Brainard Carey's Blog, page 5

Judith Simonian

A photo of the artist: Judith Simonian with Charles Yuen

Many of Simonian’s works in the exhibition are still lifes, such as “Marysia’s Salon” (2024), which was inspired by a visit to a Polish beauty parlor in her East Village neighborhood. “Bottle Symphony in Red” (2023) recalls Giorgio Morandi. Whereas Morandi’s still lifes are a delicate arrangement of vases, jugs, bowls, urns, and bottles, painted in muted colors—whites, browns, and tans—set against a neutral background, Simonian bombards our senses through her use of high-intensity reds, pinks, blue-greens, grays, blacks, and yellow ochre.

In “Inside Outside” (2023), the artist similarly portrays a room as an expressionistic whirlwind of vivid colors. Simonian’s paintings deal with intervals, or the spaces between points. Simonian’s still lifes often open up an interior space to an exterior one. In “Marysia’s Salon,” a photograph tacked on the wall suggests the world outside. “Bobby Pins of Manhattan” (2023-24) provides a glimpse of the city skyline through the window, including the landmark Empire State Building. “Cat in the Lamp” (2024) depicts a black cat inside an illuminated yellow lampshade in front of a large window that overlooks water.

Simonian employs careful framing to create meaning. It is possible to view several of her landscape paintings as political allegories. In “Greener Pastures” (2025), the shimmering image of the Statue of Liberty appears to be a mirage, while green brushstrokes seem to hint at water on deck or maybe even a school of fish. “Resting on Her Side” (2024) depicts rocky terrain and the bleak spectacle of a capsized ship.

Judith Simonian has had solo exhibitions of her work at 1GAP, Brooklyn; Edward Thorp Gallery, New York City; and John Davis Gallery in Hudson, NY. Her work has been shown in numerous museums, including The New Museum, NYC; MoMA/PS1, NYC; Islip Museum, NY; Montclair Art Museum, NJ; Weatherspoon Art Museum, NC; San Francisco Museum of Art, CA; Santa Barbara Museum of Art, CA; Newport Harbor Art Museum, CA; and the Madison Museum of Contemporary Art, WI. Simonian has been awarded many prestigious honors, including a John Simon Guggenheim Memorial Foundation Fellowship, an Adolph and Esther Gottlieb Foundation Individual Support Grant, and a National Endowment for the Arts Grant. She received her BA and MA degrees from California State University, Northridge. The artist lives and works in New York City.

Greener Pastures, 2025, acrylic on canvas, 24 x 32 inchesMarysia’s Salon, 2024, acrylic on canvas, 30 x 20 inchesEnter the Mountain Yellow, 2023, acrylic on canvas, 50 x 66 inches

Dena Schutzer

phot of the artist by Ralph Gabriner

Dena Schutzer in her fifth solo show at Bowery Gallery in New York City titled “Agitation and Retreat”, describes the work saying, “Together, these oil paintings are a chronicle of observed moments in public and private spaces.” Schutzer’s imagery reflects this wide-open approach—what has caught her eye ranges from a view of a New York street in the giant shadows of looming new skyscrapers, to an intimate scene of the artist’s elderly mother taking a bath. Intuiting a kind of drama in these elements of direct perception provides what Schutzer calls the “initial jolt” that impels her to respond in paint.

For Schutzer this mysterious process—the joy and struggle of proceeding from that first sensation to a new, composed reality on the canvas–has everything to do with her pleasure in the possibilities of paint itself.  Her loose but decisive brushwork and bold color tensions and harmonies—acid greens, clashing blues, pervasive violets—don’t let go of the viewer until one has taken in all the oppositions, juxtapositions, parallels from which her brushstroke emerges, still present as a brushstroke, but also, finally, as an essential part of a new and highly personal image.

