Pulitzer Arts Foundation, St. Louis,MO; the Museum of Contemporary Art Denver, Denver, CO; the Fabric Workshop andMuseum, Philadelphia, PA; and Prospect.6, New Orleans, LA. In spring 2026, a major newcommission and solo exhibition will debut at the Driehaus Museum in Chicago. 

Maria Antelman

Antelman both deconstructs the body and then reassembles it, not just as a way of imagining a deeper connection with nature, but also as a way of expressing how malleable the very idea of it has become. In place of a techno-utopianism, in which the steady advance of technology is uniformly celebrated, Antelman expresses an atavistic position instead, one which delights in the complexity of nature rather than seeking to explain or instrumentalize it. Her work reminds us that what is mysterious in the world often connects us to what is mystical in it as well.

Born 1971 in Athens, Greece, Maria Antelman received her MFA in New Genres from Columbia University and a BA in Art History from the Complutense University, Madrid. Her work has exhibited internationally, including at the Bemis Center of Contemporary Art, Omaha, NE; Pioneer Works, New York; Macedonian Museum of Contemporary Art, Thessaloniki; Visual Arts Center at the University of Texas, Austin; Botanical Garden I&A Diomidos, Athens; National Museum of Contemporary Art, Athens; Onassis Cultural Centre, Athens; Benaki Museum, Athens; Centro Nacional de Arte Contemporaneo, Cerillos, Chile and Yerba Buena Center for the Arts, San Francisco. Antelman’s work was included in Companion Pieces: New Photography 2020 at the Museum of Modern Art, New York. She has been the recipient of grants from the Onassis Foundation USA, as well as the National Museum of Contemporary Art and the J.F. Costopoulos Foundation, Athens. Antelman has taken part in artist residences including Silver Art Projects, Pioneer Works and the International Studio & Curatorial Program in New York. Antelman currently lives and works in Athens.

Maria Antelman, Conjurer, 2024. Archival pigment print, 21 1/2 x 27 1/2 inches. © Maria Antelman. Courtesy Yancey Richardson, New YorkMaria Antelman, Hypnos, 2020. Archival pigment print, 58 x 52 inches. © Maria Antelman. Courtesy Yancey Richardson, New YorkMaria Antelman, Hall of Mirrors, 2020. Archival pigment print, 39 x 19 inches. © Maria Antelman. Courtesy Yancey Richardson, New York

Benjamin Freedman

Benjamin Freedman is an artist whose practice spans multiple mediums including photography, video and computer-generated imagery with an interest in the restorative potential of photographic research and play.

He received his bachelor’s degree in photography at the Toronto Metropolitan University (TMU) in 2013 and his Masters at The Ecole cantonal d’art de Lausanne in 2023. While probing the relative truths and deceptions of photography, he purposefully adopts visual vocabularies from cinema and television in an effort to create expanded documentary projects. He has exhibited extensively across the greater Toronto area and internationally at the Aperture Foundation in New York City, Chung-Ang University in Seoul, Foto-Undustria Biennale in Bologna and in the Riga Photography Biennale in Latvia. He recently presented work at the Images Vevey Biennale, Vontobel in Zurich, Switzerland and at Ptolemy Gallery in Queens, New York.

Installation view: Benjamin Freedman: Surface Imperfect. Ptolemy, Glendale, NY, 2025.Installation view: Benjamin Freedman: Surface Imperfect. Ptolemy, Glendale, NY, 2025.Benjamin Freedman, “I Spy,” 2025. C-Print, 24 x 29 in.Benjamin Freedman, “Musings,” 2025. C-Print, 24 x 29 in.