Houston-based artist John Adelman earned a BFA in painting, drawing, and printmaking from Ohio State University and an MFA in drawing and painting from the University of North Texas. A part of his application to graduate school at UNT was a portfolio that included a couch reconfigured as a chair and covered in 905,000 staples.
His work is currently represented by Holly Johnson Gallery, Dallas; Nicole Longnecker Gallery, Houston; Diane Rosenstein Fine Art, Los Angeles; and Wally Workman Gallery, Austin.
He has been a finalist for the Hunting Art Prize three times (2009, 2012, 2014).
Four Horsemen of the Apocalypse, ink on paper, 37 x 37 inches
“Blue and black dictionary definitions, starting with the definition ‘four horsemen of the apocalypse.’ Blue word circles start one layer at top left and proceed by one additional layer to a total of nine layers at bottom right. Black word exterior square proceeds in reverse of the circle progression.”
Gamma Function, gel ink on paper, 15 x 15 inches
“Handwritten dictionary definitions, starting with the word ‘gamma function.’ (From the 1st dictionary. Hurricane Ike, September 2008, destroyed my dictionary at the definition ‘half’.) Handwriting in blue at the center; black toward the exterior. The center of the circle is ‘washed’ (water added to allow the blue to smear).”
Kristin Bonkemeyer is an architect and artisan based in Marfa and Santa Fe.
The attention to form and simplicity she brings to her domestic environments is reflected in her ceramics. Her keen interest in the integrity of her materials, and a life-long interest in ceramics, led her to the raku process. Bonkemeyer enjoys the immediacy and sometimes random effects of raku, its organic nature in contrast to architecture’s more rational approach.
Adrienne Eliadesis a studio artist currently living in Vancouver, WA. She earned a BA from the University of North Carolina, and an MFA from the University of Florida. Named a 2018 Emerging Artist by Ceramics Monthly, Adrienne has been an artist-in-residence at Ash Street Project in Portland, OR, Guldagergaard International Research Center in Denmark and The Bright Angle in Asheville, NC. In addition to maintaining a vibrant studio practice, Adrienne teaches at Portland Community College.
Groves received her BFA in 2012 from Corcoran College of Art in DC. Her studio is now based in Santa Fe, New Mexico.
Hughes’ Repetition series comprises works composed of repetitive marks. As in animated film, small variations from frame-to-frame – or across the paper – create change.
Hughes received a BFA in Studio Art from the University of Texas at Austin. Her work has been included in numerous exhibitions across the USA. Hughes works in a variety of media, including paint, photography and computer-based media. She has resided in Marfa since 2004 and is proprietor of Marfa Works on Paper.
Centimeter 35. Watercolor on paper, 12 x 16 inches.
Repetition 1. Gouache on paper, 11 x 11 inches.
Born in Manhattan, Madeline Irvine experienced great art, comic books, urban life and nature as formative influences. Since 2009, nature and the elements have propelled her work. As a multidisciplinary artist, she uses process-oriented, time-based or color-oriented art to express philosophical concepts about the natural world – the beauty of its past and its present predicament.
The ocean is Irvine’s preoccupation, and she uses weather, salt, water and paints – including metallic inks and phosphorescent paint -- to make her art. Irvine has worked in the arts as a professor of art, a curator, an arts writer and critic, and an arts administrator. She studied painting at the Rhode Island School of Design (MFA) and the Maryland Institute, College of Art (BFA). Irvine lives in Austin, TX and works out of a garage studio and driveway.
Red Top Old Salt. Salt on paper, 6 x 4 inches
New Mediterranean. Salt on paper, 10.5 x 4.25 inches
Investigating the materiality of the clay is the foundation and focal point for all of my vessels, sculptures and assemblages. The willfulness, forcefulness, plasticity and mutability of the ceramic medium is a push and pull of contradictions, an endlessly fascinating dance that engages my hands and my imagination on its way to becoming a finished object. These material qualities that I find so expressive and compelling, I have been unable to find in any medium other than clay.
“Black and White Boat Form with Black Lines,” stoneware and porcelain ceramic with slips, pigments and glaze, h: 8” x w: 8” x l: 22”
“Vessel with Porcelain and Scratch Marks,” black stoneware and porcelain with slips, oxides and glazes. h: 18” x d: 15”
Lance Letscher pieces together bits of antique paper, ledgers, old notebooks, diaries, letters, record covers, magazines and books to form dense collages, with careful attention to color and form.