Dena Schutzer has had 5 solo shows with the Bowery Gallery in NYC, and has been in group shows at The Painting Center-NYC, Westbeth-NYC, Washington Art Association-CT, Kingsborough College-Brooklyn, Brooklyn Waterfront Artists Coalition-BWAC, Hudson Park Library-NYC, Romano Gallery-NJ, Irvington Library, Yonkers Riverfront Library, TC Columbia U- Macy Gallery. She taught painting and was head of the art department at the Abraham Joshua Heschel High School in NYC for 21 years, has been a visiting teaching artist at schools throughout Westchester County and NYC.  She illustrated six children’s books for Simon and Schuster, Knopf, and Scholastic among others, and her editorial illustrations have been published in newspapers and magazines including The NY Times, The New Yorker and NY Newsday.

Schutzer attended Skowhegan, NY Studio School, BFA from Suny at Purchase, MFA (in Film) from Yale University, MFA in Art Ed at Columbia University.

“Buildings, Yellow Cloud”, oil on canvas, 16”x12”, 2025“Arm Outstretched”, oil on canvas, 12”x16”, 2023“Four Men Working”, oil on canvas, 18”x20”, 2024

Julianne Nash

Julianne Nash

Julianne Nash (b. 1991, Massachusetts) is an artist whose work exists at the intersection between photographic collage and digital painting; she utilizes algorithms inherent to Photoshop in conjunction with traditional compositing techniques to create densely layered landscape images that contend with both personal and climate-driven grief. Color is an integral aspect of Julianne’s work; ranging from dark, depleted and disappearing images to artificially saturated color palettes driven by neural imaging algorithms. All of Julianne’s landscapes are of no specific place – rather are meticulously created collages of numerous photographs. Often inspired by places within the environment that evoke an unknown sadness, fear or discomfort, Julianne’s work explores the complex relationship between personal, cultural and natural histories visible within our ever-changing landscape.

This interview was done on the occasion of her exhibition, Flora non Grata at Amos Eno gallery.Julianne Nash,, Juniper and Sagebrush (22 Images), 2024. Dye-sublimation print on celtic cloth. 100 x 142″.Julianne Nash, Former Glacier (39 Images), 2022. Archival pigment print, mounted to sintra. 40 x 63″Julianne Nash, Artemisia Tridentata No. 3, 2024. Archival pigment print, mounted to sintra. 50 x 40″.

Elizabeth Ravn

Elizabeth Ravn (b.1994, Brooklyn, NY) received a Bachelors in Fine Arts from the School of the Art Institute of Chicago, Chicago, IL in 2016.

She lives and works in Berlin.

Recent solo and group exhibitions include David Peter Francis, New York (2025); die raum, Berlin (2024); Deborah Schamoni, Munich (2023); SOX, Berlin (2023); KINDL Centre for Contemporary Art, Berlin (2022); ChertLüdde Bungalow, Berlin (2022); Kinderhook & Caracas, Berlin (2021); Kjøpmannsgata Ung Kunst, Trondheim, (2021); and Pina, Vienna (2019).

Elizabeth Ravn, Bild, 2024, oil on canvas, 39 3/8 x 31 1/2 inches (100 x 80 cm). Courtesy of the artist and David Peter Francis, NY.Elizabeth Ravn, Cubbyhole, 2025, oil on canvas, 43 1/4 x 35 3/8 inches (110 x 90 cm). Courtesy of the artist and David Peter Francis, NY.Elizabeth Ravn, November, 2024, oil on canvas, 43 1/4 x 35 3/8 inches (110 x 90 cm). Courtesy of the artist and David Peter Francis, NYElizabeth Ravn, Telephone, 2024, oil on canvas, 27 1/2 x 19 3/4 inches (70 x 50 cm). Courtesy of the artist and David Peter Francis, NY.

Carolina Fusilier

Carolina Fusilier (b.1985, Buenos Aires) is a multidisciplinary artist who explores the physicality of technology, notions of non-linear time, and post-human imaginaries at the intersections between organic and mechanical bodies, industrial and domestic settings. Her work takes various forms through moving image, painting, sound, and site-specific projects.

