Online Exhibition #4

The guest curator for the fourth online exhibition is Meredith Rosen

Meredith Rosen is the principal at Meredith Rosen Gallery, NYC.  She studied Art History at The George Washington University and received an MA from the Fashion Institute of Technology in Art Market - Principles and Practices.  She has worked at Exit Art, was the director at BravinLee programs and founded Sargent's Daughters Gallery on the Lower East Side before starting her own gallery space in 2018.  In 2018 she launched her gallery with an exhibition by artist Jennifer Rubell including a pie performance that was performed everyday the exhibition was open. 

The following ten artists were selected from the open call by guest curator Meredith Rosen.  The artists are Nada Elkalaawy, Lesser Gonzalez Alvarez, Itamar Stamler, Stefan Jeske, Taylor Loftin, Nina Bovasso, Alexandra Smith, Edgar Serrano, Ranee Henderson and Bijijoo

Nada Elkalaawy

Summer Blues, 2018, Hand-embroidered tapestry on canvas, 22 x 25 cm

Itamar Stamler

Want One?, 2018, Acrylic airbrush on canvas, 50 x 40 cm 

Cut In Between, 2019, printed  carpet of a 3d scan, 135 x 175 x 2cm

Nina Bovasso

Flame Diptych, 2019, Acrylic on paper, 60" x 62"

Taylor Loftin

Hilt, 2019, Oil, enamel, wood and concrete, 8"x 14"x 3"

die Erde IV, 2019, Acrylic, enamel, wood, found objects, concrete, 12"x 16"

Ranee Henderson

Dummy, can’t you see me? I’m wearing one now, 2018, Oil on canvas, 60” x 48”

It doesn’t matter; I’m not easily set off track, 2018, Oil on canvas, 84” x 48”


Please Don’t Go, 2020, Oil and acrylic on canvas, 36” x 36”

This is a Ghost, 2020, Oil and acrylic on wood panel, 11” x 14” 

Best Shoot That Arrow Into the Sky, 2020, Oil and acrylic on canvas, 36“x48” 

Stefan Jeske

Me, looking in, 2020, Oil on canvas, 150x115cm

Edgar Serrano

Negotiating With Death, 2020,Oil on canvas, 46”x 60”

Alexandra Smith

Nip Nop Tease, 2020, Oil on muslin, 24” x 16”

Lesser Gonzalez Alvarez

Mask of the other, 2018, Terracotta, ROP utility ties, found stone, 12.5” x 10” x 10”

Gatherings, 2019, Enamel on aluminum panel in custom mahogany frame, 29 ½ x 28 x 1 ¾

Sorting Melancholies, 2020, Enamel on aluminum Panel, “25 x “32

Online Exhibition #3

The guest curator for the third online exhibition is Steve Turner.

Photo by Dimetri Hogan

Background work by Camilo Restrepo

Steve Turner opened his first gallery in Los Angeles in February 1988 and has been in continuous operation ever since. During the gallery’s first fifteen years, the focus was on the rediscovery of overlooked artists and art histories. Artists of particular focus were William H. Johnson, Henrietta Shore, Knud Merrild and Everett Gee Jackson. In 2007, the gallery changed direction to focus primarily on emerging artists and over the last dozen years has presented hundreds of exhibitions, many of which were debut solo exhibitions. The gallery also participates in eight to ten art fairs each year. 


Among the artists to have solo exhibitions at Turner’s Wilshire Blvd (2007-2014) and Santa Monica Blvd (2015 to present) galleries are Maria Anwander, Aaron Aujla, Edgardo Aragon, Otto Berchem, Joaquin Boz, Diedrick Brackens, Mark Bradford, Joshua Callaghan, Graham Collins, Petra Cortright, John Dilg, Dominic Dispirito, Noah Doely, Nick Doyle, Zachary Drucker, Hannah Epstein, Rico Gatson, Kate Gilmore, James Gobel, Deborah Grant, Luis Hidalgo, Ann Hirsch, Greg Ito, Parker Ito, Jon Key, Luciana Lamothe, Jonas Lund, Antonio Vega Macotela, Leo Marz, Carlos Martiel, Kevin McNamee-Tweed, RJ Messineo, Claire Milbrath, Adam Miller, Paige Jiyoung Moon, My Barbarian, Maria Nepomuceno, Camilo Ontiveros, Eamon Ore-Giron, Edgar Orlaineta, Hannah Perry, Pope L, Pablo Rasgado, Camilo Restrepo, Ryder Ripps, Francisco Rodriguez, Gabby Rosenberg, George Rouy, Rafael Rozendaal, Shizu Saldamando, Joshua Saunders, Rebecca Shippee, Michael Staniak, Augustus Thompson, Brittany Tucker, Phil Wagner, Ishmael Randall Weeks, Audrey Wollen and Yung Jake.