Letscher lives and works in Austin, where he received a BFA and MFA from the University of Texas. His work is held in public and private collections around the country, and has been reviewed in Art in America, The New York Observer, and Harper’s Magazine, among other publications. The book Lance Letscher: Collage, published by the University of Texas Austin, presents a catalog of Letscher’s works dating from 2001 to 2008.
My recent artwork explores the connection between the body and water. I use bathing suits and environments associated with water to reveal the fine line between public and private, intimacy and exposure, skin and clothing.
My artwork has been widely shown in solo and group exhibitions. Venues include Editions/Artists' Book Fair in New York City, International Print Center New York, American University in Egypt, Indiana University Art Museum, and The Print Center in Philadelphia.
“Yellow and Green Stripe Swim Trunks”
“Peach Striped Panties”
Visakh Menon is an artist from India, currently living in New York. His interdisciplinary practice spans drawing, video, installations, and media art.
Menon has exhibited nationally and internationally including recent shows at the IFP Media Center, Fountain Art Fair, NY Film Fest, Openings Collective, DUMBO arts festival, Governor’s Island Art Fair, Spattered Columns (NY), Gallery Aferro (NJ), and Digital Media City Gallery (Seoul). He was selected for the Mentoring Fellowship for Immigrant Artists at New York Foundation for the Arts in 2010 (NYFA).
“How does human machine interaction impact perception ? This has been the key area of exploration in my interdisciplinary practice over the last 10 years. My current body of work focuses on the visual language of digital artifacts and the aesthetics of glitch. This series of mixed media works on paper are created using a unique process of rubbings, drawings, and collage. The algorithmic aesthetics of these works pushes into focus both the functional (generative) and dysfunctional (glitch) nature of code as a tool for expression. Experimenting with images manipulated through various modes of digital image analysis, compression algorithms, and interpolation to study their impact on color and effect on perception informs the content of this series. Compositionally these works are aligned towards ideas of geometric abstraction and color field paintings with a process transitioning from the digital to traditional mediums and driven by the notion of repetition as an act of meditation.”
Glitch-09, 30 x 22 inches, collage with clear adhesive tape, mixed-media on paper
Interference, acrylic and paint markers on Masonite panel, 6 x 6 inches
My work is primarily concerned with the making of beautiful objects.I am fascinated by the burst of energy that finds a new form and the calm obsession required to winnow that shape into the most ideal proportions. The color and line are applied to the surface in a playful re- examination of the original idea. This process of invention, perfection and appraisal is the strategy that I use to charge a cup, bowl or sculpture with a vibration which can create a positive disruption in patterns of living. If I can make something unexpected through my explorations that is noticed by someone else, then I feel that my things can be of use. The implied interaction of pottery that is so deeply ingrained in our culture makes it a perfect vehicle for this purpose and the variety of forms and functions makes this genre an infinite source of inspiration. The desire to sculpt comes from within the pattern of my work as a potter and with less frequency and with more complex rules of performance. I do not think that I can do one without the other, for each experiment fuels the next in a type of perpetual-motion studio practice without conclusion.
Joseph Pintz’s functional and sculptural ceramic work explores the role that domestic objects play in fulfilling our physical and emotional needs. Inspired by his Midwestern roots, Pintz creates mundane forms based on utilitarian vessels and other implements associated with the hand.
Pintz earned his BA in anthropology and urban studies at Northwestern University and his MFA from the University of Nebraska-Lincoln. He is currently an associate professor at the University of Missouri.
Mary Lou Saxon
Before relocating to Marfa in 2011, Mary Lou Saxon ran a commercial photography studio in Dallas for many years. She decided to move to Marfa “to see if there was still a kid inside who liked to take pictures, and because I was curious to see what would happen without deadlines and art directors.”
Saxon’s photographs capture the unique personality of the now world-famous little town of Marfa. Among her works is a portfolio of photographs of the ruins of the early-20th century hospital at Fort D.A. Russell in Marfa, before the ruins were demolished in 2015 to make way for Robert Irwin’s “untitled (dawn to dusk),” a permanent, large-scale project of the Chinati Foundation. Saxon photographed the ruins from time to time throughout 2014. The limited-edition portfolio that resulted consists of some her favorites from that series, recording the now lost historical site for posterity.
Saxon says: “The ruins were a geometrically interesting collection of old buildings full of many many windows and doors, but no roof. The light poured in, changing often as the shadows built up in mornings and evenings and vanished midday. Adding to the beauty was the crude quality of the old walls as they shed layer upon layer of paint.” Saxon adds, “The Robert Irwin building opened in 2016 to rave reviews about the quality of light in mornings and evenings.”