Carolina Fusilier lives and works in Oaxaca, Mexico. She studied at the Universidad del Cine in Buenos Aires and completed postgraduate programs at Universidad Torcuato Di Tella (2011), SOMA in Mexico City (2016), and was a guest student at the Düsseldorf Academy under Rita McBride in 2018.

Recent solo and duo exhibitions include Imago, Margot Samel, New York, NY (2025); ¿Cómo se escribe muerte al sur?, Museo Anahuacalli, Mexico City, Mexico (2025); Isla Eléctrica, PEANA, Mexico City, Mexico (2024); Nuit Blanche, Toronto, Canada (2024); Espejo-Espectro, MALBA, Buenos Aires, Argentina (2024); Corrientes Mercuriales, Museo Jumex, Mexico City, Mexico (2023); Clepsidra, Daniela Elbahara Gallery, Mexico City, Mexico (2021); Kitchen with a View, Locust Projects, Miami, FL (2019); and Angel Engines, Natalia Hug, Cologne, Germany (2018).

Selected group exhibitions include Otr’s Mund’s, curated by Aram Moshayedi and Lena Solá Nogué, Museo Tamayo, Mexico City, Mexico (2025);Yendo de la cama al living, curated by Enrique Giner, Salón ACME, Mexico City, Mexico (2025); Breaking up of ice on a river, curated by Lilian Hiob, Margot Samel, New York, NY (2024); Casa Ideal, Proyectos Multipropósito, Mexico City, Mexico (2024); Linhas Tortas, Mendes Wood, São Paulo, Brazil (2023); Hic Sunt Dracones, Deli Gallery, Mexico City, Mexico (2023).

Carolina Fusilier, Súbitamente (IMAGO station), 2025, Oil on hexagonal canvas, stainless steel and speaker. Audio by Miko Revereza., 90 1/2 x 157 1/2 x 2 in | 230 x 400 x 5 cm. photo by Matthew ShermanCarolina Fusilier, Altar II (Imago Lab), 2025 Oil on hexagonal canvas, stainless steel frame 35 3/8 x 25 5/8 in | 90 x 65 cm. photo by Matthew ShermanCarolina Fusilier, War song II, 2025, Oil on hexagonal canvas, 31 1/2 x 19 3/4 in | 80 x 50 cm. photo by Matthew Sherman

Cianne Fragione

Cianne Fragione (b. 1952) is a multidisciplinary artist. With roots in the San Francisco Bay Area Beat and Funk art milieus, she has developed her own process-oriented artistic vocabulary over the past four decades that crosses boundaries between abstract painting and sculpture, and between object and image. A striking combination of oil paint, mixed-media materials, found objects, and textiles characterizes her signature style. Each piece, whether two- or three-dimensional, is built slowly over lengthy periods, becoming a dense synthesis of influences and personal perspectives, including mid-century gestural abstraction and the physical fluency of her early training as a professional dancer. While a sense of space and movement dominates her two-dimensional works, her assemblage pieces tend to be denser and more corporeal. Her most recent works respond to two collections of poems by Italian poet and writer Eugenio Montale: Mediterraneo and Ossi di Seppia.  

Fragione has exhibited extensively in solo and group exhibitions nationally and internationally, including at St. Mary’s College Museum of Art, Moraga, CA; Georgetown College, KY; Anya and Andrew Shiva Gallery, New York, NY; American University Museum, Washington, D.C.; John D. Calandra Italian American Institute of Queens College, CUNY, New York, NY; Associazione di Museo D’Arte Contemporaneo Italiano, Catanzaro, Italy; Harmony Hall Regional Center, Washington, MD; University of Scranton Art Museum, Scranton, PA; The Textile Museum, Washington, D.C.; Art in Embassies, Geneva, Sofia, Bulgaria, and Vilnius, Lithuania; Indianapolis Art Center, IN; and San Francisco Museum of Modern Art Gallery, CA.  