Turner has done more than one thousand studio visits in recent years. There was a phase where he did one a day in Los Angeles, another where he traveled to Mexico City several times a year to do a week of studio visits. He has traveled to Lima, Buenos Aires, Bogota, and Rio De Janeiro to do visits, and in recent years, he has done many in person studio visits in Berlin and London. He is regularly in New York and he also does numerous Skype visits with artists he has discovered on Instagram. He is always ready to meet a new artist and looks forward to making many new discoveries in 2020. 


The Age of Anxiety: Stephanie Boyer, Minyoung Choi, Em Kettner and Nicholas Perry


These four artists create dark figurative works that convey the unknown, terror, fear and anxiety of our time. Boyer’s jeering face; Choi’s figures lost in the dark; Kettner’s sickbed with dislocated body parts and Perry’s mangled face are the stuff of nightmares. As the world reacts to the coronavirus no theme is more relevant than fear.

Stephanie Boyer

Succubus Portrait, 2019, oil on wood panel, 10 x 8 x 1 in

Em Kettner

The Sickbed, 2020, cotton and wool woven onto glazed Porcelain, 8 x 4 x 3 in

Minyoung Choi

Night Walk 2, 2019, Oil on linen, 30 x 20 cm

Nicholas Perry 

Addison, 2019, Oil on canvas, 28 in. x 28 in

Though they do not fit the theme, these other artists must also be commended for their excellent submissions: Tanya Alvarez, Ilsa Brittain, Katja Farin, Nikki Mehle, Sean O’Rourke, Stephen Proski and Michael Villarreal. I also hasten to add that there were many others whose work merits further investigation. If every artist who applied was in the same studio building, I would happily have done thirty studio visits. To all who applied, I say fight on. 

Tania Alvarez

Ever-Present, 2020, Acrylic and graphite on panel, 14 x 11x 1.5 in 

Ilsa Brittain 

Self Portrait, 2017, Oil and acrylic textures on panel, 30x40cm

Katja Farin

Heavy Handed, 2019, Oil on Canvas, 28 x 31in

Nikki Mehle

Light of Night, 2019, Oil on canvas, 48" x 34"

Michael Villarreal

Hammydown, 2019, Spray paint, latex paint, primer, joint compound, insulation foam on canvas, 58 x 53 x 7.5 in

Sean O'Rourke

Stephen Proski

Youths, 2017, Oil on metal taken from flat complex, 94 x 70 cm

The Killing Game, 2019, Oil on canvas with thread; hand stitching, 46" x 70"

Online Exhibition #2

The guest curator for the second online exhibition is Kurt Beers.


Kurt Beers is Director of Beers London art gallery and author of both 100 Sculptors of Tomorrow (2019) and 100 Painters of Tomorrow (2014). In his capacity as gallery Director since 2012, Beers has worked with emerging and established artists internationally, prioritizing an approach to contemporary art that is both progressive and thought-provoking. Through his work on both books with esteemed British art publishers, Thames & Hudson, Beers has worked to create an international network of artists with the goal of creating a legacy of books and an international fraternity of artists. Through continued collaboration with artists and organizations, Beers continues to spearhead one of the most regarded spaces operating under its first ten years in London. In 2015 and 2016, Beers London was listed in Blouin Media’s ‘500 Best Galleries Worldwide’ and in 2015 Director Kurt Beers was included in ArtLyst’s ‘Alternative Power 100’. Beers holds a Bachelor’s Degree from Carleton University in Ottawa, Canada, and a Master’s Degree from City University in London, England. 




Artists selected for the open call are - Aleksandar Todorovic, Anthony Ciarlo, David Heo, Ethan John Stuart, Gabriele Arruzzo, Jon Duff, Karolina Ptaszkowska, Mark Posey, Ralf Kokke, Sean Downey.


The imagined show is called Garbage Pail Kids after the trading cards popular in the 1980s that parodied the Cabbage Patch kids, featuring children with grotesque, comical abnormalities or in crass and compromising situations. The cards, which seem increasingly insensitive in today's politically correct atmosphere, take a no-holds-barred look at humanity, society, and bodily functions. Similarly, the imagined GPK exhibition takes on the irreverent, youthful, overwhelming and often chaotic or crude vibe presented by the 10 artists included. All the artists maintain a sense of 'excess', often emphasising humour and the non-sequitur in favour of a logical narrative. Some, like Anthony Ciarlo, suggest a coprophilia as a means to understand contemporary society; along with the likes of Jonathan Duff and Mark Posey, we begin to see both an aesthetic familiarity but a similar mise-en-scene. Aleksander Todorovic complicates this irreverence with a more politicized but still humorous approach; a refinement also favoured by Sean Downey in his nearly hyperreal paintings. Ethan Stuart and Ralf Kokke take a naive approach, an almost folkloric look inward at real and imagined scenarios. David Heo offers a break from painting with his paper collages featuring screaming animals, ancient vases, and teens locking-lips. Karolina Ptaszkowska presents a noteworthy deviation here, with wooden structures to hold paintings-as-sculptures; and Gabriele Arruzzo's playful, almost ominous takes on Victorian-esque etchings laced with ombres and glitter. 