“Hospital Building #1” archival inkjet paper and ink, 9 x 13 inches
Kyle Schlesinger is a poet living in Austin, Texas. Recent books of poetry include: Sydney Omarr’s Wild Children, with the artist Flynn Maria Bergann (Further Other Book Works, 2017); Far & Away (Textile Series, 2017); and Let’s Drift (CL Press, 2017). Scholarly works include A Poetics of the Press (Ugly Duckling Presse, 2016), Dwell Time, with Aaron Cohick (DoubleCross Press, 2016) and Threads Talks, with Steve Clay (Granary Books, 2016).
He is proprietor of Cuneiform Press, a nonprofit literary organization specializing in poetry, typography, artists’ books, and music, and is the Director of the Graduate School of Publishing at the University of Houston-Victoria.
Hand set type on handmade paper, 14 x 11 inches.
Sam Schonzeit divides his time between Marfa and Stockholm. His father is the well-known photorealist painter Ben Schonzeit, and Sam grew up in Soho, NYC in the 70s and has been surrounded by and produced art his entire life. He has a BA in Religious Studies from Cornell University and an MA in Architecture from the University of Texas.
Schonzeit has had a long-time practice of making postcard sized paintings that he has sold in global boutiques including Dover St. Market in Tokyo and the Whitney Museum Shop in New York, as well as in Los Angeles, London, Stockholm and, of course, at Marfa Book Company. His larger works have been shown at a number of galleries in Texas and Europe.
Altar. watercolor on paper, 46 x 34 inches.
Untitled. acrylic and collage on paper, 11 x 14 inches.
Andi Shapiro is an artist and writer whose related practices have been presented in live performance, award-winning journalism, and solo and group exhibitions in California, New Mexico, New York, and Texas. Her drawings and paintings are in private collections and her poetry, under the name A.G.S. Gordon, has appeared in the Sewanee Theological Review. She holds a BFA in painting from the Rhode Island School of Design and an MFA from CalArts, where she studied with John Baldessari, Michael Asher, and Richard Artschwager. She lives in Santa Fe, New Mexico.
Her series Marriage is an ongoing sequence of graphite drawings on cotton rag paper.
Marriage #10. graphite on paper, 10 x 9 inches
Marriage #10. graphite on paper, 10 x 9 inches
After dropping out of Rhode Island School of Design at age 19, Speed spent her twenties moving around the U.S. and Canada working pick-up jobs (house painter, horse trainer, ad writer, farm worker etc.) until moving to Texas in 1978 where she settled down and became a full-time artist. She now works out of a former jail in Marfa, where she switches back and forth regularly between oil and gouache painting, collage, printmaking, assemblage and drawing, often combining disciplines.
Over the past 25 years Speed has had well over 50 solo museum and gallery shows. In addition to the numerous catalogs for those shows, her work has been the subject of several television and film projects and two large monographs, Julie Speed, Paintings, Constructions and Works on Paper and Speed, Art 2003-2009, both published by the University of Texas Press.
The Pirate Queen. 30/50. Etching with chine collé, individually tattooed with gouache, varied edition of 50, 12.25 x 15.75 inches
Launch II. 8/25. Hand-colored etching with chine collé on paper, 18.25 x 13.75 inches
"Leslie Wilkes creates heady, madly diagrammatic color-block oil and gouache paintings. Exploring propulsive quakes of shape and color, Wilkes’ compositions have a huge booming expressiveness…. Reminiscent of kaleidoscopes, woven Indian blankets, and Pucci prints, they will suck you into a particular vortex powered by symmetry; try to focus on the peripheral elements of any given work and you will fail.” -- Betsy Lewis, Dallas Observer
Born in Monroe, Georgia, Wilkes received a BA in painting from the University of Texas at Austin and MFA from the School of the Art Institute of Chicago. Working primarily with oil on canvas and gouache on paper, she has had solo exhibitions in Dallas, New York, Los Angeles, San Francisco, Chicago, Austin, Marfa, and Milan. Her work was published in Texas Abstract and on the book jacket of James Elkins' The Object Stares Back . She attended Skowhegan School of Painting and Sculpture and was the recipient of the Milton and Sally Avery Fellowship Award at the MacDowell Colony. Her work has been reviewed in The Los Angeles Times, The Chicago Tribune, The Denver Times, The Dallas Morning News, Southwest Spirit Magazine, Big Bend Sentinel, and New Art Examiner. She is a painter, gardener, and radio DJ in Marfa.