Her works are held in numerous public collections, including the Baltimore Museum of Art MD; DC Commission Art Bank Collection; Art in Embassies Permanent Collection, U.S. State Department, Guadalajara, Mexico; St. Mary’s College Museum of Art, CA; Italian American Museum, D.C; Department of Special Collections, Cecil H. Green Library, Stanford University, CA; Comune di Monasterace, Calabria, IT; among other museum and private collections.  

Motetti: Flowers Grow/ Salty Breath, 2024, oil-based paint, pigment, walnut and black ink, graphite, oil pencils,
on paper, 42.5 x 35 in (107.95 x 88.9 cm), Image by Martin SeckBundles: Seacoasts / Among Fragrances / Winds / Decoy, 2024, oil-based paint, pigment, string, lace, fishing lures, and bone on canvas panel, 8 x 5 x 2 in (20.3 x 12.7 x 5.1 cm), Image by Martin SeckThe Clouds Travel like White Handkerchiefs of Goodbye, 2020 oil-based pigment, collage, graphite, on mylar 54 x 65 in (137.16 x 165.1 cm) Image by Martin Seck

 

Ethan Cook

New York-based artist Ethan Cook engages with materialism and minimalism through his two primary media, woven canvas and handmade paper. Cook’s paintings are composed of colored fabric panels that have been hand woven on a four-harness loom, stitched together, and stretched on bars. Foregoing the notion that in order to paint one must apply pigment to canvas in some way – be it by brush, by knife, or by hand – Cook instead uses a loom to weave large swaths of colored fabric that make up his surfaces. For Cook, the performance of artmaking is at once meditative and intensely rhythmic. The grandness of the loom, with its thousands of moving processes and parts, generates a symphony of action that is both quick and unpredictable, developing a variety of idiosyncrasies like a pulled thread or skipped knot, producing a variety of textures that reveal that the works are indeed, handmade.

Cook has had solo exhibitions at Nino Mier Gallery, Los Angeles, Brussels, Marfa and New York; Megan Mulrooney Gallery, Los Angeles; Half Gallery, New York; Andersen’s Contemporary, Copenhagen; Galerie Philipp Zollinger, Zurich; T293, Rome; Loyal Gallery, Stockholm; Anat Ebgi, Los Angeles; Noire Chapel, Torino; Bill Brady, Miami; Sunday-S Gallery, Copenhagen; American Contemporary, New York; Galerie Jeanroch Dard, Paris; Rod Barton, London; Patrick de Brock Gallery, Knokke; and Gana Art Hannam, Seoul.  Public collections include The Art Institute of Chicago, Museum Voorlinden, Jordan Schnitzer Museum of Art, Fondation CAB, and Juan Carlos Maldonado Art Collection. His work has been covered in the Los Angeles Times, the New York Times, the Brooklyn Rail, Interview Magazine, Architectural Digest, among other publications.

Ethan Cook, Battement, 2025 Signed and dated on verso Hand-woven cotton 45 x 55 in (framed)Ethan Cook, Sauter, 2025, Signed and dated on verso, Hand-woven cotton, 66 x 77 in (framed)Ethan Cook, Beam Bathing Broken Circle, 2025 Steel 80 x 48 x 12 in 203.2 x 121.9 x 30.5 cm

Catalina Chervin

Within her work, Catalina Chervin (b. 1953, Argentina) depicts what the human mind intuits rather than what the eyes see—replacing empirical knowledge with subconscious feeling.

Chervin studied at the Escuela Nacional Superior Ernesto de la Cárcova in Buenos Aires and worked with the Robert Blackburn Printmaking Workshop in New York City.