Ralf Kokke

He Played Ball, 2019, egg tempera on wood, 60 x 90 cm

Ethan John Stuart
Bird baths, fountains, hanging plants, plants from other climates, and pamphlets on how to take care of them.
2019, Acrylic on canvas, 24"x30"
Mark Posey

Brick Table, 2019, Acrylic, oil, spray paint on panel, 41" x 44"

Anthony Ciarlo

Lovers, Not Fighters, 2018, Acrylic and soft pastel on canvas stretched over wood panel, 60 x 48

Sean Downey

Two Noons, 2019, Oil on panel, 14 x 11 

Gabriele Arruzzo 
Senza titolo (serenata benaugurante), 2019, enamel, acrylic and glitter on canvas and wooden frame, 187x157cm
Aleksandar Todorovic 
Iconostasis of Connectivisim, 2018, Egg tempera and gold leaf on wood board, 70x100cm
Karolina Ptaszkowska
Tomorrow Came Last Sunday, 2019, flashe and acrylic on cotton and silk fabric, thread, rope, wood stick, dimensions vary, painting on fabric 225 x 130 cm
Jon Duff
David Heo
Enough is Enough, 2018, crayon, colored pencil, flashe, acrylic and latex paint on canvas, 78 x 69 in
27 Min Shipping, 2019, Acrylic on paper, 47 x 36

Online Exhibition #1

The guest curator for the first online exhibition is Kristin Korolowicz.











Kristin Korolowicz is an independent curator and writer. She has held curatorial and programming positions at the Hirshhorn Museum and Sculpture Garden, the Bass Museum of Art, and the Museum of Contemporary Art Chicago. As the Marjorie Susman Curatorial Fellow at the MCA, she curated solo exhibitions of work by Gaylen Gerber, José Lerma, and Theaster Gates. She recently curated the exhibition "Love the Giver" at The Franklin, which included works by Dutes Miller, Derrick Woods-Morrow, and Elijah Burgher. Her writing will be published in the forthcoming catalog accompanying Manuel Solano’s first US solo show at the Institute of Contemporary Art Miami. Korolowicz received her MA in Curatorial Practice from California College of the Arts.




Austin Furtak-Cole (Brooklyn), Vojtěch Kovařík (Valašské Meziříčí), Catherine Hélie-Harvey (Montréal), and Amadeo Morelos (Chicago) are the four finalists of Top Top’s open call. These emerging artists share a kinship for representational painting that invokes mythological references and personal iconography, while depicting playfully grotesque, nightmarish figures in some uncertain state of transformation. 


The selection of works are loosely inspired by the monstrous figure in W.B. Yeats’ foreboding poem “The Second Coming” written in 1919 in the aftermath of the First World War. As we near the year 2020, Yeats’ poem best expresses our Spiritus Mundi, balancing by a toe on the edge of a precipice, an inevitable societal shift. So, what "rough beast" is next?


-Kristin Korolowicz


“The Second Coming” (1919)


Turning and turning in the widening gyre   

The falcon cannot hear the falconer;

Things fall apart; the centre cannot hold;

Mere anarchy is loosed upon the world,

The blood-dimmed tide is loosed, and everywhere   

The ceremony of innocence is drowned;

The best lack all conviction, while the worst   

Are full of passionate intensity.


Surely some revelation is at hand;

Surely the Second Coming is at hand.   

The Second Coming! Hardly are those words out   

When a vast image out of Spiritus Mundi

Troubles my sight: somewhere in sands of the desert   

A shape with lion body and the head of a man,   

A gaze blank and pitiless as the sun,   

Is moving its slow thighs, while all about it   

Reel shadows of the indignant desert birds.   

The darkness drops again; but now I know   

That twenty centuries of stony sleep

Were vexed to nightmare by a rocking cradle,   

And what rough beast, its hour come round at last,   

Slouches towards Bethlehem to be born?








Austin Furtak-Cole
Cow Head, 2018. Flashe on paper; 11 x 11 in.
Blocked In, 2019. Acrylic on paper; 55 x 55 in.
Amadeo Morelos
Poke, 2019. Oil on Polyester; 18 x 24 in.
Poke (side view)
Club MASS (side view)
Club MASS, 2019. Oil on Polyester; 18 x 24 in.                                                                                                                                                                                                      
Boar Flex, 2019. Oil on Polyester; 18 x 24 in.                                                                                                                   
 Boar Flex (side view)                                                                                                                    
Vojtěch Kovařík
David, 2018. Acrylic on canvas; 79 x 79 in.
Catty Cat, 2018. Acrylic on canvas; 79 x 79 in.
Catherine Hélie-Harvey
En pyjama à pattes et devant Ciné-cadeau, rien n'y faisait, la tristesse gagnait du terrain, 2019. Acrylic, ink and gouache on paper; 11  x 16 in. 

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