Her work is held in prominent institutions worldwide, including The Metropolitan Museum of Art, New York; The Brooklyn Museum, New York; the New York Public Library; El Museo del Barrio, New York; the Art Museum of the Americas, Washington, DC; the Blanton Museum of Art (University of Texas), Austin; the Victoria & Albert Museum, London; The British Museum, London; and the Albertina Museum, Vienna.

Catalina Chervin Untitled, 2004 Hard and soft ground etching with spite bite aquatint, printed on Somerset White paper Master Printer: Lothar Osterburg, New York, 2004 Image size: 15 x 11 in (38.1 x 27.9 cm) Sheet size: 21 x 16 in (53.3 x 40.6 cm) Artist proof edition of 5Catalina Chervin Song 3, 2010 Hard ground and soft ground etching with dry point, printed on Rives De Lin with Kozo chine collé Master printer: Lothar Osterburg, New York, 2010 Image size: 15 x 11 in (38.1 x 27.9 cm) Sheet size: 21 x 16 in (53.3 x 40.6 cm) Edition of 20Catalina Chervin, IT 1, 2015, Hard and soft ground etching, printed on Somerset Textured White paper, Master Printer: Lothar Osterburg, New York, 2015, Image size: 15 x 11 in (38.1 x 27.9 cm), Sheet size: 21 x 16 in (53.3 x 40.6 cm), Edition of 20

Mark Mulroney

Mark Mulroney was born in Redondo Beach when he was very young. He spent a lot of time alone in his room on restriction due to his poor behavior. While in his room, alone, he started to draw, mostly pictures of the Space Shuttle and Vikings. He liked being alone in his room so much that he decided to try and make a career out of it. He is now 52, living in Connecticut, and spending almost all of his time in a room, by himself, drawing.When not in his room he enjoys talking to his wife about how he doesn’t want to go on hikesThe End.Mark Mulroney, What Black Hole?, 2025 Oil on Canvas 74 x 92 inches 188 x 233.7 cm, Courtesy of the artist and Mrs., Queens | Photography by GC Photo.Mark Mulroney Kal-El, 2025 Ink on Paper 71 x 46 inches 180.3 x 116.8 cm, Courtesy of the artist and Mrs., Queens | Photography by GC Photo.Mark Mulroney Clark 2, 2025 Oil on Panel with Gum 29 x 22 inches 73.7 x 55.9 cm, Courtesy of the artist and Mrs., Queens | Photography by GC Photo

Michele Abramowitz

Michele Abramowitz (USA, b. 1984, Berkeley, California) received her BA from Pomona College (Claremont, CA), her BFA from the Rhode Island School of Design (Providence, RI), and her MFA from the Milton-Avery School of the Arts at Bard College, (Annandale-on-Hudson, New York). Abramowitz has held solo exhibitions at A.I.R. Gallery, Brooklyn, NY (2021) and Kate Werble Gallery, New York, NY (2022).

Her work has been exhibited at venues including the North Loop Gallery, Williamstown, MA (2022), UBS Gallery at Bard College, Red Hook, NY (2016), Falcon’s Nest, Los Angeles, CA (2016) and Hart Street Studio, Brooklyn NY (2011). She currently lives and works in Brooklyn, NY.

Michele Abramowitz, Ghost Crickets 2025 Oil and black gesso on polyester canvas 80 x 54 inches each panel; 80 x 178 inches total.  Courtesy of the artist and Kate Werble Gallery, New YorkMichele Abramowitz, Detail, Ghost Crickets 2025 Oil and black gesso on polyester canvas 80 x 54 inches each panel; 80 x 178 inches total. Courtesy of the artist and Kate Werble Gallery, New YorkMichele Abramowitz, The Living Mud, 2025 Oil and black gesso on polyester canvas 48 x 40 inches Courtesy of the artist and Kate Werble Gallery, New YorkMichele Abramowitz, The Unworthy Augustina, 2025 Oil and black gesso on polyester canvas 54 x 40 inches.  Courtesy of the artist and Kate Werble Gallery, New